An anhinga spreads its wings in a tree to dry at sunset in Everglades National Park in Florida. Unlike many birds in aquatic environments, anhingas don't have waterproof oil on their feathers, so they spend a lot of time with their wings spread to dry out. (Processed from Raw using DxO Photolab)
Photo: Dale Baskin
If there's one common thread that weaves through my photography this year, it's that I didn't do very much of it – at least not as much as I would have liked.
That may sound odd coming from a DPReview editor. After all, a big part of my job is testing cameras and shooting sample galleries. However, 2025 was an unusual year. Instead of running around with gear, I spent much of my time on infrastructure projects that will help lay the foundation for the site's future, including our new forum system and some other things you'll see in 2026. (Teaser!)
Add some unexpected events in my personal life, and I found precious little time for taking photos. A glance at my Lightroom library for 2025 is like looking at an empty cupboard. But one image that's special to me is the one at the top of this article: an anhinga spreading its wings to dry at sunset, captured during a trip to the opposite corner of the country.
For context, I'm a huge fan of national parks, not just in the US, but everywhere, and I've visited them all over the world. This year, I finally had the chance to visit one that's been on my list for a long time: Everglades National Park in Florida.*
I honestly wasn't sure what to expect from the Everglades. Living in the western US, national parks usually evoke visions of rugged mountains or grand vistas: Yellowstone. Yosemite. Mt. Rainier. In contrast, the highest point in the Everglades is about 3m (10ft) above sea level.
An American alligator lurks in the shallow waters of Everglades National Park. (Processed from Raw using DxO Photolab)
Photo: Dale Baskin
Contrary to popular belief, the Everglades isn't just a giant swamp. It is a slow-moving slough running from Lake Okeechobee to the Gulf of Mexico/America (circle your preference). This unique ecology makes it a fantastic environment for wildlife and wildlife photography. Unlike other regions where you often have to work incredibly hard to get close to subjects, here, the birds and aquatic species often walk right past you.
As with most wildlife photography, however, the hard part is still waiting. Waiting for your subject to be in just the right spot. Or, if shooting from a boat, waiting until you're in just the right spot. You still have to wait for just the right moment when your subject looks in your direction or starts moving in an interesting way.
"As with most wildlife photography, however, the hard part is still waiting."
During the time I was in the Everglades, I was testing the Panasonic GH7 for our review, paired with the Olympus 40-150mm F2.8 PRO lens, which provides an 80-300mm equivalent focal length and is one of my favorite lenses for the Micro Four Thirds format.
And that's the gear I used to capture the photo above of the anhinga, spreading its wings against the sky just as the sun was setting. Unlike many birds, Anhingas don't have waterproof oil on their feathers, so they spend a lot of time with their wings spread out to dry.
Hopefully, 2026 will be the year I get back out in the field more often, testing gear and shooting galleries. And I'm definitely planning to go back to the Everglades as soon as I can.
In the gallery below, you'll find a few more of my favorite wildlife shots from my Everglades adventure.
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*The photos in this article were actually taken during the last couple of days of 2024, but since I shot them after writing my 2024 photo of the year article, I'm considering them to be 2025 photos.
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Sample gallery
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This week, we released our review of Canon's EOS R6 III. As is usually the case, in the process of testing it for the review, we took hundreds of pictures with a production model in a variety of situations. We've collected the best examples, shot with a variety of lenses and settings, into a sample gallery so you can judge how the camera performs for yourself.
Given that the Canon EOS R6 III is also a very capable video camera, we've also put together a sample reel of clips shot with it. If you want to see longer-form videos shot with it, you can also watch our videos about the Fujifilm X-T30 III, Sony a7 V and the Canon EOS R6 III, as they were filmed using it.
In a recent interview with Nikkei, Canon’s Chief Financial Officer stated that the company is considering outsourcing the production of lower-end (entry-level) product models to external partners. Cameras and printers could be among the products affected. This is part of a broader review of manufacturing and sales structures aimed at improving efficiency and profitability. The ultimate goal is to raise the company’s Return on Equity (ROE) to 12%. This represents a notable shift from Canon’s traditional emphasis on in-house production in Japan. As of late 2025, it’s still in the consideration phase, with no specific partners, timelines, or affected models announced.
Further reports, primarily stemming from a January 2025 Nikkei Asia interview with Canon Chairman and CEO Fujio Mitarai, provide more context and confirm this strategic shift:
Scope of Outsourcing – Canon is considering a “fabless” model (design in-house, manufacturing outsourced) specifically for lower-end digital cameras (e.g., compact/point-and-shoot models) and printers produced in Asia. This includes potentially outsourcing assembly processes to third-party manufacturers in other Asian countries.
Reasons:
Become more “asset-light” by avoiding fixed costs of maintaining own factories.
Better respond to fluctuating demand (e.g., recent rebound in compact camera popularity driven by social media trends and younger users).
Reduce geopolitical risks and supply chain disruptions.
Cut overall costs amid declining demand for traditional office equipment and entry-level cameras, impacted by smartphones.
Background – Canon closed its Zhuhai, China factory in 2022, which produced compact cameras, limiting its ability to ramp up production for the recent compact camera surge quickly. Outsourcing would allow flexibility without reopening or building new facilities.
What Remains In-House – High-end/flagship products, key components, design, development, and core technologies will stay in Japan (using Japanese factories as “mother factories”). Lenses and advanced sensors are unlikely to be outsourced.
Potential Impact – This could enable Canon to increase production/sales of compact cameras (e.g., PowerShot series) and possibly introduce new affordable models. It aligns with industry trends where competitors already outsource more extensively.
Financial Tie-In – The strategy supports broader goals of improving profitability and ROE, building on the CFO’s comments.
The United States is just days away from a DJI drone ban, driven by a provision in the Fiscal Year 2025 National Defense Authorization Act (NDAA). Section 1709 mandates that the US National Security Agency conduct a formal risk assessment of DJI (and Autel Robotics) by December 23, 2025. Despite DJI’s repeated requests for the audit, including formal letters to multiple agencies since early 2025, no agency has initiated or completed the review. If the deadline passes without action, DJI will automatically be added to the FCC’s “Covered List,” effectively blocking FCC authorization for new DJI products and halting their import and sale in the U.S.
⇒ This could be your last chance to get a DJI drone in the US: check Amazon and B&H Photo for their current availability and pricing.
Existing DJI drones already in the U.S. will remain legal to own, fly, and use, with no immediate grounding. However, future access to new models, official parts, repairs, and firmware updates could become limited or unavailable.
This outcome stems from national security concerns over DJI’s Chinese origins, including fears of data transmission risks or ties to the Chinese government, allegations DJI has long denied, pointing to independent audits showing no backdoors and features like offline data modes. DJI dominates over 70% of the U.S. drone market, powering critical operations for public safety agencies (over 80% of law enforcement drone programs), farmers, filmmakers, and hobbyists. Critics warn that an automatic ban, driven by legislative inaction rather than evidence, could disrupt these users without affordable American alternatives ready to fill the gap.
As we enter the New Year, we're looking back on our predictions for 2025. Were they firecrackers or duds? Photo: Mitchell Clark
Last year, some of the DPReview editorial staff sat down with a mission: figuring out what we expected camera manufacturers to do in 2025, and to make a list of things we wish they'd do, regardless of plausibility or even feasibility. Now that the year is coming to a close, we thought it'd be entertaining to revisit the list and see how well it's aged.
You'll also get to hear some of our predictions for 2026, as a sort of sneak peek at this year's version of the article. Hopefully, we've done a little better this year, though we wouldn't bet on it. These articles are mainly meant to be a wish list, rather than a report from our crystal ball.
DPReview community, we wanted to provide you with a brief update on various community-focused initiatives over the past year. Spoiler alert - a lot's been happening!
The health of our community means everything to us. Our team has built a bond with many of you through discussions of digital photography and our shared passion for geeking out about the latest camera gear. Our editorial team - Dale Baskin, Richard Butler, Mitchell Clark, Abby Ferguson, and I – all enjoy getting your thoughts on our articles. It's this community interaction that makes DPReview thrive, and one that I personally want to do whatever it takes to keep it healthy and lasting.
Supporting the community
For the past 25 years, the DPReview forums have operated in parallel to, but largely independently from, our editorial operations. The editors are dedicated to writing engaging articles, but the interest in interacting with you all also takes a significant amount of time. To support and grow our community properly in the long term, it became clear that we urgently needed a dedicated Community Manager. That's why I was brought on, so the team could have a person dedicated to forum moderation, developing engaging content, and ensuring that support requests are responded to promptly (to name just a few parts of my role here).
Being a Community Manager in any capacity is a wonderful experience (and great responsibility), but I especially couldn't pass up the opportunity to help you all out. As soon as I joined DPReview, I began working closely with the team and volunteer moderators to understand the community's interests.
As a Community Manager, one of my central tenets for building a thriving community is to work directly and openly with members to ensure their needs are met. The most important thing we can do is to be more communicative with all of you about what's happening at DPReview, and just as importantly, ensure you are comfortable sharing your thoughts with us about what matters most to you.
Updating the forum system
The forums serve as a central hub for community discussions, so they must remain accessible at all times. It's a massive system that requires constant attention on both technical and moderation fronts. After more than a quarter-century of the forums in operation, our custom-built, proprietary solution had become too complex and expensive to maintain. If we wanted to keep the forums going, we had to find a solution that DPReview could viably preserve into the future.
In deciding what to do, the team had spent months researching individual software solutions that could address the current challenges. They understood the impact a significant change to the forum would have on the community. This included the viability of continuing to maintain an aging system. Long story short, it was clear that a new platform was the only feasible solution, even if it fell just a few features short of being an agreeable one for all users.
Soon after I was introduced to the volunteer moderators and informed of our forum update plans, I wanted to ensure that the community's voice would be represented through them as much as possible until we could publicly discuss it with you all. We collaborated to announce our migration intentions in all key forum areas. Everything unfolded quickly from that point, with the successful launch of the new platform in early November of this year.
Thankfully, the community showed great patience while we completed the migration, despite having concerns. Post-launch support has included gathering your ideas and suggestions on how we can further improve the forums. With just a few 'bug' type issues remaining, we are now moving on to addressing style improvements. These include the need to make notification indicators and forum index feeds easier to read.
Community initiatives in 2025
While the forum improvements continue, there are many other ways we can work together to develop exciting programs that drive interest across the forums. As a first step, I've reached out to several community leaders (volunteer moderators, frequently active posters, etc.) to ask them what they would like to see activated in the community for content and fun initiatives. If you weren't one of them, please feel free to reach out to me at any time as well.
So far, since July of this year, we've implemented the following content and programs:
I've barely scratched the surface of hearing from all of you, so please let me know what you think of the initiatives we've introduced so far.
There's one more significant community initiative we're testing this month on YouTube that hasn't been published yet, but will in just a few days. Be sure to keep watch in the forums for it!
Exciting plans for 2026
Our team has some super exciting plans to launch for you all in 2026. We are eager to continue the AMAs as a regular series about digital photography and your favorite camera gear. We'll keep the Question of the Week series going as well. And about that YouTube initiative you'll find out about in just a few more days, well, we hope you enjoy watching it and want more of that, too.
Thank you, community, for everything you've developed for one another. The DPReview team is here to provide support, so please don't hesitate to reach out anytime you need it.
Meanwhile, I hope you all have a safe and happy holidays!
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Photo: Mitchell Clark
There's been a lot of talk about the Sony a7 V's dynamic range performance since PhotonsToPhotos released its data on it, showing that it, like the Panasonic S1II, combines the readouts of its low and high gain steps when using the mechanical shutter. We've had the opportunity to test the dynamic range for ourselves with the studio scene to see how it performs, and we can confirm: it is very impressive.
Image Comparison
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To start, this may be one of the most ISO invariant cameras we've seen to date when shooting with the standard, mechanical shutter mode. That means you have a lot of room to preserve highlights by shooting at lower ISOs, then brightening the image in post (a workflow that also translates well to shooting with HDR in mind). In our tests, we saw essentially no shadow cost to an image shot at ISO 400, brightened to match an image shot at ISO 6400 with the same exposure settings.
The results are comparable in electronic first curtain shutter mode, where the two reads of the sensor at different gain modes can be combined after the mechanical second shutter has closed.
Image Comparison
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The a7 V's exposure latitude is also very good, so you can dig quite deep into the shadows when processing your Raws. In mechanical shutter mode, it's a bit better than the a7 IV and peers like the Canon EOS R6 III and Nikon Z6III, and roughly on par with the Panasonic S1II.
As expected, its performance isn't as good in e-shutter mode, where it has less time to read out the sensor and therefore can't do it twice, as it can in its mechanical shutter mode. However, its peers' dynamic range performance also suffers in e-shutter mode, so none of the cameras end up with any particular advantage. Of course, the main reason to shoot in their e-shutter modes is to utilize their highest burst rates, where achieving maximum DR performance is less of a concern anyway.
While the a7 V's dynamic range advantage over its predecessor and peers isn't earth-shattering, it'll be exciting to those hoping to exploit the shadows in their images, such as landscape photographers, or those who often shoot to preserve highlights. Be sure to tune in after the New Year for more coverage on Sony's latest camera, including the rest of our studio scene results.
Note: these images were produced using a beta version of Adobe Camera Raw. While they're consistent with other testing that we've seen so far, we'll check to make sure the results are consistent with those produced by the final version of ACR once it's released.
Viltrox is rumored to release new lenses for Canon RF mount. I contacted Viltrox directly, and they responded that they recently officially launched new 1.33x anamorphic lenses for Canon RF-mount with an authorized approval. However, licensing for other RF-mount lenses has not yet been officially approved, but they are still working on it. Stay tuned for updates.
Photo: Mathew Anderson and Adam Savage at SXSW 2025 game industry conference track.
When the team asked me to contribute to their Photo of the Year series, I wanted to showcase a scene that would help the community gain a deeper understanding of me as a community manager. I decided that this could be a unique opportunity to share a photo taken while I was working in the computer game industry. I suppose you can think of me as a gaming photographer. While the game industry doesn't exactly have a photography focus, it does deeply respect and appreciate art and the idea of 'capturing the moment'.
A community manager in the computer game industry is responsible for a range of public-facing tasks, from managing all the activity you've come to expect from me in the forums to posting on social media channels and overseeing influencer/creator relations. I've also run live, on-stage international competitions and hosted on-site gatherings to celebrate various anniversaries (a game launch, a company's birthday, a community member's own birthday... the list goes on).
Community managers tend to wear many hats, and since it's often for a broad age range of members, we (or they) frequently do quite literally wear many hats or costumes to celebrate our games...
Photo: Mathew Anderson at PAX East game industry convention, where he's showing booth visitors a new game just launched by his team.
With many years in the game industry, I've also directed press relations and encountered some rather interesting people. The on-site business dealings at various conferences and trade shows inevitably bump you up against a famous person or two, frequently from the TV/Film industry. You may have heard of Adam Savage, a popular TV personality who hosts the show MythBusters. While I was at SXSW 2025 in Austin, TX, I attended a panel he participated in, titled "Prototyping the Future: Imagining the Future We Want."
After the panel concluded, everyone filed out to the snacks and drinks lounge (a typical arrangement at these sorts of press environments where the host wants to schmooze you to write a good article about their presentation). While sipping on a mystery drink, I spotted Adam in the far corner. I was determined to talk with this legend and wouldn't let infinitely long snack tables and unlimited drinks get in my way. Praise be that an ice cream machine at least wasn't present...
And this is how I got my photo of the year
I walked right up to Adam, letting him finish his conversation with his assistant and another gentleman. Adam looked at me briefly, and I knew that was my cue to introduce myself. I thrust out my hand, Adam shook it aggressively with a mix of confusion and mild interest on his face, and off I went, talking about how I could be his next PR guy.
"I was determined to talk with this legend and wouldn't let infinitely long snack tables and unlimited drinks get in my way."
There have been many situations like this where I didn't have a business card on me, or I was so caught up in the experience that I didn't think to capture a photo of it. Always be ready with your camera! I didn't forget this time. After our brief introduction, I whipped out my iPhone (the only camera I had at the time) and asked if it was all right if we took a selfie together. And this is how I got my photo of the year, which you see at the top of the page.
Obviously, my job pitch didn't go as planned, but in its stead, I'm fortunate to have landed at an even more amazing opportunity right here at DPReview. Seriously, I somehow feel like my career has been building up to this next chapter where I can express my love of digital photography, geek out on the latest gear, and still share and participate in my love of games.
If you also geek out on new computer gadgets, such as buying way too many cables and peripherals for one individual to ever possibly use, or perhaps play a computer game or two on occasion, I would love to hear from you.
Meanwhile, I put together a slideshow of some other interesting moments I've had in the computer game industry. You'll want to ensure you scroll to the end. These aren't all from 2025, of course, as I looked much more geeky a few years ago than I think I do now...
Sample gallery
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HDR imagery should allow a more lifelike version of images with interesting highlights.
Photo: Richard Butler
We often see concern expressed that there's no real innovation in the industry or that, horrors of horrors, there's more progress being made on the less-developed video side of cameras than on the fairly mature photo side of things.
But, despite these concerns, there have been innovations and the green shoots of progress making themselves visible in this year's releases. We've picked the ones that stood out for us as the ones we think are most likely to have some continued impact.
Combined conversion gain in partially stacked sensors
This one rather snuck under the radar for us: Panasonic had introduced a camera with dual gain output, capturing and combining both a high and low gain signal, simultaneously, as far back as 2022's GH6. But in that camera it was a mode that could only be used in certain circumstances. We saw the improvements in the G9 II and GH7 as addressing that camera's drawbacks, rather than recognizing them as something of a breakthrough.
The Panasonic DC-S1II is the first camera we've encountered to be able to read both the signal from a single exposure via both its high and low gain readout modes and then combine them.
Photo: Richard Butler
Panasonic pulled a similar trick again with this year's S1II, with a different but conceptually similar technology. The 'partially stacked' sensor in the S1II (which is a conventional BSI CMOS sensor with more complex readout circuitry around the edges) showed better dynamic range than the Nikon Z6III had gleaned from the same sensor, but the company was so tight-lipped about precisely what was going on that it took forum regular Adam Horshack to put it all together.
It transpires that the S1II and later Sony a7 V have a new variant of the dual conversion gain sensors that represented the last major step forward in image quality, back in 2014. The 'partially stacked' versions of the existing 24 and 33MP sensors are not only able to read out faster, delivering quicker burst rates and less rolling shutter, but they're also able to operate in their low gain mode and then re-read the same signal in their high gain mode, and combine the results. This takes longer, so isn't used in e-shutter modes, but means these cameras gain a dynamic range boost at their lower ISO settings (where DR is most meaningful).
This won't make much difference to a lot of photographers but the added ability to dig into the shadows will be useful for, say, sunrise and sunset images and will give more freedom for photographers trying to shoot with output on HDR displays in mind. Perhaps the most exciting aspect is that it appears this boost can be applied to existing sensor designs, without incurring the significant costs of truly stacked designs, so we may get to see boosted versions of familiar sensors.
HDR imagery came a bit closer
The Hasselblad X2D 100D II makes HDR photography easier, both through its high-brightness, wide-gamut rear screen and its use of JPEGs with a brightness map embedded in them.
Photo: Mitchell Clark
On the topic of outputting for HDR displays, it felt like we got another step closer to practical HDR workflows this year. Most of the major camera makers have already added true HDR capabilities to their cameras (i.e., output for more lifelike playback on HDR displays, not the wide dynamic range capture being awkwardly squeezed into standard DR playback that we'd previously grown to know and dislike). However, the fragmented nature of the Internet means support for showing and sharing the HEIF files they've settled on remains patchy. Similarly, we've had very few instanced of manufacturers trying to tell the press about these capabilities at all.
As things stand, there's a major risk that smartphones, where the screens, underlying software and cameras are all controlled by the manufacturers, will continue to get better at using this approach, raising users' expectations of what photos should look like and leaving dedicated cameras looking dull by comparison.
With this as the background, we were delighted to see Sigma and then Hasselblad adopt HDR output as the default behavior of their most recent cameras. And, crucially, to do so using a filetype with full sharability and backward compatibility guaranteed. JPEGs.
Ultra HDR JPEGs, which are conventional JPEGs with a brightness map that delivers an HDR version on devices that can display it, can be readily shared and shown on the Internet (rather than being limited to specific platforms, such as Instagram), with the knowledge that anyone can open a version of the file.
With Adobe Camera Raw and Google's Pixel phones also supporting these files, it finally looks like there's a way to exploit the wide DR that large-sensor cameras inherently capture. It'll be interesting to see whether any of the big camera makers follow suit or if they're just going to continue to hope that HEIF gains more widespread support.
Content Credentials
Another long-heralded technology that finally started to appear more widely this year was the Content Credentials image authentication system. Originally developed by a vast consortium of stakeholders from media outlets to camera makers, it was intended as a cryptographically-backed chain of custody, tracing an image back to a specific camera and keeping track of the edits along the way.
With the increased proliferation of AI-generated nonsense on the Internet, we wondered whether a system for proving authenticity might find wider use. And, to that end, Sony extended its application to video files this year.
Nikon also attempted to add it to the Nikon Z6III, until it became apparent that you could use the camera's multi-exposure mode to get the camera to sign-off on an image that didn't originate with the camera. For now it's primarily Sony and Leica that are providing CC-capable cameras but both Canon and Nikon have been part of the effort, so we'd expect to see its support (and use) continue to spread.
Local AI models
While we look to systems like Content Credentials in the hope that they'll provide some bulwark against AI slop, it's probably worth acknowledging that not everything promoted as AI is a scam, an annoyance or a harbinger of the end of the usable Internet.
"AI" tools can increasingly run locally on your computer and allow you to make your chosen edits quickly and easily. They won't currently stop you creating something ill-advised, though.
Screengrab of Final Cut Pro's Magnetic Mask tool
In line with CIPA's 2024 statement about how AI should be applied to photography, there are some instances where it's being used to do something to support the creative process, rather than trying to supersede it. For instance, Adobe Photoshop now uses AI models running locally on your machine, to make it trivially easy to select and mask different parts of a photo. Nothing is invented or generated, it's not relying on untold additional processing at a server farm somewhere, it's just speeding up the editing process for you.
Similarly, the magnetic masking tool in Apple's Final Cut Pro video editing software is unbelievably quick and effective at selecting and cutting out objects or subjects (particularly people) from their surroundings, even if they move and change shape, frame-to-frame. These are tools that were almost unimaginable a few years ago, that just let you get to the point of making the edits and adjustments you want, so much more quickly. Whether you're an enthusiast amateur or a working pro trying to power through a whole wedding's worth of images, these locally-running AI models can be a useful helping hand.
Future essentials or passing fads?
Ultimately, all these things are relatively new arrivals, and your first response my well be: I don't need that. But we've often found that new features and technologies can seem unnecessary at first, but once they start to find their way into your workflow, you one day find it frustrating to go without.
We can't yet know which of these innovations will catch on and bed in and which will seem as misguidedly hyped as 3D TVs and NFTs were. It'll be interesting to see where each of these stand, this time next year, and what other innovations and trends have become apparent in the meantime.
Canon RF 24-70mm F2.8L IS: Lensrentals' most-rented lens of 2025.
Image: Canon
It's that time of year when Lensrentals gives a glimpse into the trends it's seen during the year with its annual list of most-rented gear. This years' numbers suggest Canon and Sony increasing a stranglehold, but not for the same purposes.
The Lensrentals list gives a fascinating insight into trends within the industry. It's a very different perspective from sales figures in that these aren't necessarily the lenses and cameras people are buying, but instead are the ones they're choosing to use rather than buying. Some of it will be people trying a product before making a purchase but the majority will be renting a lens for a special occasion that they can't justify purchasing, or getting hold of a body (or second body) for a particular event or shoot.
Interestingly, though, Lensrentals' inclusion of batteries in their most-rented gear list this year might be the key to making sense of the numbers.
The appearance of Sony's NP-FZ100 battery at number 3 and Canon's LP-E6NH in 20th place is interesting, given Sony cameras typically achieve significantly better battery life than Canon. But, put together with a look at the most-rented cameras from each brand: the FX3 video camera for Sony and the much more stills-focused EOS R6 II and it reveals a pattern: people are renting Sony for video and Canon for stills.
Ultimately, the precise motivations for rentals can't be divined from the numbers, but you can do a little tea-leaf reading.
This might also explain why the Sony a7S III makes the top 20 but the a7R V, which is a much better stills camera, doesn't. It's the 6th most-rented Sony camera, with the likes of the FX6 being rented more frequently. Also making the top 20 is a Compact Flash express Type A card, with the most-rented accessory list showing a larger capacity not far behind, which again suggests people are renting kits for data-intensive shoots. Though, in theory it could be read as people choosing to rent, rather than buy, a format solely used for high-intensity shooting on a single platform.
Lensrentals Most Popular Photo and Video Gear 2025
(⇑2) Canon RF 24-70mm F2.8L IS
(⇑3) Canon RF 28-70mm F2L
(NE) Sony NP-FZ100 Battery
(⇑3) Canon EOS R6 Mark II
(⇓4) Canon RF 70-200mm F2.8L IS
(⇓5) Canon EF 24-70mm F2.8L II
(⇑2) Sony FE 70-200mm F2.8 GM OSS II
(—) Sony FE 24-70mm G2.8 GM II
(⇓5) Canon EF 70-200mm F2.8L IS III
(⇑2) Sony FX3
(NE) Sony 160GB CFexpress A card
(⇑1) Sony a7 IV
(⇓7) Canon EOS R5
(⇑1) Canon RF 100-500mm f4.5-7.1L IS
(⇓4) Sony a7S III
(⇓6) Canon EOS 5D Mark IV
(⇑1) Canon RF 50mm F1.2L
(⇑1) Canon RF 15-35mm F2.8L
(⇓3) Sony a7 III
(NE) Canon LP-E6NH Battery
Ultimately, the precise motivations for rentals can't be divined from the numbers, but you can do a little tea-leaf reading. For instance, the decline in the popularity of the Canon RF 70-200mm F2.8L IS can probably be attributed to the arrival of the non-retracting RF 70-200mm F2.8L IS Z, which didn't itself make the top 20 but is likely to have split the vote, so to speak. We have to assume that the existence of the EOS R5 II (the most-rented camera not to make the top 20) is the main reason for the original R5's drop in position, given Canon rentals were up, overall.
The precipitous drops shown for the EF 24-70mm and 70-200mm F2.8s and the EOS 5D IV suggest that we're beginning to see the twilight of DSLR systems, after a surprisingly strong performance last year. This backs up the trend we see in the production data: DSLR shipments in the first ten months of 2025 were down 26.7% and now sit at around 580K, vs the 5M mirrorless cameras shipped in the same period. As a region, the Americas have seen the smallest declines in DSLR shipments, but the Lensrentals numbers suggest that trend is present here, too.
Again it's interesting to note that, despite Nikon having a very strong lineup and there being a lot of buzz around the likes of the Z6III, there are no entries at all for the Z-mount in the top 20. Only the seven most-rented cameras make the overall top twenty and the Nikon Z8 was the 17th most rented camera. The value of Nikon rentals fell, in percentage terms, relative to 2024. That said, given the popularity of the FX3, we'll have to see whether the ZR has any impact on these figures next year.
More worrying for Nikon, perhaps, might be the fact that RED rentals have dropped from just over 2% of rentals in 2023 to 1.11% last year. Lensrentals isn't primarily a video rental house used by the production industry, but such a big decline doesn't seem like a promising signal.
A breakdown of each brands' contribution to Lensrentals' revenue, in 2025. As noted in their blog, this disproportionately favors brands with expensive gear, such as Red and Leica.
Image: Lensrentals
The overall brand share shows Canon and Sony cementing their hegemony, with only DJI showing an appreciable uptick in revenue generation share. There are fractional improvements for Fujifilm and Leica, but overall the story appears to be that Canon and Sony are increasingly dominating Lensrentals' business. It's interesting to speculate on the degree to which that's indicative of wider market trends.
Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.
This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.
What are the best (and worst) photography-related gifts you've received?
What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.
In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.
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Photo: Abby Ferguson
2025 was inadvertently the year of medium format photography for me. It started with my husband gifting me a medium format film camera for Christmas last year, which was the camera I used to take my favorite photo of 2025. We also saw two digital medium format camera releases this year: the fixed-lens Fujifilm GFX100RF and the Hasselblad X2D II 100C. The Fujifilm camera was certainly intriguing, but I've been a Hasselblad fan from afar ever since I got into photography (I mean, just look at the 503CW), and I was highly impressed by the new release, at least on paper.
Sometimes, we build things so much in our heads that when we finally get a chance to experience them in real life, disappointment follows. There's a reason people say to never meet your idols, after all. Luckily for me, such was not the case with the X2D II 100C. Instead, it simply confirmed what I had originally expected: this is one heck of a camera.
With the 35-100mm lens, it's still a relatively reasonable size to bring along on adventures. Photo: Abby Ferguson
Given that my previous medium format experience has been film-based, I'm used to medium format photography being an extremely slow and clunky process. I had heard that was largely the case with previous digital offerings that used the larger format, especially compared to smaller-sensor modern mirrorless cameras. The X2D II bucks that assumption, though.
I was able to pick up the X2D II and use it exactly like my Sony a7 III without much thought, especially since I was using it with the XCD 35-100mm F2.8-4 E, which is surprisingly small and fast for a medium-format standard zoom. Yes, as a whole, it's larger than my typical kit, but it was by no means unreasonable to take it out of a studio setting. In fact, I brought it on a (short) hike and had no issues or complaints about the size or weight.
"Simply put, it made medium format photography easy."
More so than the form factor, though, I was impressed by the autofocus. In fact, given the age of my Sony, it even seemed like the autofocus, especially eye detection, was better on the Hasselblad. It found eyes pretty much immediately and was very sticky, including when the subject, or I, moved around. It even had no issues with my husband's tinted glasses and did a great job finding the eyes of my black dog and cat, something cameras often struggle with. Simply put, it made medium format photography easy, something I didn't necessarily expect.
I used the X2D II to photograph one of my recurring subjects, broken glass. Photo: Abby Ferguson
The Hasselblad also uses an 'Ultra HDR JPEG' workflow, the same approach that we were surprised to find on the Sigma BF (Sigma didn't market the feature at all). What's nice with the X2D II, though, is that the rear monitor is HDR-capable, so you can see your HDR photos in all their glory right there on the display. It made me excited to look at the pictures I just took, especially when photographing in dramatic light. Because, wow, they looked good (and this is not a comment on me as a photographer, but rather on the quality of the display).
Unfortunately, I don't yet have a computer capable of displaying these images in their full glory. For now, viewing them on the tiny screen on my phone is the only way for me to bask in the HDR-ness. Needless to say, I greatly look forward to a bit of a computer upgrade soon that will allow me to appreciate the images fully.
If you click through to the original, you can see the HDR version (provided you are using an HDR-compatible display). It's a good example of how much more depth you can get in certain situations. Photo: Abby Ferguson
Lastly, although a feature that often gets overlooked, I also truly appreciated Hasselblad's approach to the menu system on the X2D II. It was drastically simplified and pared down compared to just about every other camera system. Instead of having to wade through page after page of options, there is a limited selection of icons that take you to straightforward settings. Plus, all essential things that might need to be changed while photographing can be adjusted without entering the menu system at all. It was a refreshing switch, and was again a surprise on a camera as robust as the X2D II.
Of course, Gear of the year isn't supposed to necessarily be waxing on about the technical aspects of a camera. It's a series that isn't here to highlight the best gear of the year (although the Hasselblad X2D II did win our best high-end camera award this year), but instead looks at gear that made for a memorable experience for each of us, personally. The Hasselblad was just that for me.
"Even more important, the camera made me excited to take photographs."
Experiencing the X2D II satisfied a lifelong dream of at least using a Hasselblad, so that's a check on the memorable part. But beyond that, the camera looks nice, feels nice, and made medium format photography highly approachable (I'm strictly speaking about the process here, not the price of the system or the size of the files you have to deal with later). While I'm not sure if I took any museum-quality photos with it during my short testing window (actually, I'm sure that I did not), I do like many of the images I took. Even more important, the camera made me excited to take photographs, something that I often struggle with, so that's a notable win in my book.
Gallery
You can see a small selection of the images that I took (and edited) with the Hasselblad X2D II 100C below.
Sample gallery
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Image: Viltrox
Viltrox has announced that its AF 35mm F1.2 Lab lens, previously released for E-mount, is available for Z-mount cameras. As a result, Nikon users now have access to both of the Lab series primes (35mm and 135mm) currently offered by Viltrox.
The Lab series sits at the top of Viltrox's lens lineup, offering fast apertures and representing what Viltrox describes as the pinnacle of its optical innovation. The Nikon version of the AF 35mm F1.2 Lab lens is identical to the E-mount model in most ways, including optical design. It is made up of 15 elements in 10 groups, with 5 ED elements, 3 high-refractive-index elements and 2 aspherical lenses.
Image: Viltrox
The lens features nano multi-layer coatings to minimize flare and ghosting, and a moisture-resistant coating on the front element as well. Viltrox says that the optical design provides reduced vignetting even at its maximum aperture. It also promises minimal edge distortion.
Four Viltrox HyperVCM motors power the autofocus, which Viltrox promises to be fast, quiet and accurate. It supports face and eye recognition autofocus, and the company says it can adjust from the closest to the farthest focus points in 100ms. It also promises goodc focus breathing control for video use.
The AF 35mm F1.2 Lab offers useful on-lens controls, including a multi-function ring, two customizable Fn buttons, an AF/MF switch and a click/de-click switch for aperture adjustment. There's an LCD that can be customized to display desired information as well. It also features a dust and moisture-resistant design.
Not surprisingly, the difference between the Sony and Nikon versions comes down to size and weight. It's still a hefty lens, but at 970g (2.1lbs), the Z-mount model is slightly heavier than the E-mount model's 920g (2lbs). It's also a hair longer, measuring 124mm (4.9").
The Viltrox AF 35mm F1.2 Lab for Z-mount is available today for $999.
If you missed Black Friday, Topaz Labs just started a new Holiday Sale that includes Topaz Studio, Studio Pro, and all single apps (valid from December 16th to January 7th). Here are the details:
Topaz Labs will also announce a major Realism Update tomorrow. Multiple apps are getting a realism boost, enhancing fine details and lighting, and giving photos, videos, and AI-generated content a more realistic look. Astra, Bloom, Topaz Video, Topaz Photo, and Topaz Gigapixel will all receive new models, features, and updates. Here’s what’s new in the Topaz Realism Update:
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Image: Ricoh
Ricoh has announced that the GR IV HDF is officially coming in January, slightly later than the "winter 2025" date the company gave when it announced the camera in October. As expected, the variant of the popular compact keeps just about everything consistent with the original model, but swaps out the internal ND filter for one that produces softer highlights.
Image: Ricoh
As the name suggests, the main focus of the GR IV HDF is the integrated highlight diffusion filter (HDF). Ricoh says the filter is the result of its advanced inkjet technology. It produces an overall diffused, soft look, but the effect is especially visible in the highlights. The HDF can be turned on or off with a single-action switch, providing quick access to the feature.
The Ricoh GR IV HDF also adds an electronically controlled shutter mechanism, which enables shutter speeds up to 1/16,000 sec, a substantial boost from the original GR IV's 1/4000 sec max shutter speed. Those with the original model also benefit from this change, as the mechanism can be installed on the GR IV with new firmware available at the time of the GR IV HDF launch. However, it's currently unclear how much of a concern rolling shutter will be when using the camera's e-shutter mode.
Image Comparison Slider
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In this sample provided by Ricoh with the GR III HDF, you can see the result of the HDF on highlights.
Beyond the HDF and shutter speed, the new variant keeps all the same functionality and features of the original version. That includes its 18.3mm (28mm equiv) F2.8 lens, 25.74MP APS-C sensor, 5-axis image stabilization and 3-inch LCD.
Luckily, Ricoh isn't keeping fans waiting much longer. The GR IV HDF will be available in late January for $1600, $100 more than the original GR IV.
Press release:
RICOH launches RICOH GR IV HDF
Highlight Diffusion Filter softens light sources and diffuses highlights for more expressive images
PARSIPPANY, NJ, December 16, 2025 — Ricoh Imaging Americas Corporation today announced the launch of the RICOH GR IV HDF. Based on the RICOH GR IV premium digital compact camera, this new model incorporates an HDF (Highlight Diffusion Filter) designed to deliver a mellow, diffused expression with a single-action control.
While inheriting the fundamental merits of the GR IV base model – exceptional image quality, flawless point-and-shoot operation, and outstanding portability – this new model also incorporates the RICOH-original HDF(Highlight Diffusion Filter), enabling the user to capture mellow, soft images with diffused highlight areas, in addition to the clear, sharply focused images made famous by its base model. This creative versatility expands the visual expression boundaries of snapshot photography.
The RICOH GR IV HDF is scheduled to be showcased at GR SPACE in Tokyo, Shanghai, Beijing and Brisbane beginning on Wednesday, December 17, 2025; in each of these locations, visitors can try out this new model firsthand.
| Pricing and Availability |
The RICOH GR IV HDF will be available late January at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets nationwide for a manufacturer’s suggested retail price of $1,599.95.
| Main features of the new RICOH GR IV HDF |
Single-action switching to the built-in HDF, to create mellow, soft images
The GR IV HDF incorporates the RICOH-original HDF (Highlight Diffusion Filter), which is designed to emphasize highlights and produce mellow, soft images. Developed by taking advantage of the advanced inkjet technology RICOH has cultivated over the years, this special-effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to capture nostalgic images resembling those captured in film photography or movies. Since the HDF can be instantly switched on and off with a single action, it lets the user alternate between two completely different visual expressions — clear, sharply focused images representative of the RICOH GR series, and mellow, soft images captured by the HDF —depending on the subject or creative intention.
Note: The development process of the HDF is explained in greater detail in the technologies section of the official RICOH website.
High-speed electronic shutter with a top speed of 1/16,000 second for shooting at extremely bright locations
In addition to a conventional mechanical shutter unit, the GR IV HDF also features an electronically controlled shutter mechanism*, which allows the user to intentionally raise the shutter speed up to 1/16,000 second, making it possible to capture images at extremely bright locations while still setting a larger aperture.
* This mechanism can also be installed on the RICOH GR IV using new function expansion firmware (scheduled to be released following the launch of the RICOH GR IV HDF).
The color of the shutter-release button has been changed from the GR IV’s black to grayish silver, to symbolize the camera’s ability to instantly shift the image’s visual expression. The default setting of the Fn (Function) button is set to the on/off action of the HDF.*
* The default setting of the Fn button can be changed to other functions.
Note: All other functions of the RICOH GR IV HDF are identical to those of the RICOH GR IV, except for the availability of the ND (Neutral Density) filter.
Connexion
