Updated list of latest/upcoming/rumored Chinese lenses:

Upcoming Viltrox lenses:

• Viltrox AF 50mm f/1.4 Pro full-frame lens will be announced on October 15th. The lens weighs approximately 810 grams, has a 77mm filter, and a minimum focusing distance of 0.45 meters.
• Viltrox AF 85mm f/2 EVO (new EVO series of lenses)
• Viltrox AF 16mm f/1.8
• Viltrox AF 28mm f/4.5
• Viltrox adapter with AI autofocus support called Nexus Focus

A new Brightin Star 35mm f/0.95 APS-C lens is expected to be announced today.

The new 7Artisans AF 35mm f/1.8 lens for Z/L mount is scheduled to arrive on October 15th (check the website for updates).

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

Venus Optics Laowa AF 200mm f/2 lens.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

New Yongnuo YN 56mm f/1.4 R DA DSM lens.

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens lens coming soon.

The post Updated list of latest/upcoming/rumored Chinese lenses appeared first on Photo Rumors.

The previously reported SG-Image 85mm f/1.8 is now officially announced (SG-Image lenses are also sold on eBay and Ali Express):

The post SG-Image 85mm f/1.8 lens officially announced appeared first on Photo Rumors.

Zeiss is rumored to announce a new Otus mirrorless lens next week. I am not sure about the focal length, but since we already have the 50mm f/1.4 and 85mm f/1.4 (pictured above), the remaining options are a 28mm or a 100mm. Stay tuned for updates.

Zeiss Otus ML mirrorless lenses for Z/E/RF mount officially announced

The post Zeiss to announce a new Otus mirrorless lens next week appeared first on Photo Rumors.

The new 2025 5DayDeal photography bundle is now available – as with previous years, you will get a package of different photography tools drastically reduced ($1,000+ worth of pro-level courses, tools, and creative assets for as little as $98). Several different bundles are available, and a portion of the proceeds will be donated to charities. This deal will end on October 21.

New this year: the pre-sale window now includes a $5 discount on each of the Main, Pro, and Complete packages—totaling $15 off for the Complete Bundle. This pre-sale window will launch in tandem with the giveaway. The pre-sale Window runs from October 11th until October 16th.

The post 5DayDeal Photography Bundle 2025 bundle now available appeared first on Photo Rumors.

The iPhone 17 Pro Max has Apple's newest technology, but is it worth upgrading from your current iPhone Pro? Photo: Dale Baskin

Each year, Apple's iPhone launch event devotes considerable time to its newest flagship, the iPhone Pro, which always features the company's most advanced cameras. For photography and video enthusiasts who want Apple's latest imaging technology, the iPhone Pro is the clear choice.

And every year, Apple tries to convince us that its cameras are better than ever, and that this is the year to upgrade to make your photos more magical than ever before.

But is it worth it? Most people upgrade their smartphones only every few years, and it can be hard to know when an upgrade will truly make a difference to your photos. We're here to help sort the noise from the facts. In this photography-focused comparison, we'll examine every iPhone Pro model from the last five years – back to 2020's iPhone 12 Pro – to help you decide if an upgrade makes sense.

Before we dive into older models, let's review what's new with the iPhone 17 Pro.

Or, you can jump directly to a comparison with your current model:

• iPhone 16 Pro and Pro Max
• iPhone 15 Pro and Pro Max
• iPhone 14 Pro and Pro Max
• iPhone 13 Pro and Pro Max
• iPhone 12 Pro and Pro Max

The iPhone 17 Pro and Pro Max

The iPhone 17 Pro's headline feature is that, for the first time, all three of the iPhone cameras use 48MP "Fusion" imaging sensors. Image: Apple

Like its predecessors, the iPhone 17 Pro and Pro Max feature a triple-camera system with main, ultrawide, and telephoto modules. The headline feature is that, for the first time, all three camera modules use 48MP imaging sensors.

Apple brands these as "Fusion" sensors, but they are essentially a Quad Bayer design. This design allows the smartphone to computationally combine data from a four-pixel group (pixel binning) with individual pixel data to create a more detailed image. This technology also enables virtual lenses like the 2x and 8x "zoom," which use cropped regions of one of the camera's sensors. Apple calls these virtual lenses "optical quality," but they're essentially a digital zoom enhanced with machine learning-based upsampling.

The only truly new camera on the iPhone 17 Pro is the telephoto, which was upgraded to a larger 48MP sensor. It's 56% larger than the 12MP telephoto sensor in the iPhone 16 Pro, and even larger compared to earlier models, and can deliver better photo quality, particularly in low light.

The iPhone 17 Pro is the first iPhone to capture video using Apple's ProRes RAW, a Raw video format used by professional and advanced videographers. Image: Apple

The iPhone 17 Pro also adds two advanced video features: ProRes RAW recording for greater editing flexibility, and Genlock, a professional feature for frame-perfect multi-camera synchronization via a hardware accessory.

Finally, the iPhone 17 Pro introduces a new 18MP front camera with a square multi-aspect sensor, replacing the 4:3 sensors on all previous models. Dubbed the Center Stage camera, it allows you to capture horizontal or vertical video without reorienting the phone and provides improved video stabilization.

To learn about these features in more detail, see our article iPhone 17 Pro cameras: What's new, what's unchanged.

Buy boxes

The big picture

Before diving into individual comparisons, let's look at how the iPhone Pro's camera system has evolved. In the table below, green boxes represent significant upgrades from previous models. At a high level, this is what to look for:

• Sensor size: All other factors being equal, a larger sensor captures more light for higher quality photos, especially in low light.
• Resolution: More megapixels mean higher-resolution images and the ability to maintain resolution with 'virtual' zoom lenses.
• Focal lengths: While the main and ultrawide cameras have been pretty consistent, telephoto cameras have had more varied configurations.
• Video features: Know which features you need – and which ones you don't – when deciding whether to upgrade.

Editor's note: All focal lengths in this article are full-frame equivalents.

*All focal lengths are full-frame equivalents

Historically, the main camera received notable upgrades on the iPhone 13 Pro and 14 Pro, but has been largely unchanged since the 48MP sensor was introduced on the 14 Pro.

The ultrawide camera was upgraded on the 13 Pro and 14 Pro, and again on the iPhone 16 Pro, which also gained a 48MP sensor.

The telephoto camera has seen more variability, with focal lengths between 52mm (2x zoom) to 120mm (5x zoom), with the most significant upgrade being the iPhone 17 Pro, which gained a 48MP sensor that's substantially larger than in previous models.

Apple has continued to add video features, but all models in the table can capture photos using Apple's ProRaw mode.

If you have an iPhone 16 Pro or Pro Max

The iPhone 16 Pro was the first iPhone Pro to add a 48MP ultrawide camera, complementing the 48MP main camera. Image: Apple

For current iPhone 16 Pro or Pro Max owners, the year-over-year upgrade is difficult to recommend unless you are a heavy telephoto user or require the advanced video features exclusive to the iPhone 17 Pro.

The iPhone 16 Pro has the same main and ultrawide cameras as the 17 Pro. While Apple claims an improved image processing pipeline, which is almost certainly true, it's unlikely to be noticeable in day-to-day use.

The major camera upgrade is the telephoto module. The iPhone 17 Pro gets a 48MP sensor that's over 50% larger than the one in the 16 Pro, giving it significantly more light-gathering capability. The telephoto focal length has also changed, decreasing from 120mm (5x zoom) on the 16 Pro to 100mm (4x zoom) on the 17 Pro.

That may sound like a downgrade, but a common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras. This forced mid-range zoom shots to rely heavily on computationally-enhanced crops from the main sensor. The 17 Pro's 4x telephoto narrows that gap, allowing the phone to switch to the dedicated telephoto lens, and its full sensor area, sooner.

"A common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras."

Additionally, the iPhone 16 Pro and all older models used Apple's previous 4:3 front-facing selfie camera. The new Center Stage camera could be a reason to upgrade if you take many selfies or shoot video on the move.

The only new video features are ProRes RAW and Genlock, both aimed at advanced videographers. Unless you have a specific need for them, these features alone don't justify an upgrade.

If you have an iPhone 15 Pro or Pro Max

The iPhone 15 Pro series bifurcated the telephoto camera, with the smaller iPhone 15 Pro featuring a 3x telephoto lens while the iPhone 15 Pro Max featured a 5x lens and a slightly larger sensor. Image: Apple

For iPhone 15 Pro or Pro Max users, there are some additional considerations. The main camera on the 15 Pro series uses the same lens and sensor as the iPhone 17, effectively delivering the same image quality. However, the 16 Pro introduced a 'second-generation' version of this sensor with 2x faster readout, enabling "zero shutter lag" even when shooting Raw photos. If you've been bothered by this lag on your 15 Pro, it could be a reason to upgrade.

The telephoto cameras are another story. The iPhone 15 Pro and Pro Max use different modules, with 77mm (3x) and 120mm (5x) lenses, respectively. This means upgrading to the 17 Pro's 100mm (4x) telephoto could result in either more or less reach than you're used to. In either case, the upgrade will get you the 17 Pro's new 48MP sensor, which is over 50% larger than the 15 Pro Max's and almost double the size of the 15 Pro's.

Image stabilization is another factor to consider, particularly for low-light situations requiring slower shutter speeds. The iPhone 15 Pro Max's telephoto module uses sensor-shift image stabilization. In contrast, the smaller iPhone 15 Pro's telephoto uses Apple's older, less effective optical image stabilization system. Sensor-shift stabilization didn't come to the smaller iPhone Pro's telephoto module until the iPhone 16 series. Therefore, iPhone 15 Pro users should experience improved telephoto stabilization after upgrading.

The iPhone 15 Pro and earlier models don't include Apple's Camera Control button (seen on the iPhone 17 Pro Max, above). It allows you to launch the camera from anywhere, change key settings with a slide of the finger, and works as a shutter button. Photo: Dale Baskin

Ultrawide and macro photographers may be drawn to the iPhone 17 Pro's 48MP ultrawide camera. Like Apple's other 48MP sensors, it's a Quad Bayer design, so the resolution gain isn't as large as the numbers suggest. Still, it captures more detail and provides more latitude for cropping macro shots. The sensor size remains unchanged, however, so don't expect low-light improvements.

The 17 Pro includes other features not on the 15 Pro, like the Camera Control button and an updated Photographic Styles system that lets you change a look after the photo is taken. Video upgrades include 4K/120p capture (up from 4K/60p) for more dramatic slow-motion, along with ProRes RAW and Genlock support.

If you have an iPhone 14 Pro or Pro Max

The iPhone 14 Pro was the first iPhone Pro to feature a 48MP sensor on the main camera. Image: Apple

The camera modules in the iPhone 14 Pro and Pro Max are broadly similar to those in the 15 Pro, except for the 15 Pro Max's 5x telephoto. As a result, much of the same upgrade logic applies.

The iPhone 14 Pro was the first model with the higher resolution 48MP main camera sensor still used today, though 17 Pro will benefit from the faster readout speed that first arrived on the iPhone 16 Pro. Additionally, the 14 Pro defaults to 12MP photos binned from its 48MP sensor, compared to the 24MP default on more recent models. (Full 48MP resolution is still available via a settings change, however.)

Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor. Neither iPhone 14 Pro model includes sensor-shift image stabilization on the telephoto camera, relying instead on the older, less effective optical image stabilization system. Upgrading to the 17 Pro will provide superior sensor-shift stabilization on the telephoto camera, where it's needed most, and which is especially helpful in low light.

"Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor."

Newer iPhones like the 17 Pro also feature lens coatings not found on the 14 Pro, which can reduce lens flare when shooting into bright light. (Though models with updated coatings still have the green flare balls that have almost become a calling card of iPhone photos.) Newer models can also capture 3D spatial images, a feature the iPhone 14 Pro lacks.

The iPhone 14 Pro and older models don't include the almost universal USB-C plug (seen on the iPhone Pro Max, above), relying instead on Apple's older Lightning connector. Photo: Dale Baskin

Video capabilities may be the most compelling reason to upgrade. The iPhone 14 Pro captures ProRes video, but not the ProRes Log format desired by videographers for its color grading flexibility. Furthermore, its ProRes recording is limited to 4K/30p or 1080/60p, restricting 4K slow-motion options.

The 14 Pro was also the last model with a Lightning connector. Newer models use the more universal USB-C, which offers data transfer speeds up to 10Gbit per second – 20 times faster than the Lightning port's USB 2.0 speeds.

If you primarily use the main camera, upgrading to the 17 Pro is a toss-up, as it's mostly unchanged from the 14 Pro. However, for frequent users of the ultrawide and telephoto cameras, or for videographers who want Log video, the upgrade becomes a compelling, no-brainer decision.

If you have an iPhone 13 Pro or Pro Max

The iPhone 13 Pro was the last iPhone Pro with 12MP imaging sensors on all three camera modules. Image: Apple

With older models, the differences in technology become more stark, and for iPhone 13 Pro or Pro Max owners, upgrading to the 17 Pro will improve the camera experience in nearly every way.

The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor that became standard, and the 17 Pro's sensor is 63% larger. The 13 Pro has a faster F1.5 aperture versus the F1.78 lens on newer models. However, when factoring in both sensor size and aperture, the 13 Pro has about a fifth of a stop less light-gathering ability than the 17 Pro. The 13 Pro also lacks the benefits of the 48MP sensor, which uses pixel binning for extra detail and enables the '2x' zoom option found on newer models.

The situation is similar for the ultrawide camera. Its 12MP sensor is roughly half the size of the 17 Pro's. While its F1.8 aperture is faster than the 17 Pro's F2.2, the 13 Pro's ultrawide is still about a third of a stop behind in total light gathering and lacks the benefits of the 48MP sensor.

"The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor."

The telephoto camera is where you'll see the most dramatic difference. The iPhone 17 Pro's larger, higher-resolution sensor captures almost a full stop more light than the 13 Pro, and allows for more zooming. The 17 Pro also uses more effective sensor-shift stabilization on its telephoto module, compared to the older optical stabilization on the 13 Pro models.

As with the 14 Pro, video features could be a deciding factor, especially if you want ProRes Log for color grading latitude. With all three of the 13 Pro's cameras still at 12MP, lower light-gathering capacity, and a shorter video feature list, this is an easy upgrade to recommend.

If you have an iPhone 12 Pro or Pro Max

The iPhone 12 Pro's triple-camera array. Image: Apple

Five years feels like an eternity in technology, and the cameras on the iPhone 12 Pro and Pro Max are showing their age.

The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger. Despite a slightly faster aperture on the 12 Pro, the iPhone 17 Pro's main camera captures about 1.25 stops – roughly 2.5 time – more light than the iPhone 12 Pro. That's a dramatic difference.

Similarly, the ultrawide sensor on the iPhone 17 Pro is almost twice as large as the 12 Pro's, which also has a slower aperture. The net result is that the 17 Pro's ultrawide camera captures nearly 1.25 stops more light than the 12 Pro's. Again, a dramatic difference.

"The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger."

The situation is more complexe for the telephoto modules. Although the 12 Pro models have smaller telephoto sensors, their much faster apertures allow them to keep pace with the iPhone 17 Pro's newer module in terms of exposure. The catch is their focal length. At 2x (52mm) on the 12 Pro and 2.5x (65mm) on the Pro Max, they are much shorter than the 17 Pro's 4x (100mm) telephoto, making them less useful for distant subjects.

Also, because the 17 Pro's main sensor is so much larger, its '2x zoom' (which uses a cropped area of the sensor) can capture a full stop more light than the 12 Pro's telephoto camera, and its '2.5x zoom' captures a half stop more than the 12 Pro Max's. In effect, the iPhone 17 Pro's main camera can outperform the 12 Pro's dedicated telephoto cameras while also offering a superior 4x optical zoom.

The iPhone 12 Pro's doesn't include camera features like Apple's newer Photographic Styles, which let you change styles on a photo after it's taken, or most of the video features available on the iPhone 17 Pro. Image: Apple

Image stabilization is another key difference. The iPhone 12 Pro Max was the first to introduce sensor-shift stabilization on its main camera, but the smaller 12 Pro used older, less effective optical stabilization. Upgrading from the smaller 12 Pro will provide a noticeable improvement, as all Pro models since the 13 series have featured sensor-shift on their main cameras.

The 12 Pro models also show their age in video. While they capture Dolby Vision HDR and 4K/60p, they lack all the other video features Apple has introduced in the last five years.

If improving photo quality is your goal, this upgrade makes absolute sense. With 12MP sensors across the board, lower light sensitivity, and telephoto lenses that the 17 Pro's main camera can effectively replace, you will see an across-the-board improvement in image quality.

Conclusion

Apple's slick presentations make it easy to feel like you need the newest iPhone cameras, and I give Apple credit for being very good at that. The reality, however, is that most annual updates are incremental. Major improvements are the exception, not the rule.

Also, when considering an upgrade, keep in mind that it may not be necessary to buy Apple's newest iPhone Pro, depending on the features you need or want. If an older model meets your requirements, you might save a chunk of change by buying a recent used phone, or even a refurbished phone from Apple, that's still newer than your current phone and gives you the features you want.

A woman and her dog frolic in the autumn leaves in Almirante González Fernández Park in Buenos Aires, Argentina. Canon PowerShot G7 | F4.8 | 1/200 sec. | ISO 400 Photo: Dale Baskin

Our October Editors' photo challenge, "Fall Follies," is now open for submissions.

Autumn has arrived in the northern hemisphere! The days are getting shorter, the air a little cooler, and the world around us is changing fast. For our October photo challenge, we’re celebrating everything that makes fall special, including vibrant leaves, fall harvests, annual traditions and seasonal celebrations. Show us what "Fall Follies" looks like through your lens.

Photos can be submitted between Sunday, October 12, and Saturday, October 18 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to enter your photos for a chance to be featured on the DPReview homepage later this month.

Enter your photo in the challenge

Alice doesn't live here anymore: Camera Intelligence's second-gen camera will be called Caira. Image: Camera Intelligence

Camera Intelligence, the UK startup previously responsible for the Alice camera, has announced its second-generation product, a camera and app utilizing Google's 'Nano Banana' image generation model.

Like the original model, Caira is a Micro Four Thirds camera that connects to an smartphone over Wi-Fi and is controlled from an app on the phone. The new model uses the "MagSafe" magnetic connector on the back of recent iPhones to provide a physical attachment to the phone. Unlike the original model, there will be no version for Android.

The move to magnetic connection to secure the camera to the phone allows the new version to be 25% lighter, and thinner than the original.

Nano Banana uses natural language input to make edits to the image, letting you amend and add to your image in the camera's app. This generative model comes in addition to the camera's AI-based image processing, which was one of the defining features of the original camera.

AI AF

The company's CEO, Vishal Kumar says the camera uses "a new type of autofocus technique we have developed in house entirely from scratch." It dosen't "use contrast-based or phase-detect autofocus," he says: "We have built a deep neural network (AI) algorithm that can determine if the subject is in or out of focus. If the subject is out of focus, the AI algorithm then predicts how far it is out of focus in terms of distance, and sends a signal to the lens to move precisely into focus."

The Caira camera will be offered via a Kickstarter campaign, starting at the end of October. Kumar says the company has "secured a partnership with a reputable contract manufacturer who has a proven track record in producing cameras for us," and has already built around 50 prototype cameras, ahead of the Kickstarter program.

Camera Intelligence's CEO, Vishal Kumar with the iPhone-attached Caira camera. Image: Camera Intelligence

He says the company has placed preliminary orders for key components and is using Kickstarter to judge how many cameras it ultimately needs to make. "During the first couple of weeks of the Kickstarter campaign, we will gain a better understanding of demand, but we will likely green-light production before the Kickstarter ends," he says.

"Our production timeline already includes a buffer for unforeseen adjustments. We are aiming for Q1 2026 delivery for the Kickstarter units, possibly earlier for some countries."

He says the company is "partnering with a professional, experienced fulfilment company to manage all shipping," having found this challenging with its original product.

Still waiting for Alice

We spoke Kumar about concerns expressed on the DPReview forums that not all backers of the original product have received their cameras. "When we launched our Indiegogo campaign in 2021, we offered worldwide shipping without fully anticipating the distinct logistical and compliance hurdles in each region. Each region essentially has a different customs duties process and also a consumer electronics testing process, especially for Wi-Fi-enabled electronic devices with built-in lithium-powered batteries."

It subsequently restricted sales to Europe, USA and Japan, where it had cleared these hurdles, and cameras have been shipping in these regions. The company faced a different issue in the UK, where it found itself embroiled in a trademark dispute over the name Alice.

Original customers in other counties will receive their cameras, Kumar says: "We are actively working through the final logistical steps to deliver these cameras without incurring unforeseen costs or legal complications that could affect our operations. Shipping the entire backlog of version 1 cameras is our highest priority, and we have ~20% left to fulfill."

Having learned from these experiences, the Caira will initially only be available in UK, EU and USA. Other regions will be announced "in dur course" he says.

There are no current plans to develop an Android version of Caira, Kumar says, but there will be an online form for users to express interest in creating another batch of the first-gen camera.

I already reported in early September that Panasonic and OM System will have a new price increase in the US as a result of Trump’s tariffs:

OM System and Panasonic Lumix price increases coming to the US, while new Sofortrabatt & Cashback programs started in Europe

The Panasonic price increase is already in effect in the US:

Yes, Panasonic increased prices in the US as previously reported, and OM System is next

The OM System price increase in the US will be introduced on October 13th. If you have been planning to buy new gear, you still have 3 days left to lock into the current prices at Amazon. Check the official OM System Amazon store for the latest pricing (B&H Photo is currently closed until October 16th):

Check also the latest OM System deals:

Renewed (refurbished) OM System cameras for sale on Amazon (OM-1 II, OM-5)

New OM System savings in Europe

The post Confirmed: OM System price increase in the US coming on October 13th appeared first on Photo Rumors.

Image: Sirui

Sirui has announced the Aurora 35mm F1.4, a full-frame, autofocus lens that won't break the bank and is available in a variety of mounts: Sony E, Nikon Z, L mount and Fujifilm X (where it's a 52.5mm equiv.).

The lens's optical formula uses 16 elements in 11 groups, with three aspherical lenses, two ED elements and one SED element and HRI element, each. It has a 13-blade aperture and a minimum focusing distance of 0.35m (13.8").

Speaking of focusing, it has a stepper design and a physical switch for going between auto and manual focus modes. It also has an iris lock switch to keep it in auto mode, as well as a customizable function button and a switch to change the aperture ring between clicked and clickless delineations. As with many Sirui lenses, there's a USB-C port for firmware updates.

Image: Sirui

The lens weighs around 490g (1.1lb), with a bit of variation depending on which version you get. It's around 103mm (4.1") long, and takes 62mm filters. Sirui says the lens is dust and weather-sealed, and has a fluorine coating on the front element to repel oil and fingerprints.

The lens seems like a good option for anyone looking for a fast, wide-angle lens they can carry around with them day-to-day, and it's priced like one, too. It retails for $549 and is available to order now.

Sirui Aurora 35mm F1.4 specifications:

TTartisan announced a new 17mm f/4 tilt-shift lens. The available mounts in the first batch are Sony E and Fuji GFX. The second batch is coming soon, and it will be for Z/RF/L cameras. The price of the lens is $509. Orders are now open on Amazon and at the official online store.

Additional information:

• Ultra-Wide 17mm Perspective – Perfect for Architecture & Landscape Photography
• Tilt ±8° & Shift ±8mm – Corrects Perspective Distortion with Precision
• 360° Rotation (15° Click Stops) – Flexible Composition at Multiple Angles
• Ultra-Large Image Circle (Φ64mm) – larger than that of medium format lense
• All-Metal Body with Clicked Aperture Ring – Built for Professional Durability
• 17 Elements in 11 Groups – Sharp, Clear & Detailed Rendering
• Closest Focus Distance: 0.3m | Manual Focus
• Weight: Approx. 1051–1056g

Additional pictures:

The post New TTartisan 17mm f/4 full-frame tilt-shift lens announced for Sony E and Fuji GFX appeared first on Photo Rumors.

Canon EOS R7 | Tamron 18-300mm F3.5-6.3 | 18mm | F3.5 | 1/1600 | ISO 320 Photo: Abby Ferguson

In August, Tamron announced that its 18-300mm F3.5-6.3 Di III-A VC VXD APS-C lens was available for Canon RF and Nikon Z mounts. While the lens and optical formula aren't new (it already existed for Sony E and Fujifilm X), we took the opportunity to try out the new mount and took the lens around on a Canon EOS R7 body.

Tamron describes the lens as an "all-in-one" option thanks to its extensive zoom range. At the wide end, it provides a 27mm equiv. on Nikon cameras and 29mm equiv. on Canons, and zooms in to 450mm equiv. on Nikon and 480mm equiv. on Canon. Given the range, we aimed to put it to the test in a variety of situations, which you can see in the sample gallery below.

See the sample gallery

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.

Panasonic will announce a new Lumix product(s) on October 17th:

Panasonic registered a new camera – they now have a total of three upcoming models

New Panasonic savings in the US: up to $650 off

The post Panasonic Lumix announcement on October 17th appeared first on Photo Rumors.

The previously reported Sirui Aurora 35mm f/1.4 lens (Z/E/X/L) is now officially announced. The lens was already listed for pre-order at B&H Photo back in August:

New Sirui Aurora 35mm f/1.4 lens now available for pre-order (Z/E/X/L)

Pre-orders are open at Amazon, B&H Photo, and the official Siriu website:

Additional information:

Sirui to announce three additional Aurora f/1.4 lenses

Updated list of latest/upcoming/rumored Chinese lenses

The post Sirui Aurora 35mm f/1.4 full-frame autofocus lens (Z/E/X/L) officially announced appeared first on Photo Rumors.

Realme and Rioch Imaging announced a new strategic partnership on smartphone imaging (in the US Realme smartphones are sold at Amazon):

• realme and Ricoh Imaging have announced a long-term strategic partnership focused on smartphone imaging
• The collaboration will officially launch on October 14, 2025, in Beijing, China
• The first product under this partnership is the realme GT 8 Pro flagship smartphone
• This collaboration has been in development for four years
• The GT 8 Pro will incorporate design, imaging, and software features inspired by Ricoh’s GR series cameras
• Anticipated enhancements include:
  • Colour algorithms and processing tuned more toward natural tones or film-like rendering
  • “5 classic image tones” reflecting GR heritage
  • A custom camera UI that mimics the feel of a GR camera

Additional informtion can be found here:

Realme and Ricoh Imaging announced a strategic partnership

The post New realme × Ricoh Imaging strategic partnership announced appeared first on Photo Rumors.

Pure Street Photography Awards 2025

The winners of the Pure Street Photography Awards 2025 have been announced. David Campany, Creative Director at the International Center of Photography, New York, and Dimpy Bhalotia, founder of Pure Street Photography, award-winning photographer and Creative Director, co-judged this year's contest. The contest organizers said this year was special, explaining it was "a celebration of truth, timing, and the human eye in an age of fast production and artificial imagery."

The 2025 edition of the contest attracted 1,160 submissions across 34 countries, with 147 winning and finalist images selected. The awards will culminate in an exhibition at Jhangir Art Gallery in Mumbai from January 22-27, 2026, which is a first for the competition.

You can learn more about the contest and see additional finalist images at the Pure Street Photography website.

Grand Winner

Photographer: Stefanie Waiblinger

Country of residence: Germany

Image title: Who is Next

About the photograph: The Galata Bridge in Istanbul – a place full of life, tradition and spectacular scenery – became the stage for a very special moment. Against the backdrop of the Istanbul skyline, between mosques and minarets, the bride throws her bouquet into the air – a spontaneous, lively moment full of joy and symbolism.

Photographer biography: My journey into street photography began a few years ago. What initially started as a welcome balance to my profession as an architect quickly became an inexhaustible source of inspiration that has greatly expanded and enriched my awareness and my way of seeing.It beautifully complements my love for traveling and allows me to take an intimate look into worlds that would otherwise remain hidden from me. By capturing the timeless charm of everyday life, I aim to create a special atmosphere and evoke emotion. Since the world is full of colours, I love bringing them to life in my photos, which focus on clear and minimalist composition.

First Place Winner

Photographer: Cazerella Tavs

Country of residence: UK

Image title: Meeting in the Middle

About the photograph: There is always an element of surprise to photography and a thrill in capturing a candid moment that can never be replicated. This was one of those moments. An unexpected standoff in the middle of a quiet rural road, where two cows pause as if negotiating the right of way. It emphasises form, symmetry, and contrast what might otherwise be a fleeting roadside encounter transforms into a playful reflection on standstills, stubbornness, and the gentle comedy of rural life – a reminder that even traffic jams can be charming when left to cows!!

Photographer biography: Born in Ireland, now living in the beautiful New Forest UK. I have always been so passionate about photography, it’s my go to, my escape, my therapy. I very seldom leave the house without my camera (my mum totally inspired me from a v young age to capture the world as I see it). I have a keen eye for different perspectives, unscripted moments that can reflect the beauty, bold, emotional rhythm of everyday life. I see the streets as an ever evolving stage with no script, full of character, spontaneity, candid moments/chaotic moments and pure stillness and I am always inspired to capture a snippet of those moments in time. Photography is a form of art, expression and a pure joy.

Second Place Winner

Photographer: Chris Yan

Country of residence: China

Image title: Mirror

About the photograph: his photo was taken in a market in Beijing. Two girls passed by me on an electric bike. One of the girls was holding a large mirror, and her figure was reflected in the mirror. The figure in the mirror merged with the girl in front, which looked very interesting.

Photographer biography: Chris Yan, photographer, Creative Director, was born in Beijing, China in 1981. After graduating from Communication University of China with a degree in art and design, he began to work in international advertising agencies. In 2013 he founded his own company, focusing on commercial design and art creation, and began photography. He mainly explores human stories and street photography, photographing across different countries for the past ten years. He currently lives and works in Beijing.

Third Place Winner

Photographer: Nicole Prüm

Country of residence: Germany

Image title: Phantom of the Past

About the photograph: This shot was taken spontaneously during a walk through New York City 2023. It captures a figure whose profile and attire–fedora and suit–immediately call to mind the appearance of Al Capone. The actual humour lies in the pure chance of the moment: the classic, historical allusion stands directly in front of a modern NYPD Police SUV in the background. The irony of this scene–the unprompted confrontation between the spirit of Prohibition and today’s street police–is what defines the image. It is a quiet, humorous moment of street photography that transports a historical jest into the present day.

Photographer biography: My name is Nicole Prüm. Since 2017, I have been dedicating myself intensively to my passion for photography and have pursued it professionally alongside my main occupation. I work part-time as a physiotherapist. My artistic work focuses on black-and-white photography, with the human figure always at the center in various environments. I am particularly fascinated by photographic compositions that can be read metaphorically and tell visual stories. The main themes of my work are "people in geometry" and "classic street photography.

Finalist

Photographer: Adriana Palermo

Country of residence: Switzerland

Image title: Team work

About the photograph: I took this photo during a trip to Kerala, on an early morning in February 2025. The fishermen were getting ready to pull in their nets – a task that requires both strength and coordination, and one that left a strong impression on me. Over the course of two hours, I took more than 800 shots, trying to capture the complexity and beauty of that moment. This image is the one I feel works best: it conveys the balance between order and chaos, between collective effort and individual strain. The details – the ropes, the waves, the crow, the flamingos in the background – reflect the visual and symbolic richness of a daily scene, turning it into a story. I have a deep connection to this photo: it reminds me of the power of simple gestures, and how working together always leads to meaningful results.

Finalist

Photographer: Anjali Bist

Country of residence: India

Image title: Burning in light

About the photograph: Captured during Dussehra in Dehradun, 2018 – the moment I realized photography was the path I wanted to walk. This image quietly rested in my archives for eight years, waiting to remind me where it all began.

Finalist

Photographer: Anna Marzia Soria

Country of residence: Italy

Image title: Beyond the wall

About the photograph: Beyond the wall, the gaze opens to the balance of new horizons. The mind seeks the beauty of the other that appears on our path. The heart goes beyond boundaries in search of fragile humanity, towards shades of blue in a meeting of peace.

Finalist

Photographer: Bjoern Maletz

Country of residence: Germany

Image title: Rabbits don’t eat bananas

About the photograph: This photo I took in May this year during the Lightleaks Photo Festival in Luxembourg City. As I am always on the lookout for unusual things or little stories in cities, I was initially interested in the funny rabbit backpack, then I saw the bananas and, luckily for me, the arm that didn’t match the rest appeared. That was reason enough for me to press the shutter button for a funny street photo. By the way, rabbits should only be given small amounts of bananas because they don’t tolerate them very well due to their high sugar and starch content.

Finalist

Photographer: Cristiano Bartoli

Country of residence: Italy

Image title: Kite Attack

About the photograph: This photo was taken this years at the Kite Festival in Cervia, Italy. I found the child’s expression funny because it resembles that of the kite. They are very similar.

Finalist

Photographer: Eric Davidove

Country of residence: USA

Image title: The Good, The Bad, The Ugly

About the photograph: I visited the Flea Market for the first time about 14 years ago and did not return again until the end of 2024. That was when I learned about its uncertain fate and decided to attend more regularly to take photos. This photograph is part of a series called The Last Bargain, which contains candid moments that risk being lost in the name of progress.

Finalist

Photographer: France Leclerc

Country of residence: USA

Image title: Head Ball

About the photograph: In a lively neighborhood of Lalitpur, Nepal, children play football with boundless joy. Nearby, an older woman watches them, taking in the scene’s energy. I join her in quiet observation, camera in hand, keeping my distance. Suddenly, the ball veers off course–hurtling straight toward her. The kids freeze, gasping in horror. Ouch! But luckily, no harm was done despite the hit, except perhaps to pride.

Finalist

Photographer: Gavin Libotte

Country of residence: Australia

Image title: Desdemona

About the photograph: I noticed a person posing to have their photo taken and they were lit up by a beam of sunlight. I immediately ran over to the scene and framed the subject in the opera house sail. There was a group of three people in the background which gave a new perspective to the layering. They started dancing around which really helped build drama. I took a few shots for about 30 seconds. When people are engaged in an activity they don’t notice you. This technique of focusing on the audience has been developed by Martin Parr and provides a wonderful insight into a world that we usually don’t notice. When I shoot street, I prefer the 28mm. I am constantly developing my technique to get closer to subjects and still remain unnoticed, trying not to disturb people or the scene. The 28mm lets me fit more elements into the frame. I did a workshop with Julia Coddington on this technique. She is one of the best Australian Street photographers currently practicing.

Finalist

Photographer: Gerd Bonse

Country of residence: Germany

Image title: Benchresting

About the photograph: The photo was taken in Cologne, Germany. I was captivated by the contrast between the two couples. On one side, the colorful McDonald's commercial with the relaxed and fun couple. Close by, the contrast of the dark-clad, serious-looking couple, who are expressionless and don't communicate with each other.

Finalist

Photographer: Gongbu Han

Country of residence: Netherlands

Image title: Haha Nice Shot

About the photograph: It was in Heldenplatz, a monumental, photogenic location in Vienna. Every visitor there would not hesitate to ‘generate a photo’, mostly with their phones. This lady’s shiny reflective phone took place of her eyes, which were fully shadowed by the phone.

Finalist

Photographer: Irina Ebralidze

Country of residence: Finland

Image title: Friends

About the photograph: I photographed these women and their dog in the park. I like capturing moments that hold a story behind them. Everyday life is full of seemingly simple situations that, when you look closer, can feel a bit surreal or even absurd. These are brief moments when reality quietly shifts – through an unexpected contrast or a chance interaction.

Finalist

Photographer: Jaejoon Ha

Country of residence: South Korea

Image title: Hide and seek

About the photograph: I always try to capture natural moments and the emotions they evoke in my photos! My favorite place to work is Domino Park in Williamsburg, Brooklyn! Whenever I walk along the path, I see the playground from above, the bright smiles of children, and the loving faces of their parents! In fact, a positive perspective is important in my photos. I always try to capture a bright perspective as naturally as possible. My mother always loved and was curious about my photography, and she also supported me. She was the only one who cheered me on when I was going through a hard time. My mother was very ill and passed away in August of this year after nearly 10 years of treatment. I’m so sad, and I’m so grateful for her love! When I heard the news in New York, I immediately returned to Korea to see her one last time and say goodbye. I want to tell her how grateful I am and how much I love her!

Finalist

Photographer: Jepin Krishna

Country of residence: India

Image title: The Sacred Collective

About the photograph: 'Pandharpur Wari', a 21 day annual holy pilgrimage in Maharashtra, India wherein a sea of devotees walk barefoot and move as one along the 250 km route. The collective singing, dancing, and chanting by devotees looked like a timeless painting in colours of devotion and joy. I wanted to share this vibrant celebration, not just as a ritual, but as a breathing story of devotion passed down through generations that serves as a powerful reminder of cultural richness and human connection.

Finalist

Photographer: Jignesh Chavda

Country of residence: India

Image title: Thoughts take flight

About the photograph: Holy smoke! An old man smoking as a flock of birds passes by. I took this picture of old man by the river side where there are many birds come to feed and I was walking at the river side walk. As my habit of observation I saw an old man with cigarette and thought that if I make such frames that inspires me not just a wonderful frame in creative way but as an artist, it's seeing how a common material can be shaped into an unexpected form. This inspires a focus on minimalism and impact.The most striking element is how the smoke transforms into a flock of birds that means it to me in this frame. This suggests a sense of internal thought, longing, or desire for freedom literally taking wing. I like the high-contrast, stark black and white, along with the vast, empty white space, creates a powerful sense of the man being alone against a huge, empty backdrop. The man's rugged look, combined with his solid silhouette against the bright, overwhelming light. Also I like the way, He isn't engaging with the viewer or anything else; he is focused entirely inward, or simply observing the world. I used my Sony a6000 / 55-210 camera for this image

Finalist

Photographer: Liliana Ranalletta

Country of residence: Italy

Image title: A deity of the sea

About the photograph: At dawn on the final day of Kumbh Mela 2025 in Varanasi, during Maha Shivratri–the day when Shiva is said to have performed the Tandava, the cosmic dance of creation and destruction–a sadhu stands in the Ganges, eyes closed, arms lifted in prayer. Behind him, a small boat drifts by, its passengers watching, as if drawn into his invocation. For an instant, he seems to carry their weight too, gathering them into his offering. In that moment, it felt as if the river, the light, and the act of faith were all part of the same breath.

Finalist

Photographer: Mariana Basurto

Country of residence: USA

Image title: A Twin Gaze at the Pas

About the photograph: As the sun began to set over Havana, the streets emptied, leaving behind the echo of laughter and distant music. From a nearby house, joyful sounds drifted out – family and friends celebrating the birthday of a loved one who had passed away, choosing to honor their memory through life and rhythm. In that moment, two young twins, dressed in red, stood in the quiet street – one gazing into the distance, the other connecting with a woman – embodying the bittersweet beauty of remembrance, joy, and continuity that defines Cuba’s soul.

Finalist

Photographer: Marika Poquet

Country of residence: United Arab Emirates

Image title: Harbour of Hustle

About the photograph: I have been to many crowded places in India, but nothing had prepared me for the chaos of Sassoon Docks. It’s one of the craziest places I have ever seen. From the moment you arrive, all your senses are immediately activated. The noise is constant and deafening: fishermen shouting, auctioneers calling out prices, vendors bargaining; birds chirping as they circle above, boats rumbling in the distance. The strong smell of fish hits your nose. I found myself constantly on alert, startled by the Koli fisherwomen weaving swiftly through the crowd, and carts and people rushing past from all directions. It was a real exercise just to avoid stepping into a fishy puddle or slipping on a stray fish. Visually, the place is just as overwhelming. Bright colors are everywhere, from fishing boats to crates to clothes of the Koli fisherwomen. Trying to make sense of this chaos with my camera was a real challenge!

Finalist

Photographer: Mona Singh

Country of residence: India

Image title: Secret lives

About the photograph: At first glance it may seem like a simple moment, children wearing masks as if in play. But there was no festival. They were selling those masks at a busy traffic signal their faces hidden their expressions unseen. The masks weren’t for fun..they were for survival. A silent reminder of a childhood lived in shadows.

Finalist

Photographer: Shreenivas Yenni

Country of residence: India

Image title: Between Light and Motion

About the photograph: I captured this photograph in Hampi as the sun was setting. I was drawn to how the fading light touched the moving silhouettes, creating a quiet sense of peace and timelessness. To me, this moment reflects how beauty often reveals itself in simple movements and fleeting light.

Here is what else is new:

→ Kodak released two new Kodacolor color negative films (35mm roll film, 36 exposures):

• Kodak Kodacolor 100 Color
• Kodak Kodacolor 200 Color

→ Think Tank Photo released new FocusPoint Rolltop backpacks (check website for additional information).

→ Gura Gear released a new Kiboko City Mini 12L+ camera backpack (check website for additional informtion).

→ Adobe announces new 2926 versions of Photoshop Elements and Premiere Elements.

New OM System savings in Europe

New Panasonic MFT savings in the US

You can now order the new Tamron 70-180mm f/2.8 VC G2 lens for Nikon Z-mount

Nikon ZR camera shipments could be delayed “due to the overwhelming number of orders”

What’s next for Leica? (updated)

Here is a better mockup of the upcoming Leica M EV1 camera + a poll: are you going to buy one?

Here are the Pentax rebates for October

Canon 20-40mm f/2.8, 10-30mm f/4 APS-C, 28-400mm F3.5-6.3 IS, 28-400mm f/4-8 IS, 50-150mm f/2.8, 70-180mm f/2.8, 50mm f/1.2, 35mm f/1.8, and 65mm f/1.8 Patents Found

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

Image: DXO

DxO has announced a new subscription service called Premium Support, designed to give photographers priority access to technical support. The program offers direct contact with DxO experts 24 hours a day, seven days a week, including holidays.

The company says the service was created with working professionals in mind, especially those who often face tight deadlines and unpredictable schedules. DxO's head of customer support, Frédéric Baclet, cites two common examples: wedding photographers who may need to process thousands of images overnight, or photojournalists in the field who are expected to edit and deliver photos on deadline.

Subscribers to Premium Support get priority in the support queue, with faster response times and one-on-one assistance from DxO specialists. The service covers all of DxO’s software, including PhotoLab for RAW processing and noise reduction, ViewPoint for precision geometric correction, and FilmPack for recreating the look of analog film stocks. It also extends to DxO plug-ins for Adobe Photoshop and Lightroom, ensuring help is available across different editing environments.

Beyond troubleshooting, Premium Support also includes guidance for installation, configuration, and advanced use cases. DxO says the offering is not limited to professionals; advanced amateurs who prefer editing outside of standard business hours may also benefit from always-on access to help.

Premium Support could offer an extra layer of assurance for working photographers who depend on uninterrupted workflows. With fast-tracked responses and expert guidance, DxO is positioning the new program as a safety net for those who can’t afford delays in their editing pipeline.

DxO Premium Support is available now through the company's website, with three subscription options available: three months for $34.99 (29.99 € / £24.99), six months for $59.99 (49.99 € / £44.99) and twelve months for $99.99 (89.99 € / £79.99).

Image: MirageC / Moment via Getty Images

Welcome back to our Question of the Week series, where we invite you – our passionate community – to share your thoughts on a photography-related topic in the forum!

So far, we've heard your insights on camera and lens buying advice, your takes on smartphone cameras, and even debated controversial gear choices. This week, we're shifting the focus from gear to the people and places that fuel our photography: local camera and digital photography stores.

What is your favorite local camera or digital photography store?

DPReview Community Manager, Mathew Anderson, visiting his local shop (Houston Camera Exchange) in Houston, TX, USA. Photo: Mathew Anderson

Whether it's a shop packed with vintage gems (share your finds!), a place with knowledgeable staff who steer you right or simply a like-minded hangout spot, tell us about the local camera store that holds a special place in your heart. Maybe you found your dream camera there, built your lens collection or just love the chance to hang out with fellow photographers and tech geeks.

We want to know:

• What makes your favorite store stand out?
• Any memorable experiences? Surprising finds? Unique services?
• Where is it located?
• Overall, what keeps you wanting to go back?

Share your story with the community. Head over to the post in the Open Talk forum to join the conversation. You can also share your experiences on social media using the hashtags #DPReview and #DigitalPhotography. From the forums to social media, we'll select at least five responses by next Monday and share them in an article update.

Let's celebrate and support the local shops that are at the heart of our digital photography journeys!

Click here to answer the Question of the week

Amazon's Big Deal Days, the company's second shopping holiday of the year, is underway. The deals run through October 8, with discounts across any category you could imagine. Some of these discounts just bring things back down to pre-tariff prices for those in the US, but it's still savings that you wouldn't otherwise get right now. Regardless, we won't bombard you with deal-related content over the next two days. Instead, we will just be sharing some of the things we would actually recommend buying right now.

Deals on Sony gear

Image: Sony

Sony is participating in Big Deal Days this year, but the discounts are also available on Sony's website if you don't want to shop at Amazon.

Sony a7R V $3800 (10% off)

Sony a7 IV $2200 (19% off)

Sony a6400 $1000 (9% off)

Sony ZV-E10 II $1100 (8% off)

Sony FX30 $1800 (14% off)

Sony FE 24-70 mm F2.8 G Master $1600 (11% off)

Sony FE 50mm F1.4 GM $1350 (7% off)

Sony FE 24-105mm F4 G OSS $1200 (14% off)

Deals on Canon cameras

Image: Canon

Canon EOS R50 with RF-S18-45mm F4.5-6.3 IS STM Lens $800 (18% off)

Canon EOS R7 $1289 ($19% off)

Nikon camera and lens deals

Image: Nikon

Nikon Z5 II with 24-200mm Lens $2497 (6% off)

Nikon Nikkor Z 35mm F1.4 $578 (15% off)

Nikon Nikkor Z 35mm F1.8 S $747 (17% off)

Nikon Nikkor Z 50mm F1.4 $497 (17% off)

Panasonic camera deals

Image: Panasonic

Panasonic Lumix S5II $1498 (25% off)

Panasonic Lumix S5IIX with 20-60mm F3.5-5.6 + 50mm F1.8 Lenses $2298 (22% off)

Panasonic Lumix 85mm f/1.8 S Series Lens $448 (31% off)

Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power OIS $948 (10% off)

Additional camera brands

Image: GoPro

GoPro Hero13 Black Ultra Wide Edition $330 (31% off)

Polaroid Now 3rd Generation I-Type Instant Camera $136 (15% off)

Miscellaneous accessories

Image: Lexar

There are also some savings to be had beyond cameras and lenses, of course. Below is a small selection of accessories that could be worth picking up when on sale.

Datacolor LightColor Meter $298 (15% off)

Neewer 67mm Variable ND Filter ND2-ND400 (1-9 Stops) $21 (20% off)

Neewer 67mm UV/CPL/ND Lens Filter Kit with Hard Shell Storage Case $20 (15% off)

MagicFiber Microfiber Cleaning Cloth $10 (37% off)

SanDisk 256GB Extreme SDXC UHS-I Memory Card $26 (27% off)

SanDisk 512GB Extreme Pro CFexpress Card Type B $120 (24% off)

Lexar 1TB Professional CFexpress Type B Silver 4.0 Memory Card $250 (23%)

Lexar 128GB (2-PK) Professional Silver Pro SD Card $52 (35% off)

PNY 256GB EliteX-Pro60 UHS-II SDXC Memory Card $38 (40% off)

$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography, especially as photography equipment is steadily getting more expensive. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.

At this price point, your options will be entry-level interchangeable lens cameras or larger-sensor compact cameras with built-in lenses. Compacts offer more control than a phone and a greater zoom range, but likely won't offer a huge jump in image quality compared to the latest flagship phones (despite their typically larger sensors).

Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.

It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.

Our recommendations:

• Best camera under $1000: Canon EOS R10
• The better performer: Nikon Z50II
• The affordable kit: Sony a6100
• Best compact camera under $1000: Canon G7X III
• Best camera for content creators under $1000: Fujifilm X-M5

Best camera under $1000: Canon EOS R10

24MP Dual Pixel APS-C CMOS sensor | 4K/30p video (60p with crop) | 15fps shooting (23fps with e-shutter)

Photo: Shaminder Dulai

There are a few things that earn it the top spot on this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma and Tamron have stepped in to round out the selection of primes and higher-end zoom lenses available for it, so you have several good options for moving beyond the kit lens that came with it, something that isn't necessarily true with Nikon's system.

Overall, the EOS R10 is a very capable camera for its price point, and offers a lot of room to grow for those starting out in photography, especially now that there's a reasonable selection of APS-C lenses for it.

Read our Canon EOS R10 review

See Canon EOS R10 studio scene

The other options

While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and an articulating display, but it's still pretty capable.

We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.

The better performer: Nikon Z50II

20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p

Photo courtesy Nikon

The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon has not yet allowed any bright zooms, limiting your upgrade options compared with its rivals.

Read our Nikon 50II review

What about the Z fc?

Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.

The affordable kit: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though. Photo: Richard Butler

It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with the a6100's. However, it's still worth considering if you want to get both a camera body and a decent prime lens for under $1,000.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. It also uses Sony's old menu system, which can be a chore to work with.

Read our Sony a6100 review

See the Sony a6100 studio scene

Best compact camera under $1000: Canon G7X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

The PowerShot G7X III can deliver excellent image quality, backed up by good (though not great) autofocus

The Canon PowerShot G7X III is the last in what used to be a popular style: the pocketable enthusiast photographers' compact, with a relatively large Type 1 20MP sensor and bright zoom lens. Canon has added features to make it more vlogging-friendly, but the clicking control wheel gives a satisfying, hands-on shooting experience.

A note on availability: the PowerShot G7X III has been difficult to get for a while, but Canon has recently stated that it's starting production back up and is working on filling backorders. Still, getting your hands on one may require some patience.

Read our Canon PowerShot G7X III review

See the Canon PowerShot G7X III studio scene

Best camera for content creation: Fujifilm X-M5

26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p

It's aimed at creators taking pictures and video for the web, with a suite of vlogging features that let you shoot video that's ready to upload as soon as you transfer it to your phone. It also has a dial for easily switching between 'Film Simulations,' Fujifilm's much-loved color modes, and the full suite of stills features from larger, more expensive models – minus a viewfinder. Its support for X-mount lenses also gives you access to the most complete range of APS-C lenses, no matter what journey you're on.

Read our Fujifilm X-M5 review

See the Fujifilm X-M5 studio scene

What if I only vlog?

If you plan to shoot more videos than photos, it's worth considering the Canon PowerShot V1. It's a compact camera built for vlogging with its integrated 16-50mm equiv. F2.8-4.5 lens, large (for a compact) Type 1.4 (18.4 x 12.3mm) sensor, complete with optical image stabilization and an ND filter. While we don't think it offers an especially enjoyable photography experience, features like a built-in fan for cooling, headphone and microphone ports, very usable stabilization and the ability to shoot 4K60p with a 1.4x crop make it a quite powerful video camera for its size.

Click here to read the Canon PowerShot V1 review

If you only care about vlogging, and want an even more pocketable option, the DJI Osmo Pocket 3 comes in under $1000 and can't be beat when it comes to stabilization thanks to its built-in gimbal. That, and the ability to sync with DJI's wireless microphones, earn it the top spot in our dedicated vlogging buying guide.

Click here to read our Best Cameras for Vlogging buying guide

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.