Renowned street and portrait photographer Alan Schaller has created a new social media app called Irys, designed to create a calmer, ad-free alternative to algorithm-driven, engagement-focused photo sharing apps like Instagram. According to the developers, Irys intends to bring the focus back to photography rather than obsessing about metrics such as likes and follower counts.
The app is designed to give photographers control over how much "social" they want in their social media. When posting, users can choose to display or hide likes, comments, and follower counts. That flexibility makes Irys less about chasing engagement and more about presenting work in a curated, distraction-free environment.
A quieter corner of the photo-sharing world
While social media remains an important platform for photographers, many have grown frustrated with algorithms that prioritize trends and reels over still photography. Irys positions itself as a smaller, slower alternative – more Vimeo than YouTube, or in this case, more Vimeo than Instagram.
In place of algorithmic feeds, Irys features Groups, community spaces organized around shared interests and genres. Photographers can connect, collaborate, and organize meetups or exhibitions. The company also plans to curate featured galleries and run talent searches with help from established professionals and partner brands, including Leica, a frequent collaborator of Schaller's.
Irys was created by photographer Alan Schaller in an effort to create a photo sharing app not driven by algorithms, likes and follows.
Image: Iris
By emphasizing creative exchange over competition, Irys suggests it wants to appeal to photographers who value community, craft, and privacy over constant exposure.
Subscription replaces advertising
According to its developers, Irys doesn't show ads or sell user data, which they see as a key part of the app's appeal. Instead, it uses a subscription model to support the platform. The free tier allows users to upload up to 100 photos across two collections and join five Groups. A premium subscription, priced at around $6 per month or $60 per year, removes those limits and unlocks additional tools and features.
That makes Irys less like a social network and more like a hybrid between a gallery service and a community hub. The challenge, as always, will be convincing photographers to pay for what other platforms still provide for free, albeit with algorithms and ads.
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Updated: October 13, 2025
These days, you can get a lot of camera for around $2500, though in the US tariffs have made great deals in this price range a little harder to come by. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.
Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of your preferred kit. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to consider that during your lens research.
Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly outperform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.
Good autofocus tracking with auto subject recognition mode
Extensive choice of video resolutions and codecs
What we don't:
Peak dynamic range lower than peers
N-Raw video format has limited support
Nikon controls 3rd-party lens options
The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor.
It earns top place on this list because it's such a complete package (which has only improved with software updates). Its high burst rates and excellent autofocus mean you can tackle pretty much any subject, and its complete suite of video features make it very capable for recording motion pictures, too. The biggest caveat is price: in the US its MSRP is over $2500, though it appears to routinely go on sale for well below that.
The Z6III has an ample grip and easy-to-use control scheme. Nikon's menus and touchscreen layout are also well-refined, but the camera lacks the company's traditional AF mode button or front-corner switch.
Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode.
The Z6III is a genuine do-anything camera with excellent video and photo capabilities.
Image quality is very good, with lots of detail and acceptable amounts of noise. There is a recognizable dynamic range tradeoff for that speed, but it's only noticeable in extreme situations.
The Z6III shoots many video formats, including Raw, and has dependable subject-tracking autofocus and a waveform display. Its 4K and 5.4K modes produce excellent detail, even in 60p, and its rolling shutter performance is outstanding.
The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.
The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.
It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beats the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by your budget (the EOS R6 II has been around longer, so is often available for less) and the two companies' lens lineups and how they match your preferences... with the knowledge that they both control which lenses third parties like Sigma and Tamron can produce for their systems.
The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses.
Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects.
The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature.
Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent.
Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming.
Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.
The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.
The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.
The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control.
Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate.
“The a7C II is a surprisingly capable camera for its size.”
The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks.
The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.
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Should I buy the Sony a7 IV, a7 III or a7C?
The Sony a7 IV is tough to recommend in 2025, especially at its post-tariff MSRP in the US. Its viewfinder, ergonomics, and full mechanical shutter are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization. If you're you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.
It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd strongly recommend saving up for one of the newer models.
What about APS-C?
We make most of our APS-C recommendations in our best cameras under $2000 buying guide, which covers cameras like the Fujifilm X-T5, Canon EOS R7 and Sony a6700. The latter two are the highest-end crop sensor cameras from their respective brands, but Fujifilm makes the X-H2S, which is historically one of the better video cameras on the market. However, cameras like the Z6III have arguably caught up in capabilities and framerate options, and while the X-H2S' global price is eligible for its list, in the US it's closer to $3000.
The wildlife option with reach: OM System OM-1 II
20MP Four Thirds Stacked sensor | 50fps continuous shooting w/AF, 120fps AF/AE locked | IBIS rated to 8.5EV
The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor.
It's well-suited to wildlife photography, as the Micro Four Thirds system has several lenses that give you plenty of reach without being back (or pack) breakingly large, and its Stacked sensor gives it fast autofocus and incredible burst rates for shooting even the fastest subjects. It also has several computational modes that let it adapt to a wide variety of situations, and sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.
The body is quite rugged-feeling (while still being smaller than full-frame counterparts), with dials designed to be used with or without gloves, and has plenty of customizable control points. The viewfinder is relatively large and bright.
While we haven't put the OM-1 II through our full review process, we do have extensive experience with it and with the OM-3, that uses the same processor and sensor. We've found the autofocus to be reliable, though not class-leading, and it's a bit of a shame that continuous autofocus in its 50fps is limited to certain lenses. There's an image quality price to be paid for the smaller sensor, but, for Four Thirds, the OM-1 II's sensor provides good amounts of detail and the multi-shot modes can compensate for this in some circumstances.
While there are more all-round capable cameras at this price point, the OM-1 II fits into its niche quite well and is still quite solid for other kinds of photography. Its video capabilities aren't at the level that other companies provide, but if you simply want to record something, it's certainly up to the task.
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Other Four Thirds cameras
The OM-1 II shares most of its DNA with the OM System OM-3, a smaller, more stylish and less expensive option that uses a smaller viewfinder to achieve its classic styling. Both are similar to the Panasonic G9II, though that's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which offers smaller camera/lens combinations at the cost of ultimate image quality. However, they can well worth considering if your photography requires the most compact kit available.
Best for vlogging: Nikon ZR
24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec
The Nikon ZR is a video-focused mirrorless camera with a 24.5MP full-frame 'partially Stacked' sensor.
While its Red co-branding and three flavors of Raw shooting show its ambitions as a video production camera, the ZR has a lot of features that make it a great tool for vlogging, too. It has IBIS, Nikon's fairly effective autofocus system, and a 4", 3.07M dot display that can go up to 1000 nits, which should make previewing your image relatively easy, even if the camera is a bit far away from you.
It's also the first mirrorless camera with support for 32-bit float audio recording built-in, even on the 3.5mm input, which means you won't have to worry nearly as much about your audio gain levels when trying to capture the moment.
It can shoot compressed video at up to 5.4K/60, and is capable of 4K/120 for proper slow-motion, though going above 4K/60 will come with a 1.5x crop. In Raw, the ZR can record full-width 6K/60.
We'll be putting the ZR through its paces more in the coming weeks, but it's essentially a Z6III at heart, with a few more video features that should make it a very capable option if you want to go from vlogging to full-on production.
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.
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)
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.
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.
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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:
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.
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.
Main camera*
Ultrawide camera*
Telephoto camera*
Video features
iPhone 17 Pro and Pro Max
24mm F1.78
48MP Type 1/1.28 (71.5mm²)
13mm F2.2
48MP Type 1/2.55 (23.5mm²)
100mm F2.8
48MP Type 1/2.55 (23.5mm²)
ProRes RAW
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log
ACES
iPhone 16 Pro and Pro Max
24mm F1.78
48MP Type 1/1.28 (71.5mm²)
13mm F2.2
48MP Type 1/2.55 (23.5mm²)
120mm F2.8
12MP Type 1/3.2 (15.3mm²)
Dolby Vision HDR
4K/120p video
ProRes Log
ACES
iPhone 15 Pro
24mm F1.78
48MP Type 1/1.28 (71.5mm²)
13mm F2.2
12MP Type 1/2.55 (23.5mm²)
77mm F2.8
12MP Type 1/3.5 (12mm²)
Dolby Vision HDR
4K/60p video
ProRes Log
ACES
iPhone 15 Pro Max
120mm F2.8
12MP Type 1/3.2 (15.3mm²)
iPhone 14 Pro and Pro Max
24mm F1.78
48MP Type 1/1.28 (71.5mm²)
13mm F2.2
12MP Type 1/2.55 (23.5mm²)
77mm F2.8
12MP Type 1/3.5 (12mm²)
Dolby Vision HDR
4K/60p video
iPhone 13 Pro and Pro Max
26mm F1.5
12MP Type 1/1.65-type (44mm²)
13mm F1.8
12MP Type 1/3.4-type (12.2mm²)
77mm F2.8
12MP Type 1/3.4 (12.2mm²)
Dolby Vision HDR
4K/60p video
iPhone 12 Pro
26mm F1.6
12MP Type 1/2.55 (23.9mm²)
13mm F2.4
12MP Type 1/3.4 (12.2mm²)
52mm F2.0
12MP Type 1/3.4 (12.2mm²)
Dolby Vision HDR
4K/60p video
iPhone 12 Pro Max
26mm F1.6
12MP Type 1/1.9 (35.2mm²)
65mm F2.2
12MP Type 1/3.4 (12.2mm²)
*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.
iPhone 17 Pro / Pro Max
iPhone 16 Pro / Pro Max
Main camera*
24mm F1.78
24mm F1.78
Main sensor
48MP Type 1/1.28 (71.5mm²)
48MP Type 1/1.28 (71.5mm²)
Ultrawide camera*
13mm F2.2
13mm F2.2
Ultrawide sensor
48MP Type 1/2.55 (23.5mm²)
48MP Type 1/2.55 (23.5mm²)
Telephoto camera*
100mm F2.8
120mm F2.8
Telephoto sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.2 (15.3mm²)
Video features
ProRes RAW**
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
*All focal lengths are full-frame equivalents **Requires external storage for 4K/60p or higher
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.
iPhone 17 Pro / Pro Max
iPhone 15 Pro
iPhone 15 Pro Max
Main camera*
24mm F1.78
24mm F1.78
Main sensor
48MP Type 1/1.28 (71.5mm²)
48MP Type 1/1.28 (71.5mm²)
Ultrawide camera*
13mm F2.2
13mm F2.2
Ultrawide sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/2.55(23.5mm²)
Telephoto camera*
100mm F2.8
77mm F2.8
120mm F2.8
Telephoto sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.5 (12mm²)
12MP Type 1/3.2 (15.3mm²)
Video features
ProRes RAW**
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
Dolby Vision HDR
4K/60p video
ProRes Log**
ACES
*All focal lengths are full-frame equivalents **Requires external storage for 4K/60p or higher
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.
iPhone 17 Pro / Pro Max
iPhone 14 Pro / Pro Max
Main camera*
24mm F1.78
24mm F1.78
Main sensor
48MP Type 1/1.28 (71.5mm²)
48MP Type 1/1.28 (71.5mm²)
Ultrawide camera*
13mm F2.2
13mm F2.2
Ultrawide sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/2.55 (23.5mm²)
Telephoto camera*
100mm F2.8
77mm F2.8
Telephoto sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.5 (12mm²)
Video features
ProRes RAW**
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
Dolby Vision HDR
4K/60p video
ProRes
*All focal lengths are full-frame equivalents **Requires external storage for 4K/60p or higher
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.
iPhone 17 Pro / Pro Max
iPhone 13 Pro / Pro Max
Main camera*
24mm F1.78
26mm F1.5
Main sensor
48MP Type 1/1.28 (71.5mm²)
12MP Type 1/1.65 (44mm²)
Ultrawide camera*
13mm F2.2
13mm F1.8
Ultrawide sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.4 (12.2mm²)
Telephoto camera*
100mm F2.8
77mm F2.8
Telephoto sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.4 (12.2mm²)
Video features
ProRes RAW**
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
Dolby Vision HDR
4K/60p video
ProRes
*All focal lengths are full-frame equivalents **Requires external storage for 4K/60p or higher
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.
iPhone 17 Pro / Pro Max
iPhone 12 Pro
iPhone 12 Pro Max
Main camera*
24mm F1.78
26mm F1.6
Main sensor
48MP Type 1/1.28 (71.5mm²)
12MP Type 1/2.55 (23.9mm²)
12MP Type 1/1.9 (35.2mm²)
Ultrawide camera*
13mm F2.2
13mm F2.4
Ultrawide sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.4(12.2mm²)
Telephoto camera*
100mm F2.8
52mm F2.0
65mm F2.2
Telephoto sensor
48MP Type 1/2.55 (23.5mm²)
12MP Type 1/3.4 (12.2mm²)
12MP Type 1/3.4 (12.2mm²)
Video features
ProRes RAW**
Genlock support
Dolby Vision HDR
4K/120p video
ProRes Log**
ACES
Dolby Vision HDR
4K/60p video
*All focal lengths are full-frame equivalents **Requires external storage for 4K/60p or higher
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.
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.
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.
Camera Intelligence Unveils Caira - The World's First Interchangeable Lens Mirrorless Camera with Google's “Nano Banana” Onboard
London and New York – October 7th, 2025 – Camera Intelligence today announced Caira, a new AI-native Micro Four Thirds mirrorless camera that attaches to iPhones via a MagSafe connector. Caira is the world's first interchangeable lens mirrorless camera to feature Google's next-generation generative AI model, 'Nano Banana' , integrated directly into its product. This powerful fusion of professional optics and advanced on-camera intelligence empowers creators to do advanced image editing in real-time, drastically streamlining content creation workflows.
With the integration of Google’s 'Nana Banana' model, Caira ushers in a new era of on-camera "generative editing, " moving beyond simple capture to offer in-the-moment creation and editing, for spectacular real-time adjustments that were previously only possible through complex post-production software and workflows on laptops.
Using simple natural language prompts users can instantly change the style or colour grade of a scene, transform a bright daytime scene into a dramatic nightscape, or even make hyper-specific additions, like changing the colour of a subject's clothing or hair, or placing jewelry on a person's body, all directly within the Caira app after the photo has been taken.
With Caira, we are not just launching a new camera; we are introducing a new, intelligent creative partner, " said Vishal Kumar, CEO of Camera Intelligence. "Creators need more than just great image quality - they need speed, flexibility, and tools that match the pace of their imagination. By integrating Nano Banana directly into Caira, we are collapsing traditional content creation workflows; we aim to fundamentally shift how creators capture, edit, and share our world. ”
Understanding the profound implications of this technology, Camera Intelligence is developing Caira with an ethics-first approach. The company is actively collaborating with a diverse group of professional photographers to establish responsible use cases. Furthermore, Camera Intelligence is designing ethical system prompts and safeguards within the AI model to prevent misuse. The technology will always adhere to Google’s Generative AI Prohibited Use Policy, and it will not permit alterations to a person's skin tone, ethnicity, or core facial features, ensuring the tool is used to augment creative expression, not to unethically manipulate personal identity.
“We’ve put a lot of thought into this technology before offering it to our customers. Despite the skepticism surrounding generative AI, we believe photographers shouldn't fear it. Thoughtful integration of this has the potential to be truly helpful. We chose Google’s Nano Banana because it's the best model we've seen for maintaining consistent character details and seamlessly blending new edits whilst preserving the original image's optical quality. Its one-shot editing capability is also exceptional, frequently delivering perfect results in a single attempt without unwanted hallucinations. It truly feels like magic. ”
Caira is designed for creators and businesses who demand both cutting-edge quality and unparalleled creative freedom. By leveraging on-camera AI, Caira eliminates the need for laptop-based post-processing for many creative tasks, offering a seamless 'shoot-and-share' workflow for high-quality content creation.
Availability
Caira Camera will launch for pre-order exclusively on Kickstarter, with the campaign scheduled to go live on October 30th, 2025. Interested customers can sign up for launch notifications on the company's website - www.cameraintelligence.com.
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):
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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.
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.
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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.
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.
Sample gallery
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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.
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.
Connexion
