Sigma is “still working on the development of the sensor” [17:00].
Current status: The project is still in the “technology development” stage [17:11]. They have not yet started the design of the actual, final sensor [17:11].
Focus: The team is currently working on the “design of the pixel architecture” [17:20].
Delays: The project has been “a little bit delayed” [17:30] because as they test prototype wafers, they encounter “technical issues” [17:53].
Development team: The sensor development is now being handled primarily by the Sigma Japan engineering team [18:02].
Path forward: Mr. Yamaki mentions that the technical problems “have been narrowing down” [18:12]. Once the team is confident that the technology is ready, they will start the final sensor design and move toward production [18:23].
Long recap
Current Development Stage:
Sigma is still in the pixel architecture design phase and has not yet begun fabricating the full sensor prototype. This involves second-round test-wafer runs to evaluate small-scale prototypes with reduced pixel counts.
Yamaki emphasizes that Sigma has “never designed a sensor by ourselves before,” highlighting the in-house challenges since acquiring Foveon in 2008. Previous Foveon sensors were co-developed, but this full-frame version is a from-scratch effort.
Technical Innovations and Improvements:
The new sensor aims for a full-frame (35mm) format with a stacked back-side illuminated (BSI) structure and on-chip phase-detect autofocus—features absent in older Foveon designs like the SD1 Merrill (2011) or Quattro series (2014-2016).
It retains the X3 1:1:1 layered architecture (equal pixel counts per RGB layer, unlike the 1:1:4 ratio in Quattro sensors), promising better dynamic range, color fidelity, and resolution (potentially 60MP effective).
Yamaki discusses crosstalk between RGB layers as a unique strength, enabling “distinct color gradation” that outperforms Bayer sensors in studio, landscape, and portrait work.
Challenges and Delays:
Development, first teased in 2018, has faced repeated setbacks, including ending a partnership with a sensor manufacturer, requiring a restart. As of October 2025, it’s “almost at the final stage of technology development” but not ready for mass production.
Key hurdles include power consumption, heat dissipation (due to three analog-to-digital converters), and achieving “perfect” pixel performance. Yamaki states they won’t proceed to production until issues are fully resolved: “The Foveon chip will appear when the pixel is perfect.”
No video capabilities are mentioned for the initial release, as early Foveon sensors struggled with even low-res video (e.g., 480p on DP series).
Future Outlook and Commitment:
Sigma remains dedicated, viewing Foveon as a “niche but valuable” technology for enthusiasts seeking ultimate image quality over high-volume sales. It could integrate into future Sigma fp mirrorless cameras (e.g., a “fp X3” variant).
Yamaki expresses optimism: “Technical problems have been narrowing down,” and once confident, they’ll move to full sensor design and production. However, no timeline is given—explicitly not in 2025, and possibly 2026 or later.
The video touches on broader philosophy: Sigma’s “beautiful foolishness” in pursuing innovative, non-mainstream tech like Foveon, despite market trends favoring Sony/ Canon sensors.
For over a quarter of a century, DPReview's forums have been home to some of the most insightful discussions about digital cameras and photography anywhere online. They serve not only as a living conversation but also as an invaluable historical archive for photographers around the world.
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Our Community Manager, Mathew Anderson, created this 5-minute video to give you a preview of what the updated forums will look like.
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The Nikon ZR uses the same sensor as the Z6III but becomes Nikon's first camera to be co-branded 'Red'
Photo: Mitchell Clark
Nikon's video division, Red, has put out a statement giving a few more clues about the distinction between the R3D NE Raw codec that makes it debut in the Nikon ZR, and the existing N-Raw system.
Red appears to confirm that R3D NE ('Nikon Expeed') uses the same TicoRaw compression system as N-Raw, which helps explain why N-Raw files could be opened in software that supported R3D NE, by simply changing the filename extension. However, it says the differences go deeper.
What we already knew
We already knew that the R3D codec locks the camera to one of its sensor's two base steps (ie: one of the two effective gain steps within the pixel) with no additional analogue gain added when you change ISO. By contrast, N-Raw works the same way as most cameras do in stills mode: applying increasing gain as you raise the ISO.
This means N-Raw sacrifices a stop of highlight information each time you raise ISO by a stop, in return for some improvement in shadow noise, but means that you can't mimic other ISO settings after the fact. The R3D method retains these highlights irrespective of ISO setting at the point of shooting, meaning you can apply different tone curves to adjust "ISO" as part of post processing.*
What has been discovered
Video testing site CineD has conducted some tests on the ZR and found some interesting details. The first is that the R3D codec appears to decode its Raw data such that it doesn't expand to use the full scale. This is presumably to allow its use with LUTs and alongside cameras that capture a wider dynamic range (either now, or in the future), which would make use of the higher data values. This is analogous to what Panasonic does with its V-Log / V-Log L system. This is not the standard workflow for N-Raw, which typically goes via an N-Log curve.
In addition to various flavors of Raw capture, the Nikon ZR is the first consumer camera we've come across that can natively capture super-wide dynamic range '32-bit float' audio.
Interestingly, CineD also says that it found R3D NE clips a stop earlier than the ZR's ProRes Raw or N-Raw modes, with Nikon responding that there is a "difference of highlight clipping points between N-Log and R3D NE." CineD points out that the Red processing includes a highlight recovery algorithm that recovers detail (but not necessarily color) information around clipping, which is worth being aware of.
Combine all this information and read between the lines of Red's statement and it appears to suggest that R3D NE uses the same basic codec as N-Raw but with a different gain strategy and a different assumed workflow (via Red's Log3G10/RWG gamma and gamut), that requires it to be exposed differently to get optimal results.
So how does it perform?
CineD also found the camera's rolling shutter was a match for the 9.44ms we measured from the Nikon Z6III and that its dynamic range was okay, rather than great, which is again consistent with what we were expecting, given the Z6III's performance.
Sadly, Nikon USA says it will not have any testable cameras available for review until mid November, so we're not yet in a position to check or further investigate any of these findings further.
REDCODE RAW, also known as R3D, is RED’s proprietary RAW video codec that has been shaped and honed with every generation of RED’s cameras. R3D is not just made of up compressed RAW video, but carries with it advanced sensor characterizations, robust metadata, RED’s color science, and unique RAW controls that guarantee precise and consistent results throughout the entire imaging pipeline, from sensor to screen.
Detailed Explanation
REDCODE RAW was the first widely adopted RAW cinema workflow codec, which has constantly been evolving over the years with each generation of RED camera. Its foundation starts with RED’s color and sensitivity characterization of the sensor, and ends in the debayering, decompression, and image processing through the RED managed software development kit that all major post-tools have implemented. This standardization, from sensor to screen, allows RED to guarantee precise and cinematic results throughout the entire image pipeline.
Like all REDCODE RAW formats, R3D NE utilizes the latest in RED’s IPP2 pipeline, from decompression and debayering algorithms, to the advanced RAW image processing such as Chroma Noise Reduction. R3D NE has been optimized to use the existing RAW compression capabilities found in Nikon’s EXPEED ASIC, which is what the NE in R3D NE stands for – Nikon EXPEED.
Inside the Nikon ZR itself, sensor data is processed into a RED industry adopted Log3G10/RWG image, allowing for on-set monitoring with the same 3D LUT’s that would be used in any RED workflow. In addition, sensor gains and colorimetry have been tuned to not only provide exposure and color matching with RED’s ecosystem, but to leverage the same ISO behavior the rest of the R3D ecosystem uses, allowing users to balance their dynamic range shot-by-shot if needed.
In early 2025, RED had introduced the ability to process N-RAW through the latter part of this process, and .NEV became part of the RED workflow. Some tools that already had native .NEV maintained their existing workflow and kept direct decode of N-RAW footage. These applications, such as DaVinci Resolve, have now updated to RED’s latest software update, could however be forced into sending these .NEV’s through the RED software by renaming them to .R3D. These files technically remain N-RAW, and are still indicated as such in the software, as they do not include any of the in-camera characterization, metadata, and workflow that makes REDCODE RAW what it is. Importantly, these renamed files will not be the same as an R3D NE file shot with the same camera – the color, exposure, and latitude will all differ.
REDCODE RAW is an ecosystem, providing consistency from set to screen across generations of cameras. The Nikon ZR, and more specifically R3D NE, is just the latest step in bringing the RED workflow to filmmakers everywhere.
*Technically, ISO is an sRGB JPEG-based standard, so it's best not to take it too literally when being used as a post-processing parameter in Raw video software. (See also the 'exposure' slider in a lot of photographic Raw software, which changes image lightness but cannot change exposure)
SilverBridges, a company co-founded by Oscar-winning actor Jeff Bridges, recently unveiled the first prototype of the WideluxX panoramic film camera. The team showed off the WideluxX Prototype 0001 in a video released at the International Association of Panoramic Photographers' annual convention in Minneapolis, Minnesota.
The SilverBridges team, which consists of Jeff Bridges and his wife, Susan Bridges, Silvergrain Classics author Charys Schuler, and the magazine’s editor-in-chief, Marwan El Mozayen, also shared news of the prototype on Silvergrain Classics and its Instagram account. "Holding a one-of-a-kind camera prototype in your hand is always going to be exciting," wrote Schuler at Silvergrain Classics about the prototype. "But when some of the blood, sweat, and tears that went into it are your own, it feels nothing short of extraordinary."
Photo: SilverBridges GmbH
Bridges first announced the project to redevelop the Widelux film camera roughly a year ago, and the WideluxX Prototype 0001 marks an exciting step. On his website, Bridges says that most of the images he creates use a Widelux camera, and over the years, he's captured some incredible behind-the-scenes photographs with the camera. The actor has been very vocal about his love for the camera and his desire to bring it back.
The original Widelux, a fully mechanical panoramic film camera, was originally developed in Japan in 1958. Instead of a traditional shutter, the camera uses a swinging lens that rotates horizontally behind a narrow slit to expose the film plane. Unfortunately, a major fire at the factory in 2005 severely disrupted operations. Because of that fire and other factors, production of the Widelux ended in 2000. Today, original Widelux cameras are highly sought-after collector items and go for anywhere from $1200 to $2300, depending on the model.
"We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations."
"20 years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life," Jeff and Susan Bridges say. "We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations." The team also explained that original Widelux models are temperamental and promised that the new manufacturing would offer greater reliability and consistency standards. The company also says it plans to provide dedicated service and maintenance.
Photo: SilverBridges GmbH
The WideluxX is based on the Widelux F8 model. Unfortunately, there are no original mechanical drawings of the camera available, so the team had to reverse engineer the camera and recreate each part. Japan Camera Hunter spoke to Schuler and El Mozayen about the project and shared that everything is being created from scratch, since there are no spare parts to work with.
"There will be many small improvements, but its DNA is still the [Panon Widelux] F8," says Schuler. "We see ourselves as a bridge between the history and the future of analog photography—it’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with."
The prototype video isn't yet widely available, but according to Schuler, it will soon be uploaded to the WideluxX website. Interested users can sign up for updates via the newsletter at WideluxX.com.
While all brands tend to put quite a few letters in lens names, Fujifilm is among the worst offenders (though still not as bad as Tamron). Its Fujinon lenses tend to read a bit like alphabet soup, with letters coming before and after the focal length and aperture information. While they are straightforward once you know what they mean, it can be headache-inducing to decipher at first. In this article, we'll break down the different acronyms found in Fujifilm lens names so you can feel like a pro when shopping for or discussing Fujifilm's lenses.
Lens mount and series: XF, XC, MKX and GF
Image: Fujifilm
The first part of Fujifilm lens names, falling right before the focal length, tells us what mount or series the lens is part of. Fujifilm has four different designators for this category: XF, XC, MKX and GF.
The XF designation means the lens is part of the company's X Series and uses the X mount. That means the lens is compatible with any X mount camera. XC lenses are also X mount offerings, though these are part of Fujifilm's compact lineup of lenses. They are more affordable and more lightweight than XF lenses and typically lack an aperture ring. MKX lenses are also part of the X mount, though these are the company's cinema lenses meant for video applications.
Finally, outside of the X mount are Fujifilm's GF lenses. These are G mount lenses that are compatible with the medium-format GFX cameras.
Lens features
After the focal length and aperture information, you'll find letters and acronyms that tell you what lens features are part of the lens. Fujifilm lenses may include a combination of up to five different terms in the lens name. If you don't see one or any of these, that means that the lens lacks that feature.
Build features: R and WR
The XF23mmF2.8 R WR lens features an aperture ring (R) and weather resistance (WR). Image: Fujifilm
When applicable, the first letter used is R. The R in Fujifilm lens names means the lens offers a designated aperture dial so that you don't have to use buttons, dials or menus on the camera body to set aperture.
Some of the Fujifilm lenses feature WR in the name, which stands for Weather Resistant. That means the lens is sealed against dust and moisture to help protect it against the elements. WR typically comes at the end of Fujifilm lens names, so you can quickly see if the lens offers weather sealing.
Focus, stabilization and zoom features: LM, OIS and PZ
The GF32-90mmT3.5 PZ OIS WR lens is a power zoom lens for the GFX system. Image: Fujifilm
The other lens features that make it into Fujifilm lens names relate to focus. LM stands for linear motor. This means that the lens uses a linear-style motor to drive autofocus, which is very fast and relatively quiet.
OIS is Fujifilm's designation for Optical Image Stabilization. Lenses with OIS in the name offer built-in image stabilization that uses gyroscopic sensors and motors to counteract lens movement and reduce blur caused by camera shake. These lenses can help you get sharp images even when working with slower shutter speeds.
PZ stands for Power Zoom. It isn't a Fujifilm-specific term, and it means that the lens offers an electronic zoom mechanism instead of a zoom ring. Power zoom lenses make achieving smooth and consistent zoom easier, making them ideal for video applications.
Specialty features: Macro, T/S and APD
The GF110mmF5.6 T/S Macro lens is both a macro and tilt shift lens (T/S). Image: Fujifilm
Fujifilm may also include some terms for specialty lenses on its lenses. Macro is the easier to decipher, since it's spelled out for us. Lenses with Macro in the name are Macro lenses, meaning they can focus closer than regular lenses and enable detailed close-up photography.
At the time of writing, the T/S designation is only used for two lenses, both of which are in the medium-format G mount lineup. T/S stands for tilt-shift, which means that the lens allows you to adjust the focal plane (tilt) and perspective (shift). Tilt-shift lenses are commonly used for architectural photography.
The APD designation tells us that the lens features a built-in apodization filter. This filter aims to produce smoother bokeh and enhance subject separation, which is ideal for portraiture.
Additional Fujifilm lens terms: Super EBC, Nano-GI and TC
The XF16-55mmF2.8 R LM WR II features Fujifilm's Super EBC coating, as you can see printed on the lens. Image: Fujifilm
Like other companies, Fujifilm also has some specialty terms that aren't in the lens name, but are referenced in lens descriptions. That includes general terms for optical design, such as aspherical lens, but also a few proprietary terms.
Super EBC, which stands for Super Electron Beam Coating, is Fujifilm's proprietary multi-layer lens coating. It's meant to minimize flare and ghosting to improve image quality. Similarly, Nano-GI is a lens coating for the refractive index of the lens that promises to increase clarity.
Lastly, TC is a designation for teleconverters, which are lens accessories and not lenses. These can be attached between the lens and camera and allow you to increase focal length to provide additional magnification without purchasing a longer lens.
It seems that Amazon is getting another shipment of Ricoh GR IV cameras because they just opened their orders (act fast, they sold out quickly last time):
The expected shipping is November 12 – December 6. If you cannot wait that long, the Ricoh GR IV camera is now in stock in Canada at Camera Canada, and you can order one from the US without paying any taxes and with minimal import duties:
Canon celebrates another milestone – the RF/EF lens production exceeds 170 million units:
Canon’s RF/EF lens production exceeds 170 million units, extending its world record in interchangeable lens production
TOKYO, October 22, 2025—Canon Inc. announced today that, in October 2025, Canon reached a historic milestone of producing a cumulative total of 170 million RF and EF interchangeable lenses for its EOS series, extending its world record1 for the highest number of interchangeable camera lenses ever produced.
The EF lens was introduced in 1987 as the dedicated lens system for Canon’s EOS autofocus single-lens reflex film camera, debuting simultaneously with the EOS system itself. Since their inception, EF lenses have led the industry by incorporating a series of world-first2 technologies, including the Ultrasonic Motor (USM), Image Stabilizer (IS) technology, and a multilayered Diffractive Optical (DO) element, and have undergone numerous evolutions.
In 2018, Canon launched the RF lens series, designed for the EOS R mirrorless camera system, which features a large aperture, short back focus, and high-speed communication system to deliver even higher image quality. The RF and EF lens series lineup now includes a total of 108 models3, covering a wide range of focal lengths4 from ultra-wide 10mm to super-telephoto 1200mm. The series also includes the world’s first VR lens5, lenses with built-in power zoom suited for video shooting, and even those compatible with power zoom adapters—expanding the scope of creative expression and meeting the diverse needs of users for both still photography and video.
EF lens production began at Canon’s Utsunomiya Plant in 1987. Since then, both EF and RF lenses have gained strong support from a wide range of users—from beginners to professionals—leading to steady growth in production volume. Today, Canon manufactures lenses at five sites: Utsunomiya Plant; Canon Inc., Taiwan; Canon Opto (Malaysia) Sdn. Bhd.; Oita Canon Inc.; and Miyazaki Canon Inc. Milestones include 10 million units produced by 1995 and 50 million by 2009. Then in 2014, Canon became the first company in the world to reach 100 million interchangeable camera lenses produced. In October 2025, the company reached 170 million units, leading to the achievement of this world record. The 170 millionth lens produced was the RF70-200mm F2.8 L IS USM Z.
Canon has maintained the No.16 global market share for digital interchangeable-lens cameras for 22 consecutive years since 2003. Moving forward, Canon will continue to refine its proprietary imaging technologies and further strengthen and expand its lens lineup, pioneering new imaging possibilities and contributing to the continued evolution of photographic and video culture.
1
Includes EF, EF-S, EF-M, EF Cinema, RF, RF-S, and RF Cinema lenses and extenders. As of October 21, 2025 (according to a survey by Canon)
2
Among SLR cameras (according to a survey by Canon)
3
Number of products sold as of October 22, 2025 (including extenders). The number of lens models for sale is different according to market figures.
4
Focal length is 5.2mm to 1200mm when including VR lenses
5
An interchangeable digital camera lens that enables VR footage with a single camera. Among interchangeable lens digital cameras released as of October 5, 2021 (according to a survey by Canon)
6
Refers to unit share (according to a survey by Canon)
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Product photos: Richard Butler
The Leica M EV1 is a full-frame manual focus mirrorless camera with a 60MP BSI sensor. It's shaped like the company's other M-series models but has no optical viewfinder or rangefinder mechanism, relying instead on an electronic viewfinder.
Key specifications
60MP BSI CMOS full-frame sensor
60, 36 or 18MP output, Raw or JPEG
5.76M dot OLED EVF with 0.76x magnification
Two-way Fn switch on front
2.33M dot LCD rear touchscreen
64GB of internal storage
2.4/5Ghz Wi-Fi
The Leica M EV1 is available everywhere except the USA, where gaining FCC approval has caused a delay. Once cleared for sale in the US, it will be available at a recommended price of $8995.
The Leica M EV1 features a new, diamond-patterned leatherette coating.
There's not much that's new on the M EV1, other than the concept of removing the rangefinder and optical viewfinder that goes with it, and replacing it with an EVF. Leica points out this isn't the first M-series camera to go without a rangefinder: the M1 made that move, while the MD, MD-a and MD-2 had no viewfinder, either.
Instead the M EV1 uses a variant of the 5.76M dot viewfinder found in the Q3 cameras, with 0.76x magnification. Unlike the conventional Ms, this viewfinder can accurately present the field of view of 21 and 24mm lenses, and show output from 90mm lenses at a decent size.
In addition to adapting better to a wider range of lenses, the magnified live view and focus peaking available in the viewfinder should allow greater precision than the traditional rangefinder mechanism, giving more reliable results with fast aperture lenses and not needing such careful handling or calibration.
How it compares
Leica cameras are luxury goods, as well as being cameras, so it's somewhat hard to compare them. When the brand name and cost (and the exclusivity it implies) are part of the allure, conventional spec comparisons fall apart.
At the most basic level, you can get essentially the same sensor in the Sony a7CR for considerable less money, and get a similar shooting experience by adapting your M-mount lenses to fit. It won't be as small, be as nicely built or say Leica on the front, but in purely pragmatic terms, it'll be comparable.
We could also have compared the Leicas to the company's own SL3 model or Sony's higher-specced a7R V, but we thought choosing the smaller Sony was the closest in size and format.
Of course we don't think anyone will actually be choosing between the Leicas and the Sony, but it gives some perspective on what you do and don't get for your money. But, while it's impossible to objectively say whether autofocus is inherently better than using a rangefinder (and hence haven't assigned red or green highlighting), our experience has been that both the M11-P and a7CR offer a lot that the M EV1 doesn't.
Body and handling
The M EV1 essentially has the same body as the M11-P but with no viewfinder window at the front. The ISO dial is also absent from the shoulder of the camera, presumably as the EVF extends further into the space it would usually occupy.
The rest of the layout is very similar. The body has a nice, solid-feeling weight to it, and it has the same minimalist design that fits in the hand nicely and gives off a sense of solidity when you hold it.
The move to an EVF allows you to adjust the diopter, using the little pop-out dial. It can be adjusted from -4 up to +2 correction.
The camera uses a menu system similar to the one we liked on the Q3 43, but unfortunately with the addition of a 'Leica Content Credentials' option that means it takes an extra step before you can get into the menu proper. It's an odd decision, given Content Credentials doesn't seem like a setting you're likely to want to change regularly.
Battery
The M EV1 uses the same BP-SCL7 battery as the rest of the M11 family of cameras. It's a fairly substantial 13.3Wh unit that Leica says will power the camera to a rating of 244 shots per charge if you use the rear screen and 237 if you use the viewfinder. These numbers use the CIPA testing standard, which tends to significantly under-represent the battery life, but sub 300 ratings usually mean having to carry a spare battery or external USB power pack if you're a prolific photographer.
Initial impressions
by Richard Butler
I remember the first time I got to use a Leica rangefinder. Within a few hours I'd taken two photos that I can still picture in my head, nearly two decades later. They weren't necessarily in perfect focus, but I found it so quick to match the overlayed images that I quickly came to see how a technology could be superseded several times over, yet not be rendered obsolete.
"Anyone really interested in photography should rent a rangefinder for a weekend," has been a recurring phrase I've used in the years since.
Sadly, the M EV1 offers none of this experience.
Leica M-Summicron 35mm F2 | F4.8 | 1/250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler
Focus peaking makes it possible to match some of the speed of using a rangefinder, with perhaps somewhat similarly approximate focus. As with all these systems, it's highly dependent on aperture and light level, meaning everything can end up highlighted, at times, or nothing, sometimes. For the sort of precision that 60MP probably deserves, you'll need to use magnified live view.
Unlike some modern mirrorless cameras, the M EV1 doesn't have anything like a subject recognition system, to let you punch-in on potential subjects, so you'll have to tap on the screen or use the four-way controller to very slowly reposition the target point you want to zoom in on, though be careful not to tap the screen with your nose, if you're left-eye dominant, because that'll move your point, too.
Of course you could focus at the center and shift the camera, as you might with a rangefinder, but that would throw away any precision benefit that live view should have.
Leica M-Summicron 35mm F2 | F2.0 | 1/1250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler
I should make clear, I'm not a fan of shooting with manual focus lenses on modern cameras, full-stop. I find it slow and imprecise, and the focus tools are nothing like as simple and fast (albeit imprecise) as a split prism finder on an SLR or a rangefinder.
This job doesn't allow me the leeway of being 'there or thereabouts' in terms of focus, and I just find the whole thing slow, frustrating and fiddly.
Leica M-Summicron 35mm F2 | F2.8 | 1/1160 sec | ISO 64 Photo: Richard Butler
Based on using the camera for a week, I can't see the point in paying 91% of the cost of a Leica rangefinder, only to get something that isn't a rangefinder and that's no more elegant to shoot with than any other mirrorless camera trying to manual focus. Yes it's beautifully made and it has a red dot, but I'm not sure you gain much over, say, a Sony a7CR, with which it shares a sensor.
After a few minutes of shooting with an M9, I understood why someone might buy a rangefinder. After a few days with the M-EV1, I'm at a loss to why anyone would buy this instead.
The Fujifilm X-T30 III keeps the compact and stylish design we love from this series, but packs it full of upgrades over its predecessor. This version features Fujifilm’s X-Processor 5, boosting speed and AF performance, and this is accompanied by a new dedicated Film Simulation dial letting you switch between Fujifilm’s iconic colour profiles. Add in 6.2K video and AI subject detection, and this iteration is faster and smarter than ever.
26.1MP X-Trans CMOS 4
Fujifilm’s X-Processor 5
Dedicated Film Simulation dial
6.2K/29.97p with AI subject detection
Tactile dials & touchscreen LCD
Enhanced FUJIFILM XApp compatibility
The Fujifilm XC 13-33mm f3.5-6.3 OIS offers a compact and lightweight profile with a 20-50mm full-frame equivalent range for travel and everyday photography. With a unique retractable structure, it features an advanced optical construction of 10 elements in 9 groups and up to 4 stops of Optical Image Stabilisation for steady handheld shots. With a 20cm minimum focus distance, it captures detailed close-ups while maintaining sharpness across the frame.
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Product photos: Richard Butler
The Fujifilm X-T30 III is the company's latest entry-level, SLR-shaped mirrorless camera, with its latest color mode recipes and autofocus.
Key specifications
26MP X-Trans APS-C BSI CMOS sensor
Film simulation dial with recipe positions
Tilt up/down rear screen
2.36M dot EVF
4K/60 video with 1.18x crop, 6.2K/30 full-sensor capture
315 shot-per-charge battery life, 425 in power saving mode
The X-T30 III will be available from November 2025 at a recommended price of $999. There will also be the option to buy the camera with a new, unusually wide, 13-33mm F3.5-6.3 OIS zoom lens, which will cost around $1150.
The Film Simulation dial on the camera's shoulder has three custom positions that can be assigned to film simulations or the simulation-and-parameter-tweak combinations known as 'recipes.'
The X-T30 III, as the name implies, is an iterative update of the existing X-T30 II. It gains the latest Fujifilm processor, which brings subject recognition autofocus. This brings it into line with the X-M5 and X-T50.
It also gains a Film Simulation dial, instead of the drive mode dial on the previous X-T30 models. Like the more expensive X-E5, the three custom positions on the dial can be set up to store 'recipes': sets of JPEG processing settings that modify the behavior of an underlying film simulation.
The more powerful processor also brings a boost in the video features, with 60fps 4K video options (with a 1.18x crop) and the option to shoot using the whole sensor in 6.2K resolution at up to 30fps.
Finally, the X-T30 III becomes the first model to be offered with a new 13-33mm F3.5-5.6 stabilized kit zoom. This offers an unusually wide 20-50mm equivalent range, which is likely to be a welcome capability for photographers whose previous experience has mainly been with the wide-angle cameras on smartphones.
What is it?
The X-T30 III maintains the classic-SLR looks of the X-T series.
The X-T30 III plays the same role in the lineup as its predecessor did: the least expensive SLR-shaped camera in the Fujifilm range. Like the Mark II and the X-M5, it's built around an unstabilized 26MP BSI CMOS sensor. It's an APS-C-sized chip with Fujifilm's proprietary X-Trans filter pattern in front of it. This was originally designed to reduce visible errors in images but increasingly just seems to make the files a little more tricky to process.
The X-T30 III offers a decent set of features: it'll shoot moderately quickly, captures good quality video and offers a range of subject-recognition AF modes, making it quick and easy to focus on common subject types. It also has a switch to jump quickly to its Auto mode that tries to select the appropriate scene mode and settings for whatever you point it at. It's also somewhat unusual in still offering a small pop-up flash.
The standout feature of the X-T30 III, in common with the rest of the Fujifilm range, is the provision of its film simulation color modes, giving you a selection of (mostly) well-judged, attractive color responses, for your images. The Mk III puts these at your fingertips by providing a dedicated dial, making it easy to experiment with the different looks it offers.
How it compares
The X-T30 III is one of Fujifilm's entry-level models. The viewfinder means it's a little more expensive than the rangefinder-style X-M5, but it has a list price lower than that of the image-stabilized X-S20. We'll include the X-S20, as the most affordable stabilized APS-C camera.
In terms of rivals, the Nikon Z50II is probably the most like-for-like competitor, with Canon's EOS R10 also offering similar specs for similar money. We're omitting the distinctly elderly Sony a6400 as it only shoots 8-bit video and doesn't have such extensive subject recognition AF. The OM System lineup either offers the OM-D E-M10 IV for less money or the OM-5 II for more, both are built around smaller but stabilized sensors. The OM-5 II is the least expensive mirrorless camera to offer an 'IP' rating for its weather sealing.
Fujifilm X-T30 III
Nikon Z50II
Canon EOS R10
Fujifilm X-S20
MSRP
$1000, $1150 w/ 13-33mm
$1010, $1150 w/ 16-50mm
$1100, $1250 w/ 18-45mm
$1500. $1600 w/ 15-45mm
Resolution
26MP
21MP
24MP
26MP
Stabilization
Lens only
Lens only
Lens only
In-body (up to 7EV)
Flash, ISO 100
GN 5
GN 7
GN 6
GN 5
Cont. burst rate
8fps Mech 20fps Elec
11fps Mech 15fps Elec
15fps Mech 23fps Elec
8fps Mech 20fps Elec
EVF
2.36M dots 0.62x mag
2.36M dots 0.67x mag
2.36M dots 0.59x mag
2.36M dot 0.62x mag
Rear screen
1.62 dots 3.0" Tilt up/down
1.04M dots 3.2" Fully-artic.
1.04M dots 3.0" Fully-artic.
1.84 dots 3.0" Fully-artic.
Video options
6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width
4K/60 1.44x crop 4K/30 full-width
4K/60 1.6x crops 4K/30 full-width
6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width
Mic / 'phones?
2.5mm / Via USB adapter
Yes / Yes
Yes / No
Yes / Yes
Battery life rating
315
220 EVF / 230 LCD
210 EVF / 350 LCD
750
Dimensions
118 x 83 x 47mm
127 x 97 x 67mm
123 x 88 x 83mm
128 x 85 x 65mm
Weight
378g
550g
429g
491g
In spec terms, there's not much to choose between these models. What the chart can't show is that the Nikon probably has the best autofocus tracking performance here, with the Canon a very close second (it's a little less dependable in video mode). This is still something of a weakness for the Fujifilm, though its subject-recognition modes do well.
Both the Canon and Nikon handle better than the Fujifilm, having fewer, but in our experience, better laid-out controls that are harder to operate accidentally. The Fujifilm's Auto switch will be handy for some users and anyone looking for a camera to grow into is more likely to find the lenses they want in the X mount, but the offerings for Canon and Nikon are (finally) improving, so it's worth investigating whether the lenses you think you might want are available for each system, before picking a camera body.
The X-T30 III is also the smallest camera here and offers a wider array of attractive color modes than its rivals. There's also the option of that slightly pricy but unusually wide kit zoom.
Body and handling
The X-T30 II offers plenty of hands-on control, including two clickable command dials, an exposure comp dial and an AF joystick, but these have all been fitted into a small space.
The body of the X-T30 III is essentially the same as the one from previous X-T30 models, meaning it's slightly smaller than the X-T50 and lighter. A ridge down the front of the camera and a protruding bump on the back means it fits firmly in the hand, and feels secure thanks to the tactile rubber coating, front and rear.
The X-T30 III has a fair degree of external control, including six buttons that can be customized and four swipeable directions on the rear touch screen. It also has two well-positioned clickable command dials, a dedicated exposure comp dial and dedicated shutter speed dial, as well as that film simulation dial.
There's also a joystick for positioning the AF point or navigating the menus and flick switches under two of the dials to activate the flash and to engage full Auto mode.
While we're pretty impressed, overall with this level of direct and customizable control, we find it's perhaps a little overwhelming on a body this small. If you have larger fingers, or don't know what all the controls do, the X-T30 III risks being a bit of a handful.
The X-T30 III only has three ports on its right-hand side, but they offer a lot of functions.
In terms of ports, the X-T30 III has a 2.5mm socket the serves double-duty as a remote control connector or a mic input. Most mics use a 3.5mm plug, so you'll need an adapter to attach one. Below this there's a USB socket that can be used for charging the camera, transferring data or connecting a pair of headphones, with the supplied adapter.
Finally, there's the micro HDMI socket for outputting video or a Raw video data stream that can then be encoded by either a BlackMagic or Atomos external recorder to BRaw or ProRes Raw, respectively. This isn't the obvious model to do that from, especially not given how delicate micro HDMI sockets can be, but it's nice that Fujifilm hasn't omitted a feature this hardware can support.
Battery
The X-T30 III uses the same 8.7 Wh NP-W126S battery as most of Fujifilm's smaller cameras. It powers the camera to a rated value of 315 shots per charge, or 425 in 'Economy' mode. These numbers don't reflect the number of shots you'll get from the camera (getting twice the rated figure isn't unusual, depending on your use of image review, flash or burst shooting), but they're broadly comparable between cameras.
A figure of over 300 shots per charge is good for this class of camera and is likely to mean you can use it for a weekend of casual shooting without having to think about the battery. The battery can be recharged over USB.
Video
The X-T30 III's video specs are competitive but there are other models better suited to video within the range.
The X-T30 III gains all the video modes we've seen appear in this generation of 26MP Fujifilm models. In many respects, it's a sensor better suited to video than the 40MP chip in their more expensive models, because it doesn't have to read out so much data to produce its 4K footage.
The X-T30 II can capture full-sensor, 'open gate' footage at up to 30p in 6.2K resolution, or it can deliver 4K derived from this 6.2K resolution in more common aspect ratios. It can shoot 4K at up to 60p with a slight crop.
Shooting mode
Crop
Rolling shutter rate
6K open-gate
Full-width (3:2)
24ms
4K/24p
Full-width (16:9)
21ms
4K/60p
1.18x
16ms
1080p/24p
Full-width (16:9)
13ms
However, while the video specs are more than solid for this class of camera, the X-T30 III's lack of image stabilization makes the X-T30 II a harder camera to shoot good footage with. The kit zoom is stabilized, and you can add digital stabilization in the camera, but the X-S20 is probably the better choice if video is a significant interest to you. As well as stabilization, the X-S20 has standard 3.5mm mic and headphone sockets and is compatible with the accessory fan unit to extend recording times.
Initial impressions
by Richard Butler
The X-T30 III is a welcome update to one of Fujifilm's more affordable and popular models. The introduction of the higher-specced, and more expensive X-T50 made it less clear that it'd get another update, but here it is. For existing Fujifilm users, it's not likely to cause much excitement: it's just a familiar, existing model being brought into line with the rest of the range by inheriting familiar, existing features.
But for anyone outside the system, it's perhaps a bit more significant. It brings one of Fujifilm's more affordable cameras up to the same standard as models such as the X-M5 and X-S20. So you can now choose whether you want a rangefinder shaped camera or a DSLR-shaped one, you can choose whether you want to pay for image stabilization or not, and you can choose between the dedicated dials of the X-T series or the command dial approach of the X-S cameras.
Fujifilm's Film Simulation modes are a significant feature of its cameras, not because they mimic filmstocks, particularly, but because they offer a series of subtle and attractive color options.
Fujinon XC 13-33mm @ 33mm | F6.3 | 1/120 sec | ISO 160 Photo: Richard Butler
Personally, I've always found the little X-Ts to be somewhat awkward: they offer a lot of direct control on a very small body for both better and worse. I sometimes worry that this risks making them look intimidating to new users, but that's more of a hypothetical concern, in practice I find the controls just a bit too small and fiddly to really use.
My biggest concern is the small, easily pressed clickable front dial, which you'll almost certainly have to use if you want to shoot in aperture priority. I found it extremely difficult to turn without also pressing, which would result in the camera cycling out of Auto ISO to either the highest or lowest ISO setting. As someone who primarily shoots in aperture priority mode, and using the kit lens that lacks an aperture ring, I found I had to customize the front dial to only control aperture, to stop me inadvertently changing ISO constantly.
The unusually wide Fujinon XC 13-33mm F3.5-6.5 OIS lens that you can get in a bundle with the X-T30 III helps set it apart from its predecessor and its peers.
Fujinon XC 13-33mm @ 13.3mm | F8.0 | 1/680 sec | ISO 320 Photo: Richard Butler
Likewise, on the day I tried using the camera with gloves, I repeatedly caught the Q button with the edge of my gloves, popping up the quick menu. The good thing is that you can customize the camera to overcome these issues, but I had to make quite drastic changes to make it practical to use the camera in a hands-on manner, which just heightened my concern about the camera's controls not being optimized for either the inexperienced or the experienced user. At least, not out of the box.
The new kit zoom is an excellent addition, though. At F6.3 at the long end, it's a little slow, and not all my shots were quite as sharp as I'd hope, but the ability to just keep going wider and wider really set it apart from other entry-level models I've used.
Pre-production Fujifilm X-T30 III sample gallery
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Sample gallery
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Image: Fujifilm
Fujifilm has announced the XC 13-33mm F3.5-6.3 OIS, a 20-50mm equiv. zoom that slots into its lineup of budget lenses for its APS-C cameras. It's the kit lens for the X-T30 III being announced alongside it, and is currently only available if you buy that camera with it, but it's an interesting addition to the company's lineup.
The lens is made of ten elements in nine groups, with four aspherical lenses and three ED elements. It has a minimum focusing distance of 0.2m (7.9"), and a nine-bladed aperture, which should provide more circular bokeh than the seven-bladed one on the XC 15-45mm F3.5-5.6 OIS PZ.
At 125g, Fujifilm says it's the lightest zoom lens for its X mount system; it's also the company's first manually retracting lens for the mount. That means it can get as short as 37.5mm (1.5"), though in use it'll be at least 55.6mm (2.2"). It accepts 49mm filters, and its optical stabilization provides a benefit of 4EV.
Retracted, the lens is absolutely tiny. Image: Fujifilm
Given its XC designation, it's not surprising that the lens doesn't have many external features. You get zoom and focus rings, but that's pretty much it; unlike most of the higher-end XF lenses, there's no aperture control ring.
The lens provides an interesting focal length, going relatively wide for something that's around normal on the long end. Fujifilm's other standard zoom lenses start around 23 or 24mm (though they typically provide a fair bit more reach). It's possible this is to help it, and the camera it's being sold with, appeal to younger people who are used to wide-angle lenses from their smartphones.
Fujifilm says the lens will be available standalone in "late January 2026" at an MSRP of $399.
While we haven't had the chance to shoot a dedicated lens sample gallery with a high-resolution body yet, you can see plenty of images we took with the lens in our sample gallery for the Fujifilm X-T30 III.
Press release:
Small Wonder: Fujifilm Introduces FUJINON XC13-33mmF3.5-6.3 OIS
FUJIFILM X Series’ smallest compact zoom lens, with impressive close focusing capabilities, covering wide-angle to standard focal lengths
VALHALLA, N.Y. – October 23, 2025 – FUJIFILM North America Corporation, Electronic Imaging Division, today announced the release of its FUJINON XC13-33mmF3.5-6.3 OIS Lens (XC13- 33mmF3.5-6.3 OIS).
“Our FUJINON XC lenses have always represented a perfect entry point into the X Mount lens ecosystem for still-centric creators,” said Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions, FUJIFILM North America Corporation. “FUJINON XC13-33mmF3.5-6.3 OIS is no different. It is perfect for those everyday moments because of its optical image stabilization and a versatile zoom range, which is ideal for everything from the big picture all the way down to the smaller details.”
Product Features
Fujifilm’s smallest and lightest zoom lens
XC13-33mmF3.5-6.3 OIS is a compact standard zoom lens measuring just 1.48 inches1 (37.5mm) and weighing 4.4oz. (125g); the smallest and lightest in Fujifilm’s current lineup.
When not in use, the lens body retracts, making it ideal for carrying or storage.
A design that blends portability with versatility
XC13-33mmF3.5-6.3 OIS covers focal lengths ideal for everyday use, from the wide-angle 13mm (35mm equivalent: 20mm) useful for everything from expansive landscapes and confined indoor spaces, to the standard 33mm (35mm equivalent: 50mm), effective for portraits and street photography.
Featuring a 10-element in nine-group construction, including four aspherical elements and three extra-low dispersion (ED) glass elements, it suppresses typical wide-angle lens characteristics including distortion, field curvature, and chromatic aberration across the entire zoom range.
Offers a minimum focus distance of 7.87 inches (20cm) across the entire zoom range and a maximum magnification of 0.25x at the telephoto end, making XC13-33mmF3.5-6.3 OIS ideal for close-ups of flowers and plants, pets, and more.
Further features add to creative options
XC13-33mmF3.5-6.3 OIS includes a 4.0-stop Optical Image Stabilization2 mechanism that expands creative options to include handheld night photography and pictorial use of slow shutter speeds.
The lens can autofocus in as little as 0.025 seconds3, exemplifying the lens’ high-speed, high precision performance.
The nine-blade aperture achieves a more circular bokeh effect compared to conventional XC zoom lenses4. This enables beautiful soft focus effects on a wide range of scenes, including portraits, landscapes, and nightscapes.
Pricing and Availability
FUJINON XC13-33mmF3.5-6.3 OIS lens will be available late January 2026 at a Manufacturer’s Suggested Retail Price of $399.95 USD and $489.99 CAD. For more information, please visit https://www.fujifilm-x.com/en-us/products/lenses/xc13-33mmf35-63-ois/.
1 When lens is retracted.
2 Based on CIPA2024 standards. Pitch/Yaw direction correction function, focal length 33mm, used with FUJIFILM X-T3.
3 Compliant with CIPA guidelines, based on internal measurement methods. When mounted on FUJIFILM X-H2 mirrorless digital camera. AF speed at the wide-angle end using phase detection AF with High Performance mode ON.
The previously rumored Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens leak ahead of the official announcement – here are the basic specifications:
Price: £799
Fourth-generation sensor (26 MP)
Fifth-generation image processor
Fujinon XC 13-33mm f/3.5-6.3 OIS lens:
Optical structure: 9 groups 10 elements (including 4 aspherical surfaces, 3ED)
The Nikon Comedy Wildlife Awards have announced the finalists of the 2025 competition. The shortlist includes 40 standalone images, 3 portfolio entries and 10 videos, each capturing laughable moments with wildlife. This year's contest received just under 10,000 entries, a record number, with submissions coming from 108 countries.
The finalist images will be judged by a panel over the next few weeks, and the Overall Winner, Category Winners, and Highly Commended Winners will be announced on Tuesday, December 9, at an Awards Night in London. The contest highlights work in nine categories: mammals, birds, reptiles and amphibians, aquatic species, insects, young photographers (up to 25 years), juniors (up to 16 years), portfolio and video. The competition offers a grand prize of a one-week safari with Alex Walker's Serian in the Masai Mara. Other prizes for the contest, of which Nikon is a partner, include a Z6III, Z50II and Nikon ZR, plus bags from ThinkTank.
The Comedy Wildlife Awards, co-founded by professional photographers Paul Joynson MBE and Tom Sullam, have been running since 2015. The pair started the contest to fuse wildlife photography and humor to help promote the conservation of wildlife and habitats. Entires are not allowed to use AI or digital manipulation; instead, they must find authentic moments of silliness in the wild.
Each year the competition supports a sustainable conservation organization. This year's organization is the Whitely Fund for Nature (WFN), a UK charity that supports conservationists working in their home countries in the Global South. The organization has provided £24 million to 220 conservation leaders in 80 countries over the past 30 years.
You can see all of the finalist photos and videos and learn more about the contest at the Comedy Wildlife Awards website.
Now which direction is my nest?
Photographer: Alison Tuck. (UK)
Title: Now which direction is my nest?
Location of photo: Bempton Cliffs, Yorkshire, UK
Animal: Gannet
Description: A windy day on Bempton Cliffs during the nesting season.
The Shoulders of Giants
Photographer: Andrew Mortimer (Australia)
Title: The Shoulders of Giants
Location of photo: Leonora, Australia
Animal: Frog
Description: If I have seen further, it is by standing on the shoulders of giant [frog] s. In a bore casing on a minesite tenement around 2 hours drive from Leonora, there lives a colony of frogs. Slightly too short to see over the PVC casing, they make do wherever they can.
Welcome to Zen Lemur Yoga Course!
Photographer: Andrey Giljov (Russian Federation)
Title: Welcome to Zen Lemur Yoga Course!
Location of photo: Anja Community Reserve, Madagascar
Animal: Ring-tailed lemur (Lemur catta)
Description: Instructor Lemur demonstrates perfect enthusiasm, reaching high to embrace the universe. Student Lemur contemplates whether enlightenment is worth this much effort before breakfast. Flexibility? Optional. Dramatic flair? Mandatory.
Go away
Photographer: Annette Kirby. (Australia)
Title: Go away
Location of photo: Hokkaido Japan
Animal: White Tailed Sea Eagle
Description: "In February 2025 I flew from my home in South Australia where the summer temperatures ranged from mid 20’s to mid-40 degrees Celsius to the island of Hokkadia in Japan, where temperatures were minus degrees, the coldest day being minus 18 Celsius. I experienced a winter wonderland so vastly different from my arid hot home environment. A highlight was visiting Rausa on the Shirenhoka Peninsula and Nemuro Straits, where the Steller’s Sea Eagle gather in the winter to fish from drift ice. With fewer than 5000 left in the world they are listed as vulnerable on the International Union for Conservation of Nature’s Red List of threatened species. The female can weigh up to 9.5kg, making it the heaviest eagle in the world. Their wingspan, up to 2.5 metres is of the largest of any living eagle. In Japan they are protected and classified as a national treasure. They indeed are a national treasure and so entertaining to watch and photograph as they fight to protect their catch. A favourite place for them to perch is on the sea wall protecting the fishing fleet at Rausa. They wait watching the boats come into the harbour hoping for a free feed of fish. I captured this photo of the Steller’s Sea Eagle as it sat in a deep hole in the snow. It had a fish and had flown on the sea wall and found a hole in the deep fresh snow. Other birds were flying above and as they came closer, I captured the look it gave them. There was no way it was parting with its catch. As it had made its intentions clear to other competitors, it stayed alert but managed to enjoy its catch.
Territorial Defence Operation
Photographer: Antoine Rezer. (France)
Title: Territorial Defence Operation
Location of photo: Iceland
Animal: White tailed eagle and goeland
Description: After five weeks in north-eastern Greenland on a scientific mission, I am slowly getting back in touch with human civilisation by spending a week in Iceland. Driving along the edge of a fjord in north-western Iceland, I spot some gyrfalcons. I stop and watch them for a long time – there's a whole family! My eye is drawn to a larger bird of prey, a white-tailed eagle. Amazing! It lands after making it clear to the falcons that he's the boss.
I feast my eyes on the scene, as it's not every day that I get to witness something like this! When a seagull arrives, I imagine that the eagle will keep it at bay. I'm wrong! The gull's low-level flights follow one after another but are not enough. So the gull changes strategy and drops its bomb on the eagle! The eagle finally flies away, leaving the site to the gull. Motivation can be stronger than size!
I Just Can't Wait To Be King
Photographer: Bret Saalwaechter. (USA)
Title: I Just Can't Wait To Be King
Location of photo: Serengeti National Park, Tanzania
Animal: Lion
Description: I’ve always been fascinated by the complex social lives of lions, and there’s no better place to observe them than Tanzania’s Serengeti National Park. I captured this image in September 2024, during the dry season, when dwindling food and water can heighten family tensions. One morning near the Semetu Kopjes, we found a pride locked in a lively standoff - hungry cubs clamoring for milk, mothers giving in briefly before retreating in exhaustion. Life in the dry season is no picnic—lions are anxiously waiting for the Great Migration and the feast it promises—but it makes for some incredible wildlife behavior and these cubs were the stars of the show. For over an hour, they followed their mother around a famous Serengeti kopje—those iconic rocky outcrops that dot the landscape—alternating between trying to suckle and play. Each time the mother, already in a foul mood from the sweltering heat, would give a quick roar of disapproval and escape the circus. But the cubs, like any persistent little ones, would chase her down, nipping at her and yelping for more attention. This back-and-forth drama played out again and again Roaring in protest, the lionesses leapt onto the kopje for a moment’s peace, only to be followed by their relentless offspring. As the chaos peaked, the entire pride erupted in a chorus of roars and wails, giving me the perfect instant to press the shutter.
Bad Hair Day!
Photographer: Christy Grinton. (Canada)
Title: Bad Hair Day!
Location of photo: Beacon Hill Park, Victoria, British Columbia
Animal: Grey Squirrel
Description: For my image "Bad Hair Day" I was in a local park in downtown Victoria when I saw a grey blur run by. When I looked closer I saw a mother grey squirrel was relocating her babies to a new nest. The grass was dewy that morning so she was getting a wet tail as she ran through the grass. As she entered her new nest her tail was sticking out so when she turned around to leave, for a short second her head was covered by her wet tail. When I saw her it made me smile thinking I know that moment where you have just washed your hair and the doorbell goes! I also loved the textures and colours of the bark of the arbutus tree surrounding her and her "bad hair"
OMG he's at it again!
Photographer: David Rice. (USA)
Title: OMG he's at it again!
Location of photo: Kushiro Shitsugen National Park in East Hokkaido, Japan
Animal: Red-Crowned Crane
Description: Crazy morning antics of the Red-Crowned Cranes
Landing Gears Down
Photographer: Erkko Badermann. (Finland)
Title: Landing Gears Down
Location of photo: Finland
Animal: Red-throated Loon
Description: "This photograph came about as a hard-won victory of patience. I have been photographing Red-throated Loons for several years. I lie on the edge of a bond under a camouflage net and photograph their spring courtship displays from my hide. The ground is wet and cold. That morning, an unseasonable early-spring snowfall caught me by surprise, making photography almost impossible. Lying there on the cold shore of the bond, I found myself thinking there was no sense in being there. I was already about to leave. However, I decided to stay, and the snowfall faded into quiet, beautiful drifting flakes, and a thin mist rose from the surface of the lake.
Another Red-throated Loon on the lake had turned white from the snowfall. From its behaviour I noticed that its mate was arriving at the lake, and I managed to get it in my camera’s focus against the grey sky. I lost it for a moment, but caught it again just before it landed on the water.
The Red-throated Loon is quite a “poor” flier, and its landing is usually very wobbly: it seeks balance with its legs stretched backwards and then belly-lands to glide. I like to say they use the water as their runway. This time the bird came straight towards me and was so steady you might imagine it had taken flying lessons. The photograph has travelled with me in my exhibitions, and it always elicits a chuckle from viewers. There is something funny about it. I thought it would be perfect for this competition to bring joy to its viewers."
Hornbill In A Hurry
Photographer: Geoff Martin. (UK)
Title: Hornbill In A Hurry
Location of photo: Kwazulu-Natal, South Africa
Animal: Southern Yellow-Billed Hornbill
Description: I was in a hide in Zimanga, South Africa photographing white backed vultures or rather hoping to, when this southern yellow billed hornbill appeared and proceeded to position itself immediately in front of the hide obscuring any clear shots of the vultures. After several frustrating minutes a harris hawk came in rather quickly from the right coinciding with the hornbills departure. However, the hornbills expression appears to be one of sheer panic suggesting the hawk is eyeing the hornbill up for breakfast. Having both birds in the photo helps sell the story and increase the sense of urgency of the hornbill. Don’t worry, the hornbill departed unscathed!
Baptism Of The Unwilling Convert
Photographer: Grayson Bell. (USA)
Title: Baptism Of The Unwilling Convert
Location of photo: Biddeford, Maine USA
Animal: Green Frog
Description: One morning I was hanging out with my camera along the edge of a pond near our home. I noticed 2 frogs fighting and took a bunch of shots of them. This photo captures two male Green frogs, which are native to Maine. They usually have greenish-brown on their backs, with dusky bars on their hind legs and a lighter underside. Males may have a yellow throat, while females' are white. They make a throaty sound like a ‘boink’. In this photo, these two male frogs are jockeying for territory. They will engage in physical confrontations like wrestling to defend valuable habit that will attract females. I took several shots of them, but this one in particular amused me because it looked like one was trying to baptize the other against his will.
Peek a Boo
Photographer: Henry Szwinto. (UK)
Title: Peek a Boo
Location of photo: Sri Lanka
Animal: Asian Elephant
Description: A Sri Lankan Elephant playing peek a boo with his ears
Outdoor smoking zone
Photographer: Lars Beygang. (Germany)
Title: Outdoor smoking zone
Location of photo: Neumarkt, Bavaria, Germany
Animal: Mallard duck
Description: During the spring months, I was commissioned to photograph the urban wildlife of a city near my hometown in Bavaria. After several early mornings by the pond, I decided to return once more to the same spot. It was a very cold morning, with temperatures low enough to make the breath visible. As the first rays of sunlight broke through from behind, I noticed a mallard perched on a fence, calling out into the air. I quickly pressed the shutter, hoping to capture the visible breath streaming from its beak. The scene made me smile - it looked as if the duck had just stepped outside for a quick smoke in the cold morning light.
Fonzies advertising
Photographer: Liliana Luca. (Italy)
Title: Fonzies advertising
Location of photo: Madagascar
Animal: Propithecus coronatus (Lemure)
Description: This moment happened after the tourists had left Nosy Komba (Madagascar). I stopped, letting the silence fall around me, and turned my attention to a group of crowned sifakas (Propithecus deckenii). It was then that he appeared, staring at me with wide, curious eyes, as if questioning my presence... or perhaps my clothing choices.
Then, with the grace of a stage actor and the timing of a comedian, he raised his hand, licked it thoughtfully, and then paused mid-gesture, as if he knew exactly what he was doing.
The photo immediately reminded me of that old snack commercial: "If you don't lick your fingers... you're only half enjoying it!" Ultimately, this is why I love nature photography so much: sometimes nature's sense of humor is better than our own; you just have to be ready to catch it.
High Five
Photographer: Mark Meth-Cohn. (UK)
Title: High Five
Location of photo: Rwanda
Animal: Gorilla
Description: This photograph was taken during a trip to Rwanda earlier this year, where we spent four unforgettable days trekking through the misty Virunga Mountains in search of the gorilla families that call them home. On this particular day, we came across a large family group gathered in a forest clearing, the adults were calmly foraging while the youngsters were enthusiastically playing. One young male was especially keen to show off his acrobatic flair; pirouetting, tumbling, and high kicking. Watching his performance was pure joy, and I’m thrilled to have captured his playful spirit in this image.
Darling, please stop!
Photographer: Massimo Felici. (Italy)
Title: Darling, please stop!
Location of photo: Tanzania, Serengeti.
Animal: Lions
Description: During a photo safari in Serengeti National Park in Tanzania, we were following this pair of lions in love. Unfortunately, they were disturbed by a violent thunderstorm, which dampened their enthusiasm!
It created a cute scene with both of them shaking off the rain, but the male always prevailed due to his impressive mane!
The Choir
Photographer: Meline Ellwanger. (USA)
Title: The Choir
Location of photo: Masai Mara
Animal: African Lion
Description: A hilariously lucky moment I caught of these three lions yawning at the same time.
Flamingone
Photographer: Miles Astray. (Canada)
Title: Flamingone
Location of photo: Aruba
Animal: Flamingo
Description: We’ve all seen a flamingo, but have you ever seen a flamingone? Only an AI could make that up. Or did I just make that up? With AI-generated content remodelling the digital landscape rapidly while sparking an ever-fiercer debate about its implications for the future of content, its creators, and its consumers, I entered F L A M I N G O N E into the AI category of the 1839 Awards. That oddball took home two awards, which were revoked when I revealed that the emphasis of this surreal creature is on real, as in real animal, real photograph. The idea was to prove that Mother Nature and her human interpreters can still beat the machine, and that creativity and emotion are more than just a string of digits. The picture shows a flamingo whose head is apparently missing, but I promise it’s there somewhere. In fact, the bird is just going about its morning routine at a Caribbean beach, head tucked beneath the torso to give the plumage a good cleaning. What seems like a headless flamingo, is really just this awkward yet iconic hero-creature scratching its belly, head tucked beneath the torso—a candid, lucky shot.
Hit the dance floor!
Photographer: Paula Rustemeier. (Germany)
Title: Hit the dance floor!
Location of photo: Netherlands
Animal: Red foxes (vulpes vulpes)
Description: This shot was taken quite at the beginning of my wildlife photography "journey". I always enjoyed nature, but usually only photographed my dog, until I observed foxes for an essay I wrote for biology lessons in school and decided I want to try to photograph and learn even more about foxes.
The photo was taken in a nature reserve. They don't get hunted there and therefore are seen during the day as well. Something I found true with all areas with low hunting pressure that I've been to so far.
I'm not the biggest fan of camouflaging. While I do use it occasionally, the best way I have found to photograph them, especially young ones, is just being present. If you put in the time, I found that the foxes usually get either curious or see you as something natural, not dangerous. Either way, they come close eventually. I had several foxes nipping at my shoes already like this, as well as foxes catching mice just a couple meters away from me!
This was my tactic with these foxes too. Like this, I could follow and document them for several months while they grew up. Their den lied in a sandy valley. Sometimes I found one or two sleeping in that area during the day, but when dawn set, they met up at this spot, got really active and often played a lot together, just like in the image.
The time with them taught me a lot about their social behavior. I saw them fight, hunt, sleep, groom - and of course play, which is always my favorite to watch! You really have to giggle a lot watching foxes play with their quirky personalities.
Since then, I had been photographing and following fox cubs every spring/summer and had much more amazing encounters with foxes and also other wildlife. :)
Squirrel airborne: surrender mode
Photographer: Stefan Cruysberghs. (Belgium)
Title: Squirrel airborne: surrender mode
Location of photo: Belgium - Diest
Animal: Red squirrel
Description: A few years ago, a simple wooden hide was available for rent in a forest near my home, known for its lively red squirrel population. I had visited the spot several times before, and eventually began experimenting with capturing squirrels mid-jump. This resulted in countless blurry shots, but also a few fun and quirky moments—including the one I submitted. Sadly, the forest has since been cut down due to an infestation of bark beetles, but I still cherish the images I captured of these agile and comical little acrobats. I thought this flying squirrel looks like it’s throwing in the towel mid-air—arms wide, total surrender!
Smile, you're being photographed
Photographer: Valtteri Mulkahainen. (Finland)
Title: Smile, you're being photographed
Location of photo: Martinselkonen village, Suomussalmi district. Finland
Animal: Brown bear
Description: When I was photographing bears, this one year old bear cub saw it and started smiling at me. Apparently he had already had to pose in front of photographers.
Headlock
Photographer: Warren Price. (UK)
Title: Headlock
Location of photo: Hornøya, Norway
Animal: Bridled Guillemots
Description: These guillemots were nesting on a small rocky cliff ledge where space was at a premium. The nests all crammed in close together which isn’t a good recipe for being good neighbours, as guillemots are fiercely territorial. Aggression and battles are frequent over nesting space and I captured this image of this bemused looking bridled guillemot, its head firmly clamped in his/her neighbours beak. I liked the way the guillemot was looking directly into my lens, its white eye-liner eyes highlighting its predicament! Sometimes you just want to bite your neighbours head off..literally !
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