Songraw will release new 50mm & 85mm f/1.2 full-frame autofocus lenses for Nikon Z and Sony E mount (previously reported here). The new lens series is marketed as “light” and “affordable” in China, featuring significant weight reduction, numerous optimizations, and a titanium gray lens body.
Zeiss will announce a new Otus ML 35mm f/1.4 Apo Distagon lens for Nikon Z, Sony E, and Canon RF mounts on February 23rd or 24th for the CP+ show in Japan. This will be the third Zeiss Otus mirrorless lens after the 1.4/35 and 1.4/50.
A gigantic fin whale gently breaking the water's surface. What do you feel about the top-down shooting angle in this image? How does it compare to other top-down shots you've seen? (Disko Bay, Greenland)
DJI Mavic 3 Classic | ISO 100 | 1/400 sec | F4
Aerial photography has always offered a unique perspective, and recent technological advances have made this genre of photography more accessible than ever. But what are the implications for the wildlife we're trying to capture?
In this article, I'd like to share my thoughts about wildlife photography from the air, namely, using a manned aircraft (helicopter or light plane) or a drone. Photographing animals from the air is a somewhat controversial subject, both in terms of how the images look and the moral implications.
"A photographer shouldn't shoot wildlife from the air if doing so causes any serious distress or harm to the animals."
Let's address the second controversy first, since people tend to have strong feelings about it.
A photographer shouldn't shoot wildlife from the air if doing so causes any serious distress or harm to the animals. This means, for example, that if a bear is hunting, disturbing it with a buzzing drone and ruining the chase – and potentially depriving it of its prey – is wrong and shouldn't be done.
However, this does not mean that all aerial wildlife photography is wrong. Some animals simply aren't bothered by aircraft at a distance, so if photography is done responsibly and the animal's well-being is taken into account, there's no problem with shooting it from the air.
A family of walruses having a sleepover on a flat iceberg in Svalbard. These lazy blobs couldn't care less about my drone hovering above them. To make sure of that, my guide was monitoring their responses at all times using binoculars. (Magdalenefjord, Svalbard)
Shooting from far away allowed me to show the shapes a flock of flamingos creates in flight. I was so far away that there's no way they would have been disturbed. (Sandwich Harbor, Namibia)
Canon EOS 5D Mark IV | Canon EF 70-300mm F4-5.6 IS II USM | ISO 400 | 1/1000 sec | F8
Now that we have this out of the way, let's talk about the actual photography. Aerial wildlife photography is awesome. Aircraft can fly to places the photographer can't reach by other means. It can offer a different perspective, for better or worse, and generally opens up options, which is what we want, assuming we are interested in creating original, interesting art.
That's the good part, but there is a bad part. Using an aircraft means that we almost surely cannot shoot the animal at eye level. This is detrimental in the sense that the photographer is very limited in the kind of connection they can create between the viewer and the subject.
"Wildlife photography is all about bringing the beauty of animals to life and immersing viewers in their habitats."
Wildlife photography is all about bringing the beauty of animals to life and immersing viewers in their habitats. Shooting from the air limits how close you can get and the shooting angle, which is a very serious disadvantage.
The way to overcome this disadvantage is to create a connection to the wildlife by other means. Namely, use the aircraft to create an interesting composition that shows the animal in its natural habitat in a visually appealing way.
Take, for example, the image below. This is a good example of an animal-in-landscape type of shot, which means a landscape image with a wildlife element. Here, the compositional 'punch' comes from the shapes of the broken sea ice. The pair of walruses is just the cherry on top – the element that breaks the pattern and injects interest into the flat, somewhat repetitive landscape.
A pair of walruses chilling on sea ice. While the wildlife is the main subject, the broader context of the animals in their habitat and the way I composed the landscape are what make this image work. To achieve this composition, I had to use a drone. (Yoldiabukta, Svalbard)
I have a bit of a problem with top-down aerial photography, but there are instances where it just works.
Last summer, I shot lunge-feeding fin whales during my Greenland photo workshop, and the drone proved to be the perfect tool for this. Not only did it allow me to get a good view of the whale, free of reflections and close enough to show detail, but since the whales often swim turned to their sides, the drone allowed me to capture the full view of the animals' bodies and behaviors.
Fin whales lunge-feeding in Disko Bay, Greenland. The whales feed by driving krill to the surface, then taking huge gulps and filtering the tiny crustaceans with their baleen. (Disko Bay, Greenland)
Since the whale is on its side, this high angle was actually perfect to show all the desired detail. See the tiny krill? Am I the only one who thought of Shai Hulud (the sand worm from Dune)? (Disko Bay, Greenland
The fact that the whales feed turned to the side is exactly why I could shoot top-down (more or less) and still get the interesting parts of my subjects to show in the images.
Erez Marom is a professional nature photographer, guide and traveller. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates.
If you'd like to experience and shoot some of the world's most fascinating landscapes and wildlife with Erez as your guide, take a look at his unique photography workshops in Zambia, China, Colombia, Vietnam, Madagascar and more.
Erez has recently published his first e-book, Solving the Puzzle, thoroughly explaining his views about composition in landscape photography and beyond.
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Sample gallery
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This week, we published our review of the Fujifilm X-T30 III, the company's entry-level, SLR-shaped camera with a now venerable 26MP APS-C sensor. It's shown up in enough of the company's cameras that there are few surprises left when it comes to the image quality, but we still like to share some of the images we take with a camera during the review process.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
The new lens will be priced similarly to the Tamron 16-30mm f/2.8 Di III VXD G2 lens: $900 for the Sony version and $930 for the Nikon version. Shipping will start in late March or early April.
Update – here are two additional pictures of the new lens:
If you've long been a fan of the film look on your digital photos, there's a good chance you're familiar with the VSCO Film desktop presets. They were quite popular at one time, but VSCO discontinued them in early 2019, much to the frustration of many photographers. Now, the company is bringing one of its preset packs back, albeit with some caveats.
The VSCO Film 02 presets are available for Adobe Lightroom and Adobe Camera Raw and feature looks inspired by real films from Kodak, Fuji and Ilford. They aim to translate each film's highlights, shadows, and grain into your digital files. The lineup includes Fujifilm Neopan 1600, Fujifilm Superia (100, 400, 800 and 1600), Ilford Delta 3200, Kodak Portra 160 (NC and VC) and Kodak Portra 400 (NC, VC and UC).
Film 02 includes multiple film looks. Image: VSCO
Each preset offers the standard look along with variations to further customize the end result. VSCO clarifies that these do more than just change the strength of the preset. They range from a cleaner, more subtle version to stronger looks with dramatic hue shifts that mimic vintage film processes.
The presets come in standard and camera-specific profiles. VSCO says the standard profiles are designed to adapt across a wide range of cameras, while camera-specific profiles are available for popular models from Canon, Nikon, Sony, Fujifilm, Ricoh and Leica. They are designed to work with Raw files, so photographers can maintain full editing control, but the standard versions also work with JPEGs.
Each film preset offers additional variations for dialing in your preferred look. Image: VSCO
For many photographers, the return of VSCO Film 02 presets is a welcome sight. Unfortunately, they’re only available for a limited time, and VSCO hasn’t specified how long. Another critical detail: they are only available for VSCO Pro members. If you want them, you'll need a paid subscription, which costs $5 per month. Having a free trial of the Pro membership does not unlock the presets, though VSCO says you can reach out to the support team to get help expediting your upgrade if you would like access.
This release doesn't cover all the options VSCO previously offered, either. In the website's FAQ section, VSCO addresses whether more could be coming: "We know how much the original preset packs meant to photographers, and we’ve heard the requests. While we don’t have details to share yet, we’re actively exploring what comes next. If and when more preset packs return, VSCO Pro members will be the first to know."
You can find more details about the presets and how to install and use them on the VSCO website.
If you've long been a fan of the film look on your digital photos, there's a good chance you're familiar with the VSCO Film desktop presets. They were quite popular at one time, but VSCO discontinued them in early 2019, much to the frustration of many photographers. Now, the company is bringing one of its preset packs back, albeit with some caveats.
The VSCO Film 02 presets are available for Adobe Lightroom and Adobe Camera Raw and feature looks inspired by real films from Kodak, Fuji and Ilford. They aim to translate each film's highlights, shadows, and grain into your digital files. The lineup includes Fujifilm Neopan 1600, Fujifilm Superia (100, 400, 800 and 1600), Ilford Delta 3200, Kodak Portra 160 (NC and VC) and Kodak Portra 400 (NC, VC and UC).
Film 02 includes multiple film looks. Image: VSCO
Each preset offers the standard look along with variations to further customize the end result. VSCO clarifies that these do more than just change the strength of the preset. They range from a cleaner, more subtle version to stronger looks with dramatic hue shifts that mimic vintage film processes.
The presets come in standard and camera-specific profiles. VSCO says the standard profiles are designed to adapt across a wide range of cameras, while camera-specific profiles are available for popular models from Canon, Nikon, Sony, Fujifilm, Ricoh and Leica. They are designed to work with Raw files, so photographers can maintain full editing control, but the standard versions also work with JPEGs.
Each film preset offers additional variations for dialing in your preferred look. Image: VSCO
For many photographers, the return of VSCO Film 02 presets is a welcome sight. Unfortunately, they’re only available for a limited time, and VSCO hasn’t specified how long. Another critical detail: they are only available for VSCO Pro members. If you want them, you'll need a paid subscription, which costs $5 per month. Having a free trial of the Pro membership does not unlock the presets, though VSCO says you can reach out to the support team to get help expediting your upgrade if you would like access.
This release doesn't cover all the options VSCO previously offered, either. In the website's FAQ section, VSCO addresses whether more could be coming: "We know how much the original preset packs meant to photographers, and we’ve heard the requests. While we don’t have details to share yet, we’re actively exploring what comes next. If and when more preset packs return, VSCO Pro members will be the first to know."
You can find more details about the presets and how to install and use them on the VSCO website.
Additional informtion on the lens can be found here:
Product Overview
This wide-angle lens for APS-C cameras combines an easy-to-use angle of view equivalent to approximately 37.5mm in 35mm format with a large aperture of F1.8. It weighs only about 145g and is a thin and lightweight design with a total length of 32mm, yet it is equipped with a silent and high-speed AF using an STM (stepping motor). From street snapshots to video shooting, it is an “Everywhere Prime” that you can carry around in your pocket at all times.
Main Features
Soft bokeh created by the 9-blade circular aperture with maximum aperture of F1.8
STM stepping motor for quiet and smooth AF drive
The latest optical design with 7 elements in 5 groups, including 3 high-refractive index lenses, provides high resolution all the way to the edges
Compact metal body weighing approximately 145g and measuring 32mm in length, perfect for everyday use
Multi-coating suppresses flare and ghosting even in backlit conditions
Metal exterior and diamond-cut focus ring for high operability
The included metal lens hood combines design and durability.
Specification
Compatible mounts: Sony E, Fujifilm X
Compatible image capture size: APS-C size
Color: Black, silver, red, orange
Focal length: 25mm (35mm format equivalent: 37.5mm)
Focus mode: AF (autofocus)
Aperture blades: 9
Lens construction: 7 elements in 5 groups (including 3 high refractive index lenses)
Aperture range: F1.8-F16
Minimum shooting distance: 0.3m
Filter diameter: 52mm
Size: Φ72mm×32mm (excluding mount and hood)
Mass: Approximately 145g
Accessories: Lens cap, rear cap, lens hood, lens hood cap
Manufacturer’s warranty: 2 years (covers natural failures)
Setting up any new camera can be an overwhelming experience because of the extensive number of settings and options. Making matters worse, every brand has its own quirks in default settings and button functionality. Canon cameras are no exception, but the guide below highlights some of the most important settings to adjust on your new Canon camera to help you hit the ground running.
Some settings apply no matter what brand of camera you have, which we've covered in a separate article. You may want to start there, especially if you're a beginner. It's also important to remember that each shooting style and genre has different needs; the items below apply to most photographers rather than to specific niche settings. If you're setting up a new Canon camera, these will give you a good place to start before you fully customize it to your needs.
Engage Raw files
Canon provides two primary Raw types: Raw and compressed Raw (called CRaw).
To gain the flexibility of shooting Raw (or Raw + JPEG), access the "Image quality" option at the start of the Camera menus. Alternatively, you can also adjust image quality in the Q menu. It's important to note that when changing this setting in the main menu, you'll need to hit OK to approve, though you don't need to hit OK in the Q menu.
Like other camera brands, Canon offers a choice of Raw file formats. The primary Raw option provides uncompressed files, which is what we'd suggest for most people. CRaw applies lossy compression, particularly in deep shadows, limiting your processing latitude. Dual Pixel Raw is available on some cameras in a separate menu option, though we wouldn't recommend using it as it adds file size for little, if any, benefit.
Password settings
Canon has implemented a password feature, apparently to comply with international regulations, to prevent unauthorized access to other devices your camera may be connected to. Note that it's not intended to prevent or deter theft. It is present on all new models and has been added to many older ones with firmware.
If you have an older mirrorless camera without updated firmware, you will not encounter this (until you update the firmware). But if you turn on a new Canon camera that comes with this tool, or one with updated firmware, you'll see a screen requiring you to set a six-digit PIN, which you cannot bypass. The camera will then require that password whenever you start it up or when it wakes from sleep mode. While some may appreciate the slight increase in security, for most, it's just an annoyance, and we'd recommend turning it off right away.
On subsequent startups, your camera will display a box labeled "Do Not Ask Again." If you check that box, as you may guess, you won't be asked to enter the password again. You can also turn it off in the Manage Password menu (found in the yellow Setup menu) by accessing the "Pword Request" option.
You can also change your password in the Manage Password menu and see a log of password changes. If you forget your password, you can reset it using the "Clear entered information" option on the "Manage Password" screen. Be aware, though, that selecting that will conduct a full factory reset of the camera.
Keep track of AF tracking
Canon's recent R-series cameras have a menu option called ">Whole Area Tracking Servo AF" in the AF section of their menus. This prompts the camera to track whatever is under your chosen AF point (using the whole area of the screen) and can be engaged for any AF area mode, so long as the camera is set to continuous AF (Servo AF in Canon speak).
The easiest way of engaging this tracking mode is to bring up the Q menu and go to the autofocus area option (typically at the top left). You can engage and disengage tracking by pressing the Info button.
The Q menu makes it easy to toggle AF tracking on and off, particularly on more recent cameras. But remember that if your camera says 'Enable' it means it's already enabled, not that you need to press INFO to enable it.
One word of warning, though: on all but the most recent models, the Q menu screen will say "Enable" next to the icon representing tracking. This does not mean you need to press the 'Info' button to enable the function; it actually indicates that the function is already enabled. Don't be confused by this grammatical error. On the most recent models, this has been fixed, and the screen indicates whether tracking is On or Off.
On first-generation R-series cameras (EOS R, EOS RP, EOS R6 and EOS R5), setting the camera to track the subject of your choice is a little more complicated. First, you need to engage Face + Tracking as your AF area (called "AF method" in the main menus), then change another menu setting called "Initial Servo AF pt for Face + Tracking." This gives you an AF target in AF tracking mode, letting you specify what you want the camera to track.
This menu option will be in the AF section of the menus, if your camera has one, or the Custom Function setting section, if it doesn't.
Flexible Priority mode
Parameters with an underline are controlled automatically by the camera. If the underline is not present, that means you are controlling that setting. In this screenshot, the user is controlling shutter speed and aperture, while ISO is set to auto.
Many of Canon's mirrorless cameras offer an exposure mode called Fv mode that behaves similarly to Program, Av (aperture priority), Tv (shutter priority) and Manual all rolled into one, much like Pentax's Hyper Control System. On Canon EOS R‑series cameras (except the EOS R100, R50 and R50V, which lack Fv mode), you select Fv from the standard mode list via the Mode button or the mode dial, depending on the body. The feature lets you control the parameters most important to you, while the camera automatically sets the rest. It also makes it faster to adjust which setting you're controlling; you can simply twist the control ring to gain control over aperture, rather than having to switch to aperture priority mode.
When set to Fv mode, the camera automatically controls shutter speed, aperture, and ISO by default. However, the camera lets you change any combination of those three settings, as well as apply exposure compensation to adjust the camera's metering. You can control which setting the main dial controls, and also choose whether you want to have access to a second setting using the control ring built into RF lenses. From there, you're able to adjust them, just as you would in Tv, Av, or Manual mode. To hand control back to the camera, you can press a button that will reset either selected parameter or all of them to auto; which button does this depends on your camera.
While we like the idea of a mode that lets you control shutter and/or aperture, it also allows you to inadvertently set a manual ISO value, with the camera automatically setting aperture and shutter speed to match. This sort of ISO priority mode is never a sensible outcome, because it's a setting that should always follow from aperture and shutter speed, as they determine how much light your camera gets.
Maximum ISO
If you don't want the camera to use extremely high ISO values, you can set your own maximum.
A fairly common user complaint with Canon cameras is that they tend to use quite high ISOs in low light conditions when ISO is set to auto. This risks leaving newer users frustrated and confused by noisy images. To help with this, Canon, like other brands, lets you set a maximum Auto ISO value in the ISO settings menu, so the camera won't exceed the limit you choose. If you're annoyed by your camera using high ISOs and you're prepared to deal with the camera hitting its ISO limit, you may want to set a lower Max ISO value. It's not something we'd recommend for everyone, but it is worth considering based on your preferences and shooting style.
Shooting HDR photos
Almost all of Canon's EOS R cameras are able to shoot true HDR images that will look more vibrant and lifelike when viewed on an HDR-capable TV, computer monitor or phone (it's only EOS R, RP and R100 users that miss out). However, it's worth noting that Canon offers two similarly-named options: "HDR Shooting (PQ)" that captures a single image and renders it so that it looks good on HDR devices, and HDR Mode, which shoots three images and merges them into a heavily-processed looking image for playback on standard dynamic range (SDR) displays. The first of these modes can be really good; the second, we'd suggest avoiding.
HDR (PQ) files are captured in the HEIF format, but the cameras will let you shoot HEIF + Raw, so you can process a standard JPEG later, if you want, either in-camera or in desktop software.
If you capture a Raw file with HDR Shooting engaged, you can reprocess it as an HDR HEIF or an SDR JPEG, but you cannot process a Raw shot in standard mode into HDR.
On some models, the camera will recommend enabling "Highlight Tone Priority" (HTP), which reduces exposure to capture additional highlight information. More recent models automatically engage HTP (though you can override this in the Highlight Tone Priority menu, if you insist). We would strongly recommend using HDR Shooting and HTP together: the results look great.
Customize your camera for your needs
Custom buttons
As you might expect, all Canon models also let you customize the functions assigned to several of their buttons. This is typically done via either the "Customize buttons for shooting" in the green, Customized Controls section of the menu on newer cameras or "Customize buttons" in the orange, C.Fn section on older models.
All Canon R series cameras let you customize their buttons, it's just a question of where you find the settings.
It's more deeply hidden in the R100, but it is there (Function settings / Custom Functions / Custom controls).
M-Fn button
Canon cameras give you a couple of ways of getting semi-fast access to the settings you might want to change regularly. Most R models (except the R100, R50 and R50V) have an M-Fn button next to the shutter that lets you access up to 10 functions, controlled with the front and rear dials.
The M-Fn button brings up a selection of settings that can be controlled with the front and rear dials. This can be extensively modified from a page hidden deep in the Customize buttons menu. It includes the option to disengage settings so you only have the options you want on the dial you prefer.
This can be customized by going your camera's Customize buttons menu, as described above. If you then select M-Fn or assign its "Dial Func" function to any other button, then press INFO, it'll take you into a sub-sub-sub-menu called "Dial function settings" that lets you choose which functions are assigned to which dial, in which order.
Q menu
The Q menu can be customized on most R series cameras (though not the original R6 and R5).
As well as this, there's the Q menu, which arrays up to eleven settings down the left and right of the live view display. On most of the last two generations of models, this can be customized, so that you can just have the settings you most often change populating the menu. The menu option, typically called either "Quick Control customization" or "Customize Quick control" found in the red, Camera menu. You may, for instance, decide that you would prefer quick access to the HDR PQ settings, rather than having full-time access to the image quality settings.
These are the settings we usually adjust, and the ones recommended by our community. Are there any others you'd recommend changing?
Sony Q3 FY2025 fincnial results recap for their camerra/sensor divisio:
Sony’s sensor business is thriving — rising volume + pricing/mix improvements, plus raised full-year guidance.
Camera demand appears resilient, but the results are harder to isolate because cameras sit inside a broader segment that had enough headwinds to pull ET&S down overall.
Panasonic Q3 financial results recap for their camera business, which falls under the “Lifestyle” segment, specifically within the Living Appliances and Solutions Company (LAS) division (source):
Consumer Camera Performance (Under Lifestyle/LAS): LAS reported Q3 sales of 224.4 billion yen (94% YoY) and adjusted OP of 12.6 billion yen (down 5.3 billion yen YoY). Within this, consumer electronics (including AVC/cameras) saw decreased sales due to weaker demand in overseas markets, despite steady sales in Japan. No specific sales or profit figures were provided solely for cameras, but the overall decline in consumer electronics suggests softness in the camera category. This aligns with broader market challenges for consumer AV products.
Professional Camera Performance (Under Connect): The Connect segment includes Professional AV, but details focus on Avionics and Process Automation growth. No explicit mentions of professional camera sales or profits were provided, though the segment’s overall 109% YoY sales growth indicates potential positive contributions from AV solutions amid strong ICT demand. Broadcast and professional imaging products are highlighted as key offerings, but performance data is aggregated.
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Updated February 12, 2026
$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography, especially as photography equipment is steadily getting more expensive. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.
At this price point, your options will be entry-level interchangeable lens cameras or larger-sensor compact cameras with built-in lenses. Compacts offer more control than a phone and a greater zoom range, but likely won't offer a huge jump in image quality compared to the latest flagship phones (despite their typically larger sensors).
Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.
It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.
The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.
There are a few things that earn it the top spot on this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma and Tamron have stepped in to round out the selection of primes and higher-end zoom lenses available for it, so you have several good options for moving beyond the kit lens that came with it, something that isn't necessarily true with Nikon's system.
The R10 has a powerful AF tracking system with subject recognition that makes it especially good at focusing on people, animals and vehicles. We found it both easy to use and effective. 15fps shooting with the mechanical shutter is good, though the buffer is limited.
"The EOS R10 is an approachable, capable option for stills and video"
The R10 has a relatively small body but finds room for two command dials. Most key settings can be accessed through the Q menu, making it easy to access the camera's core functions.
The R10 can shoot 4K video at up to 60p with a crop, or 30p using its full sensor width. The footage isn't the most detailed but, as in stills mode, there's the option to shoot footage for HDR TVs. Autofocus isn't as dependable as it is in stills mode.
Overall, the EOS R10 is a very capable camera for its price point, and offers a lot of room to grow for those starting out in photography, especially now that there's a reasonable selection of APS-C lenses for it.
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The other options
While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and faster burst rates, but it's still pretty capable.
We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.
We also like the Fujifilm X-T30 III in this price bracket. While its autofocus isn't quite as easy to use as Canon's, it has a flexible Auto mode that still gives you a fair level of control to let you grow into the camera, and a kit lens whose wide-angle focal range will be familiar to phone photographers. Fujifilm's "Film Simulation" JPEG color mode help it deliver really attractive out-of-camera images, and the retro design language has proven popular, too.
The better performer: Nikon Z50II
20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p
The Nikon Z50II is an entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. It features Nikon's '3D tracking' autofocus system, and can recognize nine subject types.
The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. Nikon has introduced a bright standard zoom lens for APS-C, providing a solid upgrade path from the kit lens, but hasn't allowed third parties to make similar lenses available on its mount, so you have fewer options than with other brands, overall.
It has a solid grip, twin top-plate control dials, and a wide variety of customizable buttons, including one that, by default, controls color mode. Focusing is handled using the touchscreen or four-way controller.
The Z50II delivers on the basics without breaking the bank.
Autofocus is very good with subject detection being especially good. However, human detection doesn't seem as sticky and 3D Tracking isn't as dependable as on Nikon's higher-end models. Otherwise, the camera is snappy and can even do 30fps pre-capture, though it's JPEG only.
The Z50II can shoot Log or HLG video and has a waveform monitor to help set correct exposure. A headphone socket helps maintain audio quality but the lack of in-body stabilization counts against its use for video.
The Z50II is a solid hybrid camera, with several features from Nikon's higher-end cameras. The lack of a stabilized sensor is the one mark against what are otherwise very good video specs, and you may find the lens selection limited if you want a camera to grow with you.
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What about the Z fc?
Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.
The affordable kit: Sony a6100
24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture
The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though.
Rolling shutter 'jello effect' present in 4K video
Crop when recording 4K/30p video
The Sony a6100 is an entry-level APS-C mirrorless camera. It has a compact body and a 24MP sensor.
It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with the a6100's. However, it's still worth considering if you want to get both a camera body and a decent prime lens for under $1,000.
The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. It also uses Sony's old menu system, which can be a chore to work with.
"The a6100's autofocus can effortlessly track whatever you point it at"
Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting.
The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode.
The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.
The Canon PowerShot G7X III is the last in what used to be a popular style: the pocketable enthusiast photographers' compact, with a relatively large Type 1 20MP sensor and bright zoom lens. Canon has added features to make it more vlogging-friendly, but the clicking control wheel gives a satisfying, hands-on shooting experience.
A note on availability: the PowerShot G7X III has been difficult to get for a while, but Canon has recently reiterated that it's working on ramping up production. Still, getting your hands on one for anything near its original MSRP may require some patience.
The G7 X III can't focus continuously as fast as the best models in its class, and it can't track subjects around the frame while shooting bursts. If you follow your subject yourself, you get a not-too-shabby 8.3 fps with a single autofocus area. There's a 30 fps Raw burst mode, though focus is locked. In general use, the G7 X III is very responsive, though battery life is on the short side.
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"
It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile.
Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.
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Best camera for content creation: Fujifilm X-M5
26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p
What we like:
Great JPEG colors with dedicated dial
Solid selection of vlogging features and UI
Good level of direct control
What we don't:
No viewfinder
AF tracking performance isn't the strongest
Unstabilized sensor
The Fujifilm X-M5 is based around an APS-C 26MP X-Trans sensor, and equipped with AI-powered subject detection autofocus.
It's aimed at creators taking pictures and video for the web, with a suite of vlogging features that let you shoot video that's ready to upload as soon as you transfer it to your phone. It also has a dial for easily switching between 'Film Simulations,' Fujifilm's much-loved color modes, and the full suite of stills features from larger, more expensive models – minus a viewfinder. Its support for X-mount lenses also gives you access to the most complete range of APS-C lenses, no matter what journey you're on.
Fujifilm's autofocus can recognize and accurately track several subject types, but overall its autofocus isn't as swift or reliable as its rivals and its general subject tracking isn't as dependable.
The X-M5's stills mode is among the most competent in vlogging-focused cameras
It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile.
The X-M5 can shoot up to 6.2K open-gate footage, which can be cropped for sharing on multiple platforms. Many of its video modes, such as 4K 60p, lighter-weight 4K LP mode, and electronic stabilization modes, come with a substantial crop.
If you're looking for a camera to take pictures and videos for social media, the X-M5 is worth your consideration. It has an attractive design, great image quality in stills and video, and engaging controls, though its autofocus doesn't match the best of its peers.
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What if I only vlog?
If you plan to shoot more videos than photos, it's worth considering the Canon PowerShot V1. It's a compact camera built for vlogging with its integrated 16-50mm equiv. F2.8-4.5 lens, large (for a compact) Type 1.4 (18.4 x 12.3mm) sensor, complete with optical image stabilization and an ND filter. While we don't think it offers an especially enjoyable photography experience, features like a built-in fan for cooling, headphone and microphone ports, very usable stabilization and the ability to shoot 4K60p with a 1.4x crop make it a quite powerful video camera for its size.
If you only care about vlogging, and want an even more pocketable option, the DJI Osmo Pocket 3 comes in under $1000 and can't be beat when it comes to stabilization thanks to its built-in gimbal. That, and the ability to sync with DJI's wireless microphones, earn it the top spot in our dedicated vlogging buying guide.
This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
Continuing our new series on photography and gear, DPReview community member Morris Altman (AKA Morris0) shares how a childhood curiosity sparked by his parents’ camera grew into a lifelong passion for wildlife and avian photography – one that’s evolved into a finely tuned, travel‑ready Fujifilm setup built for lightness and precision.
After more than fifty years behind the lens, his bag today reflects both experience and intentional simplicity: every piece has its place.
Based in New York City, Morris0 spends much of his time photographing wildlife along the Eastern Flyway, a prime route for migratory birds. Avian subjects dominate his portfolio, though his award-winning work also spans mammals, flowers, landscapes, and even aviation.
"I worked hard to refine my knowledge of lighting and composition, both of which I had learned from my father. I’ve won awards for the following types of photography: avian, mammals, insects, flowers, landscape and aviation," he tells us.
"I worked hard to refine my knowledge of lighting and composition, both of which I had learned from my father."
"As if I weren’t busy enough raising a family and working as an IT director, I also served as a school board president. I studied both computers and technical theater in college and even worked on Broadway as a lighting and sound designer. Today, I’m retired and loving it. I spend much of my time taking pictures and sharing what I’ve learned about photography."
When did you get started in photography?
"I’ve been taking photos since I was seven years old, using my first camera, a Kodak Instamatic 127 with those crazy flash cubes. My dad was an illustrator and comic strip artist, and I learned composition and the use of light from him. I was doing my own darkroom work by the age of ten and got my first SLR, a Canon AE‑1, at eighteen."
"While I’ve been taking photos for most of my life, it was around the year 2000 that I became truly passionate about photography. That was also when I went digital, started sharing my work online, and began entering various contests."
Wood duck in flight with long exposure to blur the wings.
How have you upgraded your camera setup over the years?
"When digital came along, I first got a Canon G1, which was fantastic. Even with a teleconverter adapter, though, the focal length was too short for wildlife photography. My solution was to get a Fujifilm FinePix S602, since I couldn’t justify the cost of a DSLR at the time.
"When photographing birds, he leans on Fujifilm’s XF 500mm for tight shots, paired with a 1.4x teleconverter for added reach."
As my family’s finances improved, my wife told me to get the DSLR setup of my dreams, so I purchased a Nikon D70s along with an assortment of lenses."
What's in your bag, Morris0?
Morris0’s current kit is built around two Fujifilm X‑H2 bodies, each carried on cross‑body straps so he’s always ready to shoot. The bag is for transport only. Once he’s in the field, both cameras are out and active.
When photographing birds, he leans on Fujifilm’s XF 500mm for tight shots, paired with a 1.4x teleconverter for added reach. If he expects large flocks or wider compositions, his second body carries the XF 70–300mm F5.6.
Morris0's Think Tank Photo Airport Advantage Roller backpack with camera, lens and other accessories.
Photo: Morris0
Why are these accessories in your bag?
"The heated gloves I use are Ororo heated glove liners, which are very thin and allow me to feel all the controls on my camera. Being able to feel the controls means I don’t have to take my eye off the viewfinder, which is a huge advantage when photographing action. There are several brands of heated gloves, but I’ve only tried these, and they’ve kept my hands warm even at -8°C (17°F). The batteries last a few hours, so carrying spares for long outings is a must."
"My hat is a Tilley LTM6 Airflo Sun Hat. The vent on top helps keep my head cool by letting the breeze flow through, making hot days in the sun much more comfortable. The wide brim provides excellent shade, and I also use the hat in the rain – it’s made of canvas and keeps water off my shoulders and face. It even works well in the snow when I wear it over my hood."
The top level of Morris0's packed camera bag. Photo: Morris0
How did you end up becoming a Fujifilm photographer?
"I developed several pinched nerves in my neck and wrist that made my Nikon gear far too heavy to use. I couldn’t shoot for about six months, and when I finally could, I decided to lighten my load, likely the source of my problems."
"Switching to the Fujifilm X‑T3 paired with the XF 100-400mm lens was my solution. At that time, very few people were photographing birds in flight with that setup, which led me to explore the custom AF‑C settings. After a lot of experimenting, I shared my findings and settings with the community."
"When I first switched to Fujifilm, I worried that the XF 100-400mm wouldn’t hold up to my demanding shooting style – and I was right. When I sent it in for repair, I tried a Sigma 150–600mm with the then‑new Fringer Adapter and discovered how well they worked together. While I loved the performance of the 150-600mm, the long rotation required for zooming began to strain my arm. Eventually, I transitioned to the Nikon 500mm PF with the Fringer Adapter, and that legendary lens performed beautifully on the X‑T3."
The sun burns through the fog at Bosque del Apache National Wildlife Refuge.
Fujifilm X-H2S w/ Fujinon XF500mmF5.6 R LM OIS WR | F5.6 | 1/900 sec | ISO 1600 Photo: Morris0
You're known for your love of birds. How did this come about?
"Living in New York City, I’m fortunate to be along the Eastern Flyway, which brings a variety of seasonal birds to photograph. I also love to travel and have visited many national parks and cities. While I often shoot alone, I enjoy working in small groups and mentoring other photographers."
"I’ve had many wonderful photography trips, but the most recent, visiting Bosque del Apache National Wildlife Refuge and White Sands National Park, was truly special. It included the best single day of photography I’ve ever experienced. The day began before sunrise at a crisp, cool -8°C (17°F), with fog and frost covering everything. The pre‑dawn light was incredible, and the entire landscape glowed orange.”
Snow Owl Photographed on the South Shore of Long Island on a foggy morning.
Nikon D200 w/ AF-S Nikkor 80-400 mm f/4.5-5.6 @ 260mm | F8 | 1/800 sec | ISO 400 Photo: Morris0
Morris0's advice for other photographers
"Some digital photography advice for you all: simplify your setup, both to keep weight down and so that you can be intimate with your equipment. Invest in clothing and accessories that keep you comfortable, as it's much harder to be creative and to operate your gear if you're miserable."
Some responses have been edited for clarity and flow.
Editor's note: This article continues a new series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.
Next week, on February 19th, Tamron will announce a new 35-100mm f/2.8 lens (see mockup above). This will be a small, lightweight zoom lens (around 560g) that will pair well with the existing Tamron 16-30mm f/2.8.
Tamron plans to announce a total of ten new lenses this FY26, according to their latest financial disclosures:
Schneider Kreuznach × LK Samyang is rumored to announce a new 20-50mm f/2 lens at the 2026 CP+ show, which takes place at the end of February in Japan.
Schneider Kreuznach × LK Samyang still has few lenses on their roadmap that are not yet officially announced:
Schneider Kreuznach × LK Samyang AF 60-180mm f/2.8 lens for E-mount
Schneider Kreuznach × LK Samyang AF 28-135mm f/2.8 lens for E-mount
Here are the first pictures of the previously rumored Meike 85mm f/1.4 II MIX full-frame autofocus lens, which will replace the current version and will be part of the Meike MIX series. The new lens will be on display at the 20206 CP+ in Japan at the end of February, and will be available for Sony E, Nikon Z, and Panasonic L-mount cameras:
In addition, Meike will also announce three new Air compact APS-C lenses:
Connexion
