7Artisans has released the AF 35mm F1.8 lens for full-frame Sony E, Nikon Z and Leica L mount cameras. The popular prime focal length lens comes at a budget price, yet offers features typically found on more premium models.
Budget lenses typically utilize plastic construction with little in the way of on-lens controls. But the 7Artisans AF 35mm F1.8 uses metal construction for greater durability. It also offers a customizable FN button and MF/AF switch. Additionally, it features an aperture ring that is stepless for silent and smooth operation when shooting video.
Image: 7Artisans
7Artisans constructed the lens with 11 elements in 8 groups, with 2 aspherical, 2 high-refractive and 1 ED element. The company promises corner-to-corner sharpness. An STM motor powers the autofocus, which is compatible with eye and face tracking. 7Artisans says there is enhanced focus breathing suppression for better video performance. It can focus as close as 0.4m (1.3').
The metal construction adds weight, so it isn't the lightest 35mm prime available, coming in at 426g (15oz) for the E mount model. It is still relatively compact, though, measuring 94mm (3.7") long. The lens offers a 62mm filter thread and comes with a petal-shaped lens hood. It features a USB-C port for firmware updates and comes with a USB-C cable.
For our latest 'Question of the week,' we wanted to find out what camera stores near you were special hidden gems. Several of you naturally suggested B&H, which was the most common answer, but there were also many more unique and intriguing finds. We even had examples from Japan and Spain! It was exciting to see so many thriving brick-and-mortar camera stores.
In total, over 140 stores were mentioned, with at least 40 distinct ones across multiple countries around the world. Here are a few spotlight stories you shared with us.
Various stores in Vancouver, Canada
DPReview reader Jack Simpson in front of Dunne & Rundle on Granville Street in Vancouver, Canada.
Photo: Jack Simpson
Reader Jack Simpson told us about the various camera stores he worked at in Vancouver, Canada:
"All the camera stores I worked at in Vancouver, BC, which were, in chronological order: July 1992 > Broadway Camera (my launch pad), WesPro Camera, Dunne and Rundle Cameras (Foto Source) – where, I think, I started to feel comfortable – Gastown Photo and, lastly, Leo's Camera Supply > mid-March 2020. My favorite was probably Dunne and Rundle because it had a family atmosphere."
The photo above shows Simpson "on my last day at the Granville Street (Dunne & Rundle) location, where they had been since 1929, albeit in three locations."
Wilkinson Camera in Liverpool
Wilkinson Camera in Liverpool on Bold St., seen in the distance as viewed from St Luke's, the Bombed Out Church.
"My favorite local store is Wilkinson Camera in Liverpool on Bold St. I find Wilkinson's in general a good company, one of several I have bought from here in the UK. They are not the only local store, but they are the best."
"It’s the helpful and knowledgeable staff that stand out for me, not to mention that the store is just across the street from a railway station and on the edge of the city center. There is an excellent coffee shop and bar just up Bold St, where I have been known to buy the Olympus rep a decent cup of coffee as a thank you for a great demo."
B&H Camera in New York
Reader monte12345 bought this camera over the phone from B&H Photo in New York in 1984.
Photo: monte12345
Not surprisingly, several readers called out B&H Photo in New York. Reader monte12345 told us:
"I bought this camera [see photo above] in 1984 from B&H by calling the phone number listed in an ad in the back of Modern Photography. Called them up and placed the order, and mailed them the check, and when it arrived, they called me and let me know the camera and lens had been shipped. Three days later, I received the camera. It was a no-mess, no-fuss operation start to finish, and I still have the camera, and it's still functioning perfectly. Actually, that says a lot about the excellence of Copal shutters. When I got it out today, I hadn't fired the shutter since 1997, and it only took about 10 test fires at 1/4 second for it to start timing accurately. BTW, if you fail to exercise a shutter, this will happen."
Reader maoby mapped out the 147-hour walk from his home near Montreal to B&H Photo in New York.
Image: maoby
Reader maoby had a slightly more humorous take on B&H:
"Obviously, it's B&H that comes up most often, which is good because I don't live far from there. I'm going to take a short health walk to visit it."
"Schiller's Camera, St. Louis, Missouri. Special since they've been in business since the late 1800s (seriously). They offer lots of services beyond gear sales. Print services, including canvas and metal, photo restoration, film developing, audio/video transfers for old media, rental gear, photo classes, and they lead workshops and group outings around the local area. Many of the employees have been there 20+ years, and they know their stuff."
Yodobashi Camera in Tokyo
Dozens of tripods stand on display in the tripod section of Yodobashi Camera in Tokyo. The store can be a bit of sensory overload to newcomers, but once you've spent an hour there, you'll never forget the Yodobashi song that plays constantly near the escalators.
"Yodobashi Camera in Tokyo, Japan. I don't get to New York or Chicago, and Atlanta no longer has what I'm looking for, but I visit Japan annually, and the camera stores there are out of sight!"
"Yodobashi Camera is a chain store, and you can find it in popular Tokyo districts such as Shinjuku and Akihabara, not to mention other cities throughout Japan. You really want to visit their stores. Where else can you see an entire department devoted to tripods, for example, or a huge department with nothing but camera bags?"
If you haven't had a chance to join the somewhat nostalgic discussion, it's not too late. The post is still open, so you can get in there and share a photo and experience at your local camera store.
Thank you to everyone who took the time to answer, and we look forward to hearing your responses next time!
Large F1.4 maximum aperture delivers exceptional low-light performance and beautiful background blur for stunning portraits
0.45m Minimum Focusing Distance: AF 50mm F1.4 Pro has a minimum focusing distance of just 0.45m, offering excellent macro capabilities. With Pro-level ultra-high resolution, every detail is rendered with precision, preserving more intricate details.
Quiet and Fast Autofocus HyperVCM: This is especially suitable for real-time subject tracking, even with moving subjects, Whether photographing or filming, this lens ensures sharp focus where it matters most.
Outstanding Sharpness Even at Full Aperture: AF 50mm F1.4 Pro maintains exceptional sharpness even when the aperture is fully open to F1.4, with consistent sharpness from the center to the edges.
Excellent video shooting performance: The AF 50mm F1.4 Pro delivers outstanding optical performance, with equally impressive video capabilities. When switching focus, the field of view changes minimally, and the breathing effect is negligible, allowing you to capture inspiration anytime.
Laowa has officially launched its 200mm F2 AF lens for full-frame cameras. The new telephoto prime for Sony E, Nikon Z and Canon EF mounts promises pro-level quality and features yet comes in at nearly half the price of the recently released Sigma 200mm F2 DG OS Sports, and does so with a more compact build.
Long telephoto lenses tend to be bulky and heavy, including the small selection of 200mm primes on the market. However, Laowa's 200mm F2 AF is relatively compact and lightweight. The Sony E and Nikon Z mount versions weigh 1.71 kg (3.74 lb), while the Canon EF mount version weighs 1.59 kg (3.51 lb). The Nikon Z version is the longest model, coming in at 176.8mm (6.9"), with the Canon EF version the shortest at 148.3mm (5.8"). For comparison, Sigma's new 200mm F2 lens weighs 1.80 kg (3.97 lb) and is 203mm (7.99") long.
Image: Laowa
Laowa promises "flagship-level results" from its latest lens. It features 11 elements in 9 groups, including two extra-low dispersion elements, one anomalous dispersion element and one ultra-high refraction element. Laowa says it offers well-controlled chromatic aberration with "razor-sharp clarity" for sharp images edge-to-edge with accurate colors. It also promises large bokeh.
Photo: Bastian Kratzke / Laowa
Laowa also says the lens provides precise and fast autofocus, making it well-suited for capturing sports and wildlife. It can focus as close as 150 cm (4.92'), slightly closer than the Sigma offering. It is compatible with 105mm front filters, and the Sony E and Nikon Z mount versions feature a built-in 43mm rear filter holder as well.
There are plenty of on-lens controls, including an aperture ring, focus limiter switch, AF/MF switch, FN button and a knob to quickly adjust the position of the lens support when changing orientation. Laowa also designed the lens with weather sealing to protect against dust and moisture.
The Laowa 200mm F2 AF lens is available for pre-order for $1799 for Canon EF and $1999 for Nikon Z and Sony E. It will ship in November 2025.
Nikon has announced the winners of its 2025 Small World photomicrography competition, gathering images from all around the world that show off the microscopic universe around us in shocking detail. The winning images depict a wide range of subjects, including cells from a variety of organs (and even species), insects, fungi and minerals, just to name a few.
There are twenty winners, which you'll see in this slideshow, but there are several other honorable mentions and images of distinction, which Nikon has hosted on its site. The company says it received "thousands of entries from scientists and artists across the globe."
1st place: Zhang You
Subject: Rice weevil (Sitophilus oryzae) on a grain of rice
Technique: Image Stacking
Objective Lens Magnification: 5X
Location: Kunming, Yunnan, China
About the image: You is a member of the Entomological Society of China and the Entomological Society of Yunnan Province. He told Nikon: “It pays to dive deep into entomology: understanding insects’ behaviors and mastering lighting.” “A standout work blends artistry with scientific rigor, capturing the very essence, energy, and spirit of these creatures.”
The image was created over the course of two weeks out of 100 exposures taken with a medium format camera.
You told Nikon: “I had observed rice weevils in grains before, but never one with its wings spread.” “This one was naturally preserved on a windowsill, perhaps in a final attempt to escape. Its tiny size makes manually preparing spread-wing specimens extremely difficult, so encountering it was both serendipitous and inspiring.”
2nd place: Dr. Jan Rosenboom
Subject: Colonial algae (Volvox) spheres in a drop of water
The Natural History Museum, London, has announced the winners of its 2025 Wildlife Photographer of the Year competition, a range of images that showcase the variety of life on the planet in 19 different categories. They were chosen out of 60,636 images, with photographers from 113 countries and teritories submitting their work.
The winning photographs are not only portraits of animals and other critters in their natural habitats, but are also often examples of worlds colliding: a hyena in an abandoned mining town, a juvenile giant anteater being nursed back to health in a rehabilitation center. They're reminders that we're just a part of a much larger world.
If you want to see more stunning wildlife photography, be sure to check out our slideshow of the 16 highly commended images released from the competition earlier this year as a sneak peek.
Ghost Town Visitor - Wim van den Heever
Winner, Wildlife Photographer of the Year 2025 / Urban Wildlife
Wim van den Heever (South Africa) photographs this haunting scene of a brown hyena among the skeletal remains of a long-abandoned diamond mining town.
With sea fog rolling in from the Atlantic Ocean, Wim chose this spot for his camera trap after noticing hyena tracks nearby. ‘It took me 10 years to finally get this one single image of a brown hyena, in the most perfect frame imaginable.’
The rarest hyena species in the world, brown hyenas are nocturnal and mostly solitary. They are known to pass through Kolmanskop on their way to hunt Cape fur seal pups or scavenge for carrion washed ashore along the Namib Desert coast.
Location: Kolmanskop, near Lüderitz, Namibia
Equipment: Nikon D810 + 17–35mm f2.8 lens at 17mm; 15 at f2.8; ISO 3200; 2x Nikon SB-800 Speedlight flashes; Camtraptions motion sensor
After the Destruction - Andrea Dominizi
Winner, Young Wildlife Photographer of the Year 2025 / 15 – 17 Years
Andrea Dominizi (Italy) finds a longhorn beetle – a forest sentinel observing an intruder.
Andrea noticed this longhorn beetle while walking in the Lepini Mountains of central Italy, in an area once logged for old beech trees. Using a wide-angle lens and off-camera flash, he framed the beetle against abandoned machinery.
Andrea’s photograph tells a poignant story of habitat loss. As longhorn beetles tunnel into dead wood, fungi make their way inside, helping to break it down and recycle nutrients. If the beetles’ habitat is disturbed or destroyed, the effects ripple across the entire ecosystem.
Location: Lepini Mountains, Lazio, Italy
Equipment: Nikon D7100 + Tokina 10–17mm f3.5–4.5 fisheye lens at 17mm; 1/80 at f8; ISO 400; Godox TT350 off-camera flash and diffuser
Fernando Faciole (Brazil) watches an orphaned giant anteater pup follow its caregiver after an evening feed at a rehabilitation centre.
Fernando wanted to highlight the consequences of road collisions, a leading cause of the decline in giant anteater numbers in Brazil. This pup’s mother was killed by a vehicle, and the hope is that it will be released back into the wild after being encouraged to develop crucial survival skills by its caregiver.
Alongside rehabilitation centres, the Anteaters and Highways project of the Wild Animal Conservation Institute is developing strategies to reduce anteater deaths on Brazil’s roads. These include erecting fences and building underground tunnels to allow the anteaters to cross safely.
Location: Centro de Triagem de Animais Silvestres (CETAS), Belo Horizonte, Brazil
Equipment: Nikon D850 + 24–70mm f2.8 lens at 28mm; 0.8 at f22; ISO 31; Nikon Speedlight flash with Greica CT-16 transmitter/receiver
Like an Eel out of Water - Shane Gross
Winner, Animals in their Environment
Shane Gross (Canada) witnesses a peppered moray eel very much in its element hunting for carrion at low tide.
It took Shane numerous attempts over several weeks to document this rarely photographed behaviour. At first the eels were elusive, but once Shane realised that they were scavenging for dead fish, he waited. His patience was soon rewarded when these three eels appeared.
Peppered moray eels are well adapted to the intertidal zone. They can hunt both above and below the water’s surface using their keen senses of smell and sight, sometimes staying out of water for more than 30 seconds.
Location: D’Arros Island, Amirante, Seychelles
Equipment: Nikon Z6 + 24–70mm lens at 24mm; 1/250 at f5.6; ISO 2500; Godox AD400 Pro flash with 24-inch diffuser; light stand
Cat Amongst the Flamingos - Dennis Stogsdill
Winner, Behaviour: Mammals
Dennis Stogsdill (USA) witnesses a caracal hunting a lesser flamingo in the Serengeti National Park, Tanzania.
Dennis had been keeping an eye out for wild cats such as servals for several days when a call came over the radio: one had been seen at Ndutu Lake. But it wasn’t a serval. It was a caracal, successfully hunting wading lesser flamingos.
Caracals have a varied diet, from insects to antelope, and are renowned for the acrobatic leaps they make to snatch birds from the air. But there are few, if any, records of them hunting flamingos.
Location: Ndutu Lake, Serengeti National Park, Tanzania
Equipment: Canon EOS-1D X Mark II + 600mm f4 lens; 1/1600 at f5.6; ISO 2500
Shadow Hunter - Philipp Egger
Winner, Animal Portraits
Philipp Egger’s (Italy) patience is rewarded with the orange glint of an eagle owl’s eyes and the evening light falling on its feathers.
Philipp first saw this nest while climbing and spent four years observing it from a distance. He planned this image meticulously, right down to the slight camera wobble to blur the few elements present, using a telephoto lens.
About twice the weight of a buzzard and with a wingspan approaching 180 centimetres (6 feet), these formidable nocturnal predators are among the largest owls. They nest on sheltered cliff ledges or in crevices, often returning to the same site for years.
Location: Naturns, South Tyrol, Italy
Equipment: Nikon Z9 + 180–600mm f5.6–6.3 lens; 1/10 at f29; ISO 320
Frolicking Frogs - Quentin Martinez, France
Winner, Behaviour: Amphibians and Reptiles
Quentin Martinez (France) discovers a gathering of lesser tree frogs in a breeding event.
In persistent rain, Quentin followed a flooded path to a temporary pool in a forest clearing. He framed this scene with a wide-angle lens and used a diffused flash, which didn’t disturb the frogs, to highlight their metallic sheen.
To attract mates, lesser tree frogs produce short, shrill calls. Huge numbers gather, and the spectacular breeding event – triggered by heavy rains – lasts for just a few hours.
Location: Kaw Mountain, French Guiana
Equipment: Canon EOS 7D Mark II + 17–40mm f4 lens at 24mm; 1/200 at f16; ISO 500; 4x Meike MK320 flashes; homemade softbox
Synchronised Fishing - Qingrong Yang
Winner, Behaviour: Birds
Qingrong Yang (China) perfects photographic timing to show a ladyfish snatching its prey from right under this little egret’s beak.
Qingrong was at Yundang Lake near his home, a place he visits regularly to photograph the feeding frenzies: little egrets patrol the surface, ready to pounce on fish leaping to escape underwater predators.
Once a natural marine harbour, Yundang Lake was sealed off from the sea during 1970s development. Isolated from the tides and currents, it became polluted and stagnant. An engineering project later reconnected it to the sea via a system of gates that regulate water flow.
Location: Yundang Lake, Fujian Province, China
Equipment: Nikon Z9 + 400mm f2.8 lens; 1/2500 at f5; ISO 110
Mad Hatterpillar - Georgina Steytler
Winner, Behaviour: Invertebrates
Georgina Steytler (Australia) showcases the strange headgear of a gum-leaf skeletoniser caterpillar.
Georgina had been looking out for this caterpillar for years when she noticed eucalyptus trees bearing skeletonised leaves, telltale signs that the animal had been grazing. She took this image backlit by the setting sun, using a fill-in flash to illuminate the living head at the base of the stack.
This caterpillar’s unusual headgear is made up of old head capsules, each retained with every moult. The resulting tower is believed to help deflect attacks by predators.
Location: Torndirrup National Park, Western Australia, Australia
Equipment: Olympus OM-D E-M1 Mark III + 90mm f3.5 lens; 1/250 at f22; ISO 500; Godox flash
The Feast - Audun Rikardsen
Winner, Oceans: The Bigger Picture
Audun Rikardsen (Norway) witnesses feeding time around an Atlantic fishing vessel during a polar night in northern Norway.
Audun managed to photograph this chaotic scene of gulls attempting to catch fish trapped by nets. The gulls have learnt to follow the sound of the boats to find a herring feast. Through his work, Audun aims to draw attention to the ongoing conflict between seabirds and the fishing industry.
Unfortunately, many birds drown in or around these purse seine nets each year. Various fisheries and researchers are trialling solutions, including sinking the nets more quickly to make them less accessible to the birds.
Location: Kvænangen Fjord, Skjervøy, Norway
Equipment: Canon EOS R5 + 15–35mm f2.8 lens at 15mm; 1/200 at f4.5; ISO 10000; Canon Speedlite 600EX II flash; LED torch
The Weaver’s Lair - Jamie Smart
Winner, 10 Years and Under
Jamie Smart (UK) spots an orb weaver spider inside its silken retreat on a cold September morning.
Jamie first noticed the dew-laden web before realising its maker was sitting in a nest. With the patience and steadiness needed to manually focus her camera, she kept the spider perfectly lit and symmetrically framed.
This spider’s web is constructed from a scaffold of radial threads, overlaid with a spiral of sticky silk to hold ensnared insects. A strong signal thread transmits vibrations to the spider’s hiding place, triggering it to emerge and collect its prey.
Location: Mid-Wales, UK
Equipment: Nikon Z9 + 105mm f2.8 lens; 1/200 at f10; ISO 80; Nikon SB-910 Speedlight flash; Cygnustech diffuser
Alpine Dawn - Lubin Godin
Winner, 11–14 Years
Lubin Godin (France) finds himself in mist-shrouded mountains with silhouetted ibex.
Lubin spotted the Alpine ibex resting above a sea of clouds during an early morning ascent. As the mist rose and the sun broke over the crags, he retraced his steps to capture this ethereal moment before fog thickened and the light faded.
Native to Europe, the species was hunted close to extinction in the early 1800s. Thanks to protection and reintroduction efforts, ibex now roam large areas of the Alps. However, a rapidly changing climate causing shifts in food availability during breeding seasons may hinder their survival.
Location: Col de la Colombière, Haute-Savoie, France
Equipment: Canon EOS R7 + 100–400mm f4.5–5.6 lens at 140mm + 1.4x teleconverter; 1/640 at f8; ISO 100
Survival Purse - Ralph Pace
Winner, Underwater
Ralph Pace (USA) beautifully illuminates the egg case of a swell shark, tethered to the base of a giant kelp.
Faced with strong currents pushing him from side to side, Ralph struggled to keep steady to photograph this egg case, or ‘mermaid’s purse’. He lit the case from behind to reveal the swell shark embryo within, its gill slits and yolk sac clearly visible among the dark kelp forest.
Researchers estimate that kelp forests in Monterey Bay have declined by more than 95 per cent over the past 34 years. Swell sharks depend on kelp to lay their leathery eggs, making them especially vulnerable to such losses.
Location: Monterey Bay, California, USA
Equipment: Nikon D850 + 28–70mm f3.5–4.5 lens; 1/125 at f14; ISO 640; Nauticam housing; 2x Sea & Sea strobes
Caught in the Headlights - Simone Baumeister
Winner, Natural Artistry
Simone Baumeister (Germany) shows an orb weaver spider on its web on a pedestrian bridge, silhouetted by lights from the cars below.
To achieve this kaleidoscopic effect, Simone reversed one of the six glass elements in an analogue lens. This distorted the image at the edges while leaving the centre sharply focused. She then cropped the picture to move the spider slightly off-centre.
In urban environments, orb weaver spiders often spin webs near artificial lights that attract insects at night. The web acts as an extension of their sense organ, gathering sound and transmitting vibrations, including those of prey, to their legs.
Location: Ibbenbüren, North Rhine-Westphalia, Germany
Equipment: Canon EOS R5 + Carl Zeiss Jena Pancolar 50mm f1.8 lens + 16mm extension tube; 1/250 at f2.8 (-1.33 e/v); ISO 1250
Deadly Allure - Chien Lee
Winner, Plants and Fungi
Chien Lee (Malaysia) uses a UV torch to reveal the fluorescent world of an insect-attracting pitcher plant.
Insects can see ultraviolet (UV) light, but humans can’t, so Chien used a long exposure and a UV torch. Waiting until after sunset, he had just a five-minute window before the ambient light illuminating the backdrop disappeared completely.
Some carnivorous pitcher plants reflect UV light on certain areas as part of their ‘display’. They use colour, scent and nectar to lure their prey into pools of digestive juices at the bottom of their leaves.
Location: Kuching, Sarawak, Borneo, Malaysia
Equipment: Nikon Z9 + Laowa 15mm f4 macro lens; 30 at f16; ISO 100; Convoy C8 ultraviolet torch
Vanishing Pond - Sebastian Frölich
Winner, Wetlands: The Bigger Picture
Sebastian Frölich (Germany) finds a springtail among a galaxy of neon green gas bubbles in Austrian moorlands.
Sebastian visited this fragile wetland ecosystem to highlight its importance as a vast store of carbon dioxide and as a habitat for diverse wildlife. A tiny springtail ran across escaping gas bubbles rising through the algae, giving this image a sense of scale.
Austria has lost 90 per cent of its peat bogs, and only 10 per cent of those that remain are in good condition. Platzertal is one of the last intact high moorlands in the Austrian Alps, and an area renowned for its carbon-storing peat bogs.
Location: Platzertal, Tyrol, Austria
Equipment: Nikon Z7 + 105mm f2.8 lens; 1/800 at f9 (-1.67 e/v); ISO 400
How to Save a Species - Jon A Juárez
Winner, Photojournalism
Jon A Juárez (Spain) documents the groundbreaking science to save the northern white rhino from extinction through in vitro fertilisation (IVF).
Jon spent years documenting the work of the BioRescue Project, and says that witnessing a milestone in saving a species 'was something I will never forget'.
This southern white rhino foetus, which did not survive due to an infection, was the result of the first successful rhino embryo transfer into a surrogate mother through IVF. This breakthrough paves the way for saving the rare northern white rhino from extinction, as scientists can take the next crucial steps towards transferring the first northern white rhino embryo into a southern white rhino surrogate.
Location: Ol Pejeta, Nanyuki, Laikipia County, Kenya
Equipment: Nikon Z9 + 24–120mm f4 lens at 24mm; 1/400 at f7.1; ISO 1600; LED light panel
Seething Pit - Javier Aznar González de Rueda
Winner, Photojournalist Story Award
Visitors gaze at hundreds of western diamondback rattlesnakes at the annual rattlesnake round-up in Sweetwater, Texas. Many of these snakes will be killed and sold for their skin and meat. Round-ups can harm other animals too: snakes are often driven from their rock shelters using petrol fumes, which also affect any creatures sheltering alongside them.
Equipment: Sony α7R III + 24–70mm f2.8 lens at 44mm; 1/30 at f10; ISO 4000
Javier Aznar González de Rueda (Spain) explores the complex relationship between humans and rattlesnakes across the United States.
For centuries, rattlesnakes have been viewed in vastly different ways across the American continent – from reverence and respect to fear and suspicion. Annual rattlesnake round-ups, where hunters compete to collect the highest weight of snakes, began in the 1930s. Today, these competitions are losing their appeal, but in some states, anti-rattlesnake sentiment remains strong.
In this portfolio, Javier calls for respect and protection for these creatures before they disappear from the American landscape.
Sole Survivor - Luca Lorenz, Germany
Winner, Rising Star Award
Luca had been watching a tree hole where this Eurasian pygmy owl and its mate were nesting. When one disappeared, the other continued feeding the chicks. On this day, the remaining bird returned clutching the chicks’ breakfast in its claws, and called for its mate, but there was no reply.
Equipment: Nikon Z8 + 180–600mm f5.6–6.3 lens at 600mm; 1/125 at f6.3; ISO 2500
Luca Lorenz (Germany) explores his passion for the natural world by viewing it through an artistic lens.
Luca’s childhood ambition was to learn everything he could about birds. He spent long hours in the parks around his home on the outskirts of Berlin, observing them. He bought his first camera when he was 13, and photography became a passion.
Through photography, Luca is able to spend time in nature and highlight its beauty. His portfolio aims to show people his personal view of nature and inspire others to protect it.
Taiga Tapestry - Alexey Kharitonov
Winner, Portfolio Award for Visions of the North
A kaleidoscope of colours carpets Mukhinskoye Swamp under a grey sky. Blue lakes and channels fringed with white ice contrast with green and yellow grasses and widespread sphagnum mosses, which turn vibrant orange and red during the brief autumn.
Equipment: DJI Mavic 2 Pro + Hasselblad L1D-20c 28mm f2.8 lens; 1/30 at f2.8 (-0.3 e/v); ISO 100
Alexey Kharitonov (Israel/Russia) finds art in unexpected perspectives across Russia’s northern swamps.
Alexey is a self-taught photographer with a passion for landscape photography. His artistic exploration of remote regions in the Russian North, Siberia and Asia highlights taiga and Arctic tundra scenes as summer rapidly turns to winter.
Using drones, he picks out details in these vast terrains, showcasing their wild beauty through striking compositions. Yet beyond this visual feast lie human-made threats – not least a pressing vulnerability to climate change.
For the past couple of weeks, many of you have noticed a banner at the top of the page that says, "Add as a preferred source on Google." Let me tell you what that is and why it's there.
There was a time when you could search Google for whatever you were looking for and get a clear list of links to authoritative sources. But changes to Google search in recent months have dramatically impacted how news, reviews and expert sources like DPReview appear in search results, making it much more difficult to find the expert information you're looking for. As a result, DPReview, along with industry-leading sites like Wired and The Verge, is asking our readers to proactively add us as a "preferred source" on Google.
I'll explain why we're making this request, how it works, and why these changes in search matter to those who value online journalism and expert sources of information.
The shifting landscape of Google search
For years, DPReview and other websites have depended on Google search to connect them with readers. In return, Google got the search traffic it desired. This relationship fueled the creation of high-quality web content, allowing readers to search for expert information and find it in search results.
This year, however, Google has rolled out some particularly radical changes. AI-generated summaries and overviews now dominate the top of many search results. This is especially frustrating when those summaries are taken word-for-word from a DPReview article or camera review. But here we are.
While it's not the case here, we've seen Google's AI summaries provide answers that are word-for-word the same as one of our articles, and that first photo of the Nikon Zf in the top row is from our review. Unfortunately, Google rarely sends traffic to us when it uses our content this way.
For readers who make it past the (hopefully correct) AI summaries, it's often necessary to wade through row after row of sponsored posts, links to retail sites, and image grids of "popular products" and where to buy them. Meanwhile, content from platforms like Reddit and YouTube is prioritized over publishers who provide much of the data Google uses to feed its AI summaries.
The net result is that many reputable and information-rich websites have experienced double-digit drops in referral traffic. If you're willing to delve far enough down the page, you'll find them, but the fact is that many people don't.
Enter Google's "Preferred Sources"
In 2025, Google announced a new feature called Preferred Sources, and it's one of those rare tech industry products whose name actually describes what it does: it allows you to tell Google what sources of information you like or trust, so that you see results from those sources more often. At the time of writing, Preferred Sources is available to users in the US or India. Hopefully, Google will expand that to other geographies.
If you add DPReview to your preferred sources, it will appear more prominently on search results pages, and you'll see more DPReview content in your feed on Google Discover.
To make DPReview one of your preferred sources on Google, click this link or the Google icon at the top of the page. In the window that appears, simply click the box to the right of DPReview. That's it!
While you're there, take a moment to search for other trusted websites you rely on and add them to your preferred sources, too.
DPReview (and other publishers) need your help
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Fujifilm has announced the Instax Mini LiPlay+, an update to its Mini LiPlay camera from 2019. The company calls it a "hybrid" camera; it features a digital sensor, but can also print out the images you take with it onto Fujifilm's Instax Mini instant film.
The actual camera part of the Mini LiPlay+ appears to be relatively unchanged. It still features a tiny Type 1/5 (6.46mm²) sensor behind a 28mm equiv. F2 lens, and enough internal storage to hold around 45 of the 5MP images it captures. That storage can be expanded with a microSD card, and you can use the camera to print images from your smartphone onto Instax film as well.
There are some changes, though. The largest is that there's now a second camera on the back of the camera, which Fujifilm says is for taking selfies. It has a 23mm equiv., F2.2 fixed focus lens, though the company makes no mention of what resolution or size sensor is behind it. You can use it to take selfies as usual, using the rear display to compose your shot, but you can also create what Fujifilm is calling "layered photos," which combines the image from the front and selfie cameras to show you and the place you're taking a picture of in one of four layouts.
Image: Fujifilm
The camera also builds on the original LiPlay's ability to record audio, which can be played back via a QR code printed on the image. Using the companion app, you can now create a "Sound Album," combining up to five images and the sounds recorded around when they were taken.
The camera body has also been redesigned, with a more squared-off design and simplified control layout. At 3", the rear display is larger than the 2.7" one on the original LiPlay, and the camera weighs about 10g more at 265g. It's available in a light "sand beige" and dark "midnight blue."
The Instax Mini LiPlay+ will be available later this month, retailing for $235. This represents a substantial jump over the original's $160 launch price, though that camera currently sells for $200.
Press release:
Fujifilm Announces the Next Generation of its instax mini LiPlay™ Hybrid Instant Camera Series
instax mini LiPlay+™ features stylish design updates and key new features
VALHALLA, N.Y., October 13, 2025 - FUJIFILM North America Corporation, Imaging Division, today announced the introduction of its instax mini LiPlay+™ hybrid instant camera (mini LiPlay+), an update to the popular instax mini LiPlay™ line that debuted in 2019. This new camera debuts a variety of new features including dual cameras (a main camera plus a wide- angle selfie camera) with new capabilities for image makers, various enhanced sound capabilities that allow the user to integrate sound into their images (through the use of an integrated QR code printed onto the image), and tasteful upgrades to the camera body.
“As Fujifilm’s first hybrid instant camera, and the first camera with the unique capability to integrate sound into photos, our mini LiPlay™ line of hybrid instant cameras has always been one of our most unique offerings,” said Bing Liem, president, FUJIFILM North America Corporation, Imaging Division. “mini LiPlay+™ builds on the distinctive features of the original mini LiPlay™, giving users even more creative ways to express themselves through photos and sound. It’s a truly versatile hybrid camera with a unique set of attributes to suit every skill and interest level.”
Main Features:
instax mini LiPlay+™ Smartphone App
The free, downloadable instax mini LiPlay™ app allows users to capture images remotely via Bluetooth connection, add finishing touches to images with frames, and print photos from a connected smartphone. Users can further embellish their images by adding sticker icons or overlay text, making each image a true custom creation.
Dual camera functionality
The mini LiPlay+™ hybrid instant camera features both a front main camera and a rear-facing wide-angle selfie camera. New to mini LiPlay+™ is layered photo mode, in which images created with both the front and rear cameras can be combined so the images appear in layers, one in the foreground and one in the background. When editing images, users can choose between instax-Rich mode™ and instax-Natural mode™ to accentuate their images and choose from a selection of artful filters to express themselves further. Mini LiPlay+™ also features automatic exposure and flash control to enhance image quality and includes either 2 or 10 second timers.
Instax Sound Print™ and instax Sound Album™
Users can utilize the free, downloadable instax mini LiPlay+ app to add sound features to their images. With the instax Sound Print™ feature users have four unique ways to record 3 second audio clips to add to their images, then listen back by scanning the printed QR code on your photo (instax™ instant film required and sold separately) with their smartphone. Alternatively, the instax Sound Album™ feature turns adventures into custom animated videos with sound, vibrant backgrounds, and standout music.
New instax™ mini film variety introduced
Also being announced at the same time as the mini LiPlay+™ camera is instax™ mini Soft Glitter instant film, available in a 10-exposure pack. Gold accents combine with soothing hues to bring a calming shimmer to the frames around each photo.
Pricing and Availability
The instax mini LiPlay+™ hybrid instant camera will be available in Sand Beige and Midnight Blue colors. It is expected to be available late October 2025 at a manufacturer’s suggested retail price of $234.95 USD and $279.99 CAD. The updated instax mini LiPlay+™ smartphone app will also be available at this time.
instax™ mini Soft Glitter instant film is expected to be available late October 2025 at a Manufacturer’s Suggested Retail Price of $17.99 USD and $14.99 CAD.
For more information, please visit https://www.instaxus.com/cameras/mini-liplay+/.
The OM System price increase in the US, resulting from the Trump tariffs, is now in effect (previously reported here and here). I don’t have a detailed list, but you can already see the new prices on Amazon and B&H Photo. Here are some screenshots comparing the old and new prices – some lenses got a few hundred dollars price increase:
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 full frame lenses) coming on October 20th
A new Meike AF 85mm f/1.8 SE, a second-generation full-frame autofocus lens, will be released on October 16th. The new version features an improved minimum focusing distance of 0.65 meters, enhanced flare and purple fringing reduction, and a lightweight design weighing only 360 grams. It will be released for L/E/Z mounts (check the official website for updates).
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).
Connexion
