The OM System OM-3 gave users quick and easy control over its deeply customizable picture profiles with its control knob on the front of the camera. Now, the company has made it easier to find and download custom recipes made by others with its newly launched OM-3 Recipes hub.
When OM System launched the OM-3 in February, it iterated on the "Creative Dial" feature from the PEN-F, providing quick access to various color profiles for JPEG files. The camera came with several preset options, but also allowed users to customize various parameters, including sharpness, contrast, vignetting, virtual color filter, simulated grain, individual saturation control of 12 hues and more. Customizing those parameters to create a recipe can be time-consuming, though, especially if you're trying to match a specific aesthetic.
Each recipe offers a brief description with the photographer's name.
The OM-3 Recipes hub, however, lets you download recipes uploaded by other users, allowing for creative looks without fiddling with individual settings. The new hub currently features six recipes, each developed by a different photographer and providing a distinct look. For example, Jerred Z's recipe is a monochrome profile with soft midtones, deep shadows and some grain. Kyler Steele's profile is described as a "vintage inspired recipe that focuses on vibrant greens and golden yellows while stripping away blues." The hub also features a section to check out images taken with OM-3 Recipes to find inspiration and see what others are creating.
Installing still requires quite a few steps, but it is at least easier than inputting specific parameters (something you have to do with, say, Fujifilm's recipe system). To install a recipe, photographers need to download the image associated with the recipe, plug the camera into a computer via USB-C and open the OM Workspace app. You aren't able to install recipes using the OI.Share mobile app. Renaming the recipes is also not entirely ideal, as it can only be done on the camera itself after they've been installed. You can see the full installation instructions on the OM Recipes hub website.
You can submit your own recipes as well.
Users can also submit their own recipes using a form on the hub. The form asks for basic information like name, email address and Instagram account, along with the recipe name and description. It also asks for a JPEG file straight from the OM-3 that used the recipe.
Using recipes is currently a big trend in the photography world. Panasonic's take is the Lumix Lab, Ricoh says it's trying to do something similar for the GR IV and Nikon is slowly rolling out something similar for its cameras. Additionally, while Fujifilm doesn't have a hub for easily sharing recipes (one of DPReview staffer Mitchell Clark's complaints with the X-E5), it's giving you more control over them than it has in the past.
You can learn more about the OM-3 Recipes hub and download the available recipes at the OM System website.
“Panasonic implemented a price increase for Lumix cameras and lenses in the US on September 28, 2025, primarily in response to escalating tariffs on imports from China and other affected regions (where much of their manufacturing occurs). This follows similar hikes by competitors like Canon, Sony, Nikon, and Fujifilm earlier in the year. The adjustment aims to offset costs while keeping the overall impact below 1% on profits, according to Panasonic’s fiscal reports. Specific percentage increases vary by product (typically 5-15% based on prior tariff-related adjustments), but exact figures for this round have not been publicly detailed beyond announcements urging pre-hike purchases. The increase applies broadly to the Lumix lineup, including full-frame S-series, Micro Four Thirds G-series, and compact models.”
IDSworks released a new hand grip + thumb grip for the Sony RX1RIII camera (now in stock) – a compact accessory that enables secure single-handed operation and easy adjustment of settings without risking drops, while preserving the camera’s slim profile:
Key Features:
Allows one-handed control and quick access to camera settings.
Mode dial adjustable without flipping up the thumb grip.
Back wheel remains unobstructed for seamless adjustments.
Compensation dial accessible with the index finger during grip.
Thumb grip follows the camera’s indented profile for a secure, non-slip fit that avoids accidental button presses.
Includes a standard 1/4-20 thread for mounting additional accessories.
Comes with a PVC washer to protect the lens when using the 1/4-20 thread.
Limited-time offer: Free C-shape finger band (just pay shipping) with full set purchase before the band’s official launch (expected in 1-2 months).
Specifications:
Total weight (hand grip + thumb grip): 47 grams.
Base height increase: 3mm (requires special screw).
Thread placement accounts for 1.5mm height difference between camera base and lens.
Materials: Aluminum grip pad (standard for finger band compatibility).
By every measure, Jasmine Quiñones is extremely creative. Her images have perspective; her short films make you feel something. But she's not immune to getting stuck in a creative rut.
She was in one such rut when we first got in touch about contributing to our new video series with MPB about upgrading gear on a budget. In an attempt to extricate herself, Quiñones pitched an idea back to us: What if I downgrade instead?
In search of said downgrade — and, hopefully, a creative upgrade — she dove headlong into our Camera Comparison tool. She had her mind set on a simple point-and-shoot camera and quickly narrowed her selection down to the Fujifilm XQ2.
Then, Quiñones popped over to MPB, the leading platform for buying, selling, and trading camera equipment, and found one in stock, in excellent condition and, importantly, at an affordable price. While she was there, Quiñones also grabbed a Sigma 4.5mm f/2.8 fisheye lens, because, why not? She was under budget after all.
If you're in a creative rut or just looking to break out of your photographic comfort zone, we hope Quiñones' experience can serve as a reminder. That is, that sometimes the best way forward is back. And that old things can bring new perspectives. Buy, Sell, or Trade with MPB
We've just finished up with a busy month of smartphone news, but we're not quite done with our coverage yet. Recently, the DPReview team sat down to discuss some of the finer points of smartphone photography, including how the phones achieve their digital crops, the sensor sizes currently being used by Apple and others, and the balance of hardware and software in mobile photography.
If you've finished the video and are still looking for more on mobile photograhpy, you can check out our opinion piece below, where we talk about the marketing phone companies do around their center crop modes.
Meike, a Hong Kong-based manufacturer specializing in budget cinema and photography equipment, has removed L-mount lenses from its website. The move, spotted by a DPReview reader, has sparked questions about the company's intentions to continue supporting the mount.
Users have taken to forums to report having issues finding L-mount Meike lenses on the Meike website and through sellers on AliExpress and Amazon. One DPReview member said he purchased an L-mount lens via a seller on AliExpress on September 21, but when he went to check the price out of curiosity on September 22, the L-mount version was no longer available. He couldn't find it through other sellers, either, and a visit to the Meike website revealed that the L-mount section is no longer there.
Indeed, as of September 30, there is no L-mount option under the Camera Lens tab. A look back using the Internet Archive Way Back Machine reveals an L-mount category as of the last recorded snapshot on September 18.
The screenshot of the Meike website on the left, which shows an L-mount category, was taken using the Way Back Machine and its snapshot on September 18. The screenshot on the right was taken on September 30.
At the time of writing, Meike has not released a statement about the situation with L-mount lenses. However, some users have reported that Meike responded to them via email, clarifying that L-mount lenses are currently out of stock and that they will be relisted after an upgrade and calibration.
Naturally, there are plenty of rumors and speculation about what the removal of Meike L-mount lenses means. Many wonder if this means that Meike is joining the L-mount alliance and that it removed its existing L-mount lenses to get them up to snuff with the new requirements. Others wonder if this is a quiet recall because of supposed focusing issues with certain models.
Meike responded to our request for comment by simply stating, "Our website is being updated." The reply suggests the L-mount models haven't been entirely discontinued, as it seems likely the company would've mentioned it if they had. Still, Meike hasn't provided any additional context about why they were removed in the first place.
Many cameras, especially entry-level models, most often come as a kit with a lens. Appropriately referred to as 'kit' lenses, they are typically 'standard zooms' offering a range from fairly wide angle to moderate telephoto (such as 18-55mm on APS-C cameras). The focal length range is versatile and works well for many subjects, which helps you test the waters right away without spending money on additional lenses. They are also affordable, helping keep the cost of your kit down, and are typically compact, making them easier to take with you.
However, there are downsides to the kit lens. If you are interested in growing your skills as a photographer, you will likely reach the point where you've outgrown the kit lens and need to upgrade to something else. Knowing when you've reached that level can be tricky, though.
Signs you've outgrown your kit lens
Everyone's experience and situation are different, so there isn't one exact timeframe or answer for when to upgrade. However, below are some common signs that could suggest it might be the right move.
You're struggling in low light
Most kit lenses offer rather small maximum apertures. That means you have to compensate with a slower shutter speed or higher ISO when working in low-light situations, which isn't always ideal. Making matters even worse, most have variable maximum apertures, meaning you lose light as you zoom in.
Upgrading to a higher-end lens will provide you with a wider maximum aperture, making it easier to work in low light. Plus, that maximum aperture will stay constant when you zoom in and out, meaning the lens's low-light performance doesn't degrade when you zoom in to longer focal lengths.
You can't blur the background as much as you'd like
The Fujifilm XF 16-55mm F2.8 R LM WR II is essentially an upgraded version of a kit lens. The F2.8 aperture makes it easier to blur the background than the similar Fujifilm XC 16-50mm F3.5-5.6 OIS lens. Photo: Richard Butler
Another issue with the small maximum aperture is depth of field. Wider apertures allow you to get a shallower depth of field, creating a blurry background that helps keep the focus on your subject. Aperture isn't the only thing that controls depth of field, but due to its smaller aperture, it can be difficult to achieve a small area in focus with a nicely blurred background when using a kit lens.
If you like the look of slim areas in focus with bokeh in the background (or foreground) and are struggling to create that with the kit lens, then upgrading to a lens with a wider maximum aperture will be smart.
You're having difficulty capturing sharp images
While new kit lenses have shown substantial improvements in image quality, most still lag behind higher-end lenses simply because they are built to be budget-friendly. Kit lenses often suffer from a few image quality issues that can be frustrating.
The primary image quality issue with kit lenses is that they may not be very sharp on the edges of the frame or at both ends of the zoom. You may notice that the center is nice and sharp, but the corners look out of focus. Stopping down your aperture can help, but you don't always want to resort to that.
Kit lenses can have other issues that affect apparent image sharpness, such as color fringing – especially on high-contrast edges, where cyan or magenta lines commonly appear. They can also suffer from more pronounced lens flare and ghosting (bright spots, streaks or duplicate shapes), which may take away from overall sharpness and clarity.
If you're frustrated by the image quality you're getting because of a lack of sharpness or strong color fringing, then it's probably time to upgrade.
Build quality is a concern
When producing lenses that are designed to be budget-friendly, manufacturers inevitably have to make some sacrifices to keep the cost down. Build quality is often one of those sacrifices. Kit lenses are typically made of lightweight plastics and lack weather sealing, which can make them more prone to breaking.
Higher-end alternatives generally use sturdier materials and feature weather sealing to protect against dust and water. As a result, they are more durable and better able to withstand adverse conditions. If you know you want to take your camera in wet or dusty environments, or simply want to have a durable lens for daily use, you may want to upgrade.
The autofocus can't keep up
Finally, kit lenses may have slower autofocus, which could prevent sharp images when working with fast-moving subjects. The sluggish autofocus means you may end up with more out-of-focus images than you would get with a faster-focusing lens. If you like photographing action of any variety and feel like the lens isn't able to keep up, it's time to upgrade.
What to consider before upgrading
For most people, it makes sense to upgrade the standard zoom lens instead of opting for a different focal length range. That way, you get a nice range of versatile focal lengths in one lens and don't need to continue to rely on the lens that's holding you back. Photo: Richard Butler
If any of the above issues resonate with you, it's probably time to consider a new lens. However, you should think carefully about what that new lens should be, as they can be quite expensive. Having a good understanding of what's prompting the upgrade will make it easier to work out which new lens will actually address your needs, saving you from buying something that isn't quite right.
When considering what you should upgrade to, start with focal length. The kit lens focal length is one you'll likely still use (there's a reason it's the common choice for kits), so for most people, it's smart to upgrade that instead of opting for a completely different focal length. However, if you've noticed that you consistently wish you could zoom in more, or, alternatively, get a wider view, a different zoom range may be best.
If you've noticed that you consistently wish you could zoom in more, or, alternatively, get a wider view, a different zoom range may be best.
Aperture is the other main factor to pay attention to. If your main complaint with your kit lens is poor low-light capabilities or the inability to blur your background, then you may want to spend the extra money to get a wider maximum aperture on your next lens. At the very least, look for a zoom lens with a constant maximum aperture, so that you aren't frustrated when zooming in. Alternatively, while some zoom lenses offer very wide apertures, prime lenses are usually the best way to maximize low-light capabilities and dramatic depth of field.
No matter what you're looking for, it's important to spend time researching to learn what the promised image quality will be. After all, you want to ensure that you actually get an upgraded option, not just something slightly different. Many zoom lenses are good, but some don't strive for much above average clarity and image quality, rather than delivering truly sharp, vibrant or impressive results. Our lens comparison tool can be a useful way to check if what you're considering is truly going to be better optically.
Elevate your photography
For most, upgrading from the kit lens sooner rather than later is wise. Kit lenses have improved over the years, but they can still hold you back. If you are even a little bit serious about photography, don't wait too long to invest in a lens that will allow you to grow and reach your creative goals.
DxO FilmPack version 8 film emulation software is now officially released (buy here) with a new Time Warp mode and full Photoshop integration for analog style and historical immersion. Here is what’s new in DxO FilmPack 8:
Time Warp Mode: Introduces two tools—Time Travel slider for applying era-specific film looks from over 200 years of photographic history (including grain, color shifts, and degradation), and ‘Ageify’ slider for progressively aging and distressing images based on authentic film stocks and effects.
Full Adobe Photoshop Integration: Provides seamless access to the entire film rendering library directly within Photoshop, allowing application to layers or flattened images without switching software; enhances existing compatibility with DxO PhotoLab and Adobe Lightroom Classic.
15 New Analog Film Renderings: Meticulously engineered additions including CineStill 800T (cinematic low-light), Harman Phoenix 200 (vibrant with distinctive grain), Lady Grey B&W 120 ISO 400 (sophisticated black-and-white), and Kodak TMAX Pro 3200 (ultra-sensitive), increasing the total library to 153.
Scanned Film Optimization Tool: New feature for preparing home-scanned negatives and slides, with one-click tonal inversion for color or black-and-white, plus over 10 dedicated tone curve presets to correct common color shifts and density issues.
Expanded Time Machine: Adds 17 new historical images with corresponding renderings to enrich the visual timeline and provide insights into film’s evolution.
Themed Webview Browsing: Introduces a curated ‘Portrait’ theme for more intuitive exploration of the archive to discover suitable looks.
Digital Camera-Inspired Renderings: Four new profiles based on the color science of popular Fujifilm and Sony cameras, incorporating subtle tones, contrast curves, and color profiles into the ecosystem.
High-Resolution Creative Effects: All textures, frames, light leaks, and other overlays upgraded to high resolution for clarity on high-megapixel RAW files across print and digital formats.
Workflow Enhancements: General improvements including refined scan and effect options for better integration and usability.
The winners of the 2025 Bird Photographer of the Year contest have been announced, showcasing remarkable photographs of the avian species from around the world. This year, more than 33,000 images were submitted, with entries created by seasoned pros and those younger than 11 years old.
The adult competition features eight categories, including Best Portrait, Birds in the Environment, Bird Behaviour, Birds in Flight, Black and White, Urban Birds, Conservation (Single Image) and Creative Perspectives. Additionally, there are youth categories for 15-17 year olds, 12-14 year olds and 11 and under.
This year's grand prize winner was a photograph of a bird flying in front of a solar eclipse, taken by Liron Gertsman of Canada. "I spent well over a year of planning to capture my dream of a bird in front of the total solar eclipse," says Gertsman. "I enlisted the help of a boat to position myself near some islets off Mazatlán that were frequented by seabirds. As the moon uncovered the sun’s edge at the end of totality, I captured this image during the eclipse phase known as the 'diamond ring' – a moment that lasts mere seconds."
"Exceptional bird photography takes technical excellence, artistic vision, and dedication. When everything comes together, you get a spectacular image like this one," says Will Nicholls, Director of Bird Photographer of the Year. "This photograph is a striking reminder of what human creativity can achieve. In a world increasingly filled with AI imagery, it’s refreshing to celebrate a picture that is both awe-inspiring and rooted in the natural world."
The contest also crowned Tomasz Michalski the Young Bird Photographer of the Year 2025 for his silhouette of a black vulture.
This year, the Bird Photographer of the Year contest donated more than £5,000 to its partner charity, Birds on the Brink, which provides funding to grass-roots bird conservation projects around the world.
You can see more of the winning images and learn more about the contest at birdpoty.com. Additionally, the 2026 contest is now open for entries and invites photographers of all experience levels from anywhere in the world.
Bird Photographer of the Year
Photographer: Liron Gertsman / Bird Photographer of the Year
Awards: Overall Winner and Gold Award for Birds in Flight
Technical details: Canon EOS R5 with Canon RF 100–500mm F4.5–7.1 lens. 400mm | 1/4000 sec| F7.1 | ISO 10,000
Caption: After well over a year of planning and about a week of in-person scouting on the coast of Sinaloa in Mexico, my dream of capturing a bird in front of a total solar eclipse finally came true on April 8, 2024. Totality was due to last almost 4.5 minutes, and I had enlisted the help of a boat to position myself near some islets off Mazatlán that were frequented by seabirds. As the moon uncovered the sun’s edge at the end of totality, I captured this Magnificent Frigatebird in front of the spectacular eclipse phase known as the ‘diamond ring’, a moment that lasts just seconds.
Young Bird Photographer of the Year
Photographer: Tomasz Michalski / Bird Photographer of the Year
Awards: Young Bird Photographer of the Year and Gold Award for 15-17 Years
Image title: Minimalist Wings
Location: Popoyo, Nicaragua
Bird: Black Vulture, Coragyps atratus.
Technical details: Olympus E-M1 Mark II with Leica 100–400mm F4–6.3 lens. 400mm | 1/320 sec | F22| ISO 125
Caption: I took this photo during the biggest trip of my life, which was to Central America in July 2024, in the first country we visited, Nicaragua. I saw this big vulture drying its wings on a pole close to our hotel. I was being watched by the bird but it was very calm so I had a long time to photograph it. The scenery wasn’t beautiful so I decided to frame it with only part of the bird being in the photo. I tried various combinations and this one is my favourite.
Best Portrait - Gold Award
Photographer: Steffen Foerster / Bird Photographer of the Year
Image title: Bloody Petrel
Location: Sea Lion Island, Falkland Islands (Malvinas)
Technical details: Canon EOS R5 with Canon RF 400mm F2.8 lens. 400mm | 1/3200 sec | F2.8 | ISO 1000
Caption: Giant petrels are the scavengers of the Southern Ocean, often seen feeding on carrion. This individual has its head stained red with blood from a recent meal. Although their feeding habits may seem gruesome, these birds play a vital role in the ecosystem by preventing the spread of disease. Despite their appearance, giant petrels are surprisingly devoted parents, with both males and females taking turns incubating their single egg and guarding their chick for weeks. Once heavily persecuted for their oil, their populations have rebounded thanks to conservation efforts, although they still face threats from fishing practices and climate change.
Best Portrait - Silver Award
Photographer: Maxime Legare-Vezina / Bird Photographer of the Year
Image title: Voice of the Ash Forest
Location: Jasper National Park, Alberta, Canada
Bird: Common Raven, Corvus corax
Equipment: Canon EOS R5 with Canon EF 600mm F4 III lens. 600mm | 1/400 sec | F4 | ISO 1250
Caption: After the devastating wildfires of summer 2024, I visited Jasper to witness the desolation. In the scorched landscape, where ash covered everything, only a few animals had returned. Among them, Common Ravens were some of the first to reclaim the land. This one, perched on a charred tree, was calling out, as if mourning the loss of its kingdom.
Bird Behavior - Gold Award
Photographer: Francesco Guffanti / Bird Photographer of the Year
Image title: Angel or Demon
Location: Aosta Valley, Italy
Bird: Golden Eagle, Aquila chrysaetos
Technical details: Nikon Z 6 with Nikon Z 24–70mm F4 lens. 35mm | 1/250 sec | F5 | ISO 4000
Caption: A Red Deer killed by a car in the pine forest near to where I live provided a fantastic opportunity to document the activity of carnivores and scavengers visiting the carcass. With the help of a friend I positioned and camouflaged a motion sensor and two mirrorless cameras nearby. To avoid any disturbance I avoided the use of flashes or any other type of artificial light. After foxes, crows and some small birds had paid a visit, most unexpectedly, and despite the thick blanket of branches, a Golden Eagle appeared and descended to feed on the carcass. It was an unforgettable experience.
Bird Behavior - Silver Award
Photographer: Mateusz Piesiak / Bird Photographer of the Year
Image title: King of the Forest
Location: Jura, Switzerland
Bird: Western Capercaillie, Tetrao urogallus
Technical details: Canon EOS R5 with Canon EF 400mm F2.8 II lens. 400mm | 1/1600 sec | F2.8 | ISO 800
Caption: This male capercaillie, illuminated by the first rays of the rising sun, had perched in the ideal spot. The emotions I felt are hard to put into words. Overwhelmed by the scene, I forgot to adjust my camera settings, resulting in most of the photos being blurry. Thankfully, though, a few turned out sharp!
Birds in Flight - Silver Award
Photographer: Baiju Patil / Bird Photographer of the Year
Image title: Through the Marigolds
Location: Hiware Bazar, Maharashtra, India
Bird: Barn Swallow, Hirundo rustica
Technical details: Nikon D4 with Nikon 14–24mm F2.8 lens. 14mm | 1/250 sec | F10 | ISO 200
Caption: The fields of marigolds around the village of Hiware Bazar are a sight to behold, and seeing the flocks of swallows skimming over them gave me the idea for this photo. I noticed that some of the birds kept feeding over the same area and set up my camera so that I could fire it with a remote. This is one of the many thousands of photos I took and is the one I am most pleased with.
Birds in the Environment - Gold Award
Photographer: Franco Banfi / Bird Photographer of the Year
Technical details: Sony A7R III with Sony 8–15mm F4 lens. 15mm | 1/200 sec | F8 | ISO 400
Caption: I was in the Sea of Cortez, near Los Islotes, a fistful of rocks that is part of the Espíritu Santo archipelago, to document the unbelievable recovery of this marine protected area. Los Islotes is the southernmost breeding site of the Californian Sea Lion in the Northern Hemisphere, but it is a wonderfully wild place for many other reasons. I was fascinated by the extraordinary skills and elegance of Brandt’s Cormorants as they fed on an almost endless school of small pilchards. Most of the hunting activities took place at sunset, when the low natural light conditions were challenging. But on one occasion the conditions were favourable and I was able to take this particular image that gives a three- dimensional perspective.
Birds in the Environment - Silver Award
Photographer: Levi Fitze / Bird Photographer of the Year
Image title: Structures
Location: Alpstein, Switzerland
Bird: Rock Ptarmigan, Lagopus muta
Technical details: Sony a7 IV with Sony 200–600mm F5.6–6.3 lens. 512mm | 1/2000 sec | F6.3 | ISO 800
Caption: I spotted this Rock Ptarmigan walking slowly up a snowy hillside in the Swiss mountains on a frozen winter’s day. Ptarmigans are masters of camouflage, their white winter plumage blending in so well with the snow. I noticed that the footprints this bird was leaving in the snow, emphasised by the low, flat light, were perhaps more noticeable than the bird itself. I framed the image so that the bird was part of the picture to highlight its expansive environment and show the wonderful textures in the snow.
Black and White - Gold Award
Photographer: Jannik Jansons / Bird Photographer of the Year
Image title: The Giant
Location: Hornøya, Varanger, Norway
Birds: European Shag and Common Guillemot, Gulosus aristotelis and Uria aalge
Technical details: Canon EOS R5 with Canon EF 16–35mm F2.8 III lens. 34mm | 1/640 sec | F22 | ISO 800
Caption: Using a wide-angle lens, I photographed a shag taking off on the Norwegian island of Hornøya. In the image it looks like a gigantic bird flying over all the others, but in reality the bird is flying very close to the lens and therefore appears much larger. Because of the very small aperture, the sun is captured as a star through the blades of the lens. The conversion to black and white reinforces the confusing perspective, as the details are hard to see and it is more difficult to determine the birds’ relative size.
Black and White - Silver Award
Photographer: Raoul Slater / Bird Photographer of the Year
Image title: Black and White Swan
Location: Gympie, Queensland, Australia
Bird: Black Swan, Cygnus atratus
Technical details: Canon EOS R5 with Canon EF 100–400mm F4.5–5.6 II lens. 263mm | 1/8000 sec | F5 | ISO 800
Caption: At thirteen, I switched my Canon AE-1 from programme mode to aperture priority – and I’ve worked that way ever since. I prefer controlling depth of field first, shutter speed second. It usually works – except in moments like this, when photographing in low, pre-dawn light when the sun suddenly rises. I forget to adjust, the shutter speed maxes out, and the image blows out. This photo, taken on a misty morning, appeared three stops brighter than I’d visualised – and it took my breath away. Sometimes, a divine accident redeems a thousand mistakes.
Creative Perspectives - Gold Award
Photographer: Philipp Egger / Bird Photographer of the Year
Image title: Photo Art
Location: Alps, Italy
Bird: Common Kingfisher, Alcedo atthis
Technical details: Nikon Z 7 II with Nikon Z 24–70mm F4 lens. 36mm | 1/200 sec | F11 | ISO 125
Caption: My idea behind this photograph was to capture a kingfisher flying over a piece of artwork so that the two became merged. To achieve this, I mounted my camera on a dead fallen tree across a small stream and pointed it vertically downwards at the artwork positioned just above the water’s surface. I then waited for days in my camouflaged tent not far away triggering the camera with a radio remote release when the bird flew over the picture.
Creative Perspectives - Silver Award
Photographer: Andreas Hemb / Bird Photographer of the Year
Image title: Landing in a Sea of Swans
Location: Tysslingen, Örebro, Sweden
Bird: Whooper Swan, Cygnus cygnus
Technical details: Sony a1 with Sony 400mm F2.8 lens. 400mm | 1/4 sec | F5.6 | ISO 500
Caption: Nothing heralds the arrival of spring more evocatively than the sight and sound of migrant birds in Sweden, with the appearance of Whooper Swans being a particular highlight. I took this image at dusk as the swans were gathering in a field next to a lake. Using a slow shutter speed to emphasise motion, I tracked one of the swans as it came in to land, aiming to capture its grace against an abstract sea of swans on the ground.
Urban Birds - Gold Award
Photographer: Alex Pansier / Bird Photographer of the Year
Image title: Feathered on Panels
Location: Near a highway, Netherlands
Bird: Carrion Crow, Corvus corone
Technical details: Sony a1 with Sony 100–400mm F4.5-5.6 lens. 348mm | 1/500 sec | F13 | ISO 6400
Caption: A lone bird rests on a vast field of solar panels alongside a highway in the Netherlands – a striking symbol of the tension between green energy and nature. As we transition to sustainable power, the infrastructure often claims scarce space that could have been left for wildlife. This spontaneous moment captures that paradox: progress requires space, but at what cost to nature? No bait was used – just a fleeting encounter between a bird and a modern-day monoculture.
Urban Birds - Silver Award
Photographer: Tomáš Grim / Bird Photographer of the Year
Image title: Urban Incubator
Location: Brno, Czech Republic
Bird: Eurasian Jay, Garrulus glandarius
Technical details: Nikon Z 8 with Nikon Z 180–600mm F5.6–6.3 lens. 250mm| 1/20 sec | F7.1 | ISO 1000
Caption: Eurasian Jays are not generally thought of as urban birds but can sometimes be found in parks and gardens. They almost always build their nests in trees, avoiding artificial structures – so when a friend reported finding a jay’s nest inside (!) a streetlamp I considered it a joke; the Eurasian Jay is not a hole nester. Yet I could not resist checking it out and to my amazement the nest was real. I waited for the ‘blue hour’ to combine the warm light from the lamp with the cold colours of this unique nest’s surroundings before taking this photo.
Conservation (Single Image) - Gold Award
Photographer: Sarthak Agrawal / Bird Photographer of the Year
Image title: Radiographing
Location: Aurangabad, Maharashtra, India
Bird: Common Hawk-Cuckoo, Hierococcyx varius
Technical details: Nikon D5600 with Nikon 18–55mm F3.5-5.6 lens. 18mm | 1/60 sec | F5.6 | ISO 320
Caption: This pictured is of an injured juvenile Common Hawk-Cuckoo that had been rescued after being hit by a vehicle in the city. The bird had taken shelter under a parked car before being rescued by the ManwithIndies Foundation and sent for treatment under the forest department’s guidance. To assess the damage to its wings, a radiograph was obtained after anesthetising the bird. Common Hawk-Cuckoos are brood parasites, laying their eggs in the nests of smaller urban birds like sunbirds, prinias, and tailorbirds. While these smaller birds have adapted well to urban environments, the much larger hawk-cuckoo struggles to navigate and survive. Every year, several cuckoo chicks are found under similar circumstances, and foundations like ManwithIndies rescue many of them.
Conservation (Single Image) - Silver Award
Photographer: Charlotte Keast / Bird Photographer of the Year
Image title: Trapped
Location: Entebbe, Uganda
Bird: Shoebill, Baleniceps rex
Technical details: Canon EOS R5 with Canon RF 14-35mm F4 lens. 14mm | 1/2500 | F4 | ISO 160
Caption: In heartbreaking contrast to its wild peers, this Shoebill stork is confined in a small dirty cage in a zoo in Entebbe, Uganda. Known for their solitary and elusive nature, Shoebills thrive in vast wetlands, hunting in silence and flying gracefully over open landscapes. Here, trapped behind glass for the entire day and on full display to the public, this majestic bird is deprived of space to fly, hunt or retreat from the constant gaze of visitors. Just a few miles away its wild counterparts enjoy the freedom of Uganda’s marshes – a stark reminder of the unnatural conditions that captivity imposes on such extraordinary creatures.
12-14 Years - Gold Award
Photographer: Harry Sedin / Bird Photographer of the Year
Image title: Jewel of the Forest
Location: Haleakalā National Park, Hawai'i, United States
Bird: ‘I‘iwi, Drepanis coccinea
Technical details: Canon EOS R7 with Canon EF 100–400mm F5.6–8 lens. 400mm | 1/320 sec | F8 | ISO 1000
Caption: Haleakalā National Park is infamous for altitude sickness, but visiting it led me to an unforgettable moment. Feeling lightheaded at nine thousand feet, we turned back and stopped at Hosmer Grove Campground. The moment I stepped out, flashes of red flickered through the trees, three to four ‘I‘iwi landing on a sunlit bush. With harsh light and no clouds above us, I underexposed the shot, creating a black background that made the bird’s scarlet feathers glow. The altitude may have made me miss out on a Short-eared Owl, but it gave me the perfect opportunity to capture Hawaii’s iconic honeycreeper in stunning contrast.
11 and Under - Gold Award
Photographer: Sasha Jumanca / Bird Photographer of the Year
Image title: Graceful Flight Over Wild Bloom
Location: Mahmudia, Romania
Bird: European Bee-eater, Merops apiaster
Technical details: Nikon Z 9 with Nikon Z 600mm F4 lens. 600mm | 1/4000 sec | F4 | ISO 1250
Caption: While exploring the Danube Delta in Romania this summer, I discovered a European Bee-eater colony in a nesting cliff where the birds were tirelessly chasing prey for their chicks nestled in the burrows. The birds were flying over a field of wildflowers, whose colours beautifully mirrored the bee-eaters’ plumage. I was captivated by their agility as they swiftly changed speed and direction, tracking insects through the air. After many attempts, I finally captured this bird in flight, its wings fully spread, showing the beautiful colours of its feathers in great harmony with the flowers.
Financial Performance: Leica Camera Group achieved record sales for FY 2024/25 (April 2024–March 2025), with revenue up 7.6% to €596 million (from €554 million the previous year), alongside continued profitability growth.
Regional Sales Growth: Europe led with 7.6% increase (Germany at 11.4%), followed by Asia (7.3%) and North America (6.2%); online sales rose 12.5%.
Key Growth Drivers: Expansion in Photo core segment and new areas like Mobile (smartphones), Smart Projection (projectors), Watches, and Eyecare; Sports Optics remained the second-largest segment despite market challenges.
Product Launches in Photo Segment: Leica Q3 (top digital camera seller, new 43mm variant in Sept 2024), SL3 and SL3-S full-frame cameras, D-Lux 8 compact, and M11-D (display-less M-System model).
Mobile Segment Developments: Ongoing Xiaomi partnership with Xiaomi 14T (Sept 2024) and Xiaomi 15 series (March 2025) featuring Leica lenses; Leica LUX app launched June 2024 (over 1M downloads); Leica LUX grip added Feb 2025.
Sports Optics Highlights: New Ultravid Compact Colorline binoculars; efforts to digitalize portfolio with infrared cameras and distance measurement tools.
Smart Projection and Accessories: Cine Play 1 mini-projector launched Nov 2024; Leica ZM 12 watch introduced Feb 2025 with four dial options.
Strategic Initiatives: Leveraged optics/mechanics expertise for user experience; expanded global stores in Wuhan, Tokyo, and Seoul; multi-channel sales model including e-commerce and auctions; plans for further retail growth.
Future Outlook and Anniversary: Celebrating 100 years of the Leica I in 2025 with theme “100 Years of Leica: Witness to a Century,” featuring cultural projects, special editions, global events (e.g., Dubai, Milan, New York, Shanghai, Tokyo), and exhibitions in Leica Galleries.
CEO Quote: Matthias Harsch: “We are meeting the global growth in demand for cameras with high-quality products ‘Made in Germany’… Our business success is rooted in innovation and the expansion of our own global sales network.”
The previously reported Sony FE 100mm /f2.8 Macro G Master OSS full-frame lens is now officially announced. It has an f/2.8 aperture and up to 2.8x magnification when paired with Sony’s 2x teleconverter. It also offers fast and reliable autofocusing, powered by four XD Linear Motors.
Sony Electronics Expands the G Master Series with the Versatile FE 100mm F2.8 Macro GM OSS
Delivers Stunning Detail with up to 1.4x Magnification, Advanced Stabilization, and Optimized Macro Controls
SAN DIEGO, Sept. 30, 2025 – Sony Electronics releases the FE 100mm F2.8 Macro GM OSS (SEL100M28GM), the new medium telephoto macro lens in the G Master series, compatible with α (Alpha) E-mount cameras, featuring 1.4x magnification, advanced stabilization, and intuitive handling. “We’re on a constant mission to expand creative possibilities for visual storytellers, and the FE 100mm F2.8 Macro GM OSS fulfills that by going beyond traditional macro photography,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “With its world-class optical quality, it enables not only macro photographers, but also portrait and wedding photographers, to take their craft to a new level. We’re thrilled to offer the FE 100mm F2.8 Macro GM OSS as part of our acclaimed G Master series, maintaining a standard of peak performance Sony creators have become accustomed to.”
Beyond Life Size
The FE 100mm F2.8 Macro GM OSS achieves a maximum magnification of up to 1.4x, making it easy to capture flowers, small objects, and other close-up subjects in vivid detail, revealing subtle textures and features that are difficult to see by the naked eye. Compatible with an optional teleconverteri (sold separately), the lens offers up to 2.8x magnificationii. This enables impressive close-up shots while keeping a comfortable working distance. It is ideal for subjects that are hard to approach or for avoiding unwanted reflections.
State-of-the-art Hardware Design
The optical design effectively positions elements including two XA (extreme aspherical) lenses and two ED (Extra-low Dispersion) glass elements to achieve high-resolution performance from the center to the periphery of the image, reducing chromatic and other aberrations. To allow precise and intuitive focus adjustments for a variety of macro photography scenes, the lens offers three focus-dedicated features: a “Full-time DMF switch” enables instant MF (manual focus) by rotating the focus ring, even in AF (autofocus) mode; the “Focus Mode switch” allows instant switching between AF and MF; the “Sliding Focus Ring” enables FULL MF mode, linked to the distance and magnification scales. The four unique XD (extreme dynamic) linear motors that enable high-speed, high-precision, and quiet lens drive, make autofocus (AF) performance up to 1.9 times fasteriii than previous models. A dedicated aperture ring offers quick, direct control over aperture settings.
Exquisite Image Quality
The 11-blade circular aperture produces beautiful, ball bokeh, while carefully controlled spherical aberration ensures an ideal balance of resolution and background blur — creating the signature creamy bokeh of the G Master line. The unique “Nano AR Coating II” applies a uniform thin film to the entire lens surface, resulting in clear image quality that suppresses flare and ghosting even in backlit conditions. An integrated optical image stabilization system, designed for macro photography, accurately compensates for shift shake (up/down/left/right), angular shake, and front/back shake, ensuring steady handheld shots.
Pricing and Availability
The FE 100mm F2.8 Macro GM OSS will be available in November 2025 for approximately $1,499.99 USD and $1,799.99 CAD. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.
When you use DPReview links to buy products, the site may earn a commission.
Updated: September 30, 2025
$2000 or the equivalent in your local currency is a lot to spend on a camera, especially when you're just starting out. However, if you can spare the funds, it's the price bracket where cameras start to get really good. You can expect powerful but easy-to-use autofocus systems, cameras that make it easier than ever to learn the craft of photography, and even some more advanced and capable options.
While this article used to only consider cameras up to $1500, because of inflation (and, in the US, tariffs), this class of camera has risen in price; if a camera cost $1500 when it was introduced in 2019, its successor may now cost around $1800.
The biggest decision will likely be whether to go with a full-frame camera – a name that comes from their sensors being the same size as a frame of 35mm film – or a camera with a smaller APS-C or Micro Four Thirds sensor.
The Nikon Z5 II is the first full-frame camera to launch for under $2000 that doesn't feel like it's asking you to make big compromises. Lens availability is still a concern, but it's a capable and enjoyable camera to use. Photo: Mitchell Clark
The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor.
It earns its place on this list by being one of the most capable and fully featured full-frame options we've seen at this price point. More expensive options may offer better video, faster burst rates and more bells and whistles, but the Z5II will be more than enough camera for a vast number and variety of photographers. You'll have a hard time outgrowing it.
The Z5II is a solid camera with a deep grip and plenty of customizable buttons. It's comfortable to use, even for long sessions using a relatively large lens.
The autofocus is very good, especially in subject recognition modes. It's not quite as dependable at recognizing people in low light, but it's very competitive and light-years better than even higher-end cameras from just a few years ago.
The Nikon Z5II is almost unimaginably good for a camera priced under $2000.
Video quality is good, though with a decent amount of rolling shutter, and it offers advanced options like Log, HLG HDR and N-Raw capture. Autofocus isn't as dependable as it is in stills.
Image quality is excellent, and the Z5II can capture HLG HDR images using HEIF files for a more life-like viewing experience.
The Z5II is an impressive all-rounder that delivers excellent image quality and good video, underpinned by very good autofocus in a body that's well-designed and comfortable to use. It's hard to see what more an enthusiast photographer could want from a camera.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
The other full-frame options
Canon's entry-level full-frame camera, the EOS R8, used to top this list thanks to its great autofocus and detailed, full-width video. With the Z5II, Nikon has caught up in autofocus performance, and we feel its inclusion of IBIS, better viewfinder, autofocus joystick and larger battery make it a significantly nicer full-frame pick.
We also considered the Sony a7c, which is still available at seemingly tempting prices. However, it's a little hard to recommend in 2025; it's essentially a smaller and less-expensive a7 III, which means it also has less sophisticated autofocus, video and image stabilization, as well as clunky, dated menu design. The a7c also has no front control dial – a feature Sony added to the a7c II – and, most significantly, a very small, low-resolution viewfinder.
A single control dial and lack of EVF also keep the Panasonic S9 from a more prominent position on this list, and it doesn't help that its autofocus isn't quite on pace with Canon, Nikon or Sony's greatest.
Enjoyable to shoot with: Fujifilm X-T5
The X-T5 puts control over all your exposure parameters right on the top plate. Photo: Richard Butler
The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.
While the X-T5 doesn't have the absolutely best autofocus or highest-end video, we find its user interface, honed over several generations and complete with every dial you could ever ask for, makes it one of the most enjoyable and engaging APS-C cameras to shoot with.
The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting.
The X-T5 can detect a variety of subjects from animals to vehicles, and tracking performance is quite good with these. Tracking for unrecognized subjects is less dependable and eye detection is prone to false positives. Buffer depth while shooting at 15fps is reasonable.
The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling
The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size.
Video performance can be either full width but less detailed, or oversampled from a crop of the sensor. The use of SD cards means it doesn't share the X-H2's high-data-rate ProRes options. There's no headphone jack but audio can be monitored through the USB port with an included adapter.
Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.
The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though. Photo: Richard Butler
The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters, and is included on this list because it provides some of the best autofocus you can get in an APS-C camera.
The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.
Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate.
"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts."
Image quality is very good in JPEG or Raw. JPEG colors are pleasing to the eye, though sharpening can be a bit aggressive. Base ISO noise levels are consistent with other modern APS-C models but in low light it exhibits a little more noise.
The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers.
Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.
This widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.
Other APS-C cameras worth considering
The Canon EOS R7 is also an excellent option, providing a high-resolution sensor, great autofocus, and the ability to shoot at up to 15fps. Sigma has also recently started making APS-C lenses for RF mount, giving those who want to go beyond the kit lens more options, though there's still no particularly great telephoto option for sports and wildlife photographers.
While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a new, higher price than its predecessor and is worth considering.
A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it too can still quite hard to find.
Updated with in-body image stabilization and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical.
The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.
If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.
Even smaller than APS-C are Four Thirds sensors. The Micro Four Thirds system uses a sensor one-quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations, and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though, is a significantly smaller system for which some of the lenses are much less expensive.
The OM System OM-5 II is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera. And while most cameras in this list are around $1500-2000 on their own, you can easily get the OM-5 II and a lens while still staying within that budget. We're still working on our full review of it, but its hardware is very similar to that of the original OM-5, so it should perform identically when it comes to image quality and autofocus.
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.
Image: Sony
Sony has announced the FE 100mm F2.8 Macro GM, a high-end full-frame macro lens that can achieve up to 1.4x reproduction on its own, and 2.8x reproduction when paired with a teleconverter.
The lens is made of 17 elements in 13 groups, with two of Sony's XA and ED elements, which the company says will help reduce chromatic aberrations. It also uses a Nano AR II coating to reduce flare and ghosting when you're shooting a backlit subject. It can focus on subjects as close as 0.26m (10.2") away in both manual and autofocus mode.
If you're getting that close to something that's liable to splash water on you, the good news is that the front element also has a fluorine coating to repel water and oils. The lens is also sealed to keep out dust and moisture. It weighs 646g (22.8oz) and is 148mm (5.8") long.
Image: Sony
Focusing is handled by a pair of linear "XD" motors. Sony says these are faster, more accurate and quieter than the piezoelectric drive in its previous 90mm F2.8 macro lens; the company says it supports focus tracking at up to 120fps. The lens features a focus clutch mechanism that lets you quickly switch to manual focus, and the ring has both distance and magnification markings on it. It also has a focus limiter switch, letting you set it to search its full range, from 0.5m to infinity or 0.26m to 0.7m.
That's far from the only switch on it. It also has a control for clicking and declicking the aperture ring, an iris lock switch and a switch for controlling the optical stabilization. The latter system can work with the camera's IBIS system, letting you get sharp photos even at relatively low shutter speeds (provided your subject is also very still). The lens also has twin customizable function buttons.
Sony's latest macro lens is also compatible with teleconverters, which will increase its focal range and magnification capabilities, at the cost of reducing the effective aperture setting. It also lets you get the same level of magnification from further away. For example, Sony says that, with the lens alone, you'll need around 90mm (3.5") of working distance to your subject to get the full 1.4x magnification. With the 2x teleconverter, you can be up to 145mm (5.7") away and still get that 1.4x reproduction, reducing the likelihood of casting shadows on your subject or otherwise disturbing it.
The Sony FE 100mm F2.8 Macro GM will retail for $1499, and will release on November 13th.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
With thanks to Lensrentals for the camera body.
Sample gallery
This widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.
Press release:
Sony Electronics Expands the G Master Series with the Versatile FE 100mm F2.8 Macro GM OSS
Delivers Stunning Detail with up to 1.4x Magnification, Advanced Stabilization, and Optimized Macro Controls
SAN DIEGO, Sept. 30, 2025 – Sony Electronics releases the FE 100mm F2.8 Macro GM OSS (SEL100M28GM), the new medium telephoto macro lens in the G Master™ series, compatible with α™ (Alpha™) E-mount cameras, featuring 1.4x magnification, advanced stabilization, and intuitive handling.
“We’re on a constant mission to expand creative possibilities for visual storytellers, and the FE 100mm F2.8 Macro GM OSS fulfills that by going beyond traditional macro photography,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “With its world-class optical quality, it enables not only macro photographers, but also portrait and wedding photographers, to take their craft to a new level. We’re thrilled to offer the FE 100mm F2.8 Macro GM OSS as part of our acclaimed G Master series, maintaining a standard of peak performance Sony creators have become accustomed to.”
Beyond Life Size
The FE 100mm F2.8 Macro GM OSS achieves a maximum magnification of up to 1.4x, making it easy to capture flowers, small objects, and other close-up subjects in vivid detail, revealing subtle textures and features that are difficult to see by the naked eye.
Compatible with an optional teleconverteri (sold separately), the lens offers up to 2.8x magnificationii. This enables impressive close-up shots while keeping a comfortable working distance. It is ideal for subjects that are hard to approach or for avoiding unwanted reflections.
State-of-the-art Hardware Design
The optical design effectively positions elements including two XA (extreme aspherical) lenses and two ED (Extra-low Dispersion) glass elements to achieve high-resolution performance from the center to the periphery of the image, reducing chromatic and other aberrations.
To allow precise and intuitive focus adjustments for a variety of macro photography scenes, the lens offers three focus-dedicated features: a "Full-time DMF switch" enables instant MF (manual focus) by rotating the focus ring, even in AF (autofocus) mode; the "Focus Mode switch" allows instant switching between AF and MF; the "Sliding Focus Ring" enables FULL MF mode, linked to the distance and magnification scales.
The four unique XD (extreme dynamic) linear motors that enable high-speed, high-precision, and quiet lens drive, make autofocus (AF) performance up to 1.9 times fasteriii than previous models.
A dedicated aperture ring offers quick, direct control over aperture settings.
Exquisite Image Quality
The 11-blade circular aperture produces beautiful, ball bokeh, while carefully controlled spherical aberration ensures an ideal balance of resolution and background blur — creating the signature creamy bokeh of the G Master line.
The unique "Nano AR Coating II" applies a uniform thin film to the entire lens surface, resulting in clear image quality that suppresses flare and ghosting even in backlit conditions.
An integrated optical image stabilization system, designed for macro photography, accurately compensates for shift shake (up/down/left/right), angular shake, and front/back shake, ensuring steady handheld shots.
Pricing and Availability
The FE 100mm F2.8 Macro GM OSS will be available in November 2025 for approximately $1,499.99 USD and $1,799.99 CAD. It will be sold directly through Sony and at a variety of Sony's authorized dealers throughout North America.
Exclusive stories and exciting new content shot with the new FE 100mm F2.8 Macro GM OSS and Sony's other imaging products can be found at www.alphauniverse.com, a site created to inform, educate, and inspire content creators.
i Compatible with the 1.4X Teleconverter SEL14TC and 2X Teleconverter SEL20TC. ii When the 2X Teleconverter "SEL20TC" is attached iii Sony measurement conditions. Compared to the FE 90mm F2.8 MACRO G OSS SEL90M28G lens for the α E-mount digital single-lens camera.
The Premiere on iPhone app allows for multi-track editing and a long list of additional features. Image: Adobe
At the beginning of the month, Adobe announced that it was bringing its popular video editor to iPhones. Now, Premiere on iPhone is officially available for download – for free – giving content creators and editors a new option for editing on the go.
With Premiere for iPhone, Adobe aims to bring the robust functionality of the desktop-based Premiere Pro to phones. "We’re excited to bring the power of Premiere to creators’ fingertips, delivering pro-level creative control, without the pro-level complexity," said Mike Polner, vice president, product marketing, creators at Adobe." Premiere on iPhone makes it easy for creators to craft and share stories on mobile with studio-quality audio, precise editing tools and stunning visuals, to turn everyday content into polished stories anytime, anywhere."
You can generate sound effects in-app; however, generative AI requires the purchase of Firefly generative credits. Image: Adobe
Premiere for iPhone provides a long list of features. These include unlimited multi-track timeline, 4K HDR editing, frame-accurate adjustments, animated captions, speed and motion effects and instant background removal. It also offers AI audio tools such as Enhance Speech for clear voiceovers and Generative Sound Effects. Users can also generate assets with Adobe's generative AI in-app or access the company's expansive library of creative assets, including stickers, images, fonts and royalty-free music.
Adobe says the new app is designed with features ideal for a new generation of creators creating shorts for YouTube or TikTok, along with seasoned pros editing client work or personal projects. Unlike some of the other mobile video editing apps, Adobe says the Premiere app is a "distraction-free, watermark-free experience."
If you have a Premiere Pro subscription, you can send edits from your phone to your computer. Image: Adobe
The Premiere on iPhone app is completely free, and anyone who downloads it can start creating right away. No Adobe account or login is required to edit and save projects locally or export video. Some features will require sign-in to an Adobe account, such as access to creative assets or if users want to send projects from mobile to desktop Premiere Pro (which requires a subscription to use). Additionally, generative AI features require a login and the purchase of Firefly generative credits.
Premiere on iPhone is now available for download in the App Store. Adobe says Premiere on Android is in development, so hopefully Android users don't have long to wait.
Connexion
