Vietnam - Mamiya 7 - Fuji Provia 100F. Photo: Community member MyReality

In last week's Question of the week, our community eagerly awaited the arrival of 2026 with a healthy list of New Year's resolutions, ranging from committing to a better understanding of current gear to rethinking old habits. Many of you also said, "I need to slow down!" when preparing for that perfect shot. While a great opportunity doesn't always wait for us, it was clear from your resolutions that you felt it would help to take more time setting up the shot when possible.

Sharing your resolutions

For the resolutions quoted below, we aimed to showcase a variety of experiences and interesting stories. I was especially impressed with SJSNIKON's commitment to their photo collection of 60,000 images dedicated to Dutch cultural heritage. Nice work! And great job faunagraphy for capturing a great shot of that tiger without it capturing you first :-).

For the photos shared, we were able to include nearly all of the submissions. Thank you for including a photo with your responses when possible. It makes it a lot more fun when we can share them with your comments.

Read on for a spotlight selection of contributions, and then join our forum community to share your great photos and the stories they tell.

DaveZSmitty: I recently bought a refurbished D7500, and I'm getting used to using the back LCD to make my changes, unlike my D7000, which had a top screen behind the shutter button. So, I'm training my muscle memory for the new camera in 2026.

tilted_horizon: I'm a primes guy, but I'm going to do the opposite and use zooms as my main lenses, with the goal of getting better at seeing compositions within a bigger scene and zooming in to isolate them. Also, be aggressive in deleting pointless photos. I think it was HCB who said something like, There is no salvage, there is only yes or no. If I stick to that philosophy, I'll have about five keepers in 2026 :).

Hike Pics: To sell/donate a LOT of my cameras, at least half of them. They are taking up way too much space in my studio. Funny thing is, I said the same exact thing early this year!

Click here to see everyone's resolutions

A wild opportunity to capture a great photo with a tiger. Photo: Community member faunagraphy

faunagraphy: My New Year's resolution is to try to be less of a technical perfectionist. This goes against my nature - often, I am out in nature experiencing things that would be the envy of many people, and yet, I return home unhappy because my photos fall short of my idea of perfection. They could always be more detailed or sharper; perhaps the shutter speed was too low or too high, or perhaps my compositions should have been wider or tighter. If a photo is slightly out of focus, or slightly blurry, or without the max possible amount of detail, it's a "lost opportunity" - no matter how compelling a story it tells.

Satyaa: Figure out how to get good value from using my gear, without buying more gear that I "want" (not need).

SJSNIKON: Happy New Year, everybody! My New Year's resolution in the photographic field is to prepare my 60,000+ photo collection on Dutch cultural heritage for transfer into the collection of the cultural heritage organization where I work when I retire (in a few years).

Keith Cooper: Two related things - print more and print bigger, and produce at least one large print that stops people, makes them look, and prompts them to wonder how I did it. By large, I mean needing at least 64" roll paper.

A lonely tree on a grassy hill-top with the sun shining through. Photo: Community member DuckShots

DuckShots: Funny you should ask, because I had just made a list. Tired of my wall hangings, which need a bit of freshening up with recent photos. I need to be more disciplined in shooting and filing self-portraits, something I do to maintain my skills in light of the absence of people who will sit for a portrait. I shoot every day, a practice I will maintain, but these shoots should include more exploration. No more books. I need to go back and review what I have.

dollarslice: Think about what else I can do with existing photography versus constantly feeling the need to go shoot more. Last year I put together a small book of black and white photos I've made, next I want to make one of my color work. I also desperately need to back up and organize all my files.

AfzalKhanVisuals: From 2026, I am planning to change a few things in my photography. These ideas are not entirely new, but they feel necessary. One thing is to push photography further into storytelling, not just images, but the art of stories. Stories of human behavior, fleeting moments, nature, and the quiet truth of being human.

Sam Bennett: I want to leave a more substantial "paper trail." So much of what I do is for social media - whether it's for myself or the venues that I work for. That's all well and good, but as I get older, I want to ensure that what I do is available in a tangible form. So I've started printing more - even if it's these tiny Instax prints. When I photograph bands, I typically finish processing the "quick picks" for the marketing team, so it's easy to print these out and hand them to the band.

Taken as a whole, these resolutions show that you are thinking strategically about what you want from your photography this year. There’s less emphasis on chasing perfection or new gear, and more on printing work, telling better stories, editing with purpose, and creating something that we can all admire.

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!

What are your resolutions for this year? Click here to join the discussion!

Image: Fujifilm

Fujifilm has announced a surprising addition to its popular Instax camera line: the Instax Mini Evo Cinema. The camera builds on Fujifilm's existing Evo lineup, which focuses on a hybrid of digital and instant film, adding the ability to record video. It offers a handful of unexpected features, including an "Eras Dial."

The Mini Evo Cinema features a design vaguely reminiscent of the Fujica Single-8 camcorder from the 1960s. It shares the vertical orientation and a trigger for recording video. You won't be recording feature-length films with it, though, as it's only capable of 15-second clips. You can view videos instantly on the small rear display, and then choose individual scenes to print to Instax film. The Instax prints also feature a QR code that allows you to play the video, though Fujifilm notes that it will only store videos on its servers for two years, so you'll want to be sure to download them before that time runs out.

When you print a still from a video, a QR code is added. Image: Fujifilm

Should you want to make the camera look even more retro, there's an optional viewfinder attachment that converts the small screen into an electronic viewfinder. There's also an attachment to make the grip more prominent, and a dedicated case.

The camera also features an "Eras Dial" that would make Taylor Swift proud. It offers 10 different settings that change the look of the footage to recreate the feel of each era, spanning from 1930 to 2020. It also adds sounds, such as the whir of film reels, for a more complete experience. Each effect provides 10 levels of adjustment to fine-tune the result.

The "Eras Dial" allows you to change the look and sound of your videos. Image: Fujifilm

On the stills side of things, you trigger a print by using a lever that Fujifilm says is designed to evoke the feel of winding film. Like the other Evo cameras, you can print images you take with the camera like a traditional instant camera, or print photos from your smartphone.

There's a small display on the back of the camera. Image: Fujifilm

The camera is equipped with Wi-Fi and Bluetooth, and connects to the Instax app, which allows you to view photos and videos captured with the device. You can also combine video clips to create videos up to 30 seconds long with cinematic opening and ending templates. There are also poster templates for you to create movie posters by adding text.

The camera is only available in Japan, and is slated to go on sale January 30th. Fujifilm hasn't shared full specs – such as what size or resolution sensor the camera is using or battery life – or a price as of yet. For now, we'll have to wait on details, and to find out if it will be available elsewhere.

Here is an updated list of the latest/upcoming/rumored Viltrox lenses:

• Viltrox 50mm f/1.2 LAB
• Viltrox 85mm f/1.2 LAB

• Viltrox 55mm f/1.8 EVO (E/Z)
• Viltrox 35mm f/1.8 EVO (E/Z)

• Viltrox AF 50mm f/1.4 Pro lens for Nikon Z-mount

• Viltrox AF 16mm f/1.8 for L-mount
• Viltrox AF 28mm f/4.5 for L-mount

• Viltrox tilt-shift lens

• Viltrox lenses for Canon RF mount

• Viltrox AF 35-50mm f/1.4 zoom lens (or similar)

• New Viltrox Chip series pancake lenses

Updated list of latest/upcoming/rumored Chinese lenses

Here is an updated list of photo gear promo codes you can use during this holiday shopping season

The post What’s coming next from Viltrox (updated) appeared first on Photo Rumors.

Image: Godox

Godox has announced an update to its popular portable strobe, the AD100Pro II. The new model retains many of the well-regarded features of the original, while introducing worthy refinements such as an improved cooling system and updated wireless control.

Like the first iteration, the AD100Pro II delivers 100Ws of power, which can be adjusted in nine steps. However, Godox upgraded the cooling architecture of the flash, and it's now capable of 60 to 100 consecutive full-power flashes without overheating. It also features a higher-capacity 3300mAh battery (up from 2600mAh in the original), rated for up to 490 full-power flashes, and rechargeable via USB-C.

Godox added a group indicator light on the body of the flash, which uses 16 color options to indicate different groups during multi-light setups. The color-coded lights make it much easier to see which group a specific unit is assigned to at a glance, allowing for faster adjustments. A new full-color display on the back makes it easy to see and adjust settings. While the flash still uses the Godox 2.4GHz X wireless system, it now also supports 433 MHz connectivity. Godox also added compatibility with its new X3-series triggers, with quick-sync pairing with the X3 and X3Pro for faster setup time.

Despite the new features and larger battery, it's still very lightweight, coming in at 564g (1.2lbs). It's also still very compact, measuring 122.2 x 76.0 x 76.0mm (4.81 x 2.99 x 2.99"), making it easy to toss in a bag for shoots out of the studio.

Image: Godox

Otherwise, the AD100Pro II offers familiar features. It offers a recycle time that ranges from 0.01-1.5 seconds, depending on flash power. It supports TTL compatibility for automatic exposure, and with high-speed sync, you can shoot at shutter speeds as fast as 1/8000s. It also supports front and rear curtain sync. A built-in magnetic mount enables compatibility with Godox's round-head accessories, allowing for fast and versatile light modification. It offers a transmission range of 100m (328') and a 5W modeling lamp with 10 brightness levels.

The new Godox AD100Pro II is available for preorder now for $299 with an expected shipping date of January 27.

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Buy now:

Preorder at B&H

Fujifilm announces a new Instax Mini Evo cinema camera that also shoots video in Japan (check for availability at B&H Photo). Here are the main features of the Instax Mini Evo cinema camera:

•  Capture videos and hand them over as instax prints with QR codes
• Features various “Eras Dial” effects inspired by different eras
• Design that enhances the shooting experience with a vertical Grip and analog feel
• Dedicated app for viewing and editing captured videos
• Will be available in Japan on January 30, 2026.

Additional information:

The “Evo Series” is a hybrid instant camera that allows users to take pictures with viewing the LCD monitor on the back of the camera and select their favorite shots to print, and enjoy an immersive photography experience with a variety of creative effects.
The mini Evo Cinema can capture both still images and videos. It converts captured video data into a QR code*1 and creates an instax print together with a still image cut out from the video, allowing users to “hand over a video”. By turning videos into instax prints, users can not only preserve memorable moments spent with loved ones in tangible form, but also easily revisit the video anytime via the QR code.
As a new feature, the camera is equipped with the “Eras Dial”, which lets users experience effects inspired by different eras.10 “Eras Dial” effects are available, including “1960” inspired by 8mm film cameras. Each effect has 10 adjustable levels, offering a total of 100 possible expressions. These effects capture the unique flavor of each era, letting users shoot extraordinary, special videos and still images with a sense of time travel.

The camera features a vertical grip design inspired by Fujifilm’s “FUJICA Single-8”, an 8mm camera introduced in 1965. Its meticulously crafted design and analog operation enhance the enjoyment of shooting and printing. The dedicated app*2 allows users to edit videos by combining clips and adding cinematic opening and ending templates, making it possible to create them more special. Furthermore, it features a “Direct Print Function” that lets users turn smartphone images into instax prints. The mini Evo Cinema is a 3-in-1 camera that not only captures videos and still images but also functions as a smartphone printer.

The post Fujifilm announces a new Instax Mini Evo cinema camera that also shoots video in Japan appeared first on Photo Rumors.

Photo: Mitchell Clark

Before the holidays, we put the Sony a7 V in front of our studio test scene to see for ourselves how good its dynamic range performance is. Now that we're fully into the swing of 2026, it's time to take a look at what our studio scene reveals about its image quality.

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Comparing processed Raws at base ISO, the a7 V's 33MP sensor provides a similar level of detail to cameras with similar resolutions, such as its predecessor and Canon's EOS R6 III, while offering a bump up from its 24MP competitors. It does appear that Sony has slightly tweaked the formula for the camera's color response compared to the a7 IV, and we've found the JPEGs it puts out to be pleasing.

At high ISOs, the a7 V's Raws show a touch more noise than those of its competition, a trend that continues as you push your ISO higher, but its JPEG engine does a decent job of reducing noise while still retaining details. Its ISO range extends a stop higher than the Canon EOS R6 III's, but in most circumstances, this simply means you have a wider range of settings that provide an unusable image.

Overall, the a7 V's images are very similar to the a7 IV's, but its partially stacked sensor brings better low-ISO dynamic range and burst rates without any noticeable impact on image quality.

The previously rumored NIKKOR Z 24-105mm f/4-7.1 standard zoom full-frame mirrorless lens is now officially announced:

• Pre-orders: B&H Photo | Paul’s Photo | Service Photo | WEX Photo | Foto Erhardt | Camera Canada
• Comparing the new NIKKOR Z 24-105mm f 4-7.1 lens with the NIKKOR Z 24-120mm f/4 S
• Additional information
• Press release:

Nikon announced a new Nikkor Z 24-105mm f/4-7.1 standard zoom full-frame mirrorless lens

The post Nikon announced a new Nikkor Z 24-105mm f/4-7.1 lens appeared first on Photo Rumors.

Image: Nikon

Nikon has announced the Nikkor Z 24-105mm F4-7.1, a budget zoom lens for its full frame cameras. It's designed to be lightweight and relatively compact, despite its relatively versatile focal range.

The lens is made up of 12 elements in 10 groups, with one ED element and two aspherical lenses. It has a minimum focusing distance of 0.2m (7.9") on the wide end, which increases to 0.28m 11") on the long end, which lets you obtain 0.5x reproduction from 70 to 105mm.

It's a relatively light lens at 350g (12.4oz), and is only 107mm (4.2") long when retracted, so it won't be too hard to carry around with you. It has a 67mm thread for filters. While the company says it's "designed with consideration for dust and drip-resistance," we wouldn't expect it to have the level of weather sealing as the company's more premium lenses.

As most modern budget lenses do, the 24-105mm F4-7.1 uses a stepper motor for autofocusing, which Nikon says will provide "fast and quiet autofocusing" for stills and video shooting. The lens also has a customizable ring, which you can set to control a variety of settings like focus, aperture, exposure compensation or ISO.

It's an interesting addition to Nikon's lineup, especially considering its availability as a kit option for the company's budget full frame entry, the Z5II. The company's 24-120mm F4 S has been widely lauded and offers slightly more reach, but is more expensive and heavier. The same is true of the 24-200mm F4-6.3, another Z5II kit option that offers even more reach.

The Nikon 24-105mm F4-7.1 will be available starting in "mid January" at a suggested retail price of $550. It'll also be available in a kit with the Z5II for $2200, around $350 more than the camera's standalone retail price.

Manufacturer Samples

Photos provided by Nikon

Nikon Nikkor Z 24-105mm F4-7.1 specifications:

Image: Meike

2026 is kicking off with quite the selection of fast prime lenses for APS-C cameras. First, 7Artisans unveiled a trio of F1.8 lenses. Now, Meike has released the AF 23mm F1.4 lens (35mm equiv.), which is available for Sony E and Nikon Z mounts.

Meike's latest lens features autofocus powered by an STM motor, which Meike claims is quiet and responsive. It's compatible with face and eye detection, including during video recording. Meike also says there's minimal distortion and focus breathing. It can focus as close as 0.25m (9.8").

Image: Meike

The optical design comprises 13 elements in 11 groups, and it features a 9-blade aperture. It offers a 58mm filter thread. It's relatively compact and lightweight to feel at home on smaller APS-C bodies, measuring 66.5mm x 81mm (2.6 x 3.2") and weighing 298g (10.5oz) for the E mount model, and 302g (10.6oz) for the Z mount version.

Unlike many budget lenses, the Meike 23mm F1.4 offers some on-lens controls. That includes an aperture ring and an AF/MF switch. It also features a water and oil-repellent coating on the front element and offers a USB-C port for firmware updates. The lens also supports EXIF data.

The Meike AF 23mm F1.4 is available for purchase as of today for E and Z mounts through Meike's website for $290. The product page also has references to an X mount version that doesn't seem to be available yet, but hopefully Fujifilm users don't have to wait long for that addition.

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Buy now:

Z mount

E mount

Image: 7Artisans

7Artisans has launched a new series of autofocus lenses for APS-C cameras. The 'Lite' lineup, which is currently only listed on the company's Chinese-language website, consists of 25mm F1.8, 35mm F1.8 and 50mm F1.8 lenses made for Sony E mount and Fujifilm X mount.

The new Lite series, as the name suggests, focuses on compact size and low weight. All three lenses weigh between 178g (6.3oz) and 183g (6.5oz). They share the same dimensions, measuring 67mm by 51mm (2.6 x 2"), and all use a 58mm filter thread. That means users don't need to buy separate filters for each lens, and it makes the trio easier to use with a gimbal as well.

A sample image listed on the 7Artisans website for the new series. Image: 7Artisans

The 25mm lens (37mm equiv.) features an optical design comprised of eight elements in five groups. The 35mm (52mm equiv.) utilizes seven elements in six groups, and the 50mm (75mm equiv.) of six elements in five groups. 7Artisans says that all three lenses use high-refractive-index glass to reduce aberrations while keeping weight minimal. All three lenses feature a nine-blade aperture and an aperture range of F1.8 to F16.

The Lite lineup's autofocus is powered by STM motors, with support for eye detection and tracking. The 25mm lens can focus as close as 0.25m (9.8"), the 35mm at 0.35m (13.8") and the 50mm at 0.55m (21.6"). Aside from a focusing ring and a USB-C port for firmware updates, the lenses lack any additional controls, which isn't surprising given their budget price.

The three lenses aren't yet listed on the 7Artisan's English website. Interestingly, they were initially available for preorder through B&H, but those listings have since been removed. When the pages were up, they were listed at $125 each with an expected shipping date of May 04, 2026.

Photo: Canon

Canon EOS-1 Series cameras have long set the benchmark for professional sports photography. Now, as Canon’s first flagship professional mirrorless camera, the EOS R1 carries that legacy into a new era – combining revolutionary autofocus, breakthrough speed and seamless connectivity. Here are five ways the EOS R1 keeps you ahead on every assignment.

Photo: Canon

1. Game-changing autofocus

The EOS R1 elevates subject detection and tracking with its next-generation Dual Pixel Intelligent AF. Its deep learning system delivers subject-aware tracking that feels more responsive, agile and reassuringly ‘sticky’ when the action turns unpredictable. The Accelerated Capture system maintains accuracy even when subjects slip briefly out of view, and the latest firmware introduces support for tracking cleanly through goal netting. Powerful Eye Control AF shifts focus at a glance, while cross-type AF points enhance precision down to -7.5EV – ideal for indoor arenas and nighttime matches. With the EOS R1 managing tracking so reliably, you can focus on composition and timing.

Photo: Canon

2. Made for defining events in sport

The EOS R1 redefines Canon’s flagship camera performance. Its configurable silent continuous shooting of up to 40 fps allows you to fine-tune settings for any event and capture split-second drama with remarkable clarity. Pre-continuous shooting buffers up to 20 frames before you release the shutter, helping you capture the decisive moment – even if you’re a heartbeat late. Thanks to EVF Viewfinder Priority, a built-in face sensor wakes the viewfinder before it reaches your eye, ensuring it’s ready to shoot the instant the action unfolds.

Photo: Canon

3. Seamless workflow – from arena to office

For pro sports photographers, the real race begins after the shot. Getting images to editors and clients first is critical – and the EOS R1 keeps you ahead. Multiple MIMO antennas, Wi-Fi 6E and 2.5G BASE-T ethernet enable stable, ultra-fast transfers when every second counts. Direct FTP upload and in-camera voice memo tagging streamline delivery, so files reach press or socials faster. Designed for modern workflows, the EOS R1 lets you stay immersed in the action while ensuring every image arrives without delay.

Photo: Canon

4. Smart assistive features

Canon’s most advanced assist functions give photographers the freedom to focus on the moment, not the controls. Action Priority tracks players based on their movement near the ball, while Register People Priority locks onto the most important person in crowded scenes. Deep learning isn’t just for autofocus performance: it also powers in-camera upscaling, allowing you to crop into the action and still deliver images at up to 4x their original resolution.

Photo: Canon

5. Durable design, built to perform under pressure

A weather-sealed, heat-dissipating body, clad in a newly designed textured rubber grip, provides assured handling in all conditions – from rain-lashed sidelines to wind-chilled ski slopes. Even the large, high-resolution EVF features an anti-fog design for a clear view in the cold. For peace of mind, Pro CPS (Canon Professional Services) membership provides direct access to a pro rep, on-site support and service centers across Europe for fast, factory-quality repairs and maintenance.

Sign up to get the latest on Canon’s EOS R1 and what it can do for you.

Here is what else is new:

In 2026 Ricoh will celebrate 30 years since the release of the GR1 camera

November 2025 CIPA numbers: compact cameras are up 29% in units and 49% in shipped value

Critical UI deadlock issue on the Nikon Zf camera with firmware update C version 3.00

Tilta accessories for the Leica Q3 cameras

Vote for the worst camera of 2025

Light Lens Lab 35mm f/1.4 double aspherical AA 11873 lens for Leica M-mount review

Expectations for OM System in 2026

Weather Sealed Smallrig Hot Shoe Cover For Sony

New SmallRig Fujifilm X100 Accessories

The post What else is new? appeared first on Photo Rumors.

The Leica M11 uses a Sony sensor. Image: Leica

Leica is reportedly developing a proprietary sensor with an advanced design, according to Dr. Andreas Kaufmann, Chairman of the Supervisory Board of Leica Camera AG. Speaking as a guest on the Leica Enthusiast podcast, which was reported by Leica Rumors and PetaPixel, he shared a very brief (and vague) glimpse into the company's ambitions.

The Leica Enthusiast podcast is in German, so we relied on machine learning translations. While the episode touches on a variety of topics, the most noteworthy part is that, partway through, Dr. Kaufmann unveils, "We are also developing our own sensor again." When asked about the development time, he simply said "five years." It isn't clear whether that's how long Leica has been working on the project or if it's the expected timetable for a finished product, but to us it seems likely that it's the former.

Dr. Kaufmann then briefly went into some of the history of the sensor in the M series to provide some context. He explained that the M10 utilized a sensor that was entirely developed in Europe. Development was conducted by AMS in Graz, Austria, with design work handled by AMS’s Dutch development office, and fabrication taking place at a French foundry in Grenoble. With the M11, though, Leica switched to using Sony sensors.

"Work began on developing a proprietary sensor again, with a more advanced design."

That appears to be changing, however. When discussing the switch to Sony sensors in the M11, Dr. Kaufmann added that "at the same time, work began on developing a proprietary sensor again, with a more advanced design. And I think we have made considerable progress there." Unfortunately, that brief comment is all the information that's currently available. "At the moment, we cannot say more," he said.

There's a broad range of things that "developing a proprietary sensor" could mean. It could involve anything from building its own sensor from the ground up (which would be a massive undertaking, especially for a company of Leica's size) to customizing an existing design from another manufacturer. For now, as per usual, we'll just have to wait and see what Leica is actually up to.

The previously reported 7Artisans AF 25mm/35mm/50mm f/1.8 APS-C LITE lenses are now available for pre-order at B&H Photo (X-mount will be released later). The new lenses will also be listed on the official online store soon.

Additional information:

Additional information on the new 7Artisans AF 25mm/35mm/50mm f/1.8 APS-C LITE lenses (E/X)

Updated list of latest/upcoming/rumored Chinese lenses

The post The new 7Artisans AF 25mm/35mm/50mm f/1.8 APS-C LITE lenses are now available for pre-order appeared first on Photo Rumors.

A few weeks ago, Godox released a new XR TTL 2.4GHz wireless receiver for Canon, Nikon, and Sony speedlights – I did not find any coverage online, so here are the details:

Order: B&H Photo | Amazon

Key features:

• Cross-brand compatibility — Supports major-brand TTL speedlights
• Wireless shutter control — Available when paired with the X3Pro trigger
• Long-range performance — Up to 100 m transmission, approx. 84,000 flashes per charge
• Color display — Clear access to settings at a glance
• Recommended retail price:
  • XR (Canon / Nikon): $39.9
  • XRS (Sony): $42.9

The post New Godox XR TTL wireless receiver for Canon, Nikon, and Sony appeared first on Photo Rumors.

Your best photos of 2025

As 2025 drew to a close, we invited DPReview readers to share their best photos from the past year in our "Best photo of 2025" challenge. The response was fantastic, with submissions ranging from breathtaking vistas to stunning macro photos. Thanks to everyone who participated in this challenge!

As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

To view all the submissions and discover which photos resonated most with your fellow readers, please visit the challenge page.

If you'd like to participate in other photo challenges, you can visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

St. Magdalena under the stars

Photographer: JT26

Photographer's statement: A crystal clear night at the Church of St John. I love something that gives scale to the image. This church is surrounded by a jagged range of mountains; the lone figure (me) with a bright hand torch gives a small bit of scale in the scene.

Equipment: Leica SL3 + Sigma 16-28mm F2.8 DG DN

Budgerigar love

Photographer: Lance B

Photographer's statement: A male Budgerigar feeding his female mate while she is in her nesting hollow. While I was there, he was most attentive and came back numerous times.

Equipment: Nikon Z8 + Nikon Nikkor Z 600mm F4 TC VR S

Halloween frenzy

Photographer: fatplanediaries

Photographer's statement: It hasn't been that long since we graduated, but we still party like we're in college. Taken during the annual Halloween party with my friends, all 200 of us stuck in a Brooklyn backyard. It was packed, it was uncomfortable, and it was fun as hell.

Equipment: Sony a7R IV + Sony FE 20mm F1.8G

The heart

Photographer: GreenFirePhotography

Photographer's statement: This is the Heart Nebula (IC 1805), a colossal emission nebula located about 7,500 light-years away in the constellation Cassiopeia. This stellar nursery is quite a hotbed of activity, centered around a young open star cluster called Melotte 15. The energetic winds and radiation from these massive, newborn stars are the reason the nebula's gases are lit up so brightly, essentially acting as the power source for this entire cosmic light show.

This image was created using the Hubble Palette, a clever technique that maps the light from ionized sulfur, hydrogen, and oxygen gases into different color channels to create this vivid and detailed portrait. Shot over three nights in late October, this is a stack of 161 images broken into 5-minute exposures.

Equipment: ZWO ASI2600MC + Williams Optics Red Cat 51 V2

European sea eagle

Photographer: Arnold448

Photographer's statement: I visited a falconer to practice capturing birds in flight. The falconer is well known for flying his birds in the most natural way, and I was right on the water's edge on my belly on a cold November morning. I captured this shot in full flight with the wings touching the water.

Equipment: Canon EOS 5D Mark IV + Canon EF 500mm F/4 L USM

Two of a kind

Photographer: Charles Baxter

Photographer's statement: Patience paid off while seated in my home garden observing wisteria blooms after noticing the Gulf Fritillary butterflies fluttering to the colorful purple colored petals. Handholding my Olympus camera with a long lens, I got a shot of two visitors.

Equipment: Olympus OM-D E-M1 Mark II + Olympus Zuiko Digital ED 50-200mm 1:2.8-3.5 SWD

January sunrise by the Pacific

Photographer: User1107186962

Photographer's statement: I was driving with a friend to watch the sunrise over the Pacific Ocean, but we realized we were running late. The fog was so thick along the way that I almost lost hope of catching the sunrise at all. Then, before we could even make it to the ocean, the sun began to rise while we were still on the road. That's when we stumbled upon two male elk grazing in front of the glowing horizon. We stopped the car, and I quickly grabbed my camera, running around to line up the elk with the rising sun. This photo is a reminder of that moment, as if the elk and I were both quietly watching the world awaken beneath the rising sun.

Equipment: Fujifilm X-T5 + Fujifilm XF 70-300 F4-5.6 R LM OIS WR

London after the rush

Photographer: Andrea Corrado

Photographer's statement: As the working day ends, London slows but never stops. People spill into the streets, the red bus gliding through the junction as the city shifts from work to life.

Equipment: Nikon Z8 + Nikon AF-S Nikkor 85mm F1.8G

Serengeti 2025

Photographer: Vesselin Yankov

Photographer's statement: This photo was taken in February 2025, in Serengeti National Park, Tanzania. This is the period between the two rainy seasons, when the grass has grown, and nature is lush and green. The sunset on that day bathed everything in incredible light. Zebras and various species of antelope were grazing everywhere as far as the eye could see, undisturbed by predators.

Equipment: Fujifilm X-S20 + Sigma 100-400mm F5-6.3 DG DN OS

Mystical morning on the bayou

Photographer: JohnnyBE

Photographer's statement: Out on a boat during a fog-filled November morning, this Texas bayou was transformed into a dreamlike landscape, as backlit Spanish moss draped from grand cypress trees emerged from the mist and autumn colors slowly strengthened with the rising sun.

Photographing from a slowly drifting boat in low light, using a zoom lens and requiring as much depth of field as possible, presented a significant challenge. Pushing the ISO was necessary to get this all to work.

Equipment: Nikon Z8 + Nikon Nikkor Z 70-200mm F2.8 VR S

Excavating pileated

Photographer: The Chad

Photographer's statement: While hiking in the woods, I came across a pair of Pileated Woodpeckers excavating a cavity in an old madrone tree. This shot shows the male spitting out the wood chips. Unfortunately, this is near a popular hiking path, so the nest was eventually abandoned.

Equipment: Nikon Z8 + Nikon Nikkor Z 400mm F4.5 VR S

Vanishing point

Photographer: jonestheroad

Photographer's statement: University of Nottingham Jubilee Campus: I was drawn to the stark, futuristic form of the building and chose a low viewpoint, a wide-angle lens and the rails on a bench to provide dramatic leading lines

Equipment: Panasonic Lumix DMC-G1 + Panasonic Lumix G Vario 7-14mm F4 ASPH

Man meets the sea

Photographer: Andreas Graf

Photographer's statement: The sculpture "Man Meets the Sea" was created to mark the Danish municipality of Esbjerg's 100th anniversary in 1995. It is very impressive, but it is best appreciated with people nearby to give a sense of its size. Traveling alone, I had no one to "put in place," so I just had to wait. I didn't know what exactly I was waiting for until, all of a sudden, having waited for more than an hour in windy conditions, there it was... that magic moment when four people were right where I wanted them to be, with each individual taking a different position relative to their man. It really made my day, and a great shot.

Equipment: Nikon Z6III + Nikon Nikkor Z 24-120mm F4 S

Northern pygmy owl

Photographer: CheeYong

Photographer's statement: Tiny yet mighty, I was fortunate to find this little owl and spent the day watching this little creature hunt prey that was similar to her size. One of the most amazing owls to photograph this year.

Equipment: Sony a1 + Sony FE 200-600mm F5.6-6.3 G OSS

The stare

Photographer: NMindel

Photographer's statement: The Pantanal of Brazil offers a rare opportunity to see Jaguars in their natural habitat. It was near dusk when I saw these eyes staring at me, and I was lucky enough to get the shot.

Equipment: Sony a1 II + Sigma 500mm F5.6 DG DN OS Sports

The Matterhorn above Zermatt

Photographer: MatzelPhotography

Photographer's statement: Having only been in Switzerland for two days and with great weather, I decided to take a 3-hour train ride to reach my personal highlight of this two-week backpacking trip. Arriving in Zermatt, the view was better than I could have ever imagined. After hiking for the entire day on just one bottle of water and two croissants from the train station, I was on my way back down to Zermatt. Coming down and seeing the light fading, I was frantically searching for a location to set up my tripod. Then, behind some snow-covered bushes, I spotted an opening with this exact view. What a Day

Equipment: Panasonic Lumix DC-S5 + Panasonic Lumix S 20-60mm F3.5-5.6

Fiery Skipper in morning dew

Photographer: Bmark

Photographer's statement: This photo was taken at a local wildflower and native plant garden. The conditions were near ideal with a shaded location and this beautiful Skipper sitting high upon the plants.

Stack of 40 images, stacked in HeliconFocus.

Equipment: Nikon Z8 + Sigma APO Macro 180mm F2.8 EX DG OS HSM

Fantastic journey

Photographer: HaroldC3

Photographer's statement: It was a late summer day, and my wife and I went for a hike in the Columbia River Gorge (on the Washington side). I had not researched the hike very much, but had been in the area many years ago. We had done most of the hike, and it was rather uneventful photographically. But alas, at the end of the hike was this waterfall. And as I started to head back, I felt thankful to have found it.

Taken with a full-spectrum camera using an IRChrome filter.

Equipment: Nikon D810 + Tamron 17-35mm F2.8-4 Di OSD

Chip Cruz

Photographer: unkleboo

Photographer's statement: My friend Chip Cruz and I were collaborating on a video shoot for his website. He is a guitarist. He asked me to do some drone stuff for him, so we went out onto frozen Lake Mendota in Madison, Wisconsin, and got some really cool stuff on the lake. It was something like 8ºF (-13ºC) out that morning, so he suffered a bit to get this shot.

Equipment: DJI Mavic 3

Misty morning

Photographer: supernaut

Photographer's statement: Landscape photography in Tuscany. This was one of the last photos taken that morning, as the ground fog began to rise and shortly afterwards enveloped everything in its soft blanket.

Equipment: OM System OM-1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

The Topaz Labs Holiday Sale is ending on January 7th and includes Topaz Studio, Studio Pro, and all single apps. Here are the details:

For new customers:

• 35% off Topaz Studio & Studio Pro
• 25% off all single apps

For existing customers:

• 47% off Topaz Studio & Studio Pro
• 25% off all single apps

Topaz Labs recently released a major Realism Update. Multiple apps are getting a realism boost, enhancing fine details and lighting, and giving photos, videos, and AI-generated content a more realistic look (Astra, Bloom, Topaz Video, Topaz Photo, and Topaz Gigapixel).

The post The Topaz Labs Holiday Sale is ending soon appeared first on Photo Rumors.

The December Editors' photo challenge

The theme for our December Editor's photo challenge was "Shades of Gray."

For this challenge, we asked you to share your best black and white photography. We received entries ranging from fine art to candid portraits and everything in between. As usual, DPReview readers didn't disappoint, submitting stunning images that demonstrate the raw power of monochrome.

As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you'd like to participate in other photo challenges, you can visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Dwarf dogwood

Photographer: Krummj

Photographer's statement: I took this photograph on Lena Point, in Juneau, Alaska, back in 2012. This is in the panhandle, a rainforest, on a bluff overlooking the channel. I used a tripod and pointed the camera straight down, and used manual focus. I was quite happy that all three blossoms were in focus. We have a great print of this hanging in our bedroom.

Equipment: Olympus E-5 + Olympus Zuiko Digital ED 12-60mm 1:2.8-4.0 SWD

Sunset buffalo

Photographer: MRK83

Photographer's statement: Three cape buffalo at the Night Hide at Zimanga private game reserve in South Africa. There is subtle flood lighting, and the last light from the sun is visible through the clouds. Guests usually have one session in the Night Hide. For that session, they are taken to the hide in the late afternoon and picked up the next morning. There are four bunk beds, and guests take turns to nap. On this night, we saw all the big five (elephant, lion, rhino, leopard and buffalo), but the rhino and leopard seemed to know we were there and did not come to the waterhole. This was the best image that I got.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

The lecture

Photographer: Birddogman

Photographer's statement: We took my beloved Joy to one of the family farms for her first upland bird hunt as an 11-week-old puppy. She spotted a bunch of birds about 300 yards away in the cut corn. Rather than carefully stalk them in an effort to get them to hold for a point, she charged them at full tilt.

When they all flushed, she then proceeded to chase them and bark them into the next county. She came prancing back to me and Chase, my older, experienced Brittany, proud as puppy punch and ready for great praise for her "achievement." Instead, poor Joy got a lecture from both Chase and me to the effect that "You are supposed to be a pointing dog, not a chasing dog!" Joy's chagrined expression, looking at Chase, says it all.

Equipment: Fujifilm X-T1 + Fujifilm XF 18-55mm F2.8-4 R LM OIS

Lucky tern

Photographer: vbuhay

Photographer's statement: I was hoping to catch one of those Terns diving for minnows at the foot bridge in Bolsa Chica Wetlands when this bird with a catch in its beak flew right in front of me, no more than 10 feet away. I was lucky to have pre-set up my camera, and I instinctively just pointed and squeezed the shutter release, and four frames later, it was gone.

Equipment: Nikon D750 + Tamron SP 150-600mm F5-6.3 Di VC USD

Framed!

Photographer: JacquesC

Photographer's statement: While walking in Dublin to do some street photography, I spotted this guy and immediately decided to photograph him. It took only seconds when the right opportunity appeared, and I was able to capture him in a split second while he was perfectly framed by other pedestrians. This shot inspired me to shoot street for many years afterwards.

Equipment: Nikon D700 + Nikon AF-S Nikkor 70-300mm f/4.5-5.6G VR

Oregon coast sunset

Photographer: High Desert Hiker

Photographer's statement: On a trip to the Oregon Coast, we found this rock channel at sunset. Timing the wave motion, matching the shutter speed to the water speed and maintaining an awareness for an abnormally high wave was a good challenge. While I concentrated on capturing the image, my wife let me know when a large incoming wave indicated that a retreat would be advisable. Out of roughly 40 images captured, this was the best.

Equipment: Nikon Z7 II + Nikon Nikkor Z 14-24mm F2.8 S

Down the waterfall

Photographer: TorsteinH

Photographer's statement: I was walking around a local lake. At the end of the lake, there is a dam to regulate the water level. There I found the boat that had taken a trip down the waterfall. I made several photos I was pleased with, and this one was the best in black and white.

Equipment: Olympus OM-D E-M10 II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

One step at a time

Photographer: pybcan45

Photographer's statement: Killing time at Musée des Beaux Arts de Québec, I was impressed by the architecture of those stairs, so I spent more time taking pictures around the stairs than inside the expo halls.

Equipment: Olympus OM-D E-M10 III + Panasonic Lumix G Vario 12-60mm F3.5-5.6 ASPH Power OIS

Flight 93 memorial

Photographer: Drogo B

Photographer's statement: On a clear January day in 2020, I was stunned and humbled by the stark lines of the Flight 93 Memorial. I cannot remember a federal structure ever having such an effect on me.

Equipment: Fujifilm GFX 50R + Fujifilm GF 32-64mm F4 R LM WR

Tides of silence

Photographer: MJG7328

Photographer's statement: I call this photo "Tides of Silence." It explores the desert not as landscape, but as rhythm and breath. I'm drawn to dunes as sculptural forms shaped by wind and time, where light glides across curves and settles into deep, quiet shadow. My approach to the dunes is restrained, emphasizing soft, luminous crests balanced against rich, matte darkness, allowing shadow to carry as much meaning as light. I find the dunes move like waves held in suspension, inviting contemplation rather than spectacle.

This image was taken with a medium-format digital camera and processed in black and white with a focus on tonal control, selective dodging and burning, and careful management of midtones and shadow depth. The final image emphasizes a matte black point, soft highlight rolloff, and restrained micro-contrast to preserve texture and achieve a quiet, sculptural quality.

Equipment: Fujifilm GFX 100S + Fujifilm GF 100-200mm F5.6 R LM OIS WR

Posing and opposing

Photographer: Bert959

Photographer's statement: Panganales, Madagascar. When I engaged the two girls with my camera, one of them immediately posed as a seasoned photo model. The other girl played the maybe game, rolling eyes sidewise, and unveiling a banknote in her hand. I convinced her with a smile. The black-and-white rendition much enhances the expressivity of the initial color frame.

Equipment: Leica SL2 + Leica Summilux-SL 50mm F1.4 ASPH

Manhattan Bridge

Photographer: TJ Olympus

Photographer's statement: Iconic view of one of the towers of the Manhattan Bridge framed by surrounding buildings, as seen from Washington Street in Brooklyn. The bridge, one of three classic bridges connecting Brooklyn and Manhattan, which opened in 1909, has attracted onlookers and photographers for over 100 years. The Empire State Building, built in the early 1930s, ended up being framed on the east side of the Manhattan Bridge's arched footings, as only seen from Washington Street.

Equipment: Leica M8 + Canon 50mm f/1.8 LTM

Winter tree snow fog

Photographer: James A Rinner

Photographer's statement: The day after a heavy snowstorm last year was very warm, creating fog in our backyard. This lone tree on the other side of the creek stood out of the fog. I grabbed my camera and walked through the deep snow to frame this shot.

Equipment: Leica M-Monochrom + 28mm Minolta M-Rokkor

Winter tree snow fog

Photographer: YaserDelbaz

Photographer's statement: I took this photo in a classroom. When I was teaching low-key photography. A single ray of light and a spiritual feeling emerged from this scene in the camera. I loved it myself.

Equipment: Canon EOS 6D + Canon EF 24-105mm f/4L IS USM

Death Valley dune

Photographer: mesaguy

Photographer's statement: A sand Dune in Death Valley, California, taken with a custom-made panoramic view camera. Shot using 120mm color transparency film and converted in Photoshop to a black and white image.

Equipment: VPan custom view camera

Distant mourning

Photographer: Occams Razor

Photographer's statement: This photo was taken in Fez, Morocco. We arrived in the late afternoon, and while most of our group headed towards the market, my wife and I walked in the opposite direction and stumbled upon this gathering at a distance. With the sun coming from a somewhat backlit angle and the atmospheric haze, a memorable scene was created, especially with the graduated tones in the background.

Equipment: Canon EOS R5 + Canon RF 24-240mm F4-6.3 IS USM

Some shade

Photographer: coolpeeks

Photographer's statement: Saying that Tokyo gets warm in the summer is an understatement. Even large buildings get torn down and rebuilt quite frequently, so that coming back to the same place a few years apart often results in very different sights. This one was taken last summer, at the Harajuku Junction, across from the Tokyu Omotesando mall, at what would shortly be the Dior Tokyo Jingumae store.

Equipment: Nikon Z8 + Tamron 28-75mm F2.8 Di III VXD G2

Time

Photographer: Dais

Photographer's statement: Musee d'Orsay was formerly a railway station, and its large clock here allowed light to flood in. The contrasting silhouettes and the clear passing of time motif made for a fun composition.

Equipment: Fujifilm X-T2 + Fujifilm XF 23mm F2 R WR

Iguazu Falls

Photographer: Roberto Peradotto

Photographer's statement: On a cold July morning, the waters of the Iguazu River were fast-flowing and strong. I set up my tripod as close as I could to the falls, having to dry the lens frequently.

Equipment: Nikon D60 + Sigma 10-20mm F4-5.6 EX DC HSM

Milkweed seedspill

Photographer: eloquenteye

Photographer's statement: The surging regenerative power of biology! Seed pod collected in autumn, brought indoors, allowed to dry out, and ready to burst by January. Photographed in a studio with one light.

Equipment: Canon EOS 5D Mark II + Canon EF 24-105mm f/4L IS USM

By now, you may have seen our articles calling 2025 one of the most interesting years in recent history when it comes to camera releases and new lenses. We got the DPReview editorial team together to discuss why that might be, and to go a bit more in-depth on what made some of last year's most out-there releases so interesting.

Part 2

Heads up: this article is the second part of our wish list and predictions article for 2026. If you missed the first part, you can read it here (preferably before continuing this one; the outro will seem completely out of the blue if you haven't read the intro).

Click here to read Part 1

Canon - What we expect

The original EOS R7 was released in mid-2022, so it's probably about due for a refresh, possibly with a faster sensor and improved ergonomics. Whether we actually get one or not will likely be a bellwether for how much faith Canon has in the future of APS-C; at the moment, it has a very complete lineup of cameras, but seems to have left pretty much all the work on lenses to third parties like Sigma and Tamron (a tale as old as time). If the EOS R7 II comes out as a strong offering, it'll be a good sign for the future of Canon's mirrorless APS-C cameras.

We also wouldn't be surprised if Canon made a run at mirrorless tilt-shift lenses this year, given that they championed them in the DSLR era, and that the rest of their lens lineup is looking relatively complete. We also expect to see at least a few refreshes of the earlier lenses for RF mount if Canon feels like they could do them better, like Nikon and Sony have done with their second-gen 24-70 F2.8s.

Finally, Nikon's very good Z5 II has made Canon's entry-level EOS R8 seem a little off the pace, so we wouldn't mind seeing a refreshed version. If Canon really wanted to go for gold, it could use the sensor from the EOS R6 III, but realistically, updating the body to have a better battery, better controls and stabilization would probably be enough to get back in the race.

Canon - What we'd like to see

Most of the major manufacturers have told us they've seen demand for compact cameras, but so far, no one has actually released a new, photo-focused option. We'd love to see the sensor from the PowerShot V1 make its way into a body with controls better-suited to photography, but given that Canon somewhat recently told us that it's working on ramping up PowerShot G7X III production, we're not sure how likely that is. Maybe enthusiasts just aren't the audience companies are aiming for with their compacts.

If Canon is going to continue the EOS R3 line, this would be the year we'd expect to see a follow-up, but we doubt that'll happen. The original came out when Canon wanted to give pros a mirrorless option without undercutting its recently-released EOS 1DX III, but now that the EOS R1 is out, it's hard to imagine what an EOS R3 II could do to differentiate itself from the full-fat pro body.

We mentioned Canon's lens lineup looking relatively complete, but the one offering it's missing is a fast, ultra-wide prime for astrophotography, which we (and by "we," we mean Dale Baskin) wouldn't mind seeing.

We'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework for firmware updates

And if we're really stretching, we'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework by bringing improvements made in newer cameras to its older models via firmware updates. We strongly suspect the EOS R5 II could handle running the EOS R6 III's live white balance picker, and that it's possible to let you map pre-burst capture to a button on the EOS R1.

Ricoh / Pentax - What we expect to see

Given that they've already been announced, it's not a bold prediction to say that we expect to see the Monochrome and HDF versions of the Ricoh GR IV this year, but we are looking forward to them.

As for Pentax, we feel that if we don't see a new film camera or DSLR from them this year, it'll be a pretty clear signal – intentional or otherwise – that they're no longer participating in the camera market. When we interviewed them in early 2025, the company said it would "carefully research the market and then listen to [its] users and DSLR fans," and then draw a business roadmap. That would imply there wasn't one before, making it hard to believe that we'll see a new camera with a Pentax badge on it this year.

Ricoh / Pentax - What we'd like to see

We'd love to see a Ricoh GR IVx with a 40mm equiv. lens, but it may be a bit too soon after the release of the IV for that, yet.

If our dreams came true, we'd also get a new film camera from Pentax, perhaps a full frame follow-up to the Pentax 17. It's hard to tell how likely that is – it's our understanding that camera's development was driven by an engineer who's now left the company – so unless the Pentax 17 sold really well, there may not be much motivation left to continue that work.

OM System - What we expect to see

The camera that stands out most in OM System's lineup is the budget-friendly OM-D E-M10 Mark IV, as it still has Olympus' nameplate and branding. While the company could theoretically give it the OM-5 treatment, updating the branding and adding USB-C and the new menus, we don't necessarily think it's likely. OM System has made it clear that it's doubling down on the adventure and nature crowd, rather than mass market consumers, and it's hard to tell whether it could make a theoretical OM-10 live up to that reputation while still keeping it at a reasonable price.

With that said, OM System has shown it's capable of surprising us. Shortly after we released our article last year, saying that we didn't expect much from them, the OM-3 arrived at our desks, clearly signaling that there's still something left in the tank there... or that they have great products that they keep waiting in the wings just to prove us wrong. If that's what it takes to get another good Micro Four Thirds camera, though, we'll take it.

OM System - What we'd like to see

When we interviewed OM System executives at CP+ in 2025, there was a lot of talk about a new Pen, continuing the line of cameras focused on "ultimate beauty and the ultimate craftsmanship." While so many manufacturers have told us that most people simply don't buy rangefinder-shaped cameras, we think OM System's ethos of travel and compactness would really work well with the concept. We're imagining an X100 rival with the OM-1/3's sensor, and while it almost certainly wouldn't come cheap, it could be a very interesting option in a market starved for truly tiny cameras.

Nikon - What we expect

Nikon is one of the few brands where I think you can make some confident predictions about what might arrive this coming year. The Z9 is a little over four years old, which is a typical lifespan for one of its flagship cameras. In addition, we've seen Nikon move towards introducing the Content Credentials image authentication system, and the current Z9 lacks the hardware to deliver it. It's impossible to know whether a replacement would use the same sensor (perhaps as a Z9S) or if there's some excellent next-gen sensor waiting in the wings to form a more substantial upgrade. We'll have to wait and see.

The other model that seems likely is a ZfcII, bringing the Z50II's improved AF and processor into the company's Instagram-friendly retro body. Of course, it could turn out that most of the demand for a classically-styled camera was from the established, enthusiast audience, rather than the younger, more social media-focused crowd that the original Zfc was aimed at, in which case perhaps the bigger Zf already plugs the gap, but we think there's room for both.

Nikon - What we'd like to see

The other model that looks due for replacement, if the sales figures justify it, is the Z30. To us, it seems like an opportunity to brand it as the ZRc and borrow some of the buzz the ZR has created. We'd expect it to still be a little more vlogging-centric than the ZR and, if we had to choose, we'd probably prefer to see a newer sensor (in both this and the hypothetical ZfcII) rather than 32-bit float audio and Raw capture, but let's see what happens.

Finally, in light of the release of the DX Nikkor 16-50mm F2.8, we'd still love to see a spiritual successor to the D500. Modern AF, a fast sensor and a decent buffer, perhaps in a recycled Z6 body, would be a lovely thing. A big battery and image stabilization would be the cherry on the cake. We're not holding our breath, though.

We'd also like to signal to the Universe (and Nikon's product planning department) that a Z-mount version of the 300mm F4 PF would be excellent, so long as there are no awkward interactions with on-sensor PDAF. And, even though it looks really unlikely, at this point, we feel we should hold out a little hope for an updated Z7 model, even if it's not clear how it'd fit in the lineup.

Tamron - What we expect to see

Given that Tamron's bread and butter is lenses that are slightly off the beaten path, it's not particularly easy to guess what its next move will be. This year, we saw it complete its "trinity" of G2 F2.8 zooms, which leaves us thinking that it will revisit some of its more obscure existing lenses to improve their optics and potentially tweak their focal ranges.

Tamron - What we'd like to see

While the market for primes is tipping towards saturation, it's hard not to wish that Tamron would play a more significant role in it. The company has a few offerings, like its 90mm macro, but perhaps it could take the same "find a niche and fill it" approach that it does with its zooms.

Tech - What we might see

We have a longer article going into the tech that shaped 2025, and we suspect the trends we discussed in it will continue to have an impact in 2026. If we had to bet which one will make the biggest splash, it'd be partially stacked sensors that increase readout speeds without the negative impact on dynamic range in stills that we initially thought they might come with.

While we're interested in seeing whether a higher resolution full frame option that uses the tech will appear, we're perhaps more excited about its application to other sensor sizes. If OM System and Panasonic had access to a Micro Four Thirds sensor that was fast, but not as expensive as the stacked model from the OM-1 and OM-3, or if Fujifilm had a 100MP medium format sensor that read out as quickly as previous-gen full frame ones, it could open the gates for some very interesting cameras.

We'll also be keeping a close eye on whether any manufacturers follow Sigma and Hasselblad's lead in adopting UltraHDR JPEGs. Unlike the HDR output options available in most cameras today, the format allows for more dazzling images straight out of camera, without giving up standard JPEG's broad software compatibility or harming the viewing experience on a standard DR display.

Summary

So those are our best guesses and biggest hopes on what's in store for the coming year. If our exercise in grading our 2025 predictions is anything to go by, we wouldn't recommend taking any of it to the bank. As always, the point has mostly been a bit of fun... and if we can inspire any product managers to subtly bend upcoming releases to our whims, so much the better.

Of course, we're just humans and aren't attuned to every data point and hidden trend that may be out there, lurking in plain sight. Maybe we should check in on the AI to see if it's churned out any bright ideas...

Oh. It's just told us that Canon is going to make a retro-styled model with a wind-on lever that shoots Ultra HDR JPEG in the vertical format and will only capture video in open gate. We're pretty sure it's just as thoroughly confused by recent trends in the industry as we are and is hallucinating, but after last year...