Do you want to shape and create content for one of the world's largest audiences of photography and video enthusiasts? DPReview is hiring! We have two open positions: a News Editor and a Community Coordinator who will help support our online forums and user community. We can't wait to hear from you.
Please note that these are US-based positions.
News Editor Full-time (Seattle, WA or remote)
Role overview
DPReview is seeking a full-time News Editor to join our growing Editorial team.
The News Editor role at DPReview requires an experienced technical writer who thrives in a fast-paced environment and possesses a deep understanding of digital photography and the camera industry. The News Editor’s primary responsibility is to report on camera and photo industry news, industry trends, and photography culture, including context and analysis that reflect DPReview’s thought leadership in the industry.
Qualified candidates will be capable of independently researching news and information, writing, editing and delivering publication-ready content. They should be able to efficiently and effectively monitor industry news and trends to identify relevant stories from sources including manufacturers, PR representatives, online resources and social media. Additionally, they must be strong collaborators who can work closely with DPReview’s Editorial team to add a unique perspective to news and other short-form articles.
A typical week for the News Editor will involve monitoring trusted sources of information to uncover breaking industry news, developing content around embargoed materials for product announcements, corresponding with PR agents and evaluating pitches for news coverage, uncovering unique stories and story angles exclusive to DPReview, and liaising with and seeking insight from the Editorial team to incorporate expert insight into news. Speed is of the essence, with a target of 2-3 published articles per day.
Like all successful DPReview team members, candidates must be goal-focused self-starters who maintain an agile mindset, operate independently, lead by example, communicate effectively across all channels, and are productive in a remote work environment. This role will report to the Managing Editor but will work closely with the entire DPReview team in a cross-functional environment.
Role responsibilities
Write, edit and publish short-form articles covering breaking news, product launches, newsworthy industry trends, and stories about photography and photography culture, focusing on finding a unique angle whenever possible.
Liaise with and seek insight from the wider editorial team to incorporate expert knowledge into articles.
Analyze news metrics and performance using analytical tools and data to improve performance and deliver increased traffic to news content over time.
Develop and foster relationships with PR representatives to grow DPReview’s portfolio of industry contacts and to ensure consistent early access to breaking news and embargoed information.
Build and maintain relationships with brands, industry experts and independent content creators who may serve as sources of news or similar content.
Monitor information resources such as competitive publications, industry news sources, and social media for story ideas.
Coordinate with DPReview’s social media and platform teams to identify impactful content for promotion across DPreview’s social media channels.
Role requirements
A passion for photography and digital camera equipment
Excellent understanding of the technology behind modern digital imaging
At least 2+ years of writing and producing content at a fast-paced, deadline-oriented, product-focused publication or as an industry-centric technical writer or editor.
Ability to independently produce 2-3 short-form articles per day
Strong grammar and copy-editing skills
Ability to examine and parse data into actionable editorial strategy
Strong project management and communication skills
The ability to work efficiently under pressure and to take feedback constructively
A willingness to travel and work odd hours as the assignment or news cycle dictates
How to apply
Please use the link below to contact us about applying. Make sure to include the following information:
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Reviews Editor position.
A link to your LinkedIn profile if you have one.
Links to writing samples you believe are most related to DPReview’s coverage. If you have writing samples that are not online, please indicate this.
Links to any previous work applicable to DPReview.
Only those candidates considered for an interview will be contacted.
DPReview is seeking a part-time Community Coordinator to join our growing Editorial team.
The Community Coordinator role at DPReview requires an individual with experience managing online communities and creating great user experiences to grow and maintain our online forums. The Community coordinator will serve as an ambassador between DPReview’s Editorial team and our community members, engage directly with users across DPReview’s forums, liaise with and support volunteer community moderators, support users requiring assistance, and approve posts awaiting moderation. The Community Coordinator will identify and create opportunities to turn community-based activity and information into content for publication on DPReview.com.
Qualified candidates will have experience working with or managing an online community or interest group, including community moderation, fostering clear communication between community members and moderators, and a passion for creating a positive and inclusive community environment. Candidates should have an interest in cameras and editorial experience, ideally for a technical publication. Knowledge about photography and related technology, familiarity with the camera market, and experience working with volunteers are strongly preferred.
A typical week for the Community Coordinator will include directly engaging with users in key sub-forums, moderating forum activity to ensure consistency of moderation, providing support to moderators directly or via a private forum, supporting users requesting assistance, reviewing posts that require moderation, and writing approximately three articles per week for DPReview.com built around community activity or content.
Like all successful DPReview team members, candidates must be able to lead by example, possess excellent communication skills, and be productive in a remote work environment. This role will report to the Managing Editor.
Role responsibilities
Engage with users across DPReview’s community forums and act as a liaison between DPReview’s Editorial team and our community.
Provide support to DPReview’s volunteer moderators, monitor forums to ensure consistency of moderation and identify opportunities to improve moderation within the community.
Arbitrate conflicts between community members or between community members and moderators.
Provide support to users seeking assistance with moderation or account issues.
Identify and develop community-based content to be featured on DPReview.com, writing publication-ready articles that meet DPReview’s editorial standards.
Review and approve posts flagged for moderation.
Identify opportunities to increase forum engagement and participation.
Role requirements
1-2 years experience managing an online community (forums, social media groups, Discord, Slack)
1-2 years experience writing editorial content for a regular publication (or similar experience)
Ability to communicate clearly, professionally and with empathy with community members and moderators, including volunteers
Aptitude for mediating community disputes with a respectful tone
Initiative to produce approximately three articles per week based on community activity
Ability to work flexible hours.
Knowledge of photography and digital camera equipment is strongly desired
Familiarity with DPReview’s forums is a plus
How to apply
Please use the link below to contact us about applying. Make sure to include the following information:
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Community Coordinator position.
A link to your LinkedIn profile if you have one.
Links to writing samples you believe are most related to DPReview’s coverage. If you have writing samples that are not online, please indicate this.
Links to any previous work applicable to DPReview.
Only those candidates considered for an interview will be contacted.
DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.
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The Heralbony Z fcs feature patterns designed by artists, rather than the solid color that the camera usually comes with.
Image: Nikon
Nikon has announced that its limited edition Z fc, designed in collaboration with Heralbony, will now be available in the US. The designs were announced in September but hadn't been available in the States.
According to Nikon, Heralbony is a "Japanese-based creative company working with neurodiverse artists." Each of the four Heralbony editions of the Z fc features a pattern from a different artist on the leatherette-inspired wrap across the front of the camera, as well as on the top of the viewfinder and rear grip.
Image: Nikon
The Heralbony versions don't cost extra compared to the normal colors, though they are only available in a $1,199 kit with the DX 16-50 F3.5-6.3 lens; you can't buy just the body with the design or have it retroactively applied to an existing Z fc.
I've been reviewing cameras since 1997 and in that time I've learned a lot about what to do – and not to do – in that demanding business. In celebration of DPReview's 25th anniversary, here are five things I've learned about reviewing cameras, usually the hard way, both at DPR and on my website, DCResource.
Websites like DPReview often get access to products well before they're launched. The trust attached to that privilege comes with great responsibility. If we take the product out in public, the brand and model name is often covered by gaffer's tape, just in case there are any spies nearby.
Underlying this trust is the embargo: the time when the product will be revealed to the public. Until that time occurs (which is usually late at night for those of us on the West Coast), nothing can be published. It was my job to ensure we didn't break the embargo.
For a long time, DPReview's content management system used UTC (Coordinated Universal Time), which is 7 or 8 hours ahead of Pacific Time, depending on the time of year. It was easy to forget to change the time zone in the CMS, and bad things could happen if you entered the wrong time. In one instance, I was the guilty party. When the team got up in the morning, websites everywhere had articles about how DPR had broken an embargo on a new product. The manufacturer was not happy – nor was management – and many meetings followed.
We quickly implemented checks to prevent this from happening again. The default time zone was switched to Pacific, and a confirmation dialog now pops up when you save an article with a day/time in the future.
Save every photo
Nikon Z6 III with its SD and CFExpress slots.
Photo: Richard Butler
While testing a camera, DPReview reviewers take thousands of photos. The autofocus 'bike test' everyone knows and loves can account for hundreds of shots since we're shooting multiple runs at high burst speeds. If we just copied over the photos where the camera performed well, then there would be no way to evaluate how often it didn't do well.
The same thing goes for sample photos. We always take pictures in a variety of situations but can only post a modest selection. Having the rest of the images on hand allows DPR staff to notice trends you might not notice by looking at the random set of photos in a gallery. Maybe the bokeh seems a little 'off', or some photos you'd expect to be sharp are back-focused. It may take longer to copy and save gig after gig of photos, but it's invaluable to the review process.
Stuff happens
No cameras were harmed in the creation of this photo
Photo: Jeff Keller
People can get a little cocky when carrying around expensive electronics. Most of the time, there are no problems. But how many times have you had your smartphone's screen replaced? Sometimes, things go wrong.
We use tripods extensively for testing cameras at DPReview, and everything goes smoothly 99% of the time. But my number came up when shooting a gallery with a camera that won't be named here. The camera had an expensive long telephoto lens attached and was on a pretty sturdy tripod. It was breezy – typical for Seattle.
While taking a lens out of my bag, I watched in horror as a gust of wind blew the tripod over, landing lens-first onto the concrete. Amazingly, no glass was cracked, but the filter threads were bent, and the chassis was beaten up (the camera survived, thankfully).
As soon as I returned to my desk, I sent a lengthy apology to our PR contact, explaining what happened and promising to pay the cost of the repair. Thankfully, the agency said that 'stuff happens' and not to worry about it. Phew.
Consistency is key
You've probably seen this before
Photo: DPReview
People want to see how cameras compare on a level playing field. DPReview has relied on the studio comparison scene for decades, which has had two iterations and been moved at least four times. DPReview staffers check lighting and white balance and follow a prescribed set of instructions to ensure that all cameras' settings are consistent. If, upon reviewing the photos, something's off, the test scene will be shot again. Very finicky cameras may require three trips to the studio.
DCResource also had a studio scene, though it wasn't as elaborate as DPReview's, as well as a photo of a well-known mouse.
Some of the standard DCResource sample photos
Photos: Jeff Keller
Something I still take a lot of pride in is the consistency of the sample photos I captured for cameras on DCResource. There were always three groups of photos: Chinatown in San Francisco, Stanford University, which asked me to leave and not come back, and Treasure Island, which faced downtown SF.
Since the weather in San Francisco is very unpredictable, I'd watch the conditions carefully and bring as many compact cameras as I could stuff in my bag. I think my record was ten. I'd work my way through the cameras at every stop and then move on to the next spot. While not a scientific test, I received many e-mails of appreciation for the effort.
Get to know your camera
Six of the buttons seen on this Panasonic G9 II can be customized, as can the functions of both control dials.
Photo: Brendan Nystedt
Modern cameras are loaded with customizable buttons, dials, and menus. My personal Panasonic G9 II has:
17 customizable buttons (five via the touchscreen) for both record and playback mode
A customizable quick menu that is unique to still and video shooting modes
Three custom spots on the mode dial
A three-page 'My Menu' which can be the default when you press the Menu button on the camera
And those are just for quickly accessing functions. You can customize the burst speeds, the type of shutter used (mechanical/electronic), a preferred color profile, or how quickly the focus point moves. For video, one can tweak the speed and sensitivity of the AF system to meet my needs.
Learning every little detail of a camera, right down to the menu items, has sometimes meant that our reviews take a bit longer to publish than what you'll find on some other websites (mine included) or, these days, YouTube. Heck, if you go back several years, our reviews used to list every single menu option, and boy, were those fun to type up. But diving into the details like this allowed us to catch things and reveal subtle differences between cameras, which would otherwise have been missed.
Live and learn
These are just five things I've learned over the last two and a half decades of reviewing cameras. Not all of them were fun, but that was part of the adventure.
What have you learned over the past 25 years of digital photography, and how? Let me know in the comments.
À partir d’avant-hierNews: Digital Photography Review (dpreview.com)
Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4
Photo: Dale Baskin
The December edition of the Editors' Photo Challenge is open for submissions! Our theme this month is 'Happy Holidays'.
Whatever holiday tradition inspires you – Christmas, Hanukkah, Boxing Day, Kwanzaa, Festivus, or something else – show us what the holiday season looks like through your lens. Whether it’s colorful lights, dazzling decorations, festive gatherings, or just a cozy moment, we want to see your best holiday season photos.
This challenge is open to photos taken at any time. Photos must be submitted by Saturday, December 7 (GMT).
Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
When you use DPReview links to buy products, the site may earn a commission.
Updated November 29 2024
Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.
We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.
The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.
While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.
Sample gallery
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Best camera for landscapes and more: Sony a7R V
61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF
The a7R V's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.
Very detailed Raw files with excellent dynamic range
Tilt/articulating display suits both photo and video
Very reliable autofocus, especially for human subjects
What we don't:
Pixel shift high res and focus stacking require desktop s/w
Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
While it's one of the highest-resolution full-frame cameras, the a7R V is quite capable for everyday photography as well, with Sony's excellent autofocus system and 10 fps burst rates. It's not the camera you want if you shoot action or video as often as landscapes, but it can do those things if needed.
The a7R V offers excellent image quality in both JPEG and Raw, giving some of the best results we've seen for its sensor size, though using lossless compressed Raw significantly reduces the burst speed. A multi-shot 240MP high-res mode (combined using desktop s/w) gains a motion-correction function, making it much more usable.
The a7R V is an excellent tool for capturing high-resolution images.
The body is solidly-built and features a large grip and well-positioned controls, along with a large, high-res viewfinder. A fully-articulating rear touchscreen is mounted on a tilting cradle, adding flexibility. The menus are much improved over older Sony models.
The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.
Slight reduction in dynamic range in extreme scenarios
Tempermental eye control
Temperature limits in heaviest video modes
Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.
If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.
The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.
The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it.
The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always
The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.
The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.
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Also consider: the Nikon Z8
The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.
Sensor offers some of the best image quality in its class
Lovely ergonomics
4K/60p (with a minor crop)
What we don't:
Autofocus interface a bit clunky
EVF not as high-res as competitors
Customization a bit limited
Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.
The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.
The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files.
To say the Z7 II is a comfortable camera to hold would be an understatement
The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.
\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.
The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.
If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched, and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.
The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size.
The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling
The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting.
Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.
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Also consider: the Canon EOS R7
Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.
Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.
The Olympus E-1 was the first DSLR designed solely for digital. The sensor format choice was independent of any film legacy and the lens design was specifically focused on the way digital sensors accept light. Leica's S series of 45x30mm medium format DSLRs is the only comparable system we can recall.
It's 21 years since we reviewed the Olympus E-1, arguably the only successful attempt to develop a digital SLR system from first principles, rather than trying to adapt what had come before. As part of our 25th Anniversary celebrations, we look back at the E-1 as one of the most significant cameras of the past 25 years.
In the early days of digital photography the large number of photographers already heavily invested in film lenses put pressure on companies to continue their existing systems, even though 'full-frame' sensors that matched the film format they were designed around were prohibitively expensive for most photographers.
The Four Thirds system was an attempt at a clean slate design, with the intention of developing a new set of lenses designed to suit digital sensors, and built around a sensor chosen because it had a good performance-to-price ratio, not to match the arbitrary dimensions of cinema film stock adapted for photography in the early 1900s. It was a decision that would also allow smaller lenses, particularly at longer focal lengths.
The Four Thirds initiative was started by Kodak and Olympus, with the two companies settling on a 5MP Type 4/3 (17.3 x 13mm) CCD sensor. This sensor size and the use of the 4:3 aspect ratio common in most early digital sensors give the system its name.
They also announced it would be an open standard, with other companies welcome to join, a decision that prompted Fujifilm to announce its interest, followed by Sanyo, Sigma and Panasonic, some seventeen months later. For a while it looked like a critical mass might coalesce, finally bringing about the long dreamt-of common mount, allowing complete interoperability between multiple brands.
In the meantime, although later than the initially suggested Feb 2002 launch date, Olympus developed the E-1, a high-end magnesium alloy DSLR with a 100% viewfinder and that 5MP Four Thirds CCD at its heart. Announced alongside five lenses in mid 2003, the original press release highlights the 'Supersonic Wave Filter' sensor shake system that shook dust off the sensor as solving "a problem that has long been an Achilles heel of ... digital SLRs."
Unfortunately, in his review, Phil highlighted that the Olympus couldn't offer either the speed or the resolution that were typically expected of a camera with the E-1's stated professional ambitions. This was made more stark by its $2199 original price tag (albeit with a 'street price' well below that), at a time when Canon's 6MP EOS 10D would set you back nearer $1500.
It took the more affordable E-300 model for the Four Thirds to really find its audience. By the time the E-330 arrived, two years later, Kodak was out of the picture.
It took 2004's 8MP E-300, with its much more attainable price point (around $1000 with kit lens) for Four Thirds to really find its audience.
By 2006 Panasonic and Leica were alongside Olympus spearheading the system, with each brand releasing variations of technologies co-developed by the two Japanese companies, including "Live MOS" sensors from Panasonic, rather than Kodak. The Olympus E-330 and Panasonic L-1/Leica Digilux 3 were some of the first DSLRs to offer live view, with the E-330 including a more sophisticated/complex implementation. You don't have to squint very hard to see the beginnings of the first mirrorless camera, which Panasonic would introduce just two years later.
Despite a broadly sound initial concept, one challenge of the use of a smaller-than-film sensor in a DSLR was that the viewfinders were often quite small and dark (because the sensor size defines the size of the camera's mirror, which in turn puts a limit on how large or bright you can make an optical viewfinder).
This was resolved with the move to a mirrorless design and the creation of the Micro Four Thirds system, built around the same Type 4/3 sensor format and a lot of technology developed during the Four Thirds era. Perhaps fittingly, the final Four Thirds camera was a direct continuation of the original E-1 line, with the system being officially discontinued 18 months later.
With this in mind, it might seem odd to call a system with a span of just over seven years between the launch of its first camera and its last a success, but I'd focus more on the groundwork it laid. Twenty-one years after the launch of the E-1, the Four Thirds sensor format is still very much with us, and you can trace a direct line from the first all-digital DSLR project to the mirrorless cameras that dominate the ILC market today, even if both Kodak and Olympus have now exited the photography market.
The 25 finalists for the People's Choice Award were selected from 59,228 entries from 117 countries and territories. Members of the public can cast their vote for the award until January 29, and the winning image, along with four runners-up, will be announced in February. Here, we present the 25 finalists for this year's award.
If you're a wildlife photographer and want to enter your own images in the 2025 competition, you can find information on the competition's website. However, act quickly: you have until December 5th to submit your images.
Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.
Wolf Pack
Wolf Pack by Arvind Ramamurthy, India
Members of an Indian wolf pack pause briefly as they play in fields in Bhigwan, India.
Indian wolves were once found all across India. Now, their number has dwindled to as few as 3,000. Living so close to humans poses many risks. Farming has fragmented their rolling grassland habitat, and feeding on cattle carcasses puts them at risk of disease. But Indian wolves are hardy animals. With better grassland management and protection, they could make a strong comeback. Arvind was photographing this pack playing in the grassy fields. One of them came and sat down at the edge of the agricultural crop, and one by one, four others joined it. They paused for a few seconds before they ran off again, playing and chasing one another.
Copyright Arvind Ramamurthy / Wildlife Photographer of the Year
Icy Repose
Icy Repose by Sue Flood, UK
A dramatic blue-grey sky highlights the soft greys of a Weddell seal as it rests on an ice floe.
Sue watched this Weddell seal from aboard a rigid inflatable boat in Neko Harbour of the Antarctic Peninsula. So as not to disturb its peaceful slumber, Sue used a long lens to record this serene portrait. Weddell seals’ large bodies are covered in a thick layer of blubber. This keeps them warm above and below the icy waters of the Southern Ocean.
Copyright Sue Flood / Wildlife Photographer of the Year
A Good Scratch
A Good Scratch by Mark Williams, UK/Canada
A beluga whale rubs its underside on a shallow river bottom to exfoliate its skin.
Mark took this image in a remote inlet along the Northwest Passage in the Canadian Arctic. Hundreds of beluga whales come here to socialize and exfoliate in the shallow water. The passage is also a safe haven, away from the predatory orcas. Belugas are extremely sociable mammals. They live, hunt and migrate together in pods that can range from quite small into the hundreds. Nicknamed ‘the canaries of the sea’, they produce a series of chirps, clicks, whistles and squeals that Mark found otherworldly.
Copyright Mark Williams / Wildlife Photographer of the Year
Scanning the Realm
Scanning the Realm by Aaron Baggenstos, USA
A puma stands on a windswept outcrop in the rugged mountain terrain of Torres del Paine National Park, Chile.
It is a symbol of hope. A successful conservation movement led to the creation of the national park and a rise in ecotourism in the region. This has also helped to reduce conflict between pumas and local gauchos (sheep farmers). The gauchos view pumas more positively because they’re attracting tourists, which is good for income. The introduction of sheepdogs has also helped. The dogs confront any approaching pumas and stop them attacking the sheep. In turn, the pumas hunt their natural prey, and the gauchos are less likely to shoot them. The change has been gradual but has gained momentum over the past 20 to 30 years. There is hope that humans and pumas can live alongside one another.
Copyright Aaron Baggenstos / Wildlife Photographer of the Year
Aspen Shadows
Aspen Shadows by Devon Pradhuman, USA
Four grey wolves cross a minimalist landscape of naked aspens and snow in Yellowstone National Park, USA.
It was early spring in the Lamar Valley, and this pack was in search of its next meal. Watching from a distance, Devon saw them heading towards this patch of aspens and thought it would make a compelling image. The wolves walked right past these trees and then continued to follow the tree line, eventually disappearing over the hillside.
Copyright Devon Pradhuman / Wildlife Photographer of the Year
Evening Song
Evening Song by Christian Brinkmann, Germany
A singing Eurasian songbird is silhouetted against a backdrop of colorful fairground lights in Münster, Germany.
During a popular fair in Münster called the Send, an interesting atmosphere arose behind the castle. The evening mood was gentle, and Christian had singing birds on one side and party music on the other. In front of the fairground lights, this Eurasian blackbird posed for its song. Although blackbirds are a common sight, Christian likes to photograph them in distinctive ways. Here, the silhouette of the bird set against a colorful backdrop gives the image an artistic flair.
Copyright Christian Brinkmann / Wildlife Photographer of the Year
Sneak Attack
Sneak Attack by Erlend Haarberg, Norway
A polar bear cub attempts an underwater surprise attack on a northern fulmar.
In the Norwegian archipelago of Svalbard, a walrus carcass had attracted a female polar bear and her two cubs. But one of the cubs was more interested in playing in the water than eating. The cub was having fun diving under the water and resurfacing, playing with the seaweed and kelp. The northern fulmar resting on the surface of the water awakened the cub’s desire to hunt. Erlend watched as it attempted several underwater surprise attacks on the bird, only to fail each time. Play hunting like this is essential learning for a young bear. Eventually, it will have to survive in the Arctic without its mother.
Copyright Erlend Haarberg / Wildlife Photographer of the Year
Slap Shot
Slap Shot by Savannah Rose, USA
A beaver cocks its tail before slapping it down on the water to alert its family to a newcomer.
Savannah enjoys photographing North American beavers in this pond in Jackson, Wyoming, USA. As she approached the shoreline, a beaver cruised cautiously by after emerging from its lodge. It cocked its tail up and brought it down with a resounding crack. Savannah had been trying to document this dramatic beaver behavior for years. Beavers use tail smacks to alert their family group to a newcomer. Despite the theatrics, beavers usually relax quickly after discovering the newcomer doesn’t pose a threat.
Copyright Savannah Rose / Wildlife Photographer of the Year
Togetherness
Togetherness by Ivan Ivanek, Czech Republic
A striking pair of red-shanked douc langurs are seen mating in the forests of the Sơn Trà peninsula in Vietnam.
Known for their bright red ‘stockings’, these primates are found only in Vietnam, Laos and Cambodia. The species is critically endangered because of habitat loss, hunting and the illegal pet trade. After days observing the area, looking for evidence of the monkeys, Ivan managed to find a small group. Late one evening, he saw these two mating. Compared to other species of monkey he’d seen mating, it was an unexpectedly gradual and graceful affair!
Copyright Ivan Ivanek / Wildlife Photographer of the Year
Concert in the Forest
Concert in the Forest by Vincent Premel, France
A Surinam golden-eyed tree frog puffs out its cheeks as it prepares to call for a mate.
The first rains come in French Guiana after a long dry spell. They’re a release for all wildlife, but especially for amphibians. When it rains, the ponds fill with water. Dozens of species descend from the canopy or come out of the ground. They’re here to lay their eggs in the water, in an event called ‘explosive breeding’. The density of individuals is hard to imagine. It made for a special night for Vincent, who is both a herpetologist and a photographer. The call of the Surinam golden-eyed tree frog is so powerful it can be heard hundreds of meters away.
Copyright Vincent Premel / Wildlife Photographer of the Year
Snuffling Sengi
Snuffling Sengi by Piotr Naskrecki, Poland
A rarely seen four-toed sengi forages for food among the leaf litter in Mozambique.
Sengis mainly eat insects and look for their prey at dusk and dawn. They rely on a combination of good vision and excellent sense of smell to find food. Piotr watched this sengi over several weeks in Gorongosa National Park, Mozambique. It followed the same network of trails every day, looking for beetles and other tasty morsels among the leaf litter. Sengis are extremely shy and skittish, so Piotr set up a remote camera to photograph the little creature sniffing for food.
Copyright Piotr Naskrecki / Wildlife Photographer of the Year
Whiteout
Whiteout by Michel d’Oultremont, Belgium
A stoat sits up and observes its territory as it blends perfectly into a snowy landscape in Belgium.
Michel had been looking for stoats in the snow for many years. The magic of snowfall fascinates Michel every winter. He wanted to take a photograph that showed how the stoats blend in with the whiteness of the landscape. He’d seen a few in Switzerland but never in his native Belgium. Then, finally, his dream came true. He lay in the snow with a white camouflage net covering all but his lens. This curious stoat came out of its snowy hole and sat up from time to time, observing its territory just before setting off to hunt.
Copyright Michel d’Oultremont / Wildlife Photographer of the Year
Earth and Sky
Earth and Sky by Francisco Negroni, Chile
A double lenticular cloud is illuminated at nightfall by the lava emitted from the Villarrica volcano, Chile.
Villarica is in the town of Pucón in the south of Chile. It’s one of the country’s most active volcanoes, and last erupted in 2015. Francisco takes regular trips to Villarrica to monitor its activity. On this visit, he stayed nearby for 10 nights. He says every trip is “quite an adventure – never knowing what the volcano might surprise you with”. Some nights are calm, others furious, as in this photograph, where the brightness of the crater illuminates the night sky.
Copyright Francisco Negroni / Wildlife Photographer of the Year
Fallen from the Sky
Fallen from the Sky by Carlo D’Aurizio, Italy
A collage of dead butterflies and moths trapped by the surface tension of the water floats in a stream in Italy.
It was a summer morning in the San Bartolomeo Valley in the Majella National Park, Italy. Carlo had visited this small stream many times. He expected to see the graceful flight of butterflies and dragonflies along it. He never thought he would find such a still life, a sad collage of dead insects calmly floating in the water. It hadn’t been particularly hot, and there hadn’t been any storms in the previous days. To this day, Carlo has no explanation of why the insects died.
Copyright Carlo D’Aurizio/ Wildlife Photographer of the Year
Spiked
Spiked by David Northall, UK
A bloodied yet determined honey badger returns to finish off a Cape porcupine, which earlier had tried to defend itself.
Found throughout Botswana, honey badgers are famously ferocious. They often chase animals many times their own size. This honey badger got an unpleasant surprise when it attacked the normally nocturnal Cape porcupine. The badger grabbed the porcupine’s right leg. In defense, the porcupine repeatedly backed into its attacker, piercing it with many quills. During a lull in the attack, the porcupine managed to shuffle away, its leg badly damaged. After a short retreat, the bloodied badger returned. It finished off the porcupine under a bush close to the original attack, then dragged it into its underground den.
Copyright David Northall / Wildlife Photographer of the Year
Unsold
Unsold by Jose Fragozo, Portugal
A young cheetah cub hisses while waiting to be sold in Ethiopia.
Captured from her home plains in the Somali Region, she was transported for several days on the back of a camel to the northern coast of Somaliland. Illegal wildlife trafficking is a problem in the Somali Region. Farmers catch and sell cheetah cubs to traffickers, claiming that the cheetahs attack their livestock. Sometimes, the farmers and traffickers cannot sell the cubs immediately. The bigger the cheetahs get, the harder it is to find buyers. Some end up being killed and their parts sold, their bones shipped to Yemen and then to other Asian markets. They are then sold as tiger bones and used to make Chinese bone wine. After hissing at the camera, the cub started chirping, calling out for its mother.
Copyright Jose Fragozo / Wildlife Photographer of the Year
Annoying Neighbor
Annoying Neighbour by Bence Máté, Hungary
A European roller defends its territory from a bemused-looking little owl in Kiskunság National Park, Hungary.
The little owl and the European roller are very different birds, but their nests and feeding requirements are similar. This means they sometimes breed near each other. The male roller makes a sport of annoying other birds that stray into its breeding area during the short mating season. It makes a surprise ambush, flying at full speed behind them. To catch such a fleeting scene, Bence spent 27 days watching from a hide. The little owl seemed nonplussed by the spectacle.
Copyright Bence Máté/ Wildlife Photographer of the Year
Curious Connection
Curious Connection by Nora Milligan, USA
A chimpanzee pauses and looks down as its family moves across the forest floor of Loango National Park, Gabon.
On a trek through the forest, Nora’s guide signaled for the group to stop near the bank of a swamp. They heard the call of a chimp first, then the leaves around them started to rustle and a group of chimpanzees appeared. This family is called the Rekambo group. A group of researchers from the Ozouga Chimpanzee Project is studying them. Nora couldn’t believe her luck when they started to climb the nearby trees. As she peered through her viewfinder, a large male paused and looked down at them. The chimp craned its neck forward and its eyes seemed to widen, as if to get a better look.
Copyright Nora Milligan / Wildlife Photographer of the Year
Meeting in the Marsh
Meeting in the Marsh by Michael Forsberg, USA
A disguised biologist approaches an endangered whooping crane in Louisiana, USA.
Michael has been chronicling the lives of endangered whooping cranes since early 2019. The biologist acted with cat-like quickness to check the bird’s health and change a transmitter that was no longer working. The transmitter helps biologists track these non-migratory birds and learn more about them. This experimental population was reintroduced in Bayou Country in 2011. In the 1940s there were roughly 20 whooping cranes in the region. Since then, numbers have climbed to over 800.
Copyright Michael Forsberg / Wildlife Photographer of the Year
The Brave Gecko
The Brave Gecko by Willie Burger van Schalkwyk, South Africa
A giant ground gecko stands fast against a pale chanting goshawk in Kgalagadi Transfrontier Park, South Africa.
One hunting strategy of the southern pale chanting goshawk is to walk or run on the ground in pursuit of prey. Willie watched as the little lizard put up a brave fight against its large attacker. Unfortunately, there was no hope of survival, but Willie was impressed by the gecko’s bravery.
Copyright Willie Burger van Schalkwyk / Wildlife Photographer of the Year
Forest Dreams
Forest of Dreams by Samuel Bloch, France
A northern giant petrel sits on its nest at the edge of a rātā tree forest on Enderby Island, New Zealand.
Northern giant petrels are large seabirds. They’re used to flying above the waves for weeks without encountering land. Samuel was surprised to find this one in such a woody environment. Like many other seabirds, it breeds on islands where there are fewer predators. Samuel took this image from a distance and left quickly to avoid disturbing the bird.
Copyright Samuel Bloch / Wildlife Photographer of the Year
Edge of Night
Edge of Night by Jess Findlay, Canada
A ghostly barn owl exits the hayloft window of a derelict barn to hunt fields outside Vancouver, Canada.
Combining high-speed and long-exposure photography in a single exposure required a technical setup. First, Jess quietly watched the owl for several nights to understand its habits and plan the shot. He then set up an invisible beam that would trigger a flash when the owl flew out of the barn. Simultaneously, a slow shutter speed gathered ambient light cast on the clouds and barn to complete the scene. On the tenth night, all the moving parts came together as the owl left to begin his hunt.
Copyright Jess Findlay / Wildlife Photographer of the Year
No Access
No Access by Ian Wood, UK
An ambling Eurasian badger appears to glance up at badger graffiti on a quiet road in St Leonards-on-Sea, England, UK.
Residents had been leaving food scraps on the pavement for foxes. But Ian noticed that badgers from a nearby sett were also coming to forage. After seeing a badger walking along the pavement by this wall late one night, he decided to photograph it. He set up a small hide on the edge of the road to take his picture. Only the light from a lamppost illuminated the creature as it ambled along, seemingly glancing up at the badger graffiti just in front of it.
Copyright Ian Wood / Wildlife Photographer of the Year
Drifting Dinner
Drifting Dinner by Noam Kortler, Israel
A decorator crab perches on top of a sea squirt to comb the water for drifting plankton.
Noam took this photograph during a night dive off Komodo Island, Indonesia. The sea squirt provided the crab with the perfect stage to feed on drifting plankton. The crab had camouflaged and armed itself with tiny hydroids known as Tubularia. These can sting other animals and so helped protect the crab from predators. Noam watched the crab gracefully search for food, illuminated by the camera flash as if in a spotlight center stage.
Copyright Noam Kortler / Wildlife Photographer of the Year
The Arrival
The Arrival by Brad Leue, Australia
Floodwaters that have traveled for months surge towards an enormous salt lake in South Australia.
Kati Thanda-Lake Eyre is Australia’s largest inland lake and one of the world’s largest salt lakes. Photographing from a helicopter in strong winds was quite a challenge for Brad. As well as the floodwaters, a dust storm was blowing and rain was falling on the horizon. Floodwaters had traveled more than 1,000 kilometers (1,600 miles). They’d surged steadily from Queensland towards South Australia. Timing was imperative to photograph this once-in-a-decade natural event. Brad’s image shows the water channeling steadily down Warburton Groove. This is the final stretch before entering the mighty lake. On their journey, the waters bring new life to this remarkable desert system and its rare and threatened wildlife.
Copyright Brad Leue / Wildlife Photographer of the Year
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Updated Nov 27, 2024
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; we last updated this list in 2023, and since then, there haven't really been any new additions to it. The ones that remain can also be difficult to find in stock, even when the companies that make them say they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
The final niche in which it's difficult for a smarphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.
We've picked three cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Both Sony models have built-in electronic viewfinders, for shooting when it's bright outside, again giving a more pleasant experience than trying to use a smartphone.
Best enthusiast compact: Canon PowerShot G7X III
20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
The Canon PowerShot G7X III is an enthusiast compact built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.
The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's really the clicking control dial around the lens and the dedicated exposure compensation dial that help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This is one of the cameras that's frequently out of stock, but in November 2024 Canon assured us that it's still in production and that the company is "working to meet the consumer demand of the PowerShot G7 X Mark III."
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"
Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive.
Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.
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Also worth considering
The Sony Cyber-shot DSC-RX100 VA is also worth a look, offering a short, bright 24-70mm equivalent zoom. This is a little shorter than the one on the Canon but we've found it to be more consistently sharp, on the units we've tested. It has a pop-up viewfinder, adding to the appeal but also to the price. The Sony's autofocus is faster and more dependable than the Canon's but we prefer the handling of the Canon, thanks to its exposure compensation dial and clicking front control wheel.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII
20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the Mark VA or the Canon G7X III but it provides a lot more reach, still in a compact package.
The RX100 VII is the most capable pocketable camera ever made
The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor.
The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.
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Waterproof cameras
Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.
Best waterproof camera: OM System Tough TG-7
25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)
The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).
The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.
"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"
Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.
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Long zoom cameras
Perhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.
Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that modern smartphones will bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.
Best long-zoom camera: Panasonic FZ1000 II
20MP Type 1 BSI-CMOS sensor | 25-400mm equiv. F2.8-4 lens | 4K/30p video capture
The Panasonic DC-FZ1000 II has a Type 1 sensor and stabilized 25-400mm equiv. F2.8-4 lens.
The FZ1000 II predates Panasonic's switch to phase-detect autofocus, so it tends to hunt for focus. However, it can shoot at burst rates up to 7fps, and its 25-400mm equiv F2.8-4 lens gives you plenty of reach while still offering a fair amount of light-gathering ability.
The FZ1000 II has a comfortable grip and twin control dials, but its all-plastic construction doesn't live up to its price. It's extensively customizable, with an array of physical and on-screen buttons. The OLED EVF is very good.
Its versatile lens, snappy autofocus speeds, large EVF and 4K video capabilities should make it one of the better cameras in its class.
The FZ1000's image quality is good for its class. The camera doesn't capture as much detail as we'd like and, if you're up to it, shooting Raw and post-processing will get the most out of the camera.
The FZ1000 II captures 4K UHD video at 30p and 24p, though there is a substantial crop which narrows your field of view (this is not an issue at 1080). The autofocus system tends to 'hunt' for focus on occasion. The camera has a good set of video controls and a mic input socket.
The FZ1000 was a solid camera and the improvements on its successor make it even better. While not best-in-class, its versatile lens, good image and video quality and reasonable price make the FZ1000 II well worth considering.
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The retired champ
In its day, the Sony Cyber-shot DSC-RX10 IV offered better performance and autofocus than the Panasonic, though at a substantially higher cost. In 2024, however, it's no longer available at retail, and the FZ1000 II is. If you manage to find an RX10 IV somewhere and are interested in a long-zoom compact, it's still worth snapping up – it's possible it'll be the best of its kind that was ever made.
The Nikon Coolpix P1000 is a small sensor camera with a vast zoom lens. The Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv lens is its selling point.
The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.
The P1000 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1000's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well.
"When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1000"
The P1000's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths.
The P1000 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below.
When it comes to zoom power, nothing comes close to Nikon's Coolpix P1000. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.
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Vlogging cameras
Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.
The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter, unless an object is held up to the camera.
A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve.
The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control.
The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.
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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.
Black Friday has gone from being a single-day event to a series of sales spanning over a week. And while there are hundreds of discounted items out there, not all of them are worth your while. We've dug through them to find products that are actually a deal – the items that we know are good, and that are cheaper than their usual prices.
If the deal is only available for a very narrow window of time, we'll be sure to note that.
The Nikon Z9 is Nikon's first truly 'professional' full-frame mirrorless camera. Built around a 47MP stacked-CMOS sensor (without a mechanical shutter), the Z9 is a fast and capable all-rounder, built for use in the most demanding environments by both stills photographers and videographers.
The Z9 is a stills and video powerhouse, intended to appeal to as wide a constituency of photographers as possible.
The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor.
The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.
The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.
Although heat build-up limits how long you can shoot super high-quality video, the EOS R5 remains an excellent all-around option for photographers of all kinds. The EOS R5 could easily find a home among landscape, wedding, event and even sports photographers that are looking for a well-built, do-it-all mirrorless camera.
The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.
Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.
The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.
The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life, viewfinder resolution and lack of sensor stabilization are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.
The Canon EOS R7 is a 32MP, image-stabilized APS-C mirrorless camera aimed at enthusiast photographers and videographers.
The EOS R7 is a solid, well-thought-out enthusiast level APS-C mirrorless camera. It can shoot 'EF' DSLR lenses with an adapter, but the limited number of well-matched RF lenses may be limiting. A great option if you're happy to use the lens that typically comes with the camera.
The EOS RP is an affordable entry-level full-frame mirrorless camera that combines a 26.2MP CMOS sensor and Dual Pixel autofocus with the easy-to-use interface of its EOS-M and Rebel cameras.
The EOS RP is a camera with a modest price to match its modest spec. Clearly, Canon believes the attractive JPEGs and ease-of-use make up for the lack of cutting-edge features and performance, and we tend to agree. The RP is a likable camera with good controls that is genuinely fun to use, but more advanced users looking for ultimate image quality and speed will want to look elsewhere.
The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.
With the EOS R10 Canon has re-created the capability and usability of its popular Rebel series DSLRs in its newer RF mirrorless lens mount. You can adapt older DSLR lenses but there are currently few RF lenses that are a good match for the R10. A very strong option if the kit zoom is sufficient for you.
The Canon EOS R50 is a compact mirrorless camera aimed at photographers who may want to move up from a smartphone but want to do so at an entry-level price point. It’s built around a 24MP APS-C sensor and uses Canon’s ‘RF’ lens mount.
The EOS R50 is a very capable mirrorless camera, particularly for what is basically an entry-level model. It has impressive autofocus capabilities and produces high-quality photos and video, including HDR video. It’s a good model if you like touchscreen controls, though it may not be the best choice for people with big hands
The Canon EOS R3 is the company's first sports shooting mirrorless camera, based around a 24MP stacked CMOS sensor. That sensor allows for 30fps bursts with autofocus, oversampled 4K/60p video and incredible autofocus capabilities.
The Canon EOS R3 is supremely capable, offering the best autofocus performance and video quality we've yet seen in a Canon mirrorless camera as well as incorporating some truly innovative features like eye control and the OVF simulation mode. The only thing that's really holding it back, depending on what you compare it to, is resolution – Sony's sports-focused a9 II also comes with 24MP, but there's also the a1 and Nikon Z9 that both have substantially more resolution without much in the way of compromises. But for Canon users looking for the best mirrorless performance for their RF and EF-mount lenses, the EOS R3 is worth a look.
The Sony a1 is a 50MP pro-grade full-frame camera that combines high resolution with high speed, and is equally at home shooting detailed landscapes, fast-action sports or pro-level 8K video.
The a1 mixes high-speed and high-resolution capabilities with high-end video capabilities for a truly compelling combination. The aim is to produce a single camera that can adapt to the needs of a wide range of pro photographers and, though it has a price to match that ambition, we find that Sony has succeeded. If you have a need for what the a1 offers and the cash, it's a camera we can easily recommend.
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.
The a7 IV is an enthusiast-level 33MP full-frame mirrorless camera with strong video and stills features.
The a7 IV is one of the most capable stills/video cameras we've ever tested, underpinned by one of the most powerful and accessible autofocus systems. It's one of the more expensive mid-range full-frame mirrorless cameras, but also one of the most accomplished.
The Sony a7S III is the most video-focused of the a7 series of full-frame mirrorless cameras. It uses a 4K-optimized, image stabilized 12MP BSI CMOS sensor.
The a7S III is the most video-focused a7 camera yet. Its combination of high quality capture, built-in stabilization and reliable autofocus gives a very capable camera for a range of high-end videography where a small, lightweight camera is beneficial. It's a powerful little production tool.
The Panasonic S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.
The Panasonic S5 II is one of the most well-rounded cameras in its class. Its excellent ergonomics make for great handling, and its AF system is adept at identifying subjects, though subject tracking could be stickier and more decisive. It produces great photos and video and includes one of the deepest video feature sets for its price range.
Outside of its Instax cameras, Fujifilm currently has only one camera on sale: the Gold Award-winning X-T5, which costs $1,600, $100 off its original price. You can read the full review here.
The OM System OM-5 is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera.
The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.
Do note: the Sony 24-70mm F2.8 and 70-200mm F2.8 that are on sale are the first-generation ones, which are a fair bit heavier than the second-generation ones.
Okay, we'll level with you – our newly-released 25th anniversary merch isn't on sale. But if you're looking for a gift for photography nerds in your life, definitely head over to our pop-up shop and see if any of our shirts, mugs, or hats would fit the bill. They're only available for a limited time, so grab them while they're here.
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Apple doesn't generally run sales on its laptops, which are well-liked by photographers and other creatives. However, that doesn't stop retailers like Best Buy, B&H, Costco, or Amazon from knocking $200-300 off the price for Black Friday, even for the latest M4-equipped models. The ones with older chips are no slouches either, just make sure you're not getting one of the entry-level ones with a vastly insufficient 8GB of memory.
Peak Design
You can get Peak Design's normally $600 carbon fiber travel tripod for $480.
Photo: Dan Bracaglia
Peak Design makes camera straps, tripods, and camera-focused packs, some of which are popular around the DPReview office. Most of them are currently 20% off, which can be a fair chunk off the price if you're looking at a higher-end item like its carbon fiber travel tripod or camera-ready Everyday Backpack.
NiSi Filters
If you're looking for lens filters, NiSi is having a 20% off sale on most of its offerings. That can add up to some rather substantial savings if you're looking to stock up on different sizes or strengths of ND or black mist filters, or if you're shopping for a pricier piece of glass like a variable ND filter.
Software Deals
Dxo
Dxo has put its photo-focused apps on sale. Its full Raw editing suite, PhotoLab 8, is available for $180 ($50 off its normal price) for first-time buyers, or $90 as an upgrade. Its plugin pack, film emulation pack, geometry correction software, and Raw processing software, are also on sale.
Davinci Resolve
Image: Blackmagic
Davinci Resolve Studio, the upgrade to the free Davinci Resolve video editing software, is also on sale for Black Friday; you can pick it up for $235, $60 off its usual price.
Topaz Labs is well known for its AI-powered noise reduction and upscaling software. You can get it for 50% off from the company's website. It's also running a deal where you can bundle all its programs – Photo AI 3, Video AI 5, and Gigapixel 8 – together for $399.
When you use DPReview links to buy products, the site may earn a commission.
Image: Tamron
Tamron has announced that it's launching its first lens for Canon's RF mount, the 11-20mm F2.8 Di III-A RXD, next month. The APS-C lens has been available on Sony's E-mount and Fujifilm's X mount for a while, and Tamron announced it'd be coming in April of this year, but now it'll actually be available to buy.
The 11-20mm F2.8 has a moisture-resistant build, and an optical formula consisting of 12 elements in 10 groups. It has two glass molded aspherical elements, one XLD element and two LD elements. It also has Tamron's second-generation anti-reflective coating, as well as a fluorine coating for oil and water resistance on the front element.
When attached to a Canon APS-C body, it should make for a relatively small kit. It weighs 340g (12 oz) and is 84mm (3.3") long. It accepts 67mm filters.
Given Canon APS-C cameras' 1.6x crop compared to full-frame, this lens will be roughly equivalent to 18-32mm.
When it launches on December 12th, it'll be the third zoom lens available for RF mount not made by Canon itself, alongside the Sigma 10-18mm F2.8 and 18-50mm F2.8. It rounds out a selection of lenses for the system that was quite sparse just a year ago, owing to how tightly Canon has controled the license for its mount.
The Tamron 11-20mm F2.8 Di III-A RXD will cost $659.
Press Release:
TAMRON Announces the Launch of Its First CANON RF mount Lens
The compact, lightweight, fast-aperture F2.8 ultra wide-angle zoom 11-20mm F/2.8 Di III-A RXD (Model B060)
Commack, NY, November 26, 2024 – Tamron announces the launch of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A1 RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras at $659 USD / $899 CAD on December 12, 2024.
The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm2, with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for daily use.
Despite its small, lightweight design, the lens delivers high-level imaging power with its uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9in) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end.
The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, letting users easily enjoy the high image quality of this ultra wide-angle fast -aperture F2.8 lens under a range of conditions.
PRODUCT HIGHLIGHTS
1. Fast-aperture ultra wide-angle zoom lens
The 11-20mm F2.8 (full-frame equivalent of 17.6-32mm) allows for the capture of landscapes and architecture with the dynamic perspective unique to ultra wide-angle lenses. It is also well-suited for indoor group portraits and real estate photography by leveraging its wide-angle focal lengths. At the telephoto end, it supports everyday snapshots with its natural field of view close to one’s view, all while delivering soft and beautiful bokeh with its F2.8 aperture.
2. Compact and lightweight
Designed with APS-C mirrorless cameras in mind, the 11-20mm F2.8 provides a compact and lightweight form, measuring just 3.3” (84.2mm) in length and weighing 12 oz. (340g), allowing you to shoot without worrying about weight. When used with a compatible APS-C mirrorless camera body, you’ll enjoy handheld shooting of still images and find it comfortable to shoot video even when using a compact tripod or gimbal.
3. AF/MF Switch and TAMRON Lens Utility Compatibility
The CANON RF mount includes an AF/MF switch. Additionally, the lens features a Connector Port for users to easily update the lens to the latest firmware via TAMRON Lens Utility™ software.
4. Outstanding optical performance
The optical construction uses 12 elements in 10 groups including two GM (Glass Molded Aspherical) lens elements to maintain high resolution across the entire image area. It also incorporates one XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements to effectively suppress aberrations, ensuring clear image quality. Additionally, the BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating minimizes ghosting and flare, faithfully rendering details even in backlit conditions.
5. MOD of 5.9” (0.15m) and maximum magnification ratio of 1:4
With an MOD of 5.9” (0.15m) at 11mm and a maximum magnification ratio of 1:4, the 11-20mm F2.8 surpasses traditional ultra wide-angle zoom lenses in its close-up capabilities. This allows for wide-angle macro photography and creative shallow depth of field effects, enhancing subject prominence against blurred backgrounds.
6. High performance autofocus system for both still and video use
Equipped with TAMRON’s proprietary RXD motor unit, the autofocus system delivers high-speed and high-precision focusing. It accurately captures moving subjects and is suitable for both still photography and video. Its quiet RXD stepping motor is ideal for capturing moments where noise may be a concern, or silence is required.
7. High convenience and protective features
67mm filter size, same as most other TAMRON lenses for mirrorless cameras
Enhanced overall lens design for user-friendly operation
Moisture-Resistant Construction
Fluorine Coating
This product is developed, manufactured, and sold under license from Canon Inc.
1: Di III-A: For APS-C format mirrorless interchangeable-lens cameras
DJI has announced the Mic Mini, a wireless lavalier microphone kit. The 'Mini' part of the name refers to the omnidirectional microphones themselves, which weigh only 10g and are small enough that they shouldn't be a huge distraction when clipped to someone's shirt or collar.
In addition to the built-in clip, you can use a magnet to mount the microphone transmitter pack to your talent, though that will add a slight bit of weight. The included windscreens will also make the microphone more noticeable but will cut down on wind noise.
The microphone / transmitter pack is really quite small.
Image: DJI
DJI says the microphones have two levels of built-in noise cancelation. The first is meant for "quiet indoor settings" with constant noises like AC or fans. The second level is more aggressive and is meant for noisier outdoor environments. It also has an automatic limiting feature to prevent clipping if there's a sudden loud noise, and you can control microphone gain via a five-step knob on the receiver pack.
According to the company, the microphones can connect to the receiver at a distance of up to 400m (just under 1/4 mile), though that's obviously assuming ideal conditions. The microphone's battery should last up to 11.5 hours on a charge, with the receiver lasting up to 10.5 hours, though popping each in the charging case for five minutes can net you up to an extra hour of use. DJI says the battery in the charging case can fully charge the system around 3.6 times.
There are quite a few options for getting audio out of the system. The receiver has a 3.5mm output jack that you can use to connect to a camera with the included TRS cable. The microphone pack can also directly connect to your phone via Bluetooth, and cameras that support DJI's OsmoAudio system, such as the Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3, without going through the receiver. If you pair the microphone to your phone, you can also use it to record an audio track that'll automatically be synced with the footage from DJI's Neo drone.
The Mic Mini comes in several configurations. You can get two microphones, a receiver, a USB-C phone adapter, and a charging case to hold it all for $170, or a single transmitter and receiver for $89. If you opt for that option, you can add on to it later – the microphones are available a la carte for $59, and the charging case is $49.
The charging case charges each component and stores the phone adapter.
Image: DJI
There are also versions of the kits that come with a Lightning adapter for older iPhones, which cost $19 more than their USB-C counterparts. If you get a bundle without the charging case, they come with a charging dock powered by USB-C for the microphone transmitter packs.
There are a few downsides to the Mic Mini versus DJI's higher-end Mic 2 system. It doesn't support 32-bit float recording, which can pretty much entirely eliminate clipping, and the Mini mic packs don't support external lavalier mics or internal recording. The trade-off, of course, is that they're less than half the weight of the ones for the Mic 2 and are substantially less noticeable when clipped to someone's shirt.
There are other differences as well. The Mic 2 has 'Intelligent' noise cancelation that doesn't require you to pick which level you need manually, and its transmitter lets you change settings without having to be connected to an app. However, the larger system, which costs $219, has substantially less range and shorter battery life. Those trade-offs likely won't be deal breakers if you need the extra capabilities, but they're worth keeping in mind.
The Mic Mini is available today from DJI and other retailers.
DJI Expands OsmoAudio™ Offerings with DJI Mic Mini, the New Mini Wireless Microphone
Weighing just 10g, DJI Mic Mini delivers powerful performance in an ultra-light body, allowing content creators to carry less and capture more
DJI, the global leader in civilian drones and creative camera technology, today announced DJI Mic Mini. This ultralight, compact, wireless microphone offers powerful performance for content creators. DJI’s latest microphone offering, DJI Mic Mini is a fantastic starter microphone, boasting an ultra-long battery life and a notably stable transmission of high-quality audio with entry-level pricing.
“DJI Mic Mini packs unbelievable sound into an incredibly compact, extremely light package, bringing the high quality audio expected from DJI in a mini microphone at a modest price of $169,” said Paul Pan, Senior Product Line Manager at DJI. “Content creators can count on capturing remarkably dynamic, crystal-clear sound, no matter the environment, and will enjoy the wearability and utility of DJI Mic Mini. DJI continues to serve the wide audience of creators with the highest level of innovative tools, from providing filmmakers with Emmy-winning Inspire drone technology and the Ronin cinematography ecosystem to today’s launch, bringing premium audio capture to all levels of content creators.”
Light, Portable, and Easy-to-Use with Efficient Operation and Production Features
Weighing only 10g1 - less than half the weight of DJI Mic 2 - DJI Mic Mini is discreet and comfortable, with multiple ways to wear that won’t weigh down collars or stretch-thin T-shirts, ensuring a clean on-camera appearance. Wearers can clip it on a shirt, attach it to clothing with magnets, or wear it on a lanyard.
Quality features are packed into DJI Mic Mini to help content creators make the richest, most detailed sound possible, keeping in mind post-production needs as well. With two-level noise canceling technology1, content creators need not worry about recording in loud environments such as crowded halls or outdoor events. The basic is perfect for quiet indoor settings, reducing fan, air conditioning, and reverb noises while preserving vocal clarity, while the strong level cuts ambient noise and focuses on vocals in noisy settings. DJI Mic Mini’s windscreens also significantly lower wind noise, providing clean sound capture in outdoor venues.
Automatic limiting lowers the volume if the audio input is too high, efficiently preventing clipping that causes distortion1. Creators can also adjust the gain quickly using the dial on the receiver, cycling through five level options to control the input of the captured sound.
The innovative design of the all-in-one charging case conveniently keeps all items together, neatly storing two transmitters, one receiver, mobile phone adapters, and windscreens—making DJI Mic Mini super portable and easy to carry or store.
Capture Detail-Rich, Reliable Audio
Despite its miniature form factor, DJI Mic Mini doesn’t skimp on sound quality1. It features omnidirectional audio recording. The receiver can pair with two transmitters at once, making it possible to record from multiple sources without sacrificing detail. This ensures that the audio captured maintains a consistently high quality.
With dual channel recording (Mono and Stereo), creators can separate the audio from the two transmitters, or combine it into a single track, providing creative flexibility and control. The DJI Mimo App offers a safety track, recording at a volume six dB lower than the main track, providing a fail-safe for audio issues like clipping and distortion and ensuring the audio captured is usable, even if the live performance had fluctuating volumes.
Audio can be transmitted up to 400 meters1, and with DJI Mic Mini's powerful anti-interference capabilities, the recording remains stable and high quality even in bustling outdoor environments like a busy street or crowded event.
For the content creator on the road capturing longer-form content like podcasts or livestreams, a fully charged DJI Mic Mini case provides 48 hours1 of extended use and can provide one hour of use after a quick five-minute charge. The receiver and transmitter are fully charged in approximately 100 and 90 minutes1, respectively, avoiding any lengthy delays between recording sessions.
Also, the transmitter will automatically enter sleep mode when it doesn't detect a signal from the receiver, saving power and alleviating creators of the need to keep powering the mic on and off. Finally, the DJI Mimo app can be used to set an automatic power off after a designated period of time, preventing a drained battery and allowing creators to preserve more power for their creativity.
Premium Wireless Recording Thanks to OsmoAudio™ and Direct Connections with DJI Products and Smartphones
DJI’s OsmoAudio™ ecosystem ensures premium sound capture, and the DJI Mic Mini transmitter can connect directly with the Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3 without a receiver, simplifying the creator workflow.
DJI Mic Mini also conveniently connects directly to smartphones via Bluetooth, no receiver required, so anyone with a smartphone can capture audio recordings with third-party filming apps1.
Creators can connect the DJI Fly app to the DJI Neo drone and DJI Mic Mini via Bluetooth to record audio and overlay it with their aerial footage. The app allows creators to eliminate propeller noise, merge audio tracks with footage, and ensure excellent sound even when shooting low-altitude vlogs.
Use of DJI Mic Mini is extremely versatile, with multi-device compatibility for creators using cameras, smartphones, computers, or tablets to record content1. When connected to a camera via the Camera Audio Cable (3.5mm TRS), it supports synchronized power on/off with the camera. When connected to a smartphone, it allows for external playback without unplugging and can be charged by the smartphone. When the receiver connects to a smartphone and then to a power source via the USB-C port, both devices can be simultaneously charged during use.
Price and Availability
DJI Mic Mini is available to order from store.dji.com and authorized retail partners, with shipping starting today, in the following configurations:
The DJI Mic Mini (2 TX + 1 RX + Charging Case) retails for $169, and includes a DJI Mic Mini Receiver, two DJI Mic Mini Transmitters (Infinity Black), a DJI Mic Mini Charging Case, DJI Mic Mini Camera Audio Cable (3.5mm TRS), a DJI Mic Mini Mobile Phone Adapter (Type-C), a DJI Mic Mini USB-C Charging Cable, four DJI Mic Mini Windscreens, two DJI Mic Mini Clip Magnets, and a DJI Mic Mini Carrying Pouch.
The DJI Mic Mini (1 TX + 1 RX) retails for $89, and includes a DJI Mic Mini Receiver, a DJI Mic Mini Transmitter (Infinity Black), a DJI Mic Mini Camera Audio Cable (3.5mm TRS), a DJI Mic Mini Mobile Phone Adapter (Type-C), two DJI Mic Mini Windscreens, a DJI Mic Mini Clip Magnet, a DJI Mic Mini Compact Carrying Pouch, a DJI Mic Mini Splitter Charging Cable, and a DJI Mic Mini Transmitter Charging Dock.
The DJI Mic Mini Transmitter (Infinity Black) and DJI Mic Mini Transmitter (Arctic White) can also be purchased separately at $59 each. The DJI Mic Mini Charging Case retails at $49.
1. All data was measured using a production model in a controlled environment. For more information, please refer to our official website.
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Image: Tamron
Tamron has announced a firmware update for its 70-180mm F2.8 Di III VC VXD G2 lens, which adds support for the Sony a9 III's 120fps mode. However, unlike many first-party Sony lenses, Tamron only supports shooting at 120fps in the single AF, direct manual focus, or manual focus modes. It does not support doing it in continuous autofocus.
Realistically, this limits its usefulness; there likely aren't many situations where you'd need to capture images at extremely high speed but not need autofocus tracking. However, if you do run into one, this lens can now support it. We've seen this restriction before: it's present on several Sigma lenses.
The firmware update does bring some AF-C improvements. The company says its autofocus while zooming should also be improved.
When you use DPReview links to buy products, the site may earn a commission.
The Sigma SD9 was announced in February 2002, just days after Foveon had revealed the X3 technology for which it would become known. Not only was it the first X3 camera, it was also Sigma's first digital camera, following on from a history of making film SLRs.
And, while we've seen alternatives and variations of the Bayer color filter pattern, the SD9 represented one of the most concerted attempts to offer a totally different way of capturing color in digital photography. As part of DPReview.com's 25th anniversary, we look back at one of the most radical cameras we've yet tested.
The Foveon X3 works on a completely different principle to most imaging sensors. The majority of digital cameras place color filters in front of each photodiode so that each receives only specific colors of light, letting it measure how much of that color is present. This has two downsides: firstly it means that a lot of light is absorbed by the color filter and is not then available to the camera. More critically, though, it means that different colors are captured at different locations, and the chroma resolution of a sensor is much lower than the pixel count would imply. The colors of light that were lost to filtering need to be interpolated from neighboring pixels, which softens the image by sharing information across pixels and creates more opportunities for aliasing.
The X3 sensor works very differently: it doesn't use any color filters and instead essentially stacks three photodiodes on top of one another. Different colors of light can penetrate silicon to different depths, so color information can be derived based on how many photons reach the different depths within the sensor. There are downsides to this approach, too: the sensors are complex to fabricate and it's hard to match the pixel counts of the much simpler conventional designs. Also, you need a lot of light to ensure that enough penetrates into the lower layers of silicon, to correctly assess the color and keep noise under control.
The SD9 had 3.4 million pixels, with three photodiodes at each pixel, giving full color at every location from its approximately APS-C sensor (∼21x14mm). A direct contemporary, Canon's D60, had 6 million pixels, but with more standard Bayer color filter meaning that although they had a higher nominal resolution, in practice they were softer and couldn't match the Sigma's pixel-level performance. In his original review, Phil concluded that the two cameras were capturing comparable levels of detail overall.
The SD9 had two battery systems, one to power the systems you'd find on a film SLR, a second to power the digital side of the camera.
On the physical side of things, Sigma had clearly adapted one of its existing SLR designs, with separate batteries, with one set powering the camera's metering system, autofocus drive and viewfinder displays, while a tray of AA batteries powered the digital side of the camera. 2003's follow-up SD10 used only a single set of batteries, with a dedicated Li-Ion approach being adopted by 2006's SD14.
Despite being Sigma's first attempt at a digital camera it had some thoughtful touches such as an RGB histogram that updated to reflect the zoomed-in area you were reviewing, in playback mode.
The review also includes Foveon's marketing illustrations that suggest the three different layers of silicon capture blue, green and red light at the different layers. This isn't strictly true: only red photons will reach down to the lowest levels, but some get absorbed higher up. The middle layer therefore collects some red and most of the green light, with the upper layer collecting some red, some green and all the blue light. This means that the contribution of each color has to derived, with the noisiest 'red' channel factored into all the other color information.
The SD9 wasn't able to do these calculations, so the camera output Raw files that could be processed using the company's Sigma Photo Pro software. And even on its first outing, Phil recognized that lower light levels represented a significant challenge. But he also recognized the level of innovation that had gone into the camera.
Still promising
Twenty two years later, Sigma now owns Foveon and its X3 technology and says it's is working on a full-frame variant of the design. We're hoping that advances in sensor design and fabrication, along with a larger surface area to capture more light will deliver something more of the original promise of the X3 concept.
With pixel counts now far exceeding those required for most applications, the pressure for Sigma to match the latest Bayer sensors pixel-for-pixel is reduced. And if that results in a low-ISO camera that produces pixel-level perfect images, then perhaps there will still be a market for that.
When you use DPReview links to buy products, the site may earn a commission.
The Sigma SD9 was announced in February 2002, just days after Foveon had revealed the X3 technology for which it would become known. Not only was it the first X3 camera, it was also Sigma's first digital camera, following on from a history of making film SLRs.
And, while we've seen alternatives and variations of the Bayer color filter pattern, the SD9 represented one of the most concerted attempts to offer a totally different way of capturing color in digital photography. As part of DPReview.com's 25th anniversary, we look back at one of the most radical cameras we've yet tested.
The Foveon X3 works on a completely different principle to most imaging sensors. The majority of digital cameras place color filters in front of each photodiode so that each receives only specific colors of light, letting it measure how much of that color is present. This has two downsides: firstly it means that a lot of light is absorbed by the color filter and is not then available to the camera. More critically, though, it means that different colors are captured at different locations, and the chroma resolution of a sensor is much lower than the pixel count would imply. The colors of light that were lost to filtering need to be interpolated from neighboring pixels, which softens the image by sharing information across pixels and creates more opportunities for aliasing.
The X3 sensor works very differently: it doesn't use any color filters and instead essentially stacks three photodiodes on top of one another. Different colors of light can penetrate silicon to different depths, so color information can be derived based on how many photons reach the different depths within the sensor. There are downsides to this approach, too: the sensors are complex to fabricate and it's hard to match the pixel counts of the much simpler conventional designs. Also, you need a lot of light to ensure that enough penetrates into the lower layers of silicon, to correctly assess the color and keep noise under control.
The SD9 had 3.4 million pixels, with three photodiodes at each pixel, giving full color at every location from its approximately APS-C sensor (∼21x14mm). A direct contemporary, Canon's D60, had 6 million pixels, but with more standard Bayer color filter meaning that although they had a higher nominal resolution, in practice they were softer and couldn't match the Sigma's pixel-level performance. In his original review, Phil concluded that the two cameras were capturing comparable levels of detail overall.
The SD9 had two battery systems, one to power the systems you'd find on a film SLR, a second to power the digital side of the camera.
On the physical side of things, Sigma had clearly adapted one of its existing SLR designs, with separate batteries, with one set powering the camera's metering system, autofocus drive and viewfinder displays, while a tray of AA batteries powered the digital side of the camera. 2003's follow-up SD10 used only a single set of batteries, with a dedicated Li-Ion approach being adopted by 2006's SD14.
Despite being Sigma's first attempt at a digital camera it had some thoughtful touches such as an RGB histogram that updated to reflect the zoomed-in area you were reviewing, in playback mode.
The review also includes Foveon's marketing illustrations that suggest the three different layers of silicon capture blue, green and red light at the different layers. This isn't strictly true: only red photons will reach down to the lowest levels, but some get absorbed higher up. The middle layer therefore collects some red and most of the green light, with the upper layer collected some red, some green and all the blue light. This means that the contibution of each color has to derived, with the noisiest 'red' channel factored into all the other color information.
The SD9 wasn't able to do these calculations, so the camera output Raw files that could be processed using the company's Sigma Photo Pro software. And even on its first outing, Phil recognized that lower light levels represented a significant challenge. But he also recognized the level of innovation that had gone into the camera.
Still promising
Twenty two years later, Sigma now owns Foveon and its X3 technology and says it's is working on a full-frame varient of the design. We're hoping that advances in sensor design and fabrication, along with a larger surface area to capture more light will deliver something more of the original promise of the X3 concept.
With pixel counts now far exceeding those required for most applications, the pressure for Sigma to match the latest Bayer sensors pixel-for-pixel is reduced. And if that results in a low-ISO camera that produces pixel-level perfect images, then perhaps there will still be a market for that.
Just in time for the holidays, we’re excited to announce the launch of our DPReview Pop-up Shop, featuring limited edition items from our 25th Anniversary collection designed to fuel your passion for photography. In addition to goods with the DPReview logo, we’re also featuring items designed to show your love for photography.
What’s in the store? You can choose from the DPReview logo with apparel like t-shirts, sweatshirts and baseball caps. Of course, to honor DPReview’s early history, it's all designed in dark mode with a black background.
If you’re a camera nerd – and we include ourselves in that group – head over and take a look.
If you’re not feeling nerdy enough to want DPReview-branded swag, we've also designed products with photo-friendly slogans like ‘Say Cheese’, ‘Photo Department’, and ‘I ♥ Bokeh’.
Sample gallery
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Products from our 25th Anniversary Pop-up Shop.
The pop-up Shop will be available for a limited time. It will disappear on January 31st, so if you want to order something for yourself or your favorite camera enthusiast, head on over and browse the collection.
Why a Pop-up Shop?
Readers have been asking us about DPReview swag for years, so we decided to do something about it. So, if you’re one of those who’s emailed or messaged us asking where to find things like DPReview shirts, now is your chance.
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Our recent trip to New York to shoot the Sony a1 II at the Colts vs. Jets game included some downtime, giving us a chance to get some samples with the new Sony FE 28-70mm F2 GM.
The High Line is a former elevated railway that runs up Manhattan's west side, now acting as a ribbon park through the city. Its relaxed atmosphere and mixture of New Yorkers and tourists have made it one of editor Richard Butler's favorite places to grab portraits.
Follow us as we hit the High Line with Sony's latest, fastest zoom, to capture the images in our recent sample gallery.
Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4
Photo: Dale Baskin
The theme for our December Editors' photo challenge is 'Happy Holidays'.
Show us what the holiday season looks like through your lens. Whether it’s colorful lights, dazzling decorations, festive gatherings, or just a cozy moment, we want to see your best holiday-inspired photos.
For this challenge, submit one or more photos that embody this month's theme. Each person can enter up to two photos.
How it works
DPReview editors will review every photo you submit to an Editors' Challenge. We'll publish our favorites in a gallery on the DPReview homepage at the end of the month.
Submissions will open on Sunday, December 1st, and you have until Saturday, December 7 (GMT) to submit entries. User voting will begin once submissions close and will help inform DPReview Editors' picks, but will not select them. They are one factor in our evaluation. Visit the December Editors' Challenge page to see the full details.
While you're at it, don't forget to check out some of the other open and upcoming challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
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�This week, we published our initial review of Sony's latest flagship, the a1 II. As part of the camera's launch event, editor Richard Butler was able to use the camera to shoot part of an American football game. Video director Mykim Dang went along with him to capture the experience, and the result is a very entertaining video that also covers the basic specs and features of the a1 II.
You can see full-resolution versions of some of the images Richard captured, along with a series of portraits he took while in New York City, in our sample gallery.
Happy weekend, everyone! It's been a busy week here at DPReview, covering the launch of the Sony a1 II, but we've still found some accessories worth taking a look at. But first, as always, let's check out the deals.
It's almost time
Next week, the US is celebrating Thanksgiving, which is shortly followed by the traditional shopping days of Black Friday and Cyber Monday. Many brands have already started their sales, so there's plenty of discounts to be had. Next week we'll be putting out an article rounding up some of the best prices on our favorite gear, so stay tuned for that.
Photo: Richard Butler
In the meantime, Nikon's at it with the sales again. The company's latest full-frame camera, the Z6III, can be had for $200 off. When we reviewed it earlier this year, we were impressed by its versatility and capability for shooting both stills and videos.
What's that? You're not impressed by a mere $200 off? Fair enough. You can still get the Nikon Z8 for $500 off list, but the real jaw-dropper is the Nikon Z7 II, which is available for a full $1,000 off MSRP. It's a decidedly last-gen camera at this point and doesn't feature the company's latest autofocus tech that impressed us so much in the Z8 and Z6III, but if you're looking for a high-res full-frame camera to shoot landscapes with, it's hard to imagine that you'll find something better for $2,000.
A few months ago, Peak Design announced a new lineup of outdoor-focused camera bags, made of durable, weather-resistant materials and designed to be comfortable to wear on long excursions through varied terrain while carrying the gear you need to get the perfect landscape shot.
Previously, the bags – two backpacks and two slings – were available to preorder on Kickstarter, but they're now available to buy via normal retail channels. If you want to learn more about the bags, be sure to check out our full article on them here.
Red is CFexpress type A, blue is SD, and yellow is CFexpress type B.
Image: Angelbird
Angelbird, a company best known for its SSDs and memory cards, has released a new lineup of card readers called the PKT series. As the "pocket" name implies, they're meant to be carried around; the USB-C port on them is recessed to reduce wear and tear, the card slot has a cover to prevent dust or lint from building up in them and they have a write protection switch that can help prevent accidental data deletion or formating.
There are three models: one for SD cards, which can transfer data at 5 Gbps, and CFexpress type A and B models, which both run at 20Gbps through a USB-C 3.2 Gen 2x2 connection.
The PKT readers certainly aren't cheap – each one costs around $100 – but they sure do look nice. They're made out of aluminum, which you can get engraved with custom text for no extra cost, and each one features a distinctive splash of color so you can tell which reader you're grabbing at a glance. They also include a three-year warranty and a 32 cm (12.6") USB 4 cable.
PolarPro's iPhone case lets you add accessories without having to use an entire cage
Image: PolarPro
Filter and camera accessory company PolarPro has updated its 'LiteChaser' iPhone case lineup to support Apple's latest phones and add even more attachment options, including a set of effects lenses that can be used with your phone's main camera.
There are a few case options; the base one lets you attach filters and lenses and comes with a removable grip with two 1/4-20 threads and a cover that can flip down to protect your phone's cameras, while the 'ProCase' includes all that plus a cold-shoe mount that you can use to add even more mounting points to your phone. For those who like using their phone without a case, there's an easily removable 'EXO' backplate that attaches via MagSafe and gives you a slot to add filters and lenses.
The company sells a variety of specially made filters for the system, including a 2-5 variable ND, a black mist filter, and a circular polarizer, as well as an adapter that lets you use standard 67mm screw-on filters. The filters it made for the iPhone 15 version of the case are also forward-compatible, so you can still use them if you've upgraded your phone.
3 Legged Microphone
Image: 3 Legged Thing
3 Legged Thing's latest product isn't a tripod or other apparatus to mount a camera; instead, it's a set of clip-on lavalier microphones that you can use to record – you guessed it – three people at once. The company pitches the system, called the 'Str3amcase' towards content creators and videographers doing interviews, livestreams, or vlogs.
The kit comes with two transmission modules and one receiver module, which can also pull double-duty as a microphone, though given the lack of onboard recording you'll have to find a way to discretely run a cable off it. If you don't need to record a third person, you can clip it to a camera's shoe mount instead of a collar and use its 3.5mm jack to output audio. You can also connect it to a phone via USB-C.
The transmission modules have their own clips, but can also be magnetically attached to things as well. If you'd rather not use the built-in microphones, you can also attach a lavalier to them via a 3.5mm jack.
The two transmitter modules and receiver module nestle into a charging case that's powered via USB-C.
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Updated Nov 22, 2024
$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.
At this price point, your main options will be entry-level interchangeable lens cameras or enthusiast-tier compact cameras with a built-in lens. Compact cameras offer more control than a phone and a greater zoom range, but – despite having sensors that are around 60% larger – likely won't offer a huge jump in image quality compared to the latest flagship phones.
Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.
It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.
The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.
There are a few things that earn it the top place of this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma have stepped in to round-out the selection of primes and higher-end zoom lenses available for it, meaning you've got a lot of good options if you want to move beyond the kit lens that came with it.
The R10 has a powerful AF tracking system with subject recognition that makes it especially good at focusing on people, animals and vehicles. We found it both easy to use and effective. 15fps shooting with the mechanical shutter is good, though the buffer is limited.
"The EOS R10 is an approachable, capable option for stills and video"
The R10 has a relatively small body but finds room for two command dials. Most key settings can be accessed through the Q menu, making it easy to access the camera's core functions.
The R10 can shoot 4K video at up to 60p with a crop, or 30p using its full sensor width. The footage isn't the most detailed but, as in stills mode, there's the option to shoot footage for HDR TVs. Autofocus isn't as dependable as it is in stills mode.
With the EOS R10 Canon has re-created the capability and usability of its popular Rebel series DSLRs in its RF mirrorless lens mount. Now that there's a wider variety of lenses available for it, it's an excellent pick for those looking to get into photography.
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The other options
While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and an articulating display, but it's still pretty capable.
We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.
The better performer: Nikon Z50II
20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p
The Nikon Z50II is an entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. It features Nikon's '3D tracking' autofocus system, and can recognize nine subject types.
The Z50II makes a case for being the best pick for beginners, thanks to a simple and effective AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon appears to be blocking bright zooms from third-party makers, limiting your upgrade options compared with its rivals.
It has a solid grip, twin top-plate control dials, and a wide variety of customizable buttons, including one that, by default, controls color mode. Focusing is handled using the touchscreen or four-way controller.
The Z50II delivers on the basics without breaking the bank.
The Z50II can shoot full-width UHD 4K at 30fps, but requires a 1.5x crop to hit 60fps. It has video-focused features like a tally light, waveform monitoring, N-Log, and headphone and microphone jacks.
The Z50II looks like a solid camera, with several features from Nikon's higher-end cameras. The lack of a stabilized sensor could be frustrating when shooting video, and the limited lens selection could hurt the camera's ability to grow with you as a photographer.
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What about the Z fc?
Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding-off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.
The affordable kit: Sony a6100
24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture
The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though.
Rolling shutter 'jello effect' present in 4K video
Crop when recording 4K/30p video
The Sony a6100 is an entry-level APS-C mirrorless camera. It has a compact body and a 24MP sensor.
It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with, or even more capable than, the a6100's. However, it's still worth considering if you want to get both a camera body and a decent lens for under $1,000.
The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and twin control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging.
It also uses Sony's old menu system, which can be a chore to work with.
"The a6100's autofocus can effortlessly track whatever you point it at"
Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting.
The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode.
The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.
The Sony Cybershot DSC-RX100 VA is an updated RX100 V with the same 20MP Stacked CMOS sensor, fast 24-70mm equiv. lens, hybrid AF system, clever popular viewfinder and excellent 4K video quality. The 'VA' adds a larger buffer, new metering, white balance and AF modes, an improved EVF refresh rate and more.
Sony essentially created this class of cameras with the original RX100 model. A large sensor gives image quality that's still a match for a good smartphone but with the benefit of an actual zoom lens. The Stacked CMOS sensor and a built-in viewfinder add to the cost but also create a very powerful camera.
"Offers the best combination of photo and video quality, autofocus and speed of any compact camera"
Handling and ergonomics are the RX100 series' weak point, and they're most enjoyable when used as point-and-shoots in auto modes. But nothing else offers this combination of photo and video quality, speed and compactness, and the viewfinder makes it useable in a wide range of circumstances.
The RX100 VII is also worth a look. It's more expensive, and its lens is slower, taking away some of the low light performance, but it offers a much longer zoom, giving still more benefit over a smartphone.
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Best camera for content creation: Fujifilm X-M5
26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p
What we like:
Great JPEG colors with dedicated dial
Solid selection of vlogging features and UI
Good level of direct control
What we don't:
No viewfinder
AF tracking performance isn't the strongest
Unstabilized sensor
The Fujifilm X-M5 is based around an APS-C 26MP X-Trans sensor, and equipped with AI-powered subject detection autofocus.
It's aimed at creators taking pictures and video for the web, with a suite of vlogging features meant to let you shoot video that's ready to upload as soon as you transfer it to your phone and a dial that lets you easily switch between 'Film Simulations,' Fujifilm's much-loved color modes. It also has the full suite of stills features from larger, more expensive models – minus a viewfinder – and its X-mount lens mount also gives you access to the most complete range of APS-C lenses, no matter where your photography or content creation journey takes you.
Fujifilm's autofocus can recognize and accurately track several subject types, but overall its autofocus isn't as swift or reliable as its rivals and its general subject tracking isn't as dependable.
The X-M5's stills mode is among the most competent in vlogging-focused cameras
It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile.
The X-M5 can shoot up to 6.2K open-gate footage, which can be cropped for sharing on multiple platforms. Many of its video modes, such as 4K 60p, lighter-weight 4K LP mode, and electronic stabilization modes, come with a substantial crop.
Our initial impressions of the X-M5 are that it's a capable camera for its size and price but that its non-stabilized sensor and last-gen autofocus tracking may be an issue for its target audience.
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What if I only vlog?
If you plan to shoot more videos than photos, you may want to consider the Sony ZV-E10 II. Its lack of a mechanical shutter makes it worse for photography, but its autofocus tracking performance in video sets it apart from the X-M5. It also has video-centric features like a front tally light and included wind sock, and it can shoot 4K 60fps without having to crop in too tightly on the frame.
Sony also makes a compact vlogging camera called the ZV-1 II. It gives up a lot compared to the ZV-E10 II: it has a much smaller Type-1 sensor, no 10-bit video, no 4K 60fps, and, obviously, no ability to switch out lenses. In return, you get built-in ND filters, which will help if you're shooting in direct sunlight, and a built-in lens, which means that you're getting a complete package for under $1,000. Still, it's hard to recommend when cameras like the DJI Osmo Pocket 3 exist and when many phones rival it in vlogging capabilities.
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.
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