Laowa has announced the Aksen, a new series of full-frame “ultra macro” lenses that together cover a 1–10x magnification range. The lineup consists of two offerings: the Aksen 45mm F2.8 1-5x Ultra Macro APO and the Aksen 17.5mm F1.7 5-10x Ultra Macro APO, each offered in both photo and cine versions.

One of the key features of both lenses is the parfocal magnification zoom design. The lenses behave like primes in terms of focal length (the 45mm and 17.5mm focal lengths don’t change), but they incorporate an internal mechanism that changes the magnification. This parfocal magnification system allows photographers to move through the 1-5x or 5-10x range without refocusing or changing the working distance. Additionally, because the zoom is internal, the barrel doesn’t extend and won’t interfere with flash diffusion or subjects.

Another distinguishing feature of the Aksen 5-10x is the option for a version with a coaxial lighting block built into the lens. It delivers high-contrast shadowless illumination, a technique borrowed from machine vision that Laowa says it is now making more accessible. It’s also similar to some of Laowa’s probe lenses, which feature built-in lights. The 5-10x lens is also available without coaxial lighting for $100 less.

Both lenses use an apochromatic (APO) design to reduce chromatic aberrations, which can be exaggerated at such high levels of magnification. Laowa says the Aksen series eliminates fringing for greater clarity. The 45mm 1-5x lens features 13 elements in 9 groups, while the 17.5mm 5-10x lens comprises 17 elements in 12 groups. Both feature an 11-blade aperture diaphragm. The 45mm 1-5x accepts 65mm filters, while the 17.5mm 5-10x uses 42mm filters.

The photo versions of the lenses come in Sony E, Nikon Z, Canon RF and EF, L mount, Fujifilm X and MFT mounts and cost $749, or you can buy both in a bundle to save $100. Laowa is also making video-focused versions with focus and zoom rings geared to work with cine equipment, though those versions are substantially more expensive.

Reports are emerging that Nikon has had one of its Z-mount patents invalidated in China, opening the door a little further to third-party access.

Nikon Rumors reports that one of Nikon’s fundamental patents relating to the Z-mount has been invalidated in China, having been challenged by Viltrox’s parent company.

The report, based on AI translations of court documents, suggests that the patent in question is one that sets out the basic physical description and behavior of the mount, constructed in a way that tries to make well-established features, such as the design to prevent incorrect mounting of the lens and a method for preventing damage to the electrical contacts sound original and novel. Patents are only supposed to protect original inventions that would not be obvious to someone working in that field.

Nikon took Viltrox to court in China earlier this year in a separate case, ostensibly to recover license fees but also, we suspect, in the hope that a Chinese court would establish a precedent of its patents being enforceable. As Professor Robert Newman explained in Amateur Photographer magazine at the time, there are at least 13 patents covering various aspects of the Z-mount’s design and operation, including one he described as relating to “a detail of the physical design of the mount, and I would be surprised if that would withstand court scrutiny.”

This description corresponds well with the details being reported by Nikon Rumors, right down to Prof. Newman’s assessment of its likely fate.

The invalidation of this patent doesn’t, in itself, clear the way to third parties being able to produce Z-mount lenses, as there are multiple other patents that describe the communication methods used by the Z-mount. Those would not be affected by this specific patent being invalidated.

It’s notable, though, that Viltrox has added to its range of autofocus Z-mount lenses since the original court case was meant to be heard. Other third-party makers, such as Meike, which briefly removed reference to Z-mount lenses from its website, also have a range of Z-mount options available again.

If, as seems to be the case, non-licensed third-party makers are feeling emboldened to produce AF Z-mount lenses, it puts Nikon in an awkward position with the companies that have been formally licensed to make lenses for the system. Those companies are presumably paying license fees and have to seek approval on a lens-by-lens basis, while their competitors undercut them without any such restrictions.

We have approached Nikon for a statement on this story.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

Last week, DJI finally launched its dual-camera DJI Osmo Pocket 4P outside of China. If you’re living in the parts of the world where it’s now on sale (a list that unfortunately doesn’t include the US) and are curious about it, here are a few great videos you can watch to get up to speed on it.

DPReview’s overview

Our very own Mykim Dang had the chance to spend 48 hours with the Osmo Pocket 4P, putting it to the test on a trip to Toronto, Canada that DJI put on. Her video breaks down what it is, and how it compares to the pocket camera that many creators already carry around with them: a phone.

The reigning champ versus the upstart

The DJI Osmo Pocket series has been around a while, and has become the de-facto pick for people who want a vlogging camera that produces a high-quality image and steady footage, thanks to the built-in gimbal. But like it did with action cameras, Insta360 is now making a play for the market with its very comparable Luna Ultra camera. Shahbaz Sheikh does a great job of breaking down the differences that don’t show up on the spec sheets, but that really matter.

Stay for the cinematography and story

To test the Osmo Pocket 4P, Brandon Li decided to shoot a beautiful short documentary about a very interesting subject as a preface to his thorough explanation of what the camera is. While the video is sponsored by DJI (a fact that Li is up-front about), he also doesn’t shy away from covering some of the camera’s downsides and some of the things it doesn’t do as well.

Why is this a big deal?

If you’re not sure why people are so interested in a small gimbal vlogging camera, this video by YouTuber Chollette will explain it. It was actually made using a previous version, the Osmo Pocket 3, but it shows what kind of content people are using this tool to create… or, at the least, the kind of videos people imagine they’ll be able to make when they buy one.

Want to go more in-depth?

If you have any more questions about the Osmo Pocket 4P and the market it’s launching in to, our coverage of its launch in China and, later, globally should answer them.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

Updated August 2, 2026

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We’ve looked at a range of models that offer great image quality, good autofocus and excellent video, so you’ll be prepared to capture whatever you run into.

We’ve also tried to select relatively small cameras so they don’t interfere with your trip, though it’s worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you’ll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it’s worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you’d like to use and how big the full-frame versions are.

Our recommendations

• Portable full-frame: Sony a7CR
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-T50 with 16-50mm F2.8-4.8
• The ready-for-anything option: OM System OM-3
• The stylish travel companion: Nikon Zf
• Best pocketable travel camera: Ricoh GR IV
• The classic choice: Fujifilm X100VI
• The fun-to-use compact with a zoom: Panasonic L10
• The portable option with a ton of reach: Sony RX10 V
• The best video camera for travel: DJI Osmo Pocket

Portable full-frame: Sony a7CR

Richard Butler

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera’s size down, but there’s little else that delivers this much image quality in such a compact package.

You’ll need to pick your lenses carefully to keep the camera portable but the a7CR’s autofocus means it can respond rapidly to just about anything you encounter on your travels.

Read our full Sony a7CR Review

See the Sony a7CR studio scene

All-round compact capability: Sony a6700

Richard Butler

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There’s a good choice of relatively compact lenses available, too. We’d suggest avoiding the really small 16-50mm F3.5-5.6 though: it’s not the lens to get the most out of this camera.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

Read our full Sony a6700 review

See the Sony a6700 studio scene

The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.8

Richard Butler

The X-T50 can be purchased with Fujifilm’s excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.

Read our full Fujifilm X-T50 review

See the Fujifilm X-T50 studio scene

The other APS-C options

If you’re looking for an APS-C camera that’s even smaller than the X-T50, the Fujifilm X-M5 may be worth considering. It’s substantially cheaper, though it’s easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn’t stabilized, and there’s no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.

The Nikon Z50II is also a strong all-around contender, but its lens selection isn’t as strong as Sony or Fujifilm’s, nor does it have a stabilized sensor. However, it does have solid autofocus performance, a viewfinder, and a sub-$1000 price point.

The ready-for-anything mirrorless: OM System OM-3

Mitchell Clark

The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won’t have to worry if it starts raining.

Read our OM System OM-3 review

See the OM System OM-3 studio scene

The other Micro Four Thirds options

OM System’s OM-5 is substantially cheaper than the OM-3, though you give up the speed, USB-C port and advanced subject recognition autofocus, as well as a few of the computational modes. It is, however, slightly more compact if space is at a premium in your pack.

The stylish travel companion: Nikon Zf

Richard Butler

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that’s used by many of its peers. The angular 80s-style body isn’t the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion. However, like with the a7CR, many of the full-frame lenses available for it will greatly increase its size and weight.

At least in its all-black form, there’s a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you’re out and about in an unfamiliar setting.

Read our review of the Nikon Zf

See the Nikon Zf studio scene

Best pocketable travel camera: Ricoh GR IV

Richard Butler

The Ricoh GR IV is the latest entry in the company’s series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. It’s not the most flexible camera, but it has engaging controls and is one of the most pocketable models with a large sensor, which is probably why the GR series has built up a dedicated following of photographers who find it a joy to shoot with.

Our one concern with using the GR IV for travel is that some users of the previous generation model reported dust getting into the lens. Ricoh has said it’s made a few changes that should help prevent that, but still doesn’t make any claims of weather sealing, so it may be worth keeping it in protective bag and putting it away in particularly unpleasant weather.

There’s also the GR IIIx , which has the previous generation sensor and processor, but with a longer, 40mm equivalent lens. This may be a little tight for documenting your travels, but it’s historically a popular focal length. Ricoh also sells a GR IV Monochrome, though a camera that only shoots black and white probably wouldn’t be our first pick for travel photograph.

Read our Ricoh GR IV review

See the Ricoh GR IV studio scene

Other compacts

Canon has recently announced that it plans to increase its production of compact cameras, citing an increasing number of orders for the PowerShot G7 X III , which has a 24 – 100mm (equiv.) zoom lens, providing a solid range for travel photography. Its autofocus isn’t

The Leica D-Lux 8 features a larger sensor than the G7 X III – it uses up to up to 83% of the area of a Four Thirds (17.3 x 13 mm) sensor, while the G7 X III has a Type-1 (13.2 x 8.8 mm) sensor – and has a photo-focued interface that we particularly like. However, its slow zoom, only decent image quality and substantial price tag make it hard to recommend to all but the most Leica-faithful.

The classic choice: Fujifilm X100VI

Richard Butler

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI’s $200 increase in list price to $1,600.

It’s not smallest or most inconspicuous camera, but its fixed focal length means you develop an ‘eye’ for the photos it’ll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that’s made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.

Read our Fujifilm X100VI review

The fun-to-use compact with a zoom: Panasonic L10

Mitchell Clark

The L10 takes a lot of what the Ricoh GR IV and Fujifilm X100 VI get right – it’s relatively small, engaging to use, and has great image quality – and pairs it with a zoom lens instead of a prime one. While primes definitely have their place, it can be hard to tell what you’ll run into while traveling. If you want the experience of a compact but the flexibility of a 24-75mm equiv., the L10 is the camera to pack.

Read our Panasonic L10 review

See the Panasonic L10 studio scene

The portable option with a ton of reach: Sony RX10 V

Richard Butler

The Sony RX10 V is built around a Type 1 (116mm2) 20MP Stacked CMOS sensor, and features a far-reaching 24-600mm equiv. F2.4-4 lens.

For many of us, traveling somewhere and looking at faraway things is a big part of vacationing. And with its 24-600mm equiv. zoom, blistering fast burst rates and best-in-the-business autofocus, the Sony RX10 V is the perfect tool for photographing things in the distance (while still being engaging for capturing nearer subjects). It’s not the smallest compact ever, but almost anything else with this kind of reach would be much bigger, heavier and more expensive.

While we haven’t completed our full review of the camera yet, we’ve used it enough to know that it belongs on this list. It provides good image quality, is engaging to use, and features Sony’s latest autofocus tech, which is still among the best in the business.

Read our Sony RX10 V review

See the Sony RX10 V studio scene

The best video camera for travel: DJI Osmo Pocket

Richard Butler

DJI’s Osmo Pocket series of cameras feature a stabilized handheld vlogging camera, designed for on-the-move vlogging. The main cameras on them are built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.

When you’re traveling in an unfamiliar place, there are a million things to focus on; the Pockets let you capture it all, without requiring much effort on your part. It can also natively film in horizontal or vertical, which can be useful if you’re looking to share footage from your travels on social media.

The reason we’re referring to multiple cameras is that the Pocket’s availability will vary depending on what region you’re in. If you’re in the US, the latest version you have access to is the Pocket 3. In the rest of the world, though, the Pocket 4 is now available, adding integrated storage, high framerates and better controls, along with a few other improvements. There’s also the Pocket 4P, which adds a second 60mm equiv. camera with a Type 1/1.28 (75mm²) sensor and features better dynamic range on its main camera.

The Pockets’ small sensors mean they works better in well-lit situations, though a reasonably bright F2.0 lens on the main camera mean they’re usable indoors, too.

It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera’s movement, and tapping the joystick button flips between the camera pointing toward you or away from you.

The older Pocket 3’s reliance on contrast-detection autofocus means its focus can be prone to hunting, though the cameras’ face-detection mode works well enough that this is rarely a problem when talking to the camera.

The video quality isn’t always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket as a package is really hard to beat.

Read our hands-on impressions of the Osmo Pocket 3

Why you should trust us

This buying guide is based on cameras used and tested by DPReview’s editorial team. We don’t select a camera until we’ve used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

Updated August 1, 2026

Not long ago, it seemed like the market for new compact cameras with zoom lenses had mostly dried up, despite the demand from enthusiast photographers who like the form factor and people looking for a nostalgic photographic experience. This year, though, the market has picked up, and not just with subtle refreshes that remove as many features as they add.

You may still have to hunt to find certain models in stock, and if you haven’t bought a compact in a decade or two you’re almost certainly in for some sticker shock. But each category has at least one or two very capable options, and the cameras of today can still offer an experience, image quality or both that can’t be matched even by top-end phones.

Our recommendations:

• Enthusiast camera
  • Best enthusiast compact: Panasonic L10
  • Best long-zoom compact: Sony Cyber-shot DSC-RX10 V

• Waterproof cameras
  • Best waterproof compact: OM System Tough TG-7

• Vlogging cameras
  • Best vlogging compact: Canon PowerShot V1

Enthusiast compacts

The final niche in which it’s difficult for a smartphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it’s difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.

We’ve picked cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Some have built-in electronic viewfinders for shooting when it’s bright outside, again giving a more pleasant experience than a smartphone.

Best enthusiast compact: Panasonic L10

Mitchell Clark

The L10 combines an engaging control setup with modern connectivity and features and an ambitious lens with a focal range that’s standard for a reason. It’s not particularly pocketable, but is still small enough that you won’t have any reason not to take it with you on a trip, to an event or even just out on the town.

Read our Panasonic L10 review

See the Panasonic L10 studio scene

Honorable Mentions

If you need something that’s more pocketable, the Canon G7 X III offers a similar focal range to the L10 in a much smaller package. It also has engaging controls, but its smaller sensor means there’s a bit of an image quality trade-off, and enthusiast photographers may not prefer its EVF-less design. Its biggest downside, though, is availability. Despite multiple assurances from Canon that it’s working on increasing production, it’s still quite hard to find. If you can get your hands on one, though, it offers a good experience at a great price.

The Sony RX100 VII is similarly pocketable, but features a pop-up EVF and a lens that reaches further, going out to 200mm equiv. Even at its widest, it’s not as bright as the one on the L10 and G7 X III, putting it at an image quality disadvantage, especially as light levels fall, and the camera is seriously expensive thanks in part to the stacked sensor that lets it achieve blistering burst rates. But if you need a little extra reach in something that’s pocketable, it’s still a very capable pick.

Best Long Zoom Compact: Sony RX10 V

Richard Butler

The Sony RX10 V is built around a Type 1 (116mm2) 20MP Stacked CMOS sensor, and features a far-reaching 24-600mm equiv. F2.4-4 lens.

It may be pretty much the only camera left in this category that doesn’t use a minuscule sensor, but it’s not just on this list by default. Sony has equipped it with its latest autofocusing system, menus and battery, and has reworked the ergonomics and controls.

While we haven’t completed our full review of the camera yet, we’ve used it enough to know that it belongs on this list above other cameras that offer similar reach. It provides good image quality and, while not small, is much easier to carry around that most other setups with this kind of reach.

Read our Sony RX10 V review

See the Sony RX10 V studio scene

Waterproof cameras

Waterproof cameras are another specialty that smartphones can’t necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn’t try to submerge them to any appreciable depth or use them in salt water. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.

Best waterproof camera: OM System Tough TG-7

The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).

The OM System isn’t the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.

Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that’s worth the added expense, we feel.

Read our hands-on with the OM System TG-7 article

Vlogging cameras

Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.

Best vlogging compact: Canon PowerShot V1

It offers a competitive suite of vlogging features, a built-in ND filter and good stabilization options. It’s also comfortable to hold pointing towards you, and lets you access key settings from the touchscreen. It includes microphone and headphone jacks and a fan for extended recording sessions.

The V1 is a capable option with a useful zoom range, and while its slower sensor may not be the greatest for capturing fast action, it has all the features you’d need to start capturing the world around you.

Read our full PowerShot V1 review

Why you should trust us

This buying guide is based on cameras used and tested by DPReview’s editorial team. We don’t select a camera until we’ve used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Zeee

A ton of great content is created by the DPReview community in our forums: lively discussions, posts about gear and photography that we highlight in front page articles, collaborative photo sharing events and more. In this “What you missed” roundup for July, we highlight community activity from the past month, including some of the photography that didn’t make it into articles.

What’s in this article:

• Article of the month: Making DPReview notifications work for you
• ‘What’s in your bag?’ community member spotlights
• This question of the week is debated
• A community photo thread spotlight
• Community discussion: What is your present desktop wallpaper?

Article of the month: Making DPReview notifications work for you

DPReview

Want to be alerted when someone replies to your article comments? Or are you perhaps receiving too many notifications and just want them turned off? There are several options you can use to customize how often you receive these notifications, but it can take a moment to figure out where to go to adjust them and which changes are right for a particular use case.

We wrote up a notifications how-to guide that walks you through all of the options. If you have any questions after reading through them, please let me know. We’re very passionate about getting notifications right for everyone (they help us, too, so we want them to work as expected).

What’s in your bag? A community member spotlight

Every week, we dive into the history of a community member’s unique photographs and gear in our ‘What’s in your bag?’ series. The series walks through a reader’s favorite camera gear and how they use it, what photographs they’ve taken and plenty of helpful tips and tricks for your photography journey.

Max Lowe

Max Lowe shared his portrait photography, featuring a wide variety of shots from the Arctic to his hometown in Montana. Max is an award-winning photographer who’s worked with organizations like National Geographic. He provided us with a ton of extra photos to consider for his article. The one above particularly moved me with its simple beauty, so I chose it for this update. Max had a ton of advice for budding photographers, so if you want those tips and tricks, be sure to check out his complete article linked above.

“Understanding the context of the scene is a major necessity for an artist. Ask yourself: why are you taking that photo? Is it for the benefit of those people? If you’re a photojournalist capturing the story of refugees fleeing the war in Ukraine so that the world can understand that pain, does your work have the power to change things for the better?”

Check out this month’s other reader spotlights:

• Andrew Kornylak: He dangles off cliffs for National Geographic – here’s what’s in his camera bag
• John Freeman: Gigapixel photography is the way to go for this DPReview reader
• Kathie Thomas: Meet the bird photographer whose go-to camera is the Nikon P950

Question of the week: we ask, you tell

Every other week, we ask the community a question about their photography, usually on a specific topic they’ve discussed elsewhere in the forums, with the results spotlighted on DPReview’s front page and in the forums the following week. There are often many spectacular photos submitted that we don’t get a chance to spotlight in a single article, so you’ll want to regularly check back on what was added to the discussions.

What image made you realize your new gear was worth it?

Leopardfoto

Have you ever met a tiger before? Here is a newly revealed reader’s photo and an excerpt from their story in the latest question.

Featured quote: “Late last year, with an upcoming trip to India to photograph tigers and leopards, I hesitantly decided to purchase a 400 TC to bring along. The trip was costing me a king’s ransom, and adding another $14k for the lens seemed completely financially irresponsible. I didn’t think I could justify it since I might not use it that much.”

“During that trip, it became my favorite lens. I still can’t believe how much I enjoy using it, and it has surpassed my expected ROI by a huge margin. Of all the lenses and cameras I’ve ever owned, for whatever reason, this one stands out as the best purchase I’ve made.” – Leopardfoto

Participate in community-led photo initiatives

19andrew47

The community has a lot of fun with their weekly photo activities and challenges. I was perusing the camera brand forums a few days ago while putting together the latest challenge list, and up popped this rather creatively titled challenge:

Micro Fortnight Thirds General Image Thread

From opsreymike: “Welcome to the Micro Four Thirds general image thread for July 26 – August 8, 2026! Please post your photos that you’ve made recently – or even old faves revisited – with any MFT gear. Besides posting photos, image-related commentary is welcome and encouraged!”

Submissions are open until August 8, so if you’re a M43 fan and have a compatible camera, dust it off and let’s see those photos!

If you intend to participate in any of these photo initiatives, please adhere to their spirit (i.e., don’t post Canon photos in a Nikon-only forum discussion).

Discussion of the month: What is your desktop wallpaper?

ronphoto

Community member, BernardoSC , asked a fun question in the forums that has gained quite a bit of traction. He asked everyone, “What is your present desktop wallpaper?” I was pleasantly surprised by the wide array of images, from racecar action scenes to the more expected calm, tranquil hillside with a single lonely tree on top (my personal favorite).

Here is a peek at what some had to say about their wallpapers:

FrancoD: “At the moment, I have a male Flame Robin. We get them here for 2-3 months, then they disappear again. Right now, we only have one male (not this one) and one female, but they are not a pair. A pair last year did have three chicks, so we had the family of 5 flying about. We get about 170 species of birds here. I have fun walking about, taking some snapshots of them.”

ajscullard: “I use two monitors, so I have a pano I took of the Forth Rail Bridge just after it was fully painted, split into two images so they display side-by-side across both monitors.”

skysurfer5: “My desktop wallpaper is actually a random slideshow of ~300 photos, of which ~75% are mine, and ~25% are Apollo and Artemis mission images. My photos are a mix of landscapes, macros (mostly flowers), astro (mostly star trails), abstracts, birds and animals, architecture, and family. I also like quirky, such as this cloud bull chasing a cloud cowboy on his cloud horse passing through The Gunsight in Yosemite National Park.”

What community content did you enjoy reading, and what more would you like to see in these updates? Let us know in the comments below.

For even more content directly from our readers, join the discussion forums and share your camera gear and photography curiosities!

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There’s little I love more than when I creator I like steps outside of their wheelhouse to cover something I’m passionate about in a new way. Still, I never expected to see a video about photography from Alex Hall, who goes by Alexander the ok on YouTube, as the ex-engineer turned data scientist usually covers things like complex mechanical computers, obscure and interesting air and spacecraft, and the designs of various missiles.

You can imagine my delight, then when I saw a video from him pop up about Polaroid film. And in his typical fashion, he dives deep into the topic, covering the fundamentals on how traditional film photography works, and then going into the clever chemistry that allows instant film to develop in a self-contained packet without a darkroom. It also covers various tangents; nearly 20 minutes is dedicated to his journey of making peel-apart instant film at home, and there’s a section on the interesting modifications and improvements he’s made to his personal Polaroid SX-70.

In other words, it’s a video for real photography nerds, which is why I thought it’d make sense to share it here. I’m sure not every DPReview reader will be interested in watching something over an hour long about film (our bread and butter is digital photography, after all), but I’m also convinced that those who are interested will get a lot out of it. I certainly did, and while I don’t think I’ll be making any instant film anytime soon, I know I’ll have a greater appreciation for the science and art of instant photography the next time I pick up my Instax or Polaroid Time Zero OneStep.

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Photography and consumer electronics giant Sony has offered to buy Tamron, a company well-known for its lenses and optics. This would be, to put it mildly, a massive shake-up in the photography market, that could end up having profound impacts on the lenses available to photographers using other systems in the coming years.

What’s happening?

According to a statement Tamron made to investors, Sony has made “a non-binding proposal” that would result in Tamron being “a wholly-owned subsidiary of Sony Group Corporation.” Tamron says it’s set up a special committee to review the proposal, but that it currently has nothing else to disclose.

One of the most important things to glean from that statement is that, according to Tamron, it would end up as a subsidiary of Sony. That implies that, at least at the beginning, it would still exist as a separate entity. Keep that in mind, as it’ll be important later on in the discussion.

Why does Sony want to buy Tamron?

Mitchell Clark

There are several potential reasons for Sony to want to acquire Tamron, not all of which have to do with photography. While the majority – 74.2%, in 2023 – of Tamron’s sales come from its “photographic products,” the company’s surveillance, automation, mobility and healthcare divisions also make millions of dollars each year. Sony’s a big player in those spaces, too. While most of us are familiar with Tamron because of its camera lenses, we shouldn’t discount the possibility that those other businesses play a part too.

With that said, Sony told Reuters that its reasoning for the offer is because it thinks the acquisition would be good for Tamron’s shareholders, and that it could help Sony’s imaging business too. That seems to mean that the company’s photography business is one of the main draws for Sony.

Tamron’s place in photography

Tamron, like Sigma and Viltrox, is a third-party lens manufacturer, meaning it produces lenses for a variety of camera systems (unlike, for example, Sony, Nikon and Canon, which make lenses pretty much exclusively for their own cameras). The company is known both for making very good lenses that are much cheaper than the own-brand equivalents, and for making zoom lenses that are a bit out of the ordinary; think the 35-150mm F2-2.8, or the 17-50mm F4. Lenses that some people will find useful, but that might be a bit too niche for other companies to make.

Tamron

It’s worth explicitly saying that every single mirrorless lens Tamron makes is available for Sony’s E-mount; for many, it’s the only mount they’re currently available on. Tamron makes lenses for all the major mounts – Canon, Nikon etc – but, probably as a result of the stricter licensing policies of the other two big brands, it’s only Sony’s E-mount for which is can offer all its lenses. There are also occasionally differences between the Sony versions and the others. The company’s latest release, the 12-20mm F2.8, will be available for both Nikon and Sony, but the E-mount version is coming out first, and for less, with a spokesperson citing volume, manufacturing differences and a different competitive landscape for the price difference.

While Tamron is known for the lenses that bear its name, it’s also a major original equipment manufacturer, or OEM. That work, which includes making lens modules and interchangeable lenses for clients including Nikon, made up 29% of the company’s revenue in 2025, and accounted for 41% of the sales in its photography division in 2023.

So what happens if Sony buys Tamron?

Neither company has commented yet on what will happen if the deal actually goes through, but there are a few possible scenarios that are worth exploring should that happen.

Scenario 1: Tamron continues on with business as usual

Sony could essentially keep Tamron as a relatively separate company under its umbrella in perpituity, leaving it to continue making lenses for other mounts, and doing OEM work for other companies. And in some ways, this seems like the sensible move; why buy a company, and then nix 30% of its revenue?

Sony acting as a steward would potentially benefit it in a few ways. For one, it wouldn’t have to worry about outside forces messing around with a valuable partner; according to PetaPixel Sony was, until recently, the largest individual shareholder in Tamron before an investment firm took that spot, giving it less sway over the company’s decisions. It would also have greater insight into the company’s developments, and could plan its own releases around those, and could apply some of its optics expertise to lenses bound for other company’s cameras, letting it benefit in a way that it wouldn’t have been able to before.

However, there are some potential downsides, too. Sony wouldn’t be capitalizing on the ability to make access to Tamron lenses an exclusive benefit of buying an E-mount camera, and it’s hard to imagine that the company’s relationship with the other camera companies would be completely unchanged if it’s suddenly owned by a competitor. Nikon might think twice about choosing Tamron as an OEM (assuming, of course, that it has other options). Then again, it doesn’t seem in any rush to stop using sensors from Sony’s Semiconductor division, or sourcing its OLED EVF panels.

There isn’t a ton of precedent for this scenario in Sony’s history of acquisitions, though there are parallels. It famously purchased Konica Minolta in 2006, which has completely disappeared into its camera division. The same is true of Toshiba’s image sensor business, which it bought in 2015, though Sony’s sensor group does a lot of business with other camera companies.

To us, this path feels like the best outcome for photographers, if a buyout has to happen. Non-Sony owners would still get to benefit from Tamron’s lenses, and it could act as a competitive force in the market, driving other lens makers to improve their own offerings.

Scenario 2: Tamron stills exists, but only makes lenses for Sony

Tamron

Of course, Sony could keep Tamron around as a lens brand, but make it so the company only produces E-mount options. It’s hard to argue that Sony would need to do this to bolster its cameras – as stated, all of Tamron’s lenses work with them anyways, as do hundreds of options from Sony and others – but it would be a blow to its competitors. Canon and Nikon’s more restrictive licensing policies already limit the choices for their users: losing the few options Tamron provides would only make that situation worse.

In our view, this wouldn’t be good for the camera industry. We’d like photographers to have more options, not fewer.

However, this path is not unfamiliar to Sony, if you look outside of its imaging division. The company has acquired several studios that make video games exclusively for its PlayStation consoles. And while some of those games eventually make their way to other systems years after their original release, it seems like the company may be in the process of walking even that tepid support back.

Scenario 3: Tamron disappears into the behemoth

Tamron could also wind up broken up into pieces, with its medical and automotive divisions becoming parts of Sony’s corresponding groups, and its lens businesses folding into Sony’s. This would simplify things on Sony’s end, where it gets the benefit of the company’s designs and intellectual property without the headache of having two separate, somewhat competing brands. To us, though, it would seem like an odd decision; it’s not like Sony needs help designing lenses (though perhaps this is a play to increase its production capacity), and it would be forfeiting the cahcet of a brand that dates back to the 1950s.

What does this mean for photographers?

If the deal ends up going through, the impact on photographers will depend heavily on which path Sony chooses to take. But even if it went with the first option and mostly let Tamron be, that path wouldn’t be set in stone. Sony could, at any time, decide to cut of other company’s access to Tamron’s lenses and manufacturing, an outcome that wasn’t previously on the table.

While there are exceptions, consolidation in an industry with an already limited number of players isn’t typically in the best interest of the consumer. While it may be, as others have argued, a great option for Sony, that doesn’t mean it would be good for the camera market overall.

That’s not to say that there aren’t potential upsides. Tamron is a publicly-traded company, subject to the desires of its investors. While its latest fiscal reports don’t paint a picture of a company in dire straits (absolutely not financial advice, to be clear), we’ve all seen companies whose products have taken a turn for the worse because the money people decided that they weren’t happy with the current profits. It feels less likely that Tamron would meet that fate were it owned by a company that’s deeply invested in photography than if it were bought out by a private equity firm.

It’s also possible the company’s products could improve if it had access to Sony’s technology, expertise, manufacturing capacity and vast financial resources (Sony’s imaging division alone brought in $11.2 billion in 2025, compared to Tamron’s $533 million).

For now, though, this is all hypothetical. Tamron could choose to reject Sony’s offer, deciding to continue going it alone. But while neither company has commented on the terms of the deal, Diamond Online, the outlet that originally broke this story, has reported that the offer is somewhere in the neighborhood of $1.2 billion, which is around Tamron’s current market cap (or, at least, what its market cap was before the news of a potential acquisition broke).