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 best video camera for travel: DJI Osmo Pocket 3

Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: 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

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: 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

40MP APS-C BSI CMOS sensor | In-body image stabilization rated to 7EV | 6.2K 10-bit video recording

Photo: 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

20MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing

Photo: 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

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: 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

26MP APS-C sensor | 28mm equiv F2.8 lens | 5-axis image stabilization

The Ricoh is a pocketable compact with a large APS-C sensor. Photo: 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

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy. Photo: 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 best video camera for travel: 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.

When you're traveling in an unfamiliar place, there are a million things to focus on; the Pocket 3 lets 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.

Its 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.

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

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.

Which design do you prefer? Photos: Mitchell Clark

Last year, Fujifilm released the X half – a quirky camera that leans heavily on retro styling, and that emulates a more analog shooting process, especially in its film camera mode. It'd be a stretch to say that it's the type of thing we expect from the company, but it didn't completely shock us like it would've had it come from another company with less of a history in mimicking film cameras.

Perhaps we should start getting used to the idea.

Canon is showing off a concept at its booth at CP+ that takes the metaphor even further. Design-wise, it looks like an old camera with a waist-level viewfinder, but rather than using film, it has a Type 1 (117mm²) sensor. According to a diagram displayed alongside it, light from the lens (a manual focus-only 50mm equiv. F1.8) bounces off a mirror, and up into the viewfinder. But flip a lever on the side, and another mirror directs it to the sensor.

The prototype attendees got to handle was much less polished than the ones under glass.

To be clear, we're a long way from this – or even anything similar – being an actual product, if that ever happens at all. The one I got to play with seemed like it was at least partially 3D printed, and had a display that didn't do anything; the live view was shown on a TV, with a signal passed along a cable plugged into the side of its body. I'm not sure it could even actually take a picture, and the buttons on the back didn't seem to do much beyond making the camera switch into modes that didn't actually work.

However, it's interesting to see Canon even displaying it, and asking attendees to vote on which of two potential designs they like best. The mock-ups on display are more refined, seeming to feature actual shutter buttons and a large knob on the side, though its purpose is unclear. The survey also asks questions about what you'd look for in this kind of camera and how much you'd be willing to pay for one, were it to actually make it to market in some form. To me, that indicates that it's not just a fun toy the company's engineers cooked up solely to give people something to play with at its booth.

The booth drew a lot of attention; we'd be surprised if Canon didn't take notice of how many people wanted to play with it.

Canon has said before that it sees itself as a company that's always looking forward, despite a somewhat traditional approach to product designs. Some have used that perception to dismiss the idea it would ever release a throwback camera like the Nikon Zf or Pentax 17. But this camera shows a more playful side of the company, and even if we never see this particular model again, it makes us wonder if the X half was just the start of something, rather than an odd one-off.

Canon PowerShot G7 X III Photo: Dan Bracaglia

Canon's PowerShot G7 X III may be almost seven years old, and lacking the autofocus and processing capabilities found in the company's more recent cameras, but that hasn't stopped it from flying off the shelf. It seems that tech isn't a big selling point for the type of person buying it, but in an interview with Canon executives at the CP+ show, we were told that the company's next compact may focus on it.

"The current customers of compact cameras are not really our past customers. These are totally new customers," said Go Tokura, Executive Vice President, Head of Imaging Group, Chief Executive and Chief Executive of Imaging Business Operations. "So it is going to be the role of the next camera we release that can offer new technologies or a new use case. That's the new role of the next compact camera."

It's exciting news to hear that the company is working on a new compact camera and that it will potentially be more up-to-date than the ones the company currently offers. Of course, there are no promises that it will be aimed at enthusiasts looking for a small option to carry around with them. Last year, the company released the PowerShot V1, which, while using much of Canon's current technology, is much better-suited to shooting video than stills.

We're looking forward to sharing more of the interview in the near future, covering more of the company's compact plans, the state of the camera market and its approach to making lenses and cameras.

Photo hosting community Flickr has announced Mode by Flickr, an in-person "photo festival" taking place in Minneapolis, Minnesota, in late September 2026. The company says its goal is to bring the spirt of online photo sharing "away from devices" so photographers can connect "in the real world."

The three-day event will include keynote speeches from guest photographers, such as Chris Burkard and Penny De Los Santos, along with activities including workshops, editing tutorials, film screenings and photowalks. Flickr's COO Ben MacAskill describes it as "a festival built for creativity and the future of photography and visual arts."

The festival is structured around seven themes, covering a broad range of photography topics, from art and technique to technology and gear, and the business of making a business out of your work. The themes are described by the company as follows:

• Change: spotlighting world-shifting storytelling
• Next: focused on emerging tools and technology
• Money: exploring the business of photography
• Motion: celebrating video and moving images
• Culture: capturing the music, fashion, food, and moments that shape us;
• IRL: honoring analog processes
• Earth: dedicated to the intersection of the environment, sustainability, and art

Flickr, which has been owned by photo hosting company SmugMug since it was sold by Yahoo! in 2018, is now in its 22nd year, having launched in 2004.

Three-day passes start at $330, with a $30 discount for Flickr Pro subscribers, though the cheapest tickets only get you access to "select events."

The first day of CP+ has come to a close. During it, we got the chance to see some of the lenses announced during the show in-person, so here’s a closer look. If you have any questions about them, be sure to leave them in the comments below!

Me and my favorite chair resting after a photo shoot in the Italian countryside. Honor PGT-N19 | 7.6mm (27mm equiv) | F1.4 | 1/4000 sec | ISO 50 Photo: Ciaccio

DPReview community member Ciaccio (Mario Ciaccia) has a fascinating photography career based in Milan, Italy. He has been a professional photographer since 1998, working for Tutto Mountain Bike and other companies, including the motorcycle magazine Motociclismo. He now runs his own site while balancing commissioned work with a personal need to capture everyday moments through his camera.

Submit your story to be featured in 'What's in your bag?'

Meet Ciaccio (Mario Ciaccia)

Home base: Milan, Italy

Favorite camera and lens: Fujifilm X100V with its 35mm equivalent lens, or Sony a7C with the 14mm F1.8 or 135mm F1.8.

Typical photo scenes: Motorcycle travel and events, vast landscapes from Patagonia to the Himalaya, the quiet moods of the River Po, and spontaneous family life.

Although inspired by classic Leica photojournalists and the black-and-white work of Don McCullin, Ciaccio admits he sees only in color. He also says he forced himself to use the Fujifilm X100V to train his eye for 35mm, despite his natural pull toward extremes.

"I see beautiful black and white photos taken with 35mm, but then, when it's my turn to take them, I'm more inspired to use a 14mm and color."

Ciaccio edits in Lightroom and Photoshop, keeps accessories minimal, and carries only what helps him get that great shot.

Sunrise on Monte Jafferau, in the Western Alps, Italy, September 2014. We climbed a hill and were greeted by a pair of formidable French mountains, Barre des Écrins and Pelvoux. Sony NEX-6 | 210mm (315mm equiv) | F6.3 Photo: Ciaccio

What's in Ciaccio's bag(s)

• Primary cameras: Two Sony a7C bodies
• Main lenses: Sony 14mm F1.8 and Sony 135mm F1.8
• Fujifilm X100V (excellent as a compact storytelling camera)
• Sony DSC-RX100 VII (for my even smaller travel pocket needs)
• Honor Magic5 Pro smartphone
• Small Manfrotto tripod
• RucPac photographer's gloves
• Back scratcher: it's telescopic, so why not bring it, right?
• Fishing hat, wet wipes and similar knick-knacks for maximum comfort
• ThinkTank Mindshift Rotation 34 and Rotation 22 backpacks for it all

Ciaccio's camera bag. Photo: Ciaccio

What other gear makes a difference?

"I carry very few pieces of gear, precisely because I have to seize the moment. I always carry a tiny Manfrotto tripod and, when I am working alone, a normal tripod. The a7C batteries last so long that I no longer need to carry many extras."

"In my bag there are also practical things: wet wipes, rain gear, a sweatshirt, thin gloves in winter, a headlamp for night photos and even a small screwdriver because sometimes the memory card door on my cameras gets stuck. If I have to wait hours at an event, I bring a folding chair so my back survives.”

“For years I have been obsessed with finding a light, fast system that lets me react immediately,” says Ciaccio. His Rotation 34 backpack uses a rotating waist pack that gives instant access to three cameras, even while seated on a motorcycle. The pairing of ultra-wide 14mm and 135mm telephoto reflects his visual instincts: dramatic perspectives or tight subject isolation with strong bokeh.

Rothang La, Himalayan pass 3,980 meters above sea level. I wanted to convey the vertigo I felt every time I encountered a truck or bus, and they didn't even slow down, despite the high risk of hitting me and sending me over the edge. After all, Rothang means ‘pile of corpses’. Sony NEX-6 | 10mm (15mm equiv) | F4 Photo: Ciaccio

What stands out with the Fujifilm X100V and Sony a7C?

"If someone told me I could only keep one camera for the rest of my life, I would choose the Fujifilm X100V. With a 35mm lens, you can tell any story."

"For my Sony a7C, the high quality of the full-frame sensor allows me to have narrower focal lengths with little cropping. The 135mm seems like a weak telephoto lens, but the bokeh effect is such that I don't miss a 200mm or 300mm."

"I tried to do the same with the Sony a7 III, but it's too big: I'm one of the rare cases where the a7c is indispensable. If I wanted the same things but in an even smaller size, I could switch to APS-C: Sony a6700 with Sony 11 mm F1.8 (tiny!) and an 85 mm F1.8, which could be Sony or Viltrox."

“If someone told me I could only keep one camera for the rest of my life, I would choose the Fujifilm X100V.”

In October 2025, we challenged the steam train that runs from Novara to Varallo Sesia, in Piedmont, Italy. The challenge was to photograph it with the motorcycles at 13 different points. Sony a7C w/ FE14mm F1.8 GM | F1.8 | 1/4000 sec | ISO 250 Photo: Ciaccio

How do you adapt your setup to different situations?

“It depends on the season and on what I am doing. If I travel alone like an explorer, I reduce everything to the minimum. If I have to photograph an organized event and stay in one place for three or four hours, I bring what makes the wait comfortable."

"My strength is that I always have the right focal length ready. The cameras are set in manual mode, usually with the aperture wide open. If necessary, I close it, but I like to isolate the subject and react quickly.”

Murzuq Desert in Libya, November 2008. I wanted to convey the feeling of being in the presence of immense chocolate flows. Canon EOS 40D | 70mm (113mm equiv) | F8 | 1/640 sec | ISO 100 Photo: Ciaccio

Ciaccio's advice for other photographers

“Since I started in digital in 2004, technology has improved enormously. Today, we have more than enough performance. Ten frames per second is already a lot. Twenty-four megapixels are already excellent. At a certain point, it is not the equipment that changes your photography."

"Travel, look around you, and shoot. I have photographed Patagonia, the Himalayas and the Libyan desert, but I have also learned that beauty is behind my house. The important thing is to be ready when the moment arrives.”

If you’d like to share your photography setup, tell us about your main camera, lens choices, key settings and photography strategies. You could be featured next!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your story to be featured in 'What's in your bag?'

Today marked the beginning of the 2026 CP+ show. While we're typically fond of seeking out cameras and lenses that have been cut in half, we found that particular trend had (mostly) fallen by the wayside this year. Instead, many of the manufacturer's booths featured diaromas large and small, often complete with tons of foliage.

Photo: Mitchell Clark

7Artisans showed off several new lenses at its booth at CP+, introducing two new autofocus models that are, in some ways, polar opposites. Both are for full-frame, but one aims to be as small and light as possible, while the other is for those who aren't afraid of a little heft.

The first is the AF 40mm F2.5, which the company says is part of its "Lite" series, alongside the set of three F1.8 primes it announced earlier this year. While those lenses barely tipped the scales, this new offering is even smaller and lighter, coming in at just 90 grams.

This is one of the clickiest function buttons I've ever experienced. Photo: Mitchell Clark

Despite the focus on size, the lens has a fair number of features, including a clicked aperture ring, autofocus / manual focus switch and even a programable function button (though it's much smaller than is typical, feeling more akin to the reset switch you'd find on the bottom of some electronic device).

The lens has seven elements in six groups, with three high-refraction elements and one aspheric, and can focus as close as 0.4m (15.7"). It uses a stepper motor for autofocus, and has a nine-blade aperture, which the company says will provide a "bubble bokeh" effect.

The AF 40mm F2.5 is available now from the 7Artisans website for $159. Initially, it'll be available for E mount, though a representative said it will later come to L-mount and Nikon's Z-mount.

Photo: Abby Ferguson

The company also showed off an upcoming lens: the AF 135mm F1.8. Unlike the 40mm, it's not particularly light or compact; while there aren't official specs available for it yet, I was allowed to hold it and it's a substantial piece of glass (though it's still noticeably smaller and lighter than Sigma's 135mm F1.4).

The lens will be available for Z mount, L mount and E mount, and features two function buttons and an aperture ring (or a programable control ring on the version for Nikon). The company plans to release it in the second half of the year. A placard said it will retail for around ¥120,000 including tax, which is around $770 at today's exchange rates, and says it'll have a minimum focusing distance of 0.68m (26.8"). It seems like a relatively ambitious lens, so it'll be interesting to see if it delivers on image quality and user experience.

Photo: Abby Ferguson

In addition to the two autofocus lenses, the company showed us an interesting manual focus lens called the Dionysus. It's an 18mm F6.3 lens for APS-C, and is, essentially, a decorative lens cap that you can use to shoot a picture with if you're in a pinch or are looking to achieve a certain aesthetic. To that end, it's available with red or yellow engravings, though the company says it may add more colors in the future. The representative showing it off also said it doubles as a fidget toy; when you turn the focus ring it clicks, providing haptic feedback, and when you let go it springs back to its starting position.

7Artisans 40mm F2.5 AF specifications:

A Sony RX1R III cut in half in a display case at CP+. The lens sits almost directly on top of the sensor, requiring precise, micron-level adjustments for each unit to ensure sharp image quality. Photo: Dale Baskin

We've long known that compact cameras like the Sony RX1R require immense levels of precision manufacturing, but in an interview with DPReview at CP+, a Sony executive shared a detail that illustrates it perfectly.

Speaking about the different considerations when making a compact and an interchangeable lens camera, Yasufumi Machitani, General Manager of the Camera Business Department of Sony's Imaging Entertainment unit, said: "Each lens and image sensor position is precisely adjusted with micron-level precision. That's why the RX1R series is very sharp, even in this very small form factor."

It's no surprise that micro-adjustments are required on a camera-by-camera basis to ensure that each sensor and lens pair is achieving maximum possible image quality. At the launch for a previous generation of the RX1R, we were told that the rear element of the lens is so close to the sensor that you might have difficulty fitting a single sheet of paper in between the two.

We'll be conducting more interviews with manufacturers throughout the week, so stay tuned. We're also looking forward to publishing our full interview with Sony, covering a wide range of topics about the company's cameras, lenses and the camera market as a whole.

Image: Abby Ferguson

CP+ is officially underway, and LK Samyang has unveiled the AF 60-180 F2.8, its next lens made in collaboration with Schneider Kreuznach. The company also mentioned that an L-mount version of its AF 14-24mm F2.8 would be coming soon.

Details on the Schneider Kreuznach x LK Samyang AF 60-180 F2.8 are slim for now, but we were able to get hands-on with the lens. It features an AF/MF switch, a customizable Fn button and a zoom lock switch. It's relatively compact and lightweight, balancing well on the Sony a7C that was used in the display. A representative at the booth said that it will be available for E and L-mounts sometime in the second half of the year, likely between June and August.

Image: Mitchell Clark

The AF 14-24mm F2.8 FE was the first collaboration lens between LK Samyang and Schneider Kreuznach. It was announced at CP+ last year. Now, the company is using the event to unveil the L-mount version of the lens. It will be coming sometime in late May.

In addition to chatting with us about the upcoming lenses, a representative mentioned that LK Samyang is looking to expand its lens mount offerings. E-mount models will continue, but it hopes to provide additional mounts in the future, as much as they are able. It could also mean that the company is considering making L-mount versions of the lenses currently only available on E-mount.

Image: Sigma

As the CP+ show opens in Yokohama, Japan, Sigma has announced it's working on an 85mm F1.2, which it says will complete its trio of 35, 50 and 85mm super-fast primes.

The Sigma 85mm F1.2 DG Art will be available for both Sony E and the Leica, Panasonic, Sigma L mounts. This means that all four major full-frame mirrorless lens mounts will have an 85mm F1.2 option available, as both Canon and Nikon currently offer their own comparable optics.

The company hasn't revealed much detail, beyond the basic concept of the lens, its use of a linear motor and the fact that it will complete a trio of F1.2 lenses. The company says the new lens will go on sale in September 2026.

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

While Abby, Dale and Mitchell are in Japan to cover CP+, it also provides an excellent opportunity to get out and test some photo gear. The evening before the show, the crew hit the streets of Yokohama's Chinatown to get some shots of the neon lights and reflections.

You're sure to see more images from the photowalk in our full sample galleries for the Viltrox 16mm F1.8 for L mount, Sigma 15mm F1.4 DC DN and Viltrox 35mm F1.2 Lab for Z mount, but for today, here are some of our favorite photos we took while out on the town.

During our hunt to find Abby Ferguson a film camera in the used camera stores of the Shinjuku district in Tokyo, we ended up at Five Star Camera where Dale Baskin also found something worth taking home.

Image: Panasonic

Panasonic has announced the DMW-DMS1, a microphone designed to attach to the digital hotshoe on recent Lumix cameras. It features support for 32-bit float recording on certain cameras and has a four-microphone array, allowing for multiple computational pickup patterns.

The microphone is small, measuring 45 x 64 x 74mm (1.8 x 2.5 x 2.9"), and weighing just 100g (3.5oz) without the included windscreen. It plugs directly into the hotshoe, without the need to run a separate cable down to the camera's microphone input jack. It has physical switches for wind reduction, noise reduction and gain, as well as a gain dial.

Image: Panasonic

On the back are six backlit buttons that control the pickup pattern. The buttons' brightness can be adjusted for indoor or outdoor working. The microphone has different modes for capturing sounds and subjects in front of and/or behind the camera, while suppressing noises from other directions.

The capsules are 10mm, which Panasonic says strikes a balance between cost, quality and dynamic range.

The company says this is possible thanks to "beamforming technology," which we suspect is similar to how other companies implement similar features on cameras with built-in multi-capsule microphones. The capsules themselves are 10mm, which Panasonic says it chose to strike a balance between cost, quality and dynamic range.

The microphone combines dual analog-to-digital converters with 32-bit float recording, which come together to capture both loud and quiet sounds separately with plenty of latitude to prevent clipping. While the microphone capsules themselves can still clip – Panasonic says this happens above 120dB, which is around the loudness of an emergency vehicle's siren – anything the microphones are physically capable of picking up can be recorded. Of course, it can also record in a more traditional 24-bit mode, too, which is where the gain dials come into play.

It also includes a wind noise canceler, which Panasonic says uses a new method that's better at isolating the wind, without adjusting or muffling the sounds you're actually trying to record. Of course, as a software solution, it can only do so much, but thankfully, the company includes a fluffy windscreen with it.

The microphone supports four-channel recording, and can use two of the channels as a backup track.

The microphone supports four-channel recording, with the option to use two of the channels as a backup track. These are primarily designed for use in 24-bit mode, and give the options to either record the results of omnidirectional pickup to two channels, one at reduced volume, or to mimic the main recording but 20dB quieter, to protect from clipping.

The microphone itself doesn't have any built-in memory, so the recordings are done in-camera. The settings for 32-bit float and backup recording are managed in-camera, a decision Panasonic says was made after consulting with audio professionals.

The capsule itself is vibration-damped as it goes into the body of the microphone, rather than the damping happening where the unit itself connects to the camera. In theory, this makes it less likely for it to pick up handling sounds if you flip a switch or press a button on the microphone.

Image: Panasonic

When it launches, the microphone will be compatible with the Panasonic S1II, S1RII, S1IIE, S5II and S5IIX, though the latter two don't support 32-bit float recording or the backup function. The cameras will require a firmware update to use it, which will be available on March 9th. Panasonic says the GH7 and G9II will gain support for the microphone at an unspecified point in the future, and told us that it'd be safe to assume that the former will have support for 32-bit float.

The DMW-DMS1 will be available in March and will retail for $399.

As the team settles in and gears-up for the start of the CP+ show, Abby took the chance to explore some of the second-hand camera stores in Tokyo's Shinjuku district, to see if she could bring home a classic.

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: Nikon ZR

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: Nikon ZR

24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec

Despite the Red branding, the ZR has a lot more in common with Nikon's mirrorless cameras, which is a benefit to vloggers. It has the ability to shoot 4K/60 with no crop and excellent rolling shutter in all its video modes. The ZR also supports 32-bit float audio recording, essentially eliminating the risk of clipping, which can be a real benefit when shooting run-and-gun.

The ZR also makes provision for more serious productions, such as its inclusion of a choice of Raw recording formats. While vloggers and, realistically, most videographers won't need to shoot Raw often, but for those that feel they need it, it's nice to have the option. It certainly makes the ZR a versatile option.

We haven't fully finished evaluating the Nikon ZR, but have enough experience with it and the Z6III upon which it's based enough to know that it deserves a place on this list.

Read our initial review of the Nikon ZR

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.

We're in Japan for the CP+ Expo and took two of our editors, Abby and Mitchell, on their first trip to Yodobashi Camera, Tokyo's biggest camera store. See what they discovered.

Visit our CP+ 2026 coverage page for even more updates from the show!

Photo: Zeiss

Zeiss has announced the Otus ML 1.4/35, a fast, manual focus 35mm prime for full-frame mirrorless cameras. It will be available for Canon RF, Nikon Z and Sony E mounts.

The 35mm F1.4 very closely resembles the existing 50mm F1.4 Otus ML, with the exception of having a petal-style hood befitting its wider angle of view. It shares the same metal construction and distance scale as the existing 50mm and 85mm lenses.

The lens features 15 elements arranged in 11 groups in what the company describes as an aspherical Distagon lens.

Zeiss suggests the lens is well suited to street, travel, or documentary work, with the option to de-click the aperture ring (using a small supplied tool) if you want to use the lens for video work.

The new lens has a diameter of 77mm (3.0") and is 101mm (4.0") long in E-mount form. It weighs around 698g (24.6oz), depending on the mount. It can focus down as close as 0.3m (11.8"), giving a 1:5.72 magnification ratio.

The Zeiss Otus ML 1.4/35 will be available from "Spring" 2026 at a recommended price of $2299 (exc tax) or €2399 (inc tax).

Zeiss Otus ML 1.4/35 specifications

Image: Sigma

Sigma has updated one of its key prime lenses, making a 35mm F1.4 that's smaller, lighter and faster than its predecessor. It will be available for the Sony E-mount and the L-mount shared by Leica, Panasonic and Sigma.

The Sigma 35mm F1.4 DG II Art is an updated version of its designed-for-mirrorless lens, last updated in 2021. It uses the newer "Dual HLA" linear actuator motor as found in the 35mm F1.2 DG II and a completely new optical design.

The lens is around four-fifths the size and weight of the previous version, measuring 96 x 73mm (3.8 x 2.9") and weighing 530g (18.7oz). The new lens accepts the same 67mm diameter filters that the previous version did.

Like its predecessor it has a 15-element design but a completely new optical formula sees those elements arranged in 12, rather than 11 groups. The latest design includes four aspheric elements and two SLD elements, and features the company's new "Advanced Amorphous Coating" to better control ghosting and flare caused by light hitting the glass at low angles of incidence.

The body features a pair of custom function buttons, positioned so that one can be accessed from both the portrait and landscape orientation. It also has a switch that locks the aperture ring in or out of its 'A' position and another that engages and disengages the ring's click mechanism.

The lens has been designed to exhibit minimal focus breathing which, along with the de-clickable aperture control, makes it work well for video as well as stills shooting.

The lens comes with a petal-style hood that locks into position and features a dust and splash-resistant design.

The 35mm F1.4 DG II Art will be available from mid April 2026 at a recommended price of $1059, an 18% increase over the old version.

Sigma 35mm F1.4 DG II | Art specifications