One of the great things about photography is how diverse the medium is. There are countless subjects and genres to focus on, offering opportunities for everyone to create images with their unique perspective. That's no different here at DPReview. Our photographic experiences and styles vary greatly, with each of using finding photography in different ways. We've previously shared what gear we take when traveling, but today, we're giving you a look into the genres and subjects that drive each of us.

Mitchell Clark

Someone didn't read the sign. Photo: Mitchell Clark

I'm not entirely sure what to call my favorite genre of photography, but I always love capturing things that are out of place or in some other way ironic. Think a "no graffiti" sign in front of a thoroughly tagged wall, a drinking cup precariously perched on a piece of architecture or a machine that's obviously malfunctioned.* Essentially, it's anything that makes you tilt your head and go "huh!"

Graffiti and a piece of electrical equipment? My lucky day. Photo: Mitchell Clark

A close second: infrastructure. High-tension power lines are one of my favorite subjects for reasons unknowable even to myself, but I'm also fond of capturing pipes, wires, pumps, junction boxes and the million other often-overlooked pieces of equipment that help our world run the way it does.

* Of particular interest: public displays or checkout stands whose computers have obviously crashed.

Richard Butler

My first 'ask someone if I can take their photo' portrait. Photo: Richard Butler

The need to constantly shoot images for galleries means it's difficult to find the time to develop any sort of specialism. I never know what sort of camera or lens I'll be using next, so it's hard to focus on one particular style, genre or technique. However, I have developed a real enthusiasm for everyday portraits. It started with a camera launch in New York, during which I had a couple of hours to shoot as varied a gallery as possible. Eventually, I plucked up the courage to ask a stranger if they'd mind me taking their photo and, amazingly, they said yes.

Photo: Richard Butler

I still have an awful lot to learn and am always looking for an opportunity to practice, but I love the fact that a lot of portraiture has nothing at all to do with gear or technical knowledge: it's about your interaction with the subject. I was first drawn to photography because it combined the technical, which I can just learn with the aesthetic, where there's always room to improve. Ad hoc portraiture is a great example of that, and there's nothing more satisfying than a subject you don't know emailing you back to say that they like the shot you took.

Matt Waller

Photo: Matt Waller

My love of photography started late in life, meaning I'm still in the phase of bouncing around and trying different genres. But the main driver for me has been black-and-white street photography. Certainly, this has taken my wandering feet to far-flung cities and even a couple of workshops (which incidentally I recommend as a great way to explore a city and meet like-minded souls).

At home in Seattle, my work for DPReview is part-time, and my second job, in a downtown skyscraper office, led me to find a weird street photography outlet of taking telephoto shots downward of roofs, streets and alleys. Is this a sub-genre? Do any other frustrated office-bound photographers do this?

Photo: Matt Waller

Speaking of my telephoto lens, I've put it to more traditional use by dabbling in bird photography. I find this a great way to get out into nature and a fun (and very challenging) form of photography.

Finally, in the last few years, I've started doing some corporate event photography. Though this obviously has "third job" potential, I think I want to keep my photography on the amateur side – so I can keep bouncing around and trying different genres!

Dale Baskin

The aurora borealis reflects off a lake in Canada's Northwest Territories. Photo: Dale Baskin

As a photographer, I've captured nearly everything under the sun, but my favorite subject reveals itself at night: the aurora borealis. I've been photographing the aurora from northern latitudes for over a decade, and I never tire of seeing Mother Nature's own fireworks. The sheer variety of shapes, patterns and colors never ceases to amaze me. There's only one thing I love more than shooting the aurora: taking other photographers on the adventure and teaching them how to shoot it, too.

While the northern lights are a passion of mine, I've recently been drawn to photographing something entirely different: rodeo. I'll let you in on a little secret – getting good photos of riders in a rodeo arena isn't that hard. With a fast telephoto lens, a camera with a fast burst rate and a clear sightline, you're bound to get some keepers.

A cowboy tries to mount a restless bronco at a small town rodeo in western Montana. Photo: Dale Baskin

However, I quickly discovered that the real story of rodeo isn't in the center of the arena, but in places that spectators don't usually get to see. So instead, I started using a wide-angle lens, working behind the scenes to capture the soul of the rodeo, like riders prepping for their events, rodeo clowns applying makeup or cowboys just hanging out and trading stories.

However, my favorite place to shoot is right up against the chutes, the small pens where riders saddle up for their eight seconds of insanity. Working just inches from a snorting bull or a kicking bronco, you feel a sense of raw power, and the explosion of energy as a rider bursts out of the gate can almost knock you off your feet. It's the most intense, adrenaline-pumping photography I've ever done. And I'm absolutely hooked.

Abby Ferguson

My graduate thesis involved multiple exposure images of staged still life scenes. These were then printed on transparency film and either mounted to plexiglass or suspended from the ceiling on red string. Photo: Abby Ferguson

If you had asked me this question a few years ago, I would have been able to answer easily. Yes, like most photographers, I've shot a wide range of genres. However, for a very long time, I focused my personal work on conceptual still life imagery, either found or staged. My graduate thesis was entirely still life related, and that subject, along with light and shadow, remained important to me for a long time.

Lately, though, I've been going through a bit of a crisis with my photography, and identifying a clear genre is more difficult. I haven't been photographing many formal still life scenes, partly due to space constraints, partly due to motivation. My conceptual work has also largely fallen by the wayside (though I've had the itch to pick it back up). Instead, my photography has been a lot less focused on one specific area as of late.

Photo: Abby Ferguson

Light and shadow remain favorite subjects though. I love capturing unique natural light on small, often overlooked details no matter the genre. If those details are broken things, like shattered glass or a rundown building, even better. So while I don't necessarily find myself gravitating towards a clear, well-defined genre these days, I do still see a consistent thread throughout much of my work.

Photo: Abby Ferguson

Photographers are often told that they need a specialized camera bag to carry their gear. There's certainly no shortage of options these days, with a long list of brands and styles available. And while it's important to keep your expensive camera gear safe even when out and about, a dedicated camera bag isn't necessarily the only way to do that.

Can you put a camera in a backpack?

A camera insert can allow you to use any backpack as a camera bag. Photo: Abby Ferguson

Simply put, a dedicated camera bag isn't necessary for many people and situations. They are often bulky and heavy. They typically don't work well if you need to bring a lot of things other than camera gear, making them challenging to travel with. They can also be conspicuous, raising the risk of theft. Plus, it can be hard to get the fit right, and spending a lot of money on a bag just to avoid using it because it's uncomfortable is far from ideal.

Most people already have a backpack or bag that they like carrying around, and may have occasionally even used it to carry cameras that have been carefully wrapped in a jacket or other articles of clothing. While we wouldn't recommend that too often, and would strongly advise against just tossing your camera loose inside a pack, the bag you already have could serve your camera bag needs with a simple accessory. Instead of buying a new bag that can only be used with your cameras, you could buy a much more affordable camera insert that goes inside your favorite pack.

Many companies, including Peak Design, Wandrd, Lowepro, and more, make padded inserts allowing you to safely store your camera in any bag. They are easy to move around to different bags as needed, giving you much more flexibility. Plus, you can take it out and use your backpack or bag without any camera gear. Just be sure you aren't packing the insert at the bottom of your bag with a lot of weight on top; they offer padding for protection, but aren't crushproof.

For casual outings when I'm traveling light, a small sling is plenty for my camera. Photo: Abby Ferguson

If you only have a small compact camera, an insert is likely more than you need. As long as you carefully consider where you are packing your camera in your bag, you should be okay without a specific case. Just ensure it won't have too much weight on it and that it won't get hit when setting the bag down or moving around.

When should you use a dedicated camera bag?

For lots of gear, a dedicated camera bag or case is often a must. Photo: Abby Ferguson

Inserts in everyday bags work well for many people, but a dedicated camera bag is a smart move for some. Wedding and event photographers who need multiple bodies and a full kit of lenses, for example, should invest in a camera bag. After all, inserts are generally smaller and not made to handle a lot of gear.

All that gear will also be heavy, and you want a pack that will allow you to distribute the weight well, saving your back over time. Camera backpacks are typically made with that weight in mind (the good ones, at least), making them more comfortable when loaded up. That is especially useful if you'll be wearing the bag for long periods, too.

If you're a professional photographer, you likely need plenty of accessories when you head to shoots as well. You need to find a home for things like extra batteries, filters, a cleaning kit, flash and, of course, snacks. Camera backpacks often have better organization options than standard packs, helping you keep all your gear organized and easy to find.

The back panel on this bag provides faster access to my camera than a typical backpack with an insert would. Photo: Abby Ferguson

Many dedicated camera bags have another advantage over regular bags with inserts: quick access. An insert inside a bag requires you to take the bag off your back and open two things, potentially with some digging involved. Dedicated camera bags, though, typically make it easier to access your gear fast. Some even offer side access to get your camera out without even taking the pack off. So, if you need to keep your camera tucked away but still have easy access, a dedicated camera bag is the way to go.

Consider how you'll be using the bag

Whether or not you need a dedicated camera bag depends on your gear, where you'll be using it and your preferences. For travel and casual day trips, a camera insert in a normal backpack is likely a good move. However, a dedicated, well-designed camera bag will make a significant difference in comfort and organization for those carrying a lot of equipment, especially for long periods.

Larval smooth angler fish. Photo: Ryo Minemizu

Underwater photography is a challenging genre to tackle. But the complexity is significantly amplified when you add subjects that are only a few millimeters large, and pitch-black nighttime conditions. Yet that's exactly what photographer and diver Ryo Minemizu is doing with his nighttime dives, also called blackwater dives. Minemizu took the time to answer some questions while on a sailboat in the Pacific Ocean, providing insight into how he captures incredibly unique creatures in the ocean.

When Minemizu started taking photographs while diving, he simply wanted to capture beautiful underwater landscapes and life forms easily visible to the naked eye. Eventually, though, he became more interested in what wasn't obvious, seeking out things that were often overlooked and fleeting moments that didn't get attention. "I was drawn not only to their beauty, but also to the strength and skill required for survival, and the deep significance of life itself," he said.

Polka dot ribbon fish. Photo: Ryo Minemizu

To find those fleeting moments, Minemizu has to dive in locations and times when most aren't venturing into the sea. Night dives opened up a new perspective, allowing him to capture creatures in, quite literally, new light. Minemizu also decided to focus on creatures that don't typically get attention. But that makes for tricky photographic scenarios. "Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography," he said.

"Blackwater dive photography is arguably one of the most challenging and relatively new frontiers in the world of underwater macro photography"

The dark conditions are perhaps the most obvious challenge. Minemizu says that for blackwater dives, a rope with multiple lights attached is suspended beneath a buoy, but its main purpose is safety-related, not for photography. In fact, "lights suspended from the buoy should be as dim as possible to avoid any negative impact on the natural environment," he explains. Instead, he said that divers mainly search for subjects in complete darkness, only using handheld underwater lights as they find them.

A string of lights hangs from a buoy, but only for safety reasons. Photo: Ryo Minemizu

When it is time to light up a subject, Minemizu relies on five lights: two Marelux Apollo III 2.0 strobes for ultra-high-speed flash photography, two RGBlue (Super Natural Color) lights with high color rendering for use as target lights and for video recording in the dark ocean, and one INON LE-250 light used to illuminate subjects that exhibit phototaxis (when an organism moves in response to light). He uses the maximum flash sync speed to freeze movement, since the tiny creatures are constantly in motion. But it's not a set it and forget it situation. "Both the exposure and flash intensity are manually adjusted on site to suit the transparency of each subject," he explains.

While light is necessary in pitch-dark conditions, it can also have negative impacts. "Each subject has its own unique characteristics and behaviors," Minemizu explained. "For example, some would close their fins and begin to swim away the moment a light is pointed at them or quickly vanish into the darkness." As a result, he has to anticipate the subject's next move, rapidly assess how it will react to light and how it might behave, and make on-the-spot decisions about lighting. "This involves choosing the right color tone, the best angle for illumination and the appropriate light intensity," he said.

The size of his subjects is another significant challenge. Minemizu is primarily focused on photographing plankton, fish larvae and other minuscule creatures that only measure a few millimeters to a few centimeters. To show them at a large enough scale, Minemizu has to get very close to them. But the water between the lens and the subject adds more complexity. "Even small currents created during movement can disturb the subject’s posture, especially when operating near the minimum focusing distance," he explained.

Zoea larva of the scarlet shrimp. Photo: Ryo Minemizu

The constant motion also makes it difficult to find and track subjects. "One of the most important tasks is to find the subject through the viewfinder and keep track of it without losing sight," Minemizu said. To help with that, he explains that a standard macro lens with a shorter focal length (around a 50 to 60mm equiv lens) is more effective than longer lenses. Focus is also a unique challenge. Keeping an animal's eye in focus while it moves around on dry land can be difficult, but imagine keeping that critical focus on a tiny subject floating around in the dark while underwater. After all, both Minemizu and the subject are moving in the current, so he only gets a brief window to engage.

Naturally, there's the gear component to consider as well. Minemizu uses Nauticam housing and the Canon EOS R5 with the EF-EOS R converter. For lenses, he sticks with the EF-S 35mm F2.8 Macro IS STM and EF-S 60mm F2.8 Macro USM lenses. He's opted for APS-C lenses because the equivalent focal lengths are ideal for his subject matter, especially the 35mm lens. He says he's eagerly awaiting an "RF-mount standard macro lens that fully takes advantage of a full-frame sensor’s capabilities," however.

Minemizu's setup weighs 14kg (31lbs), but is perfectly balanced for working underwater. Photo: Ryo Minemizu

Minemizu says that on land, his setup weighs 14 kilograms (about 31 pounds). To manage that heft underwater, he adjusts the balance and weight using float arms so the camera is perfectly level and neutrally buoyant, meaning it isn't sinking or floating. Those float arms are attached to the top and bottom, making it easier to rotate the camera vertically.

Beyond all the technical challenges, blackwater dives introduce physical risk. For safety reasons, Minemizu says he limits his dives to 25 meters (82') at night, though most are between 10 and 20 meters (32.8 to 65.6'). Occasionally, the subject he's photographing will begin to descend to deeper water, and he'll need to decide whether to follow or not. "Following it too far can become dangerous," he said. "In such cases, I need to maintain discipline and accept that there are moments I must let go."

Larval margined flying fish. Photo: Ryo Minemizu

While Minemizu's images are beautiful, they also contribute to science. Some of the subjects he's photographed are entirely new scientific observations. "In order to recognize such cases on the spot, it is essential for me to have a broad knowledge of plankton, acquired through my own study," said Minemizu. He is working in collaboration with scientists from the Smithsonian Institution and conducting joint studies with universities and specialists studying jellyfish, cephalopod larvae, crustacean larvae and the larvae of various other invertebrates.

You can see more of Minemizu's incredible images on his website.

Photo: Richard Butler

With the S1II, Panasonic continues the tradition of offering "open gate" recording that uses the entire sensor area, which, like with the S5II, produces a roughly 6K 3:2 image (though the S1II's rolling shutter is substantially faster). This mode provides great levels of detail and more flexibility in post; if you're working on a 4K timeline, you have a fair amount of room to reframe a shot, and you can use the same footage for both landscape and vertical output.

The camera also has a 5.1K open gate mode with a little less resolution and detail. That cuts down on its flexibility, but allows for a first for full-frame Lumix cameras: open gate recording at 60p. The 5.1K 24p and 60p modes apparently have the same level of detail.

The camera's 4K modes are all oversampled from 6K capture, and have similar levels of detail to those of competitors like the Z6III and EOS R6 II, even at up to 60p. The S1II can't quite manage full-width 4K 120p, but the mode only requires a 1.24x crop, rather than a 1.5x crop like with the Z6III. So while there's some reduction in detail compared to the slower framerates, it does capture a tad more detail than the Nikon, and will come with a smaller change to your field of view.

If you don't prefer oversampling, the S1II also offers a 16:9 5.9K capture mode and a 1.89:1 5.8K capture mode, both of which are available at up to 60p. The extra resolution offers a bit more detail and more flexibility in post, though not quite as much as the 6K open-gate mode.

Raw video

Like the S1RII, the S1II can record ProRes Raw internally, capturing a native 5.8K region of the sensor at up to 30p, or a native DCI 4K region at up to 60p. This mode may be useful for those on professional shoots that need the utmost control over their footage, but for reasons we explained in the S1RII writeup, Raw video isn't something that most shooters will likely find useful. In short, it doesn't offer the same benefits that stills shooters expect from Raw images versus JPEG ones, and it will require a lot of post-processing work, especially if you're using modern mirrorless lenses that have geometric distortion correction as part of their optical formula, as Panasonic's implementation of ProRes Raw doesn't embed them.

The S1II is absolutely bursting with video modes, so this overview is far from comprehensive. Our chart detailing them in our initial review covers 166 different options, and it isn't even a complete list of all the configurations you can have. However, our testing shows that it's very capable of producing high-quality footage, even at fast framerates. Combine that with all the video assistance features that Panasonic includes, and it's one of the most flexible hybrid shooters we've seen.

What is shutter speed?

Shutter speed, along with aperture value, is one of the fundamental properties of exposure: ie, how much light your camera gets exposed to. A faster shutter speed helps freeze action, whereas a slower one lets in more light but can result in blurred movement.

How do I choose my shutter speed?

There are two important factors to consider when choosing a shutter speed: how fast is my subject moving? And if that's not a concern, how steadily can I hold the camera?

For sports and action, you'll need a very high shutter speed. For portraits of a subject who's posing, you can get away with something much slower, but in low light, there'll be a limit to how long you can hold the camera without shaking it, even if your camera or lens has image stabilization.

Working at the other extreme, long exposures can give some interesting creative effects: blurring the motion of crowds or traffic, or conveying a flowing effect with water, rather than freezing its movement.

Much of the time, you're more likely to want to set your shutter speed (or let your camera set the shutter speed) in response to your choice of aperture value and the light level in your scene.

We'll be continuing this series with more discussions on the fundamentals of exposure and photography. Check back soon for links to more entries!

Photo: Richard Butler

With the release of the S1II, Panasonic became the second company to market a camera with a "Partially Stacked" sensor, which uses more sophisticated readout circuits to get data off the sensor faster than possible with existing BSI designs. (Though not nearly as fast as fully Stacked designs allow.) We've had the chance to put it in front of our studio test scene to see how it performs in terms of image quality and dynamic range.

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

The S1II performs well at shooting our test scene, providing great image quality. Looking at base ISO Raws, the S1II captures similar levels of detail as the other 24MP full-frame cameras on the market*, though Panasonic's JPEG engine doesn't seem to get rid of quite as much moiré artefacting as Nikon or Canon's.

Speaking of that JPEG engine, we've been pleased with Panasonic's colors for a while now, and the S1II is no exception; like the rest of its competition and the company's previous cameras, its colors are solid.

At mid ISOs to high ISOs the S1II's noise levels are competitive. Its JPEG engine does an admirable job of reducing noise while still retaining detail.

* The S1II's price puts it in competition with much slower, but higher-resolution cameras like the Sony a7CR and Panasonic's own S1RII; if you care more about image quality than speed, that's worth noting.

Dynamic Range

The S1II provides a good amount of dynamic range, giving you room to pull your shadows up without the detail being overwhelmed by noise. However, given the lack of chroma noise visible in our tests, it seems like there may be some noise reduction going on, either in ACR or in-camera. Either way, there's plenty to be squeezed out of the files, with no nasty surprises, though you will see the effects of a little extra read noise if you're shooting at base ISO to maximize dynamic range.

Exposure Latitude | ISO Invariance

This is still a relatively new sensor, but it seems like Panasonic is getting a lot out of it. The S1II's image quality is very similar to other 24MP full-frame cameras with much slower burst rates and less capable video specs. Speaking of, be sure to stay tuned: tomorrow we'll be taking a look at video stills from the S1II.

Image: Canon

Canon has finally announced US availability and pricing details for the RF 75-300mm F4.0-5.6, a budget full-frame lens that it introduced earlier this year. When it initially launched in April, the company shared details about its global launch, but made no mention of the US market, potentially because it was waiting to see how tariffs would shake out.

The lens will cost $219 on its own, and will also be available as part of a "Double Zoom Lens Kit" for the EOS R100, which will include the camera, the RF 75-300mm, the RF-S 18-45mm F4.5-6.3 and a camera bag for $799. Both will be available sometime this month.

While the lens is technically new, it's essentially the same as the 26-year-old EF 75-300mm F4.0-5.6 III, just with a new mount. That lens has never been renowned for its image quality, but it does offer a lot of reach at a very accessible price.

Speaking of price, it appears that US tariffs haven't made a huge impact on this lens; the EF version has been sold at $199 since well before the tariffs, and the RF version's higher price could just as easily be chalked up to the new housing as the cost to import it.

Canon RF 75-300mm F4.0-5.6 specifications:

Image: Samsung

Samsung has announced its latest folding smartphones, the Galaxy Z Fold 7 and Galaxy Z Flip 7. Both have improvements over their predecessors, but the higher-end Z Fold has one that's especially exciting for people who like taking pictures: it adopts the main camera from the company's flagship S25 Ultra, which it says will capture "4x more detail" and produce "44% brighter" images than the camera in the previous Z Fold.

Galaxy Z Fold 7

Compared to more traditional smartphones, foldables often compromise on camera performance because of space constraints; each half of the phone is usually substantially thinner than the typical candybar phone.

That's especially true for the Z Fold 7, which has slimmed down substantially compared to its predecessor: it's now 8.9mm thick when closed, compared to 12.1mm, and weighs 215g instead of 239g. Theoretically, this should make it more comfortable to use the front "cover" screen, as it'll be closer to the experience of using a non-folding phone. That display has also gotten an upgrade: it's 6.5" instead of 6.3", and slightly higher resolution.

The Z Fold 7 has three rear cameras, and two selfie cameras. Image: Samsung

Despite the phone's thinness, the main camera has gotten some big improvements. The Z Fold 6 used the cameras from Samsung's mid-range S24+ flagship, which meant it's main camera was a 50MP Type 1/1.56 (50mm²) sensor behind an F1.8 lens. The Z Fold 7, meanwhile, gets the 200MP Type 1/1.3 (72mm²) sensor and F1.7 lens from Samsung's top-tier standard smartphone.

That means that, at least for the camera you're using most, you're not compromising by picking Samsung's foldable instead of its standard smartphone. That's good news for those who like big screens; the S25+ is no slouch with a 6.9" display, but that doesn't quite match the Z Fold 7's new 8" interior screen, which offers even more real estate than the 7.6" one found on its predecessor.

Of course, there are still trade-offs. For one, Samsung seems to have solved the space problem by just making the camera bump massive; YouTube reviewer MKBHD shows that the phone can't even come close to sitting flat on a table thanks to the protrusion. The phone's ultra-wide camera is also a downgrade compared to what you'd find on the S25 Ultra, and the Z Fold 7 doesn't have a "periscope" camera for even more zoom.

Of course, cameras aren't the only thing Samsung changed this generation. The company says the Z Fold 7 has a thinner and lighter hinge, more durable glass for the cover display and a more powerful SOC with improvements to the tune of 38% in CPU and 26% in GPU compared to its predecessor. The selfie camera on the main screen is also now higher resolution, and provides a wider field of view.

Of course, none of this comes cheap. While the Z Fold series has always broken the bank, the latest iteration now starts at $1999 for a model with 256GB of storage, $100 more than its predecessor. You can pre-order it now, and it'll be available on July 25th.

Z Flip 7

Image: Samsung

The changes to Samsung's smaller, less expensive Z Flip phone are a bit more subtle. The main cameras – a wide 50MP Type 1/1.57 (50mm²) and ultra-wide 12MP Type 1/3.2 (15mm²) – are unchanged from its predecessor, and it's actually a gram heavier. However, for that minuscule increase in weight, you get a bigger battery and a much larger cover screen; 4.1" versus 3.4".

That front screen now basically runs edge-to-edge on the phone's front cover, and should be more responsive as it has a 120hz refresh rate, where the old one topped out at 60hz. It's also much brighter, peaking at 2600 nits instead of 1600.

The interior display is also a touch bigger at 6.9" versus 6.7". However, the biggest change is even deeper inside the phone: it now uses a Samsung-designed Exynos SOC, rather than a Qualcomm Snapdragon one. Historically, some Exynos-equipped models haven't performed as well compared to their Snapdragon counterparts, so it'll be interesting to see how the phone performs once reviewers get their hands on it.

Unlike the Z Fold, the Z Flip is the same price as its predecessor, starting at $1,099 for a 256GB model. It will also be available starting on July 25th.

Photo: Mitchell Clark

We've put the Nikon Z5II through our studio scene as part of our upcoming review. And it's fair to say it doesn't present any major surprises. But we thought it's worth stepping back a bit to acknowledge what we perhaps risk taking for granted.

The Nikon Z5II is the company's entry-level full-frame mirrorless camera. Its launch price of $1699, body only, means it's not quite as inexpensive as the original Z5, but there are still only four full-frame digital cameras that have been launched for a lower price, so it's not uncompetitive.

But, whereas the original Z5 used a relatively elderly sensor to differentiate it from the higher-end Z6 II, the Z5II uses the same sensor as the more expensive Zf. And, while it's not the newest chip on the block, it's still being introduced in new models from Sigma and Panasonic, so shouldn't be considered unacceptably out-of-date.

Studio test scene

The test scene throws up no surprises at all: detail capture is consistent with other 24MP full-frame cameras, as is noise performance at high ISO. Default JPEG color is the usual Nikon response: on the punchy side of accurate, which is a result a lot of people like.

JPEG sharpening pulls out a lot of fine detail, though false color isn't as well suppressed as in the Canon's files. Noise reduction smoothes away a little more detail than its peers, but overall, the results are very solid.

This is a well-known sensor, so the results aren't surprising, but until recently, you had to spend a fair amount more than this to get the same combination of IQ, handling and autofocus performance.

takasuu / iStock / Getty Images Plus via Getty Images

US President Donald Trump has signaled his intent to move forward with new tariffs that will go into effect on August 1st, impacting imports from several countries. As reported by the Associated Press, Trump announced the tariffs by posting copies of letters addressed to leaders of several countries, including Japan and Thailand – where many camera and lens manufacturers build products – on social media.

According to the letters, imports from Japan to the US will face tariffs of 25% and imports from Thailand will face tariffs of 36%.

The new tariffs aren't entirely unexpected. The Trump administration initially announced tariffs aimed at numerous countries back on April 2nd, including 24% on Japanese goods and 36% on imports from Thailand. However, it subsequently placed a 90-day pause on full tariff amounts on April 9th, setting a universal baseline tariff of 10%.

On Monday, US President Donald Trump posted copies of letters to leaders of several countries to Truth Social announcing new tariffs to go into effect on August 1st, including this letter to Japanese Prime Minister Ishiba Shigeru.

As a result, US consumers have experienced increased prices on some camera products, with companies like Sigma, Canon, Nikon and Sony raising prices accordingly over the past few months.

The new August 1st deadline effectively adds three additional weeks to the 90-day pause announced in April, though given the unpredictability we've seen until now, it's possible that things could change again before the new tariffs go into effect. If not, US consumers could experience additional price hikes on many photography products due to the additional tariffs.

It's important to note that not all cameras and lenses are produced in these countries. Many companies have moved a significant portion of manufacturing to other Asian countries in recent years, including China, which is experiencing its own trade conflict with the US. Notably, Tamron began operating a new factory in Vietnam in February. Last week, the Trump administration announced a new trade deal to charge 20% tariffs on imports from that country, less than the 46% tariffs originally announced in April.

Amazon Prime Day is officially underway through July 11, and with it comes discounts of all sorts. Those sales include a selection of cameras and lenses, so if you're looking to upgrade your kit, pick up a new camera or expand your lens selection, now is a good time to do so.

Unfortunately, most camera brands recently increased prices in the US because of tariffs, and, as a result, many of the Prime Day deals are just a dip back to pre-tariff pricing. But that's still better than nothing, and it would be smart to buy now before prices go back up. Additionally, if there were better deals on other websites, we've linked to those instead. We'll also be updating this throughout the week, so be sure to check back to see what's new.

Sony cameras and lenses

Sony has the most gear on sale this Prime Day. This isn't an exhaustive list, with many additional models on sale. All of the camera and lens deals are also live on Sony's website, so you can check them out there, too. Some of the items below are older generation models, but they are still worth picking up in our opinion.

Sony a1 $5398 (was $5900)

Sony a7R V $3798 (was $4200)

Sony a7R IV $2998 (was $3400)

Sony a7S III $3498 (was $3800)

Sony a7 IV $2198 (was $2700)

Sony a7C II $2198 (was $2400)

Sony a6700 $1398 (was $1500)

Sony ZV-E10 II $1000 at Sony (was $1100)

Sony 24-50mm F2.8 G $1098 (was $1200)

Sony 20-70mm F4 G $1098 (was $1200)

Sony 24-70 mm F2.8 GM $1598 (was $1698)

Sony 70-200mm F2.8 GM OSS $1048 (was $2150)

Canon cameras and lenses

Canon's deals aren't specifically labeled as Prime Day ones, but there are still some deals worth checking out. Unfortunately, it's a very short list.

Canon EOS R5 II $3999 (was $4299)

Canon EOS R6 Mark II $1899 (was $1999)

Canon EOS R7 $1499 (was $1599)

Canon EOS R10 $949 (was $1049)

Canon EOS RP + RF24-105mm Lens F4-7.1 is STM Lens $999 (was $1399)

Canon RF135mm F1.8 L is USM $1799 at B&H (Was $2299)

Nikon cameras and lenses

Nikon also has very limited items on sale right now, unfortunately. But we've done some digging to find out what deals there are. Like the other brands, most of these prices are simply back to pre-tariff prices, though.

Nikon Z8 $3697 (was $4000)

Nikon Z6 III $2197 (was $2500)

Nikon Z7 II $1947 at B&H (was $2297)

Nikon NIKKOR Z 14-24mm f/2.8 S $2047 at B&H (was $2497)

Instant cameras

Instant cameras can be a fun change of pace. Polaroid currently has its offerings on sale, including some bundles with film.

Polaroid Now 2nd Generation I-Type Instant Camera + Film Bundle $115 (was $150)

Polaroid Now+ Generation 2 - Camera + Film Bundle $145 (was $175)

Polaroid Now+ 3rd Generation I-Type Instant Film Camera $120 (was $140)

Polaroid Now 3rd Generation I-Type Instant Film Camera $102 (was $120)

Action cameras

If you're looking to document your adventures this summer, an action camera may be the way to go. Luckily, some of the best out there are on sale during Prime Day.

DJI Osmo Action 4 Essential Combo $199 (was $289)

GoPro HERO13 Black Action Bundle $329 (was $500)

Insta360 X4 Standard Bundle $349 (was $500)

Today marks the beginning of Amazon Prime Day (or really Prime Week), which means discounts on just about anything you could imagine. Instead of bombarding you with many long lists of Prime Day deals, we'll be sharing some of the things we would actually recommend buying, and some we may even be adding to our own carts.

First up are accessories that are worth picking up when they are on sale. We've looked at the pricing history for each item to ensure it's actually a deal, so you can trust you'll be saving money. We'll update this throughout the week, so be sure to check back, and if you see anything worth sharing, let us know so we can spread the word.

Memory cards

I try to buy memory cards exclusively during shopping holidays like Prime Day or Black Friday. They aren't fun or exciting, so I like to avoid paying full price for them. Luckily, there are almost always fantastic deals on these during Prime Day, and this year is no exception. Some of these are even the lowest prices they've been on Amazon in the last three months.

SanDisk 256GB Extreme PRO SDXC UHS-II V60 Memory Card $60 (was $80)

SanDisk 256GB Extreme PRO SDXC UHS-II V90 Memory Card $180 (was $263)

SanDisk 256GB Extreme PRO SDXC UHS-I Memory Card $30 (was $45)

Lexar 128GB (2-PK) Professional Silver Pro SDXC, UHS-II, V60 Memory Card $52 (was $80)

PNY 128GB Elite-X Class 10 U3 V30 SDXC (2 Pack) Memory Card $20 (was $26)

SanDisk 2TB Extreme microSDXC UHS-I Memory Card $165 (was $200)

Hard drives and SSDs

Hard drives are another item I avoid buying unless they are on sale. So, come Prime Day, I look out for any deals on portable SSDs or desktop drives to help me keep my work backed up while saving some money. Since they are higher-priced items, there are generally steep discounts during Prime Day.

Samsung T9 Portable SSD 4TB $266 (was $550)

Samsung T7 Portable SSD, 2TB $120 (was $200)

Western Digital 2TB My Passport SSD $130 (was $200)

Western Digital 14TB Elements Desktop External Hard Drive $170 at B&H (was $380)

Cleaning and protection

While cleaning tools aren't expensive at full price, saving a little something is always nice. Rugged cases, on the other hand, are rather expensive. Pelican cases rarely go on sale, but there are some discounts on ones with padded dividers this Prime Day, making it a great time to pick one up.

Pelican Vault V600 Hard Case With Padded Dividers $160 (was $200)

Pelican Vault V550 Hard Case With Padded Dividers $128 (was $160)

K&F Concept 4-in-1 Camera Cleaning Kit $17 (was $22)

K&F Concept Professional Lens Cleaning Pen $12 (was $18)

Mobile accessories

Whether you're a content creator or simply looking to up your smartphone photography and videography game, there are some excellent deals on mobile accessories right now.

Insta360 Flow 2 Pro Smartphone Gimbal $136 (was $160)

DJI Osmo Mobile 7P Smartphone Gimbal $126 (was $149)

Belkin Portable Charger $75 (was $100)

Anker Portable Charger $30 (was $55)

Miscellaneous

Finally, there are plenty of other accessories worth picking up that don't fit neatly in the categories above. Here are more items worth considering this Prime Day, including my favorite way to easily display photos in my home (the Aura Carver).

Aura Carver Mat 10" Digital Picture Frame $141 (was $179)

K&F Concept 5-in-1 Light Reflector 32"(80cm) Photography Diffuser $18 (was $23)

500+ SmallRig products Up to 30% off

A Minolta? But didn't they leave the camera business years ago? The re-emergence of the Minolta brand in the US highlights some interesting quirks of the laws around trademarks. Image: Minolta

In the wake of our look at the way Eastman Kodak allows its brand to be used on everything from solar panels to T-shirts, we've been looking at the way other historic camera brands are now being used.

In the case of Kodak, the company licensing the name has a continuous link back to the one that built the brand in the first place. Eastman Kodak may have sold its photo film business as part of its bankruptcy restructuring, but today's corporate entity is still based in Rochester, New York, and still focused on the way products sold in its name reflect on the rest of its business. This isn't always the case, though.

Use it or lose it

In most countries, trademarks only remain valid if they're being used and actively protected. If you aren't using a trademark or it can be shown that you aren't making efforts to defend it, then someone else can come along and challenge its use.

This is currently happening in Europe and the UK, where a Dubai-based property developer is arguing that the trademark James Bond hasn't been used by its owners for more than five years and hence should be cancelled. There's a comparable process in the US: an episode of NPR's Planet Money looked at the story of a man who's made a business out of challenging abandoned trademarks and re-launching previously defunct confectionery brands.

One of the last Konica Minolta products was the Dynax / Maxxum 7D, the world's first DSLR to feature in-body image stabilization. The company using the Minolta name today is not connected to the original Konica Minolta, which still operates in an array of industries. Photo: DPReview.com

It's through this process that Minolta-branded cameras have started to appear recently in US stores such Costco, BestBuy and B&H Photo. The original owner, Konica-Minolta, sold its camera business to Sony in 2006, which initially used its technologies in a series of A-mount DSLRs before moving to its own E-mount mirrorless system, developed internally.

With Konica-Minolta out of the industry, Californian brand-licensing company JMM Lee Properties challenged the trademark in 2015 and was awarded the right to use it for a range of photographic goods. JMM Lee's business model appears to be finding and claiming abandoned brand names, which it then licenses to other companies. For instance, if you want to get into the power tool business, JMM Lee can license you the Renault brand name for the US market.

'Minolta,' by Shenzen Soda Digital for Elite Brands

The Minolta brand is currently being licensed to New York-headquartered Elite Brands Inc, the US importer of Samyang lenses. So the cameras currently appearing in Costco are made for Elite Brands, which also licenses the Bell + Howell brand for some products.

Some of the Minolta-branded cameras share their specs with models offered by Asia Optical, a Taiwanese OEM manufacturer that has been making Kodak-branded cameras for JK Imaging for over a decade.

Other models include the $99 Minolta MND23, a camera described as a 48MP point and shoot with 16X digital zoom and the ability to capture 4K UHD video. A closer look at the specs shows it to have a 13MP sensor from Sony Semiconductor (very probably a Type 1/3, 17mm² chip) that can shoot 4K resolution at up to 10fps.

The Minolta MND70 shares its specs with the Songdian DC203S, made by Shenzhen Soda Digital Technology. Image: Minolta

The 3.37mm F2.2 lens and the presence of a second, 'selfie' sensor on the back of the camera matches the specs of a lens that appears in a variety of products from Chinese maker Shenzhen Soda Digital Technology Co.

And, similarly, the camera sold for $179 as the Minolta MND70 shares all its key specs, though with the same company's DC203. Just to give an idea of what that means for the well regarded Minolta name, Amateur Photographer's (and formerly DPReview's) Technical Editor bought a DC202, which lacks the 203's Wi-Fi and selfie camera, for around £40 (∼$54). He described it as 'the worst camera I've ever used."

With thanks to forum user ishwanu for background on the trademark cases.

Updated: July 8th, 2025

Whether you're just sharing clips with friends or you're launching an online on-camera career, vlogging matters. And there's a point at which your smartphone may not give you the look, control, or flexibility you're after. With 180-degree selfie screens, wide-angle lenses, microphone inputs and great video quality, more and more dedicated cameras are catering to people who want to take video of themselves and post it online.

The meaning of vlogging has changed over the years, so our picks cover a variety of styles – we'll explain what makes each camera good for vlogging, and what key features each has that make taking video of yourself easier. We've also included videos shot on the cameras in question when we have them to give you an idea of what kind of performance to expect.

Our recommendations:

• Best camera for vlogging on the move: DJI Osmo Pocket 3
• A self-contained vlogging kit: Canon PowerShot V1
• For ambitious vloggers and videographers: Sony ZV-E10 II
• Best high-end vlogging pick: Sony ZV-E1

Best camera for vlogging on the move: DJI Osmo Pocket 3

Photo: Richard Butler

DJI’s Osmo Pocket 3 is a stabilized handheld vlogging camera, designed for on-the-move vlogging. It’s 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.

The small sensor means the Pocket 3 works better in well-lit situations, though a reasonably bright F2.0 lens means it’s 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.

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

In addition to the smooth stability of its gimbal and its genuine pocketability, one of the Osmo’s main benefits is that it’s compatible with a series of Bluetooth microphones, meaning you can capture good-quality audio without the need for additional transmitters or receivers.

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 3 as a package is really hard to beat.

Read our hands-on impressions of the Osmo Pocket 3

A self-contained vlogging kit: Canon PowerShot V1

16-50mm F2.8-4.5 zoom | 22MP 18x12mm Dual Pixel CMOS sensor | 4K/60 with crop

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 there's a lot to be said for an all-in-one option. You do give up some flexibility for other types of filmmaking, but it should cover most of your bases when it comes to vlogging.

Read our full PowerShot V1 review

We also considered Sony's range of entry-level vlogging cameras with Type 1 sensors, the ZV-1, ZV-1F, and ZV-1 II. The latter is the best pick of the bunch, given its wideangle zoom lens and built-in ND, but it's hard to recommend. Its quality will be slightly better than that of a flagship phone, but if you're going to be carrying an extra gadget around anyway, it's probably best to spend a bit more for a more flexible or capable camera.

For ambitious vloggers and videographers: Sony ZV-E10 II

26MP APS-C sensor | Full-width 4K/24p, 1.1x crop 4K/60p video | Fully articulating screen

Read our full review of the Sony ZV-E10 II

Potential alternatives?

We also considered Canon's (noticeably cheaper) EOS R50V, but chose the Sony because of its much faster sensor that provides better rolling shutter performance and requires less cropping to shoot at 4K/60. We also looked at Nikon's Z30, but its lack of headphone socket and 10-bit video means we lean towards the Sony. The Nikon Z50II has strong video specs and some of the features the Z30 lacks, such as a headphone jack, but its form factor and heavy crop in its 4K/60 mode make it not particularly well-suited to vlogging.

Best high-end vlogging camera: Sony ZV-E1

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

It has pretty much everything a vlogger would need: Sony's class-leading autofocus, a front tally light, a stabilized sensor, 4K/60 with no crop and excellent rolling shutter performance. It also has features that make shooting alone easier, such as its auto framing mode that dynamically zooms in on the subject in a frame, much like a cameraperson would, and the product showcase mode that overrides the face detection AF when you're clearly trying to show the camera something.

Read our initial review of the Sony ZV-E1

A cheaper competitor

If your budget doesn't quite stretch as far as the ZV-E1 requires, the Panasonic S9 may be a decent option that costs around $1000 less. It, too, has a stabilized, full-frame sensor, though it lacks a headphone jack and some of the vlogging-specific features Sony includes. While its sensor can shoot at higher-than-4K resolutions for more flexibility in post, its slower readout means you'll have to deal with a crop when shooting 4K/60, and will have to be aware of rolling shutter.

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.

Photo: Jaromir / Moment via Getty Images

Summertime is ripe with photographic opportunities thanks to longer days and warmer weather. Many of us flock to the outdoors this time of year, whether to capture landscapes, document weddings or photograph animals. But with this extra time outside with our cameras comes added risk to our gear due to chemicals found in bug spray and sunscreen. While those products may be essential for protecting your body, they can damage your expensive gear. If you'll be lathering up with sunscreen or bug spray this summer, here are some things to remember.

Impacts of DEET bug spray

Photo: Lokibaho / iStock Unreleased via Getty Images

Many bug sprays use DEET to keep pesky (and potentially dangerous) pests away. While that's sometimes necessary to stay safe, DEET is a plasticizer. That means it can soften, deform or even dissolve certain plastics and rubber, especially if you're using a high-concentration version of it.

Of course, cameras and lenses are largely made up of plastics and rubber, so exposing your gear to DEET-based bug spray can result in deterioration of your gear. Damage from DEET could simply take the form of dissolved labels on buttons and markings on your lenses. But it could be far more substantial, potentially melting parts of your camera or lens body.

Even a small amount of DEET on your hands could be enough to have an impact. To keep your gear safe, don't spray bug spray anywhere near cameras or lenses. It's best to keep the camera in your bag or the car until you're done applying. If you get DEET bug spray on your hands, wash them off as well as you can before handling your camera. Also, if you use the viewfinder, make sure you don't get any DEET on your face.

Even a small amount of DEET on your hands could be enough to have an impact.

If DEET bug repellent gets on your camera, make sure to act quickly. The sooner you clean it off, the less damage there will be. Don't use a dry cloth to wipe it off, either, as that could spread the chemical and potentially push it into seams or textured surfaces, causing more damage. Instead, lightly dampen a clean cloth and gently blot to remove the DEET. Use a fresh corner of the fabric for different parts of the camera to avoid spreading it.

If you want to be extra cautious, you can avoid DEET altogether by using a Picaridin-based bug spray – research has found that it doesn't damage plastics – or by wearing clothing treated with Permethrin. While both chemicals (and DEET) have been proven to be safe for use on humans, we couldn't find any conclusive studies about their safety for pets, so it's worth exercising some caution when using these products around cats or dogs. Always read the safety label for whatever insect repellent you're using.

Take care with sunscreen, too

Photo: Oscar Wong / Moment via Getty Images

While sunscreen isn't as harmful as DEET, it isn't very kind to cameras, either. Some chemicals found in certain sunscreens may potentially interact with plastics, causing them to degrade faster, though there is limited research on the subject. However, all sunscreens can cause discoloration and leave residue. Plus, it can make things downright slippery, which isn't ideal when working with expensive gear. And that greasy residue on your lens won't be great for image quality if it's on your lens.

As with bug repellent, it's best to apply sunscreen well away from your camera. That's especially true of aerosol sunscreens, which go everywhere. Once you're done applying, be sure to wash your hands, ideally with soapy water or hand sanitizer, to break down the oils.

If you get sunscreen on your camera, you'll want to clean it off as soon as possible. When you're still out and about, you can use hand wipes or a cloth with some hand sanitizer to clean it off. You could also use a cloth with a small amount of dishwashing liquid and water.

If there's sunscreen on your lens, make sure you use a cleaning solution made for optics, as you don't want to remove the special coatings. Disposable lens wipes are always ideal to have on hand in such situations, as then you don't have to worry about spreading it around more the next time you use your lens cloth.

Don't let the similarities fool you: there is essentially no overlap between what the X100 and X half cameras offer. Photo: Richard Butler

The Fujifilm X half isn't a camera where absolute image quality is fundamental to its appeal. And if that idea seems anathema to you - 'a camera? where image quality isn't neccessarily paramount?' - I'd suggest you don't read any further.

To some extent, it doesn't really make sense to subject the X half to our standard testing: it's like analyzing the nutritional value figures of cotton candy / candyfloss / fairy floss.

However, given the X half uses a sensor that's many times larger than those used in the likes of the Yashica Y35 – and other cameras designed for fun, as much as photographic competency – we thought it was worth seeing how it performs. Especially as it also costs a fair bit more than most other 'fun' cameras on the market.

It's like analyzing the nutritional value figures of candyfloss

Also, given its stylistic similarities with the larger, much more serious X100 cameras, we wanted to be able to make clear just how big the difference is.

So, despite being aware of the foolishness of the task, we committed outselves to trying to align and shoot a camera whose small, low-res screen and lack of custom white balance setting meant it was likely to be something of a handful. And whose images come out the wrong way 'round.

In practice we were pleasantly surprised: quickly discovering a Kelvin white balance setting that gave a near-perfectly neutral result, and finding its contrast-detection AF gave very consistent results, shot-to-shot. A quick look at the EXIF data allowed us to over-write the orientation metadata tag and present the images in the landscape format without having to re-save or re-encode the image and risk changing the image quality.

Studio test scene

At the center of the chart, the X half's images look broadly comparable to those of the RX100 series, with its similarly sized sensor and pixel count (the X half uses a 4:3 crop from a 3:2 sensor), appreciably behind the much larger X100VI sensor but ahead of a traditional Type 1/2.3 compact.

The performance drops away as you get further from the center of the image, with the Fujifilm not showing the level of fine detail that the RX100 does.

The difference becomes less pronounced as the light levels fall and ISO has to rise, and the gap between the Type 1 sensor Fujifilm and Sony and the small sensor compact grows.

The X half's sensor is around 4x larger than the one in the Panasonic FZ80 (and around 6x the size of the Type 1/3 sensors in the likes of the Yashica FX-D 100, Kodak C10 and Minolta MND 23), and consequently it gives a result around two stops better than the smaller sensor camera (and in the region of two stops behind the X100VI).

Summary

The results are broadly what we'd expect, in terms of noise and image quality. Despite the use of a prime lens, the X half isn't pulling out nearly as much detail from its captures as the RX100 is. But it's fair to say that pixel-peeping with a camera like the X half isn't a rational way to spend one's time. After all, it's a camera that doesn't even pretend to take itself seriously (we almost wonder whether its lack of Raw recording it to avoid giving off mixed messages about its intent, rather than anything so prosaic as a lack of processing power).

A more pertinent line of enquiry might be how the X half's images look, compared to an RX100's, once resized and recompressed for the social media platforms they're designed to be shared through. Because if your intention is to print images on anything other than Instax (or, at most, a 6 x 4) and you're focusing on the X half then you're making even stranger choices with your life than we are.

Steam rises over the rim of the Kilauea Volcano crater on the Big Island of Hawaii at sunrise. I rose early to catch the morning light, but hadn't anticipated the steam rising from the volcano below. Lucky me. Samsung NX1 | NX 16-50mm F2-2.8 S | F8 | 1/640 sec | ISO 100 Photo: Dale Baskin

The theme for our July Editors' photo challenge is "Landscape Photography."

This is your chance to show us your favorite landscape photos featuring the beauty of the natural world. From sweeping vistas to creative compositions, we want to see your most stunning shots where the natural world is the main focus.

This challenge is also open to stitched panoramas.

Photos can be submitted between Sunday, July 6, and Saturday, July 12 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to submit your photo to the challenge. Winners will be featured on the DPReview homepage later this month.

Submit your photo to the Landscape challenge

International Aerial Photographer of the Year winners

With affordable drones making aerial photography accessible to virtually anyone, the number of photographers shooting from above has skyrocketed.

This boom didn't go unnoticed by Peter Eastway and David Evans, organizers of the International Landscape Photographer of the Year Awards. Inspired by this growth in aerial photography, they established a dedicated competition: The International Aerial Photography of the Year Awards.

The 2025 competition drew over 1500 entries from around the globe, with American photographer Joanna Steidle winning top honors for her captivating images of marine life near her Southampton, New York, home.

We're excited to share some of the winning images from this year's competition. The complete collection of 101 winning images is available as an e-book on the competition's website.

Aerial Photographer of the Year: 1st place

The judges selected photographer Joanna Steidle of the United States as the overall winner of the International Aerial Photographer of the Year Awards. Steidle, based in the Hamptons on Long Island, New York, submitted a portfolio of images featuring marine life photographed just 7-13km (4-6 miles) from her own home.

"Growing up, I never saw whales or dolphins from the shore," explains Steidle. "But due to conservation efforts, our coastline has rebounded with a plethora of sea creatures in the past few years."

Photographer: Joanna Steidle, United States

Title: Another World

Description: A fever of cownose rays approaching a school of menhaden bait fish, taken just a few hundred feet from the coast of Southampton, NY. USA.

Copyright Joanna Steidle / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 1st place

Photographer: Joanna Steidle, United States

Title: Concerto

Description: A small fever of cownose rays stirring up sand along their travels. Taken in Southampton, NY, USA, just a few hundred feet from the coast.

Copyright Joanna Steidle / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 1st place

Photographer: Joanna Steidle, United States

Title: The Gateway

Description: A spinner shark hunting in a school of menhaden bait fish in the Atlantic Ocean, Southampton, NY, USA.

Copyright Joanna Steidle / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 1st place

Photographer: Joanna Steidle, United States

Title: Diving

Description: A humpback whale diving back under the surface of the Atlantic Ocean after taking a breath of air. This was taken within 500ft of the coast in Southampton, NY, USA.

Copyright Joanna Steidle / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 2nd place

Photographer: Daniel Viñé Garcia, Spain

Title: Smoking Skull

Description: Iceland's Fagradalsfjall volcano as it cooled. The cracking pattern of the lava formed a skull, creating an eerie natural illusion for a few moments.

Copyright Daniel Viñé Garcia / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 2nd place

Photographer: Daniel Viñé Garcia, Spain

Title: The Nipple of the Earth

Description: A dormant volcano in the high-altitude Puna of Argentina reveals intricate erosion patterns sculpted by wind and time.

Copyright Daniel Viñé Garcia / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 3rd place

Photographer: David Swindler, United States

Title: Flamingos and Pelicans

Description: Dark skies provide a dramatic background as sunlight highlights a desert butte.

Copyright David Swindler / The Inaugural International Aerial Photographer of the Year

Aerial Photographer of the Year: 3rd place

Photographer: David Swindler, United States

Title: Flamingos Over a Lake

Description: Seven flamingos fly over the dark waters and patterns of a lake.

Copyright David Swindler / The Inaugural International Aerial Photographer of the Year

Aerial Photograph of the Year: 1st place

Photographer: Ignacio Palacios, Australia

Title: Cono de Arita

Description: Anti-crepuscular rays at Cono de Arita, La Puna, Argentina.

Copyright Ignacio Palacios / The International Landscape Photographer of the Year

Aerial Photograph of the Year: 2nd place

Photographer: Talor Stone, United States

Title: Tree of Ice

Description: An aerial perspective of glacial calving reveals an unexpected organic pattern in the water. Northeast Greenland National Park.

Copyright Talor Stone / The International Landscape Photographer of the Year

Aerial Photograph of the Year: 3rd place

Photographer: Thomsa Vijayan, Canada

Title: Austfonna Ice Cap

Description: The Bråsvellbreen glacier, part of the Austfonna Ice Cap in Svalbard. Early melting and powerful waterfalls reveal the urgent reality of climate change – reminding us what’s at stake if we fail to act.

Copyright Thomas Vijayan / The International Landscape Photographer of the Year

The Black and White Award

Photographer: Barbara Brown, Australia

Title: The Tempest

Description: Salt lake, Goldfields region of Western Australia

Copyright Barbara Brown / The International Landscape Photographer of the Year

The Drone Award

Photographer: Pål Hermansen, Norway

Title: Relax after the Meal

Description: Polar bear on Svalbard after eating on a walrus carcass. Thanks to the drone with a telephoto lens, this rare scene could be captured without any disturbance. Svalbard, Norway.

Copyright Pål Hermansen / The International Landscape Photographer of the Year

The Abstract Award

Photographer: Colin Leonhardt, Australia

Title: Twisted Owl

Description: Alumina mine tailings dam near Collie, Western Australia.

Copyright Colin Leonhardt / The International Landscape Photographer of the Year

The Chairman's Award

Photographer: Fabien Guittard, France

Title: Above the Ice

Description: Two seals lounging peacefully on a drifting slab of ice in the Jokulsarlon glacial lagoon, southern Iceland.

Copyright Colin Leonhardt / The International Landscape Photographer of the Year

The Yashica FX-D 100 appears to be modelled on the FX-7 Super SLR sold by the original Yashica company (and reportedly manufactured by Cosina) in the early 1980s. Image: Yashica

In all the buzz and chatter around the launch of Fujifilm's X half, we missed the quieter announcement of another digital camera with a film advance lever: the Yashica FX-D 100. This has now been joined by two sister models, the FX-D 300 and FX-D S300. All three cameras are being funded via Kickstarter.

The FX-D 100 and FX-D 300 have a blanking plate where you'd expect a viewfinder. Image: Yashica

All three cameras are designed to approximately resemble the original Yashica FX-7 Super film SLR, but a fair bit smaller. All three are built around very small sensors, of the type used in many modern smartphones but without the multi-shot computational photography they use to boost image quality.

The least-expensive FX-D 100 model has an optical zoom lens, while the more expensive FX-D 300 and S300 have a fixed lens with a ring around the lens controlling digital zoom / cropping. Only the most expensive of the three models has an electronic viewfinder, the other two have a blanking plate over the back of the finder hump.

*Campaign ended

The FX-Ds are the second generation of digital cameras to be sold via Kickstarter, following the revival of the Yashica name on the Y35 camera in 2017, which raised over $1M on the platform. That camera, which also married a small sensor and film simulation concept to a design that visually mimicked a film-era Yashica camera, was met with reviews that ranged from critical to scathing.

The FX-D 300 and S300 have a fixed 24mm equivalent lens and can crop to deliver the 60mm equiv field of view listed on the front of the camera. All three FX-D models have flip-forward LCDs. Image: Yashica

Somewhat concerningly, the FX-D 100's lens specs are a match for the company's City 100 model, which again, hasn't been well received. Both '300' models use the same 50MP sensor and 24mm equiv prime lens used by the upcoming City 300, which promises a 24-60mm equiv range by cropping into an 8MP region to give the 60mm equivalent view.

Unlike the Y35, all three FX-D cameras have a (fold-forward) rear screen and let you choose between film simulation modes without having to slot a 'film' module into the back of the camera. All three cameras include six virtual filmstocks:

• Ruby 60s
• Sapphire 70s
• Yashica 400
• Golden 80s
• Mono 400
• Black and White 400

The company says it's working on building Raw capability into the FX-D 300 models.

The FX-D S300 has an 800 x 600px (1.44M dot) viewfinder. Image: Yashica

The Yashica name appears to currently be owned by a Hong Kong company called JNC Datum Tech, which is owned by the MF Jebsen Group. It has been used for a wide range of products, including being licensed to Kickstarter film module company, I'm Back.

This is a slightly different situation to Kodak, where the post-bankruptcy remains of the original Eastman Kodak company still controls who gets to license and use its brand name.

Camera image: Nikon

Happy Friday, folks. Outside of the significant firmware update for the Nikon Z8 (which has had some drama since being available for download), it's been relatively quiet on the firmware front. That said, there are some minor updates for Nikon, OM System, Fujifilm and Sigma cameras and lenses. Read on to see what's new.

Nikon

First and foremost, a PSA. The firmware update for the Nikon Z8 was officially made available for download at the beginning of July, but with it came some trouble. First, updating to the Z8 Ver 3.00 could result in functionality issues with Tamron lenses. Tamron says it's working on a solution, but there hasn't been an update at the time of writing. You may want to hold off on updating your Z8 if you use Tamron lenses as a result.

Perhaps more significant is that Nikon (and Viltrox) issued a warning not to update your camera's firmware with third-party lenses or mount adapters. This warning was initially only on the Z8 firmware download page, but is now also on other recent firmware pages.

Nikon hasn't specified what could happen if you don't listen to that advice other than saying it "could result in camera malfunction." If you are updating to any of the firmware options below, please make sure to remove any third-party lenses and mount adapters.

With that out of the way, here's what's new for Nikon cameras.

Image: Nikon

Nikon Z8 Ver 3.00

Still Photography

• Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
• The subject detection function became available during manual focus.
• The subject detection area selection is now available for manual focus.
• Added support for “Flexible Color” Picture Controls.
• Added a [C15] high-speed frame capture + release mode option.The image quality for high-speed frame capture + can now be set separately from other release modes.
• Added [High ISO NR mode] in [PHOTO SHOOTING MENU] that allows to select a noise reduction processing mode.
• Added frequency setting mode to [High-frequency flicker reduction] in [PHOTO SHOOTING MENU] that allows frequency presets to be configured.
• [Options] has been added under [Focus shift shooting] in the [PHOTO SHOOTING MENU] to allow [Pixel shift shooting] to be used together with focus shift shooting.
• [Options] has been added under [Pixel shift shooting] in the [PHOTO SHOOTING MENU] to allow [AE bracketing] to be used together with pixel shift shooting. [Starting storage folder] has also been added.
• [Pixel shift shooting] options can now be set when the self-timer mode is selected.
• Added and changed the following functions to [Auto capture] in [PHOTO SHOOTING MENU].
  • Date and time to start auto capture can now be configured in advance
  • Auto capture is now available with camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
  • Auto capture is now compatible with the new [C15] release mode option
  • A yellow frame is now displayed during auto capture
• The Profoto A10’s continuous LED light can now be used as an AF-assist illuminator. Note: The firmware update is needed for Profoto A10. See Profoto’s corporate website for details.

Video Recording

• Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
• The subject detection function became available during manual focus.
• The subject detection area selection is now available for manual focus.
• Added support for “Flexible Color” Picture Controls.
• Added and changed the following functions to [Auto capture] in [VIDEO RECORDING MENU].
  • Date and time to start auto capture can now be configured in advance
  • Auto capture is now available with camera’s manual focus settings
  • The appearance and some item names in the settings display have been changed
  • The detection range available for [Advanced: Distance] has been extended
  • A yellow frame is now displayed during auto capture
• Selecting [ON] for [Hi-Res Zoom] in the [VIDEO RECORDING MENU] now displays a focus point on the detected subject in the shooting display.
• Added a function to include file names used in the camera when recording videos to an external recorder that supports file name transmission via HDMI. The following Atomos external recorders support this function (as of May 2025).
  • Ninja V *
  • Ninja V+ *
  • Ninja (2023 models)
  • Ninja Ultra
  • Shogun (2023 models)
  • Shogun Ultra
  • Shogun Connect *
    * Some recorders may require an ATOMOS OS upgrade or paid activation of the recorder. Contact ATOMOS for details.

Playback

• Added [Date] to [Filtered playback criteria] in playback menu and playback “i” menu.
• Added [Customize retouch options] to [Retouch] in the playback “i” menu.
• Added [Auto-rotate during playback] to the playback menu.
  Controls
• Added a [Maximum aperture Lv] item to the [CUSTOM SETTINGS MENU] in position of a14.
• Added a [Focus limiter setting] item to the [CUSTOM SETTINGS MENU] in position of a16.
• Added a [Minimum] option to Custom Setting c2 [Self-timer] > [Interval between shots] in the [CUSTOM SETTINGS MENU].
• Added [Auto capture] to the roles assignable to the “i” menu via [CUSTOM SETTINGS MENU] > f1 and g1 [Customize <i> menu].
• Added assignable custom controls and roles to the following items in the [CUSTOM SETTINGS MENU]. Also, the options for [Zoom on/off] have changed.
  • f2 [Custom controls (shooting)]
  • g2 [Custom controls]
• Added assignable custom controls and roles (for example, [Jump to the source image] and [Trim]) to [CUSTOM SETTINGS MENU] > f3 [Custom controls (playback)].

Network

• Added [Wi-Fi connection (STA mode)] which allows you to connect the camera to the smart device via a wireless LAN access point.
• Port numbers can now be specified using [Connect to FTP server] in [NETWORK MENU].
• Added [Upload in HEIF format] to [Connect to FTP server] > [Options] in [NETWORK MENU]. Note: Converted HEIF images are not stored on the memory card.

Other Changes

• Voice memo recording is now available with external microphones.
• The speed at which the camera cycles through focus points using the multi selector or sub-selector no longer slows down when changing direction.
• The tonal characteristics have been changed when [ON] is selected for Custom Setting g14 [View assist] in the [CUSTOM SETTINGS MENU].
• The camera now records company and model names in the video metadata recorded with [ProRes 422 HQ 10-bit (MOV)] selected for [Video file type] in the [VIDEO RECORDING MENU].
• Added support for “NX Field*”, a remote shooting system for corporate users.
  • * Visit the “NPS” website for overview and user’s manual of NX Field.
  • Nikon Professional Services (NPS) (English)
  • Note: “NX Field” app for smart devices may not be available in some countries and regions.
• Automatically obtained IP address will be maintained after automatic IP addressing disabled.
• Automatically obtained gateway/DNS server addresses are now displayed in the TCP/IP edit display.
• File names of the image and audio now match if the file name of the image is renamed during transfer.

Image: Nikon

Nikon Z50 II Ver 1.02, Nikon Z6 III Ver 1.11 and Nikon Zf Ver 2.02

• Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).

Nikon Z5 II Ver 1.01

• Updated some guidance texts displayed on the camera when connecting to the Nikon Imaging Cloud service (the connection procedure itself remains unchanged).
• Changed the camera name displayed when pairing with SnapBridge.
• Changed the camera name displayed on USB-connected devices when [iPhone] was selected for [USB] in the [NETWORK MENU].
• Renamed d13 [Display on during burst] in [CUSTOM SETTINGS MENU].

Sigma

Image: Sigma

Sigma BF Ver 1.01

• The specification has been changed so that file numbers are not reset when “Initialize Internal Storage” is performed.
• An issue that prevented shooting with some third-party L-mount interchangeable lenses has been fixed.
• Other minor bugs have been fixed and operational stability has been improved.

Sigma 10-18mm F2.8 DC DN | Contemporary Ver 1.1 for L-Mount

• The exposure stability has been improved.

Additional Sigma lenses

• Sigma 16mm F1.4 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 23mm F1.4 DC DN | Contemporary Ver 1.1 for L-Mount
• Sigma 30mm F1.4 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 56mm F1.4 DC DN | Contemporary Ver 1.2 for L-Mount
• Sigma 18-50mm F2.8 DC DN | Contemporary Ver 1.3 for L-Mount
• Sigma 14-24mm F2.8 DG DN | Art Ver 1.5 for L-Mount

Benefit of the updates:

• The operational stability has been improved.

Fujifilm

Image: Fujifilm

Fujifilm X half Ver 1.01

• “FILM CAMERA MODE” is unintentionally deactivated when the shutter release button is held down fully for about 1 second after “AUTO POWER OFF” is activated with “FILM CAMERA MODE”.
• The thumbnail image of the recorded image may become abnormal in rare cases if the “Frame Advance Lever” is operated so quickly after shooting with the “GRAIN EFFECT” setting ON in “FILM CAMERA MODE”.

OM System

Image: OM System

OM-1 Mark II Version 1.3 and OM-3 Version 1.1

• Stability of touch panel operation during playback was improved.