When you use DPReview links to buy products, the site may earn a commission.
Illustration: Hasselblad
It was something that haunted the fringes of my consciousness, like some half-remembered nightmare. It couldn't have been real, surely? And yet it had the shape of an actual memory.
News of the death of filmmaker David Lynch no doubt caused plenty of us to recall the strange, compelling and sometimes distinctly unnerving visions he committed to film. This week it unexpectedly prompted some other memories.
The online auction of many of the auteur's personal possessions includes, as you might expect, a great deal of photo, video and film equipment. Buried in amongst it was a reminder of one of the weirder paths taken by the camera industry.
In amongst a lot that included a Pentax 645 film camera and a Sony NEX-5 was a relic from a period we'd seemingly collectively erased: a Hasselblad Lunar.
What were they thinking?
Like many instances of misbegotten folly, the Lunar sprang from the involvement of private equity. Hasselblad was bought by Swiss/German capital fund Ventizz in 2011, with TechCrunch predicting this could lead to something like the Leica/Panasonic attempt to expand the brand. They weren't wrong, but perhaps underestimated the level corporate hubris in the offing.
2012 looks like a very different era, viewed from our modern perspective. Compacts were still being released in their bucket loads, the enthusiast compact revival was reaching its peak with the likes of the Sony RX100 and Olympus XZ-2, and although mirrorless cameras were strongly emerging, with the likes of Fujifilm's and Canon joining the market alonside second-gen models from Nikon, Sony and Olympus, but DSLRs still ruled the roost with Canon launching the EOS 6D and Nikon its D600.
But one of the most talked about releases at the Photokina trade show, that year didn't come from any of the big brands. Or, at least, didn't have their name on it. Instead is called itself the Hasselblad Lunar.
As the show opened, Hasselblad announced a partnership with Sony, to "cultivate new markets for photo enthusiasts and consumer digital imaging products." This would include "a new range of advanced mirrorless interchangeable lens cameras (a.k.a. compact system camera), which will be followed by new products for DSLR and compact camera segments," it said.
The Hasselblad Lunar added exotic materials to a spec sheet remarkably similar to that of the Sony NEX-7.
Photo: Richard Butler
The Lunar was the first of fruit of this union. "the Lunar has both a vintage and a high-tech aesthetic, exemplified by its Italian design and its Swedish pedigree," the company's marketing claimed: "It’s unmistakable."
But for all the adornments of titanium, carbon fibre, exotic woods and leathers, the thing that was unmistakable to most people was how much it looked like a Sony NEX-7, right down the the Minolta-style hotshoe. We were able to shoot a side-by-side comparison that couldn't help but emphasize the similarities.
A side-by-side comparison showed a lot of commonality between the Lunar and the NEX-7
Photos: Richard Butler
The three lens models mounted on the 40-or-so prototypes that dominated the Hasselblad stand were also distinctly familiar. The 18-55mm, 18-200mm and 16mm lenses may have had the classic 'Hasselblad' logotype draped around their barrels, but even their model names included Sony's 'SEL' designation.
It was going to take more than Hasselblad's talk of taking "aesthetic and technological inspiration from the first camera to go into space," to sell the idea that Sony's $1399 enthusiast APS-C mirrorless flagship, launched a year earlier, should be worth $6995; craftsmanship, Tuscan leather, ruby record buttons or not.
Carbon fiber was one of the materials on offer.
Photo: Richard Butler
The result was immediate and widespread derision, with the company rattled enough to respond that the camera wasn't just an NEX-7, and that it wasn't profiteering, though details weren't given on what work Hasselblad has done, other than restyling the exterior.
The Lunar finally reached the market nine months later. We don't have an insight into how many sold, but the fact Lynch's lens is marked as a prototype could be taken as a hint that it wasn't many.
The a7R-based Lusso was the final model in the series. The Hasselblad Solar, rumored at the time of the original a7/a7R launch proved to be a hoax.
Illustration: Hasselblad
The Sony collaboration continued for another couple of years and a change of CEO, spawning the a99-based HV, the RX100-derived Stellar and Stellar II and even a variant of the Sony a7R, called the Lusso, produced in a limited edition of 100 for the Asian market. The company says the Stellar, at least, was profitable.
By 2016, new investment and new management had set a new course for the company
Photo: Damien Demolder
By 2015 the company had yet new management and, by the end of the year, new investment from the company that would later take full ownership: DJI. The Italian design studio responsible for the Hassel/Sonys was closed in 2014 and by the next Photokina, Hasselblad had a product and a direction that fitted much more happily with its medium format heritage.
Looking back it barely seems credible, but we were there as it happened.
Last year, Wired reported that 28 Years Later, the upcoming sequel to the classic zombie flick 28 Days Later, was being filmed using an iPhone 15 Pro Max. A new IGN interview with the film's director, Danny Boyle, now confirms that at least some parts of the movie were shot with the phone and sheds even more light on that process.
Apparently, several iPhone shooting rigs were used on the production. According to IGN, there was one that held eight phones, one that held ten, and one that held up to 20, which could be used to create what Boyle calls "basically a poor man’s bullet time."
The phone rigs could be attached to cranes or carried by people. Photo: Sony
He also says that having so much coverage also provided options in post. "It gives you 180 degrees of vision of an action, and in the editing you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backward for emphasis." Boyle also called it "a wonderful tool" to keep the actors on their toes. "They get to know where the cameras are and they get to know lenses and they get to know what they're doing. But [the multi-camera rig] throws them."
As for why Boyle decided to use iPhones at all for the production, he says it's a callback to the vibe of the original. IGN points out that when 28 Days Later came out footage of an apocalyptic event would've been shot on cheap digital camcorders, similar to the ones they used to make the movie. Nowadays, such an event would be recorded on smartphones.
With that said, it's hard to say that the footage from the trailer looks like phone video. With some movies shot on iPhone, like Sean Baker's Tangerine or Steven Soderbergh's Unsane, the shot-on-a-cell-phone aesthetic is strong, but, to my eye, 28 Years Later just looks like a movie. That's not necessarily a surprise, though – on-set photos from Sony show the crew using full-blown cinema lenses in front of the phone's built-in cameras.
If you're at all interested in the movie, the full interview is well worth the read. It goes into how Boyle and his team use the widescreen 2.76:1 aspect ratio to put the audience on edge, and how the movie's story (penned by Alex Garland, like the original) was inspired by major events over the past two decades, such as Brexit. 28 Years Later is set to hit theaters on June 20.
The Clever Photographer released a brand new and first AI personal assistant called LumiBot for Luminar NEO, trained to help you edit faster, stay creative, and avoid getting stuck (on sale this weekend for $29, the price after will be $39).
Instant Answers: No more endless scrolling through manuals or videos. Ask LumiBot any question about Luminar NEO and get instant, reliable answers.
Creative Suggestions: Upload your image, and LumiBot will give you tailored editing tips to make your photos shine.
Deep Dives: When you’re ready to go further, LumiBot can direct you straight to the right tutorial, making learning as easy as clicking a button.
Expert Knowledge: Trained on 100+ tutorials, blogs, and expert techniques by Jakub Bors, LumiBot brings real-world Luminar experience to every question.
Always Available: Use it on desktop or mobile, 24/7. LumiBot is always ready to help, whenever creativity strikes.
Multilingual: LumiBot speaks your language, so you can focus on editing without language barriers.
BONUS: Exclusive AI Preset Collection: As a special thank you, you’ll also receive a collection of powerful AI presets for Luminar NEO, perfect for giving your images that extra wow factor right out of the box
When you use DPReview links to buy products, the site may earn a commission.
Canon EOS R50 V vs. Sony ZV-E10 II: which is the best vlogging camera?
Product Photos by Mitchell Clark and Richard Butler
With the EOS R50 V, Canon has joined the fray of manufacturers selling boxy, EVF-less APS-C cameras aimed mainly at vloggers and videographers. Those who have been considering other models, such as the very capable Sony ZV-E10 II, may find themselves swayed by the EOS R50 V's much lower price tag.
In this article, we'll break down the differences between the two, so you can figure out if it's worth saving the money, or springing for the more expensive option.
Vlogging-specific features
Both cameras have loads of vlogging-specific features to make it easier to get the look and feel that you want. The EOS R50 V has a product demo mode that overrides its facial recognition autofocus so the camera will focus on whatever you're holding up to show it, a cinematic mode that bakes black bars onto your footage to emulate a movie-like aspect ratio and the ability to be used as a USB webcam without any additional drivers or software. Its vlogging controls will switch between vertical or landscape depending on the camera's orientation, and it has two record buttons: one at the top and a front-facing one on the right-hand corner.
Except for that front-facing record button, the ZV-E10 II has all those features plus a background defocus mode that you can switch on to prioritize a wide-open aperture for a blurry background. There are also a few other features handy for vloggers that we'll cover in later sections.
Rolling shutter
The EOS R50 V's sensor is quite slow compared to more modern models and therefore has quite poor rolling shutter performance in its standard 4K 24p mode. You'll have to be careful about how you move the camera and what subjects you shoot to avoid the dreaded jello effect.
4K 24p
4K 60p
1080p 24p
EOS R50 V
31.9ms
15.7ms (1.56x crop)
12.3ms
ZV-E10 II
16.7 ms
16.2 ms (1.1x crop)
6.8 ms
The ZV-E10 II's sensor is much faster and has good rolling shutter performance. You'll still see a bit of artifacting if you're shooting a very fast-moving subject or whipping the camera around, but it won't be something to worry about in most circumstances.
4K 60p recording
Both cameras can record in 4K 60p, letting you shoot slow-motion video, or achieve a hyperreal look that some viewers appreciate. However, the EOS R50 V has to crop in to a 1.56x center region of its sensor in order to read out the data fast enough for 60p recording. This will significantly tighten your frame, which may not be ideal for vlogging, depending on what lens you're using.
The Sony has to crop in far less – 1.1x – to shoot at 4K 60p.
The ZV-E10 II's 4K 60p mode has a much smaller 1.1x crop, so switching to it won't change your field of view nearly as much. Its 4K 60p footage is also oversampled from 5.6K, while the EOS R50 V's is a native 4K capture, so it can produce slightly more detailed results.
Color modes
The EOS R50 V and ZV-E10 II both have standard, punchy-rather-than-accurate color profiles, the ability to shoot 10-bit footage with an HLG response curve for HDR playback and a Log mode for those looking for more color-grading flexibility.
While both cameras have 'Log assist' modes to give a corrected preview to help with getting exposure right, the Sony also lets you load in custom LUTs and overlay them, to let you preview your 'look' of choice, though they won't be baked into the footage. The ZV-E10 II also has Sony's S-Cinetone profile, which is lower contrast than the standard color mode and thus gives you more room to make edits, without requiring as much grading as full-on Log.
Both cameras also include a variety of other color mode presets that you can tweak, which are meant to emulate certain styles if you don't want to spend the time to do it yourself in post.
Autofocus
Sony and Canon's autofocus systems are both at the top of the pack. Their tracking algorithms are generally reliable, and their subject recognition modes are even more so.
The ZV-E10 II has fewer of those available, though; it can recognize humans, animals, and birds, but the EOS R50 V can pick out all of those, plus vehicles. It also has an "Auto" mode that will automatically detect those subject types if they're in the frame, which can be handy if you frequently switch between filming humans and animals, people and cars, etc.
In both instances, these systems work hand-in-hard with the rest of the AF system: only selecting a recognized subject near your chosen AF point, if you want to specify.
Audio
Both cameras have microphone and headphone sockets and can support four-channel audio when paired with certain their respective multi-function shoe accessories. However, while the EOS R50 V has a standard stereo internal microphone, the ZV-E10 II has a three-capsule model that lets you choose whether you want it to bias towards sounds coming from a certain direction.
More importantly (the audio quality from multi-capsule mics usually isn't anything to write home about), the ZV-E10 II includes a fluffy wind blocker for its built-in microphone. You'll have to buy one separately for the EOS R50 V to get usable audio outdoors without an external microphone.
Shooting stills
Neither camera is particularly fun to use for shooting stills, thanks to their lack of an EVF and second top-plate control dial. However, the EOS R50 V does have the advantage of a mechanical second-curtain shutter, whereas the ZV-E10 II only has a fully electronic shutter. That means the Canon has a much higher flash sync speed: 1/250 sec vs 1/30 sec for the Sony.
Flash aside, both cameras can produce pleasing images with good colors. The Sony technically has a higher resolution sensor with 26MP compared to the Canon's 24MP, but such a small difference isn't noticeable in real-world use.
The extras
Both cameras have a few little things that stand out. For example, the EOS R50 V has a second tripod socket on its side, which makes shooting vertical video as simple as attaching your tripod plate to a different part of the camera. It also includes false-color monitoring, which can help you nail exposure for skin tones.
The ZV-E10 II distinguishes itself with a side-mounted SD card slot, meaning you'll never have to remove your tripod plate to get at your videos, something that can happen with the EOS R50 V. However, the 10Gbps USB-C port on the Canon is twice as fast as the Sony's, so there is an alternative option for getting data off it.
Sony also chose to use a much larger battery in the ZV-E10 II, which could be helpful on longer shoots. The battery life on the EOS R50 V isn't bad, and both cameras can charge via USB-C while in use, but you won't have to reach for a power lead as often with the Sony.
Kit lenses
Both cameras can be optioned with powerzoom lenses that have focal lengths suited to vlogging. Canon launched the EOS R50 V alongside a 14-30mm F4-6.3 lens (22-48mm equiv.), which is wide enough that most people's arms will be long enough to vlog with it, even with the 1.56x crop for 4K 60p (giving 35-75mm equiv). You can get it for $200 when purchased with the EOS R50 V.
The 16-50mm F3.5-5.6 (24-75mm equiv.) Sony lens is more versatile: it can zoom in much further, is faster at both ends and only adds $100 to the price. And while it doesn't go as wide as the Canon, in the ZV-E10 II's 60p mode it ends up being a 26.4mm equiv. compared to the Canon's lens which ends up as a 35mm equiv. thanks to its more severe 60p crop. However, we're not particularly thrilled by the Sony lens' image quality – we wouldn't be surprised if many ZV-E10 II owners end up wanting something sharper, though they'll likely have to give up the powerzoom feature to get it.
Conclusion
While the EOS R50 V is a capable camera with some interesting features like its side-mounted tripod socket, the ZV-E10 II's faster sensor and larger battery make it the overall more powerful camera for video. However, that comes at a price, literally – it costs $350 more. Depending on what you're filming, it may not be worth paying the extra; if you're mostly shooting semi-static subjects indoors, the rolling shutter and 4K 60p crop may not be as big a concern.
It's also hard to ignore that you could buy a cheap gimbal with your EOS R50 V and still come out ahead while getting much less shaky handheld video. However, if you're shooting faster moving subjects, or prefer extra bells and whistles like the background defocus button and microphone pickup area selector, the Sony definitely still justifies its price tag.
When you use DPReview links to buy products, the site may earn a commission.
Photo: Richard Butler
There's a funny thing that can happen with technology. Sometimes, products will get so good, and so easy to use that manufacturers start adding throwbacks to years past that reintroduce a bit of the friction. Think home arcade machines that still require you to put in a quarter, phones that purposefully can't run most apps, and, yes, cameras that make you wait to see your pictures.
Fujifilm's recently announced X half is just the latest example. It includes a film camera mode that prevents you from seeing the pictures you've taken until you've shot an entire "roll" and then used an app to "develop" it. This isn't the first time a digital camera has required an extra step to see your photos either; there are several apps that emulate that experience on your phone. One example is Dispo, an app that gained whirlwind popularity a few years ago that makes you wait until 9 AM the next day to see the photos you've taken.
As with anything, these nostalgic recreations have elicited scoffs from some, and confusion from others. Isn't the whole appeal of digital photography that we don't have to live with these sorts of limitations? Why artificially undo decades of progress in user experience and design?
Disposable cameras and apps that emulate them are another example of doing things the hard way despite having "better" options
The answer is that, sometimes, it's fun to get a break from what you're used to. A person in the 1990s probably wouldn't find these cameras at all charming since they're just recreating everyday photography for them. For them, having to wait for their photos, perhaps with some anticipation about whether they even turned out, is a frustration they're obligated to put up with. Nowadays, though, that ritual can be an endearing throwback to a style of photography that we haven't had to deal with for years or, perhaps, ever.
To borrow a term from wrestling, there's a kayfabe – a playing pretend – to these sorts of experiences. Case in point: you can take the SD card out of your X half and get at the film mode pictures the second after you take them. Or if you really can't miss the moment, you can take out your phone – a do-everything device that would've seemed miraculous in film's heyday – or another, more traditional modern camera and use it to take a picture instead.
Temporarily going without the extras can help you focus
The limitations are artificial, just like they are in so many of the other activities we participate in; football players agree not to ruin the game by picking the ball up, and going camping doesn't mean permanently converting to an 1800s lifestyle without running water, electricity and toilets.
Sometimes, temporarily going without the extras can help you focus on something else that you'd typically pay less attention to. If you know you won't be able to immediately review your photo and fix something if it doesn't turn out, you may take a bit more time composing it and making sure your exposure settings are correct. Or you may enjoy not worrying about those things, and letting the photos be a surprise when you do finally see them. And when you choose to use a camera with all the modern features instead, you may find a newfound appreciation for them.
Of course, there will be those who just don't enjoy these kinds of modes, and that's okay too. On most of the cameras that include them, they're entirely optional. For cameras where it's not optional, such as the Camp Snap or the disposable film cameras it emulates... well, consider that a good reason to save your money instead.
Do you want to shape the online experience for one of the world's largest audiences of photography enthusiasts? DPReview is hiring! We're looking for a full-time Community Manager with experience building active and engaged online spaces to join our Editorial team and help grow our online forums.
Community Manager, DPReview
Full-time remote in NY, CA, WA, TX, CT, CO, NJ, OR Full-time contract opportunities available to candidates living outside of these locations
The Role
We're looking for an experienced and passionate Community Manager to lead the charge in revitalizing and growing our online forums. This is a critical role for someone who thrives on building active, engaged online spaces and understands how to foster a positive and inclusive environment. You won't just be managing; you'll be innovating, strategizing, and executing plans to boost participation and breathe new life into our community discussions. If you have a proven track record of growing online communities and a knack for building active, engaging, and welcoming forums or discussion groups, we want to hear from you.
This role requires a high-energy self-starter with a strong bias for action. You see opportunities for engagement and growth and pursue them independently, without needing constant oversight. You’ll be a key ambassador, bridging the gap between our editorial team and our users, and you’ll play a vital part in shaping the future of our community.
What you will do:
Own the strategy: Define, own, and execute the community growth strategy, setting measurable goals for participation, engagement, and user satisfaction. Identify opportunities to increase forum engagement and participation.
Analyze and refine: Regularly analyze community data and user feedback to identify trends, report on progress, and refine strategies to boost forum participation.
Engage and connect: Be an active, visible presence in our forums. Engage directly with users, answer questions, and spark conversations. Act as the primary liaison between our community and the editorial team.
Innovate and program: Design and implement engaging community programs, campaigns, and events (e.g., Q&As, contests, themed discussions) to foster interaction and attract new members.
Lead and develop moderators: Provide guidance and structured training to our dedicated team of volunteer moderators. Ensure moderation is consistent and aligned with our community guidelines. Develop resources and programs to support moderator effectiveness, handle recruitment and orientation, and arbitrate conflicts when they arise.
Help create and publish content: Proactively seed discussions and solicit user contributions in the forums to develop unique, community-driven stories, and identify existing organic content opportunities, transforming both into engaging, publication-ready articles that meet DPReview's high editorial standards.
Advocate: Serve as the primary advocate for the community within DPReview, channeling user feedback to the editorial and product teams.
Manage and administer: Oversee the moderation queue, review and approve flagged posts, and handle user requests.
What You Bring:
Proven community growth experience: Significant (3+ years preferred) experience managing large-scale online communities (forums, social media groups, etc.). Crucially, you have demonstrated success in growing communities, ideally including experience in revitalizing forums with declining engagement
Initiative and drive: You are a proactive, energetic self-starter who doesn’t wait to be told what to do. You can identify needs, formulate plans, and execute them quickly and effectively.
Exceptional writing skills: You possess exceptional writing skills with demonstrated experience authoring and publishing written content for a publication with high editorial standards. You can craft engaging articles that are ready for publication.
Diplomatic communication: You possess excellent communication skills, capable of interacting clearly, professionally, and with empathy, especially when navigating sensitive community disputes or moderation issues.
Strategic and analytical thinking: You can analyze the landscape, identify factors influencing community health, use data to make decisions, and develop creative solutions.
Passion for photography (highly desired): A genuine interest in and knowledge of cameras, photography, and related technology is strongly desired and will be invaluable for connecting with our community.
Authentic voice: An understanding of how to communicate authentically and establish a trusted, approachable presence that aligns with the DPReview brand.
Experience with volunteers (a plus): Familiarity with managing or working alongside volunteer teams is beneficial.
Flexibility: Ability to work flexible hours as needed to engage with a global community.
What a typical week might look like:
This is a new full-time position at DPReview, and as such, the role will likely evolve. However, we think it’s safe to say your week will be driven by strategic action. Your primary focus will be advancing initiatives designed to revitalize and grow our forums, analyzing results, and planning your next moves. Alongside strategic work, you'll spend time actively participating in key forums, talking with users, and getting a feel for the community pulse. You'll check in with moderators, provide support and training, and ensure moderation standards are applied consistently. You'll dive into community discussions to unearth interesting content ideas and dedicate time to writing articles for the main site. You'll also manage user support requests and review flagged posts.
Why DPReview?
We’re a small, passionate team dedicated to the world of cameras and photography. This is a chance to make a tangible impact on one of the most respected photography communities online. You'll have the opportunity to shape strategy and see your ideas come to life. If you're ready to roll up your sleeves and build something special, we'd love to talk.
How to Apply:
Please send your CV/resume, LinkedIn profile link, and cover letter to the Managing Editor, Dale Baskin (dbaskin@dpreview.com), with the subject heading: “Community Manager.”
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Community Manager Position.
In your message, please include examples of past work managing and growing communities that you believe are most related to this role.
Only those candidates considered for an interview will be contacted. Please regard your resume as having been received unless your email bounced back.
The salary range and final title for this position is $70,000 to $90,000, depending on the candidate's experience. Where an employee or prospective employee is paid within this range will depend on, among other factors, actual ranges for current/former employees in the subject position; the associated discipline; market considerations, budgetary considerations, geographical considerations; tenure and standing with the company (applicable to current employees); as well as the employee's/applicant's background, pertinent experience, and qualifications.
DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.
A new Fujifilm X-E5 camera is expected to be announced on June 12th during the Fujifilm X Summit in Shanghai. Here is what to expect from the new X-E5:
40MP sensor
23mm pancake lens
IBIS
Similar to the Fuji X-T5, with reduced video features due to the compact rangefinder-style body
We've arrived at an important anniversary for a tool that many photographers use: Google Photos turns ten this week. When it was launched in 2015, Google pitched it as a "standalone product that gives you a home for all your photos and videos, helps you organize and bring your moments to life, and lets you share and save what matters."
It still essentially does that, but now with a heaping helping of AI assistance for finding the photos you're thinking of and making edits. As part of its look back, Google is also announcing a few new features. We'll take a look at those and then look back at the last decade to see how things have changed.
Image: Google
The first is a redesign for its photo editing experience, which the company says will bring together all its editing tools and provide suggestions on what changes to make to your photos. The editor will – of course – include traditional editing controls for cropping, etc., but also brings together a lot of the disparate AI features that Google's introduced over the years such as photo unblur, auto-framing and more.
You'll also be able to tap on certain parts of the photo, such as a person who's acting as the subject or the background, and get suggestions on what specific edits to make. The company says the update will start rolling out in Photos for Android next month and for the iOS version later this year.
It's also getting easier to share Google Photo albums, with the company adding a share via QR code option. You can then show people the QR code or even print it out, and people will be able to interact with the album, seeing the pictures with it, or even adding their own if you've given them permission. It should be a much easier way to share pictures with people, even if you don't know their email address or don't want to go through and manually add everyone in a group.
Google Photos launched into a world that's quite different from the one we live in today
Despite 2015 still feeling very much like the modern age, complete with near-ubiquitous smartphones and widespread social media adoption, Google Photos launched into a world that's quite different from the one we live in today. It and its main competitor, iCloud, were part of a series of apps and services that represented a shift in how many people share photos. They made it way easier for people to share their collections with friends and family without needing a ton of technical know-how or the willingness to pay for photo hosting sites like Flickr.
While photographers may have had plenty of ways to distribute their work beforehand, Google Photos helped bring that ability to the masses. Anecdotally, these services have made it way more likely that I'll get to see the photos taken by people other than myself. It's rare that I'll go on a trip with friends without receiving a link to Google Photos shortly after we get home or that family vacations don't result in a shared iCloud Photo album or two.
While not everyone will have use for these tools, it's good to see that they're still going strong after all this time. In its 10 year video, Google says it's storing over 9 trillion(!!!) photos and videos, and that the app has over 1.5 billion monthly users. It probably helps that it's the default photo viewer on many Android phones, but that's still a staggering number of people for a service that's still relatively new in the grand scheme of things.
Fujifilm will be holding its next X Summit event on June 12th at 5AM ET (2AM PT), where the company says it has "exciting news." The event will be held in Shanghai.
It currently hasn't released any teasers for what it plans to cover at the event, but in the X half announcement video from last week, Yuji Igarashi, Divisional Manager of Professional Imaging Group said the theme for the event is "Classic" and that it will be "showcasing exciting updates inspired by the concept of classic photography."
The company has historically used the events to launch new cameras: the GFX100RF was announced at the company's X Summit in Prague, and last October, it used the event to announce the X-M5 alongside new lenses. The company did just launch a new camera last week, so it'll be interesting to see what it has in store for this upcoming event.
When you use DPReview links to buy products, the site may earn a commission.
Updated May 29, 2025
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; the major players have only released a small handful of compact zooms in the past few years, and most were very minor updates on old designs. The ones that remain can be difficult to find in stock, even when the companies that make them promise they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
The final niche in which it's difficult for a smartphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.
We've picked cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Some have built-in electronic viewfinders for shooting when it's bright outside, again giving a more pleasant experience than a smartphone.
Best enthusiast compact: Canon PowerShot G7 X III
20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
The Canon PowerShot G7 X III is an enthusiast compact built around a 20MP Type-1 (13.2 x 8.8 mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.
The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's clicking control dial around the lens and the dedicated exposure compensation dial that really help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This camera is frequently out of stock, but Canon has told investors it was ramping up production of its compacts, citing the popularity of the G7 X III, and has assured us it's still in production.
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"
Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive.
Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
What about the PowerShot V1?
Canon recently released the PowerShot V1, which may tempt photographers hungry for a new compact thanks to its large Type 1.4 (18.4 x 12.3mm) sensor. However, it's clearly designed for vlogging; its cooling fan makes it relatively thick, which, paired with its shallow grip, makes it a bit hard to handle. Its controls – especially the free-rotating lens dial – also aren't optimized for stills, and it lacks the G7 X III's dedicated exposure compensation dial. For photography, we'd recommend sticking with Canon's older compact if you can find one, though we're still evaluating the PowerShot V1's vlogging capabilities.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII
20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the now-discontinued Mark VA or the Canon G7 X III, but it provides a lot more reach, still in a compact package.
Like the Canon, the RX100 VII can be difficult to find, but Sony tells us it's still making it. It also uses micro USB to charge instead of the near-ubiquitous and, in the EU, legally-mandated USB-C. US buyers should also be conscious of price; the camera launched at $1200, but when it's available, it now seems to be selling for around $1700, though Sony hasn't said if this is the result of tariffs or other factors.
"The RX100 VII is the most capable pocketable camera ever made"
The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor.
The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.
The Leica D-Lux 8 is an enthusiast compact with one of the largest sensors with a fixed zoom lens.
The D-Lux 8 combines an enjoyable shooting experience with a large sensor and bright lens. It's expensive, for sure – a situation made even worse for US buyers thanks to tariffs – but it is one of the few enthusiast compacts to receive a refresh in recent years, so we felt we should include it.
"The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package"
The D-Lux 8 has an elegant and photo-focused interface, with dedicated dials for shutter speed and aperture, and a couple of buttons that are easy to customize. It's engaging and enjoyable to shoot with.
The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package. But, for us, its image quality doesn't live up to its promise, or its price tag.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Waterproof cameras
Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.
Best waterproof camera: OM System Tough TG-7
25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)
The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).
The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.
"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"
Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Long zoom cameras
Perhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.
Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that smartphones bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.
Best long-zoom camera: Sony Cyber-shot DSC-RX10 IV
20MP Type 1 Stacked CMOS sensor | 24-600mm equiv. F2.4-4 lens | 4K video
The Sony RX10 IV is a superzoom cameras with a large Type-1 (13.2 x 8.8mm) Stacked CMOS sensor and a 24-600mm equivalent F2.8-4.0 zoom lens. The large sensor gives it image quality up there with the best smartphones while the lens delivers a 24x zoom that smartphones can't come close to matching.
The RX10 IV has been on the market for a while, so its autofocus isn't as good as Sony's newer cameras, but its fast Stacked CMOS sensor and excellent face detection system means it'll track action very well. This combines with its ability to shoot at 24 frames per second to stretch its capabilities even further beyond those of a smartphone.
Like Sony's other compacts, availability is a big issue; it's only occasionally in stock at some stores, so getting one may require some patience.
The RX10 IV offers a reasonable degree of direct control and customization, including a dedicated aperture ring, exposure comp dial and controls that can be kept silent for video shooting. It has a hefty, weather-sealed body along with a tilting touchscreen display and high-res OLED viewfinder.
"The RX10 IV offers a high level of competence across an impressively broad range of shooting situations"
The F2.4-4.0 lens means you can get a decent amount of light to the sensor at any focal length, which helps get the most out of the camera's Type 1 (13.2x 8.8mm) sensor. The JPEGs' color isn't our favorite but the sophisticated sharpening and noise reduction mean they remain detailed even in fairly low light.
The camera's oversampled 4K is some of the most detailed available and exhibits little in the way of rolling shutter. Mic and headphone sockets, along with a selection of tools to help judge exposure make the RX10 IV a very flexible all-in-one package.
The RX10 IV is an expensive camera but it's also unique in its combination of zoom range, image quality, autofocus and excellent video with a lot of detail. It's not the best possible solution to any one question but it offers a high level of competence across an impressively broad range of shooting situations.
The Nikon Coolpix P1100 is a very slightly refreshed version of the P1000, with the biggest difference being the adoption of a USB connector. Its Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv. lens is its selling point.
The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.
The P1100 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1100's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well.
"When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1100"
The P1100's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths.
The P1100 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below.
When it comes to zoom power, nothing comes close to Nikon's Coolpix P1100. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.
Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.
The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter unless an object is held up to the camera.
"A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve"
The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control.
The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Why you should trust us
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
When you use DPReview links to buy products, the site may earn a commission.
Photo: Fujifilm
Last week, Fujifilm announced the X half, a camera with a vertical Type-1 sensor, optical viewfinder and a Film Camera mode that turns off live view and forces you to pull an advance lever before you can take your next picture. It's far from an ordinary release, and it seems to have stirred up a lot of feelings. People flocked to our comments section and others to talk about it.
We here at DPReview sat down to discuss some of those reactions and to add a few more of our thoughts. You can listen to the video below.
Earlier this year, the film world lost a true original: director David Lynch, a Hollywood legend, passed away at 78. He was widely seen as one of the most innovative filmmakers ever, directing classics like Mulholland Drive, Blue Velvet, The Elephant Man, Eraserhead, and Dune (the 1984 original, not the recent remake). And, of course, he created the unforgettable cult TV series Twin Peaks, a show that proved just how strange TV could be.
PSA to Lynch fans: You now have a chance to own some of Lynch's actual camera and filmmaking gear. Julien's Auctions in Los Angeles has listed over 400 items from the David Lynch Collection, offering unique insight into the tools he used, ranging from production gear to espresso machines.
One of Lynch's cameras up for auction is his Canon 5D Mark III and 24-105mm F4 L lens.
Photo: Julien's Auctions
Among the items up for bid are Lynch’s personal cameras, including a Canon 5D Mark III and Sony a7R II and a7S II mirrorless cameras, which come with a Lensbaby lens and three of Lynch's SD cards. (Would you bid on these just to find out if there's anything on those cards?) There are also classics like a Leica R6.2 and some Polaroids.
And what could be more David Lynch than the fever dream that was the Hasselblad Lunar, which appears to have a prototype lens labeled "No. 015." It's bundled with another Sony camera and a Pentax medium format model.
Imagine the images those cameras might have captured over the years!
Three of David Lynch's SanDisk memory cards are included in an auction for a pair of Sony a7R II and a7S II cameras and lenses. Would you bid on them just to find out if there's anything on the cards?
Photo: Julien's Auctions
For real Lynch aficionados, the auction goes way beyond just filmmaking gear, and this is where you get a real peek into Lynch’s creative universe. You can find scripts and even a few props from some of his famous films and TV shows, musical instruments, books, art and even his coffee making gear. It gives you some insight into the different things Lynch was into and paints a picture beyond the director’s chair.
The David Lynch Collection officially goes up for auction at Julien's on June 18, though it seems online bidding might already be open. It’s a rare opportunity for serious fans to grab a tangible piece of film history from a man who showed us how weird and wonderful the world could be.
Here is some additional information on the upcoming Echolens camera, I previously reported here. The launch date on Kickstarter is exepcted in mid June, 2025, with a price of around $150:
This is the upcoming Schneider Kreuznach × LK Samyang AF 24-60mm f/2.8 FE lens that was previously on display labeled as "standard zoom AF lens":
This year (2025), Schneider Kreuznach × LK Samyang will release three new lenses in addition to the 14-24mm f/2.8 (now available at B&H Photo, Foto Erhardt, and WEX Photo):
"The Sony FX2 is the newest addition to the Cinema Line, offering a blend of pro-level features in a compact, user-friendly body. It captures stunning 4K video at up to 60p, with 4:2:2 10-bit recording and over 15 stops of dynamic range using S-Log3, which gives you a wide range of flexibility when it comes to grading in post-production. You’ll also find 5.5 stops of IBIS with Active and Dynamic Active modes for smooth handheld shooting, plus a tilting EVF and screen, making it easier to frame your shots. Quite incredibly, it supports 16-bit RAW output, a de-squeeze function for anamorphic work, and a CineAlta-inspired home screen, making everything more navigable."
Connexion
