Vietnam - Mamiya 7 - Fuji Provia 100F. Photo: Community member MyReality

In last week's Question of the week, our community eagerly awaited the arrival of 2026 with a healthy list of New Year's resolutions, ranging from committing to a better understanding of current gear to rethinking old habits. Many of you also said, "I need to slow down!" when preparing for that perfect shot. While a great opportunity doesn't always wait for us, it was clear from your resolutions that you felt it would help to take more time setting up the shot when possible.

Sharing your resolutions

For the resolutions quoted below, we aimed to showcase a variety of experiences and interesting stories. I was especially impressed with SJSNIKON's commitment to their photo collection of 60,000 images dedicated to Dutch cultural heritage. Nice work! And great job faunagraphy for capturing a great shot of that tiger without it capturing you first :-).

For the photos shared, we were able to include nearly all of the submissions. Thank you for including a photo with your responses when possible. It makes it a lot more fun when we can share them with your comments.

Read on for a spotlight selection of contributions, and then join our forum community to share your great photos and the stories they tell.

DaveZSmitty: I recently bought a refurbished D7500, and I'm getting used to using the back LCD to make my changes, unlike my D7000, which had a top screen behind the shutter button. So, I'm training my muscle memory for the new camera in 2026.

tilted_horizon: I'm a primes guy, but I'm going to do the opposite and use zooms as my main lenses, with the goal of getting better at seeing compositions within a bigger scene and zooming in to isolate them. Also, be aggressive in deleting pointless photos. I think it was HCB who said something like, There is no salvage, there is only yes or no. If I stick to that philosophy, I'll have about five keepers in 2026 :).

Hike Pics: To sell/donate a LOT of my cameras, at least half of them. They are taking up way too much space in my studio. Funny thing is, I said the same exact thing early this year!

Click here to see everyone's resolutions

A wild opportunity to capture a great photo with a tiger. Photo: Community member faunagraphy

faunagraphy: My New Year's resolution is to try to be less of a technical perfectionist. This goes against my nature - often, I am out in nature experiencing things that would be the envy of many people, and yet, I return home unhappy because my photos fall short of my idea of perfection. They could always be more detailed or sharper; perhaps the shutter speed was too low or too high, or perhaps my compositions should have been wider or tighter. If a photo is slightly out of focus, or slightly blurry, or without the max possible amount of detail, it's a "lost opportunity" - no matter how compelling a story it tells.

Satyaa: Figure out how to get good value from using my gear, without buying more gear that I "want" (not need).

SJSNIKON: Happy New Year, everybody! My New Year's resolution in the photographic field is to prepare my 60,000+ photo collection on Dutch cultural heritage for transfer into the collection of the cultural heritage organization where I work when I retire (in a few years).

Keith Cooper: Two related things - print more and print bigger, and produce at least one large print that stops people, makes them look, and prompts them to wonder how I did it. By large, I mean needing at least 64" roll paper.

A lonely tree on a grassy hill-top with the sun shining through. Photo: Community member DuckShots

DuckShots: Funny you should ask, because I had just made a list. Tired of my wall hangings, which need a bit of freshening up with recent photos. I need to be more disciplined in shooting and filing self-portraits, something I do to maintain my skills in light of the absence of people who will sit for a portrait. I shoot every day, a practice I will maintain, but these shoots should include more exploration. No more books. I need to go back and review what I have.

dollarslice: Think about what else I can do with existing photography versus constantly feeling the need to go shoot more. Last year I put together a small book of black and white photos I've made, next I want to make one of my color work. I also desperately need to back up and organize all my files.

AfzalKhanVisuals: From 2026, I am planning to change a few things in my photography. These ideas are not entirely new, but they feel necessary. One thing is to push photography further into storytelling, not just images, but the art of stories. Stories of human behavior, fleeting moments, nature, and the quiet truth of being human.

Sam Bennett: I want to leave a more substantial "paper trail." So much of what I do is for social media - whether it's for myself or the venues that I work for. That's all well and good, but as I get older, I want to ensure that what I do is available in a tangible form. So I've started printing more - even if it's these tiny Instax prints. When I photograph bands, I typically finish processing the "quick picks" for the marketing team, so it's easy to print these out and hand them to the band.

Taken as a whole, these resolutions show that you are thinking strategically about what you want from your photography this year. There’s less emphasis on chasing perfection or new gear, and more on printing work, telling better stories, editing with purpose, and creating something that we can all admire.

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums. We can't wait to read and share your stories!

What are your resolutions for this year? Click here to join the discussion!

Image: Fujifilm

Fujifilm has announced a surprising addition to its popular Instax camera line: the Instax Mini Evo Cinema. The camera builds on Fujifilm's existing Evo lineup, which focuses on a hybrid of digital and instant film, adding the ability to record video. It offers a handful of unexpected features, including an "Eras Dial."

The Mini Evo Cinema features a design vaguely reminiscent of the Fujica Single-8 camcorder from the 1960s. It shares the vertical orientation and a trigger for recording video. You won't be recording feature-length films with it, though, as it's only capable of 15-second clips. You can view videos instantly on the small rear display, and then choose individual scenes to print to Instax film. The Instax prints also feature a QR code that allows you to play the video, though Fujifilm notes that it will only store videos on its servers for two years, so you'll want to be sure to download them before that time runs out.

When you print a still from a video, a QR code is added. Image: Fujifilm

Should you want to make the camera look even more retro, there's an optional viewfinder attachment that converts the small screen into an electronic viewfinder. There's also an attachment to make the grip more prominent, and a dedicated case.

The camera also features an "Eras Dial" that would make Taylor Swift proud. It offers 10 different settings that change the look of the footage to recreate the feel of each era, spanning from 1930 to 2020. It also adds sounds, such as the whir of film reels, for a more complete experience. Each effect provides 10 levels of adjustment to fine-tune the result.

The "Eras Dial" allows you to change the look and sound of your videos. Image: Fujifilm

On the stills side of things, you trigger a print by using a lever that Fujifilm says is designed to evoke the feel of winding film. Like the other Evo cameras, you can print images you take with the camera like a traditional instant camera, or print photos from your smartphone.

There's a small display on the back of the camera. Image: Fujifilm

The camera is equipped with Wi-Fi and Bluetooth, and connects to the Instax app, which allows you to view photos and videos captured with the device. You can also combine video clips to create videos up to 30 seconds long with cinematic opening and ending templates. There are also poster templates for you to create movie posters by adding text.

The camera is only available in Japan, and is slated to go on sale January 30th. Fujifilm hasn't shared full specs – such as what size or resolution sensor the camera is using or battery life – or a price as of yet. For now, we'll have to wait on details, and to find out if it will be available elsewhere.

Image: Godox

Godox has announced an update to its popular portable strobe, the AD100Pro II. The new model retains many of the well-regarded features of the original, while introducing worthy refinements such as an improved cooling system and updated wireless control.

Like the first iteration, the AD100Pro II delivers 100Ws of power, which can be adjusted in nine steps. However, Godox upgraded the cooling architecture of the flash, and it's now capable of 60 to 100 consecutive full-power flashes without overheating. It also features a higher-capacity 3300mAh battery (up from 2600mAh in the original), rated for up to 490 full-power flashes, and rechargeable via USB-C.

Godox added a group indicator light on the body of the flash, which uses 16 color options to indicate different groups during multi-light setups. The color-coded lights make it much easier to see which group a specific unit is assigned to at a glance, allowing for faster adjustments. A new full-color display on the back makes it easy to see and adjust settings. While the flash still uses the Godox 2.4GHz X wireless system, it now also supports 433 MHz connectivity. Godox also added compatibility with its new X3-series triggers, with quick-sync pairing with the X3 and X3Pro for faster setup time.

Despite the new features and larger battery, it's still very lightweight, coming in at 564g (1.2lbs). It's also still very compact, measuring 122.2 x 76.0 x 76.0mm (4.81 x 2.99 x 2.99"), making it easy to toss in a bag for shoots out of the studio.

Image: Godox

Otherwise, the AD100Pro II offers familiar features. It offers a recycle time that ranges from 0.01-1.5 seconds, depending on flash power. It supports TTL compatibility for automatic exposure, and with high-speed sync, you can shoot at shutter speeds as fast as 1/8000s. It also supports front and rear curtain sync. A built-in magnetic mount enables compatibility with Godox's round-head accessories, allowing for fast and versatile light modification. It offers a transmission range of 100m (328') and a 5W modeling lamp with 10 brightness levels.

The new Godox AD100Pro II is available for preorder now for $299 with an expected shipping date of January 27.

Buy now:

Photo: Mitchell Clark

Before the holidays, we put the Sony a7 V in front of our studio test scene to see for ourselves how good its dynamic range performance is. Now that we're fully into the swing of 2026, it's time to take a look at what our studio scene reveals about its image quality.

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

Comparing processed Raws at base ISO, the a7 V's 33MP sensor provides a similar level of detail to cameras with similar resolutions, such as its predecessor and Canon's EOS R6 III, while offering a bump up from its 24MP competitors. It does appear that Sony has slightly tweaked the formula for the camera's color response compared to the a7 IV, and we've found the JPEGs it puts out to be pleasing.

At high ISOs, the a7 V's Raws show a touch more noise than those of its competition, a trend that continues as you push your ISO higher, but its JPEG engine does a decent job of reducing noise while still retaining details. Its ISO range extends a stop higher than the Canon EOS R6 III's, but in most circumstances, this simply means you have a wider range of settings that provide an unusable image.

Overall, the a7 V's images are very similar to the a7 IV's, but its partially stacked sensor brings better low-ISO dynamic range and burst rates without any noticeable impact on image quality.

Image: Nikon

Nikon has announced the Nikkor Z 24-105mm F4-7.1, a budget zoom lens for its full frame cameras. It's designed to be lightweight and relatively compact, despite its relatively versatile focal range.

The lens is made up of 12 elements in 10 groups, with one ED element and two aspherical lenses. It has a minimum focusing distance of 0.2m (7.9") on the wide end, which increases to 0.28m 11") on the long end, which lets you obtain 0.5x reproduction from 70 to 105mm.

It's a relatively light lens at 350g (12.4oz), and is only 107mm (4.2") long when retracted, so it won't be too hard to carry around with you. It has a 67mm thread for filters. While the company says it's "designed with consideration for dust and drip-resistance," we wouldn't expect it to have the level of weather sealing as the company's more premium lenses.

As most modern budget lenses do, the 24-105mm F4-7.1 uses a stepper motor for autofocusing, which Nikon says will provide "fast and quiet autofocusing" for stills and video shooting. The lens also has a customizable ring, which you can set to control a variety of settings like focus, aperture, exposure compensation or ISO.

It's an interesting addition to Nikon's lineup, especially considering its availability as a kit option for the company's budget full frame entry, the Z5II. The company's 24-120mm F4 S has been widely lauded and offers slightly more reach, but is more expensive and heavier. The same is true of the 24-200mm F4-6.3, another Z5II kit option that offers even more reach.

The Nikon 24-105mm F4-7.1 will be available starting in "mid January" at a suggested retail price of $550. It'll also be available in a kit with the Z5II for $2200, around $350 more than the camera's standalone retail price.

Manufacturer Samples

Photos provided by Nikon

Nikon Nikkor Z 24-105mm F4-7.1 specifications:

Image: Meike

2026 is kicking off with quite the selection of fast prime lenses for APS-C cameras. First, 7Artisans unveiled a trio of F1.8 lenses. Now, Meike has released the AF 23mm F1.4 lens (35mm equiv.), which is available for Sony E and Nikon Z mounts.

Meike's latest lens features autofocus powered by an STM motor, which Meike claims is quiet and responsive. It's compatible with face and eye detection, including during video recording. Meike also says there's minimal distortion and focus breathing. It can focus as close as 0.25m (9.8").

Image: Meike

The optical design comprises 13 elements in 11 groups, and it features a 9-blade aperture. It offers a 58mm filter thread. It's relatively compact and lightweight to feel at home on smaller APS-C bodies, measuring 66.5mm x 81mm (2.6 x 3.2") and weighing 298g (10.5oz) for the E mount model, and 302g (10.6oz) for the Z mount version.

Unlike many budget lenses, the Meike 23mm F1.4 offers some on-lens controls. That includes an aperture ring and an AF/MF switch. It also features a water and oil-repellent coating on the front element and offers a USB-C port for firmware updates. The lens also supports EXIF data.

The Meike AF 23mm F1.4 is available for purchase as of today for E and Z mounts through Meike's website for $290. The product page also has references to an X mount version that doesn't seem to be available yet, but hopefully Fujifilm users don't have to wait long for that addition.

Buy now:

Image: 7Artisans

7Artisans has launched a new series of autofocus lenses for APS-C cameras. The 'Lite' lineup, which is currently only listed on the company's Chinese-language website, consists of 25mm F1.8, 35mm F1.8 and 50mm F1.8 lenses made for Sony E mount and Fujifilm X mount.

The new Lite series, as the name suggests, focuses on compact size and low weight. All three lenses weigh between 178g (6.3oz) and 183g (6.5oz). They share the same dimensions, measuring 67mm by 51mm (2.6 x 2"), and all use a 58mm filter thread. That means users don't need to buy separate filters for each lens, and it makes the trio easier to use with a gimbal as well.

A sample image listed on the 7Artisans website for the new series. Image: 7Artisans

The 25mm lens (37mm equiv.) features an optical design comprised of eight elements in five groups. The 35mm (52mm equiv.) utilizes seven elements in six groups, and the 50mm (75mm equiv.) of six elements in five groups. 7Artisans says that all three lenses use high-refractive-index glass to reduce aberrations while keeping weight minimal. All three lenses feature a nine-blade aperture and an aperture range of F1.8 to F16.

The Lite lineup's autofocus is powered by STM motors, with support for eye detection and tracking. The 25mm lens can focus as close as 0.25m (9.8"), the 35mm at 0.35m (13.8") and the 50mm at 0.55m (21.6"). Aside from a focusing ring and a USB-C port for firmware updates, the lenses lack any additional controls, which isn't surprising given their budget price.

The three lenses aren't yet listed on the 7Artisan's English website. Interestingly, they were initially available for preorder through B&H, but those listings have since been removed. When the pages were up, they were listed at $125 each with an expected shipping date of May 04, 2026.

Photo: Canon

Canon EOS-1 Series cameras have long set the benchmark for professional sports photography. Now, as Canon’s first flagship professional mirrorless camera, the EOS R1 carries that legacy into a new era – combining revolutionary autofocus, breakthrough speed and seamless connectivity. Here are five ways the EOS R1 keeps you ahead on every assignment.

Photo: Canon

1. Game-changing autofocus

The EOS R1 elevates subject detection and tracking with its next-generation Dual Pixel Intelligent AF. Its deep learning system delivers subject-aware tracking that feels more responsive, agile and reassuringly ‘sticky’ when the action turns unpredictable. The Accelerated Capture system maintains accuracy even when subjects slip briefly out of view, and the latest firmware introduces support for tracking cleanly through goal netting. Powerful Eye Control AF shifts focus at a glance, while cross-type AF points enhance precision down to -7.5EV – ideal for indoor arenas and nighttime matches. With the EOS R1 managing tracking so reliably, you can focus on composition and timing.

Photo: Canon

2. Made for defining events in sport

The EOS R1 redefines Canon’s flagship camera performance. Its configurable silent continuous shooting of up to 40 fps allows you to fine-tune settings for any event and capture split-second drama with remarkable clarity. Pre-continuous shooting buffers up to 20 frames before you release the shutter, helping you capture the decisive moment – even if you’re a heartbeat late. Thanks to EVF Viewfinder Priority, a built-in face sensor wakes the viewfinder before it reaches your eye, ensuring it’s ready to shoot the instant the action unfolds.

Photo: Canon

3. Seamless workflow – from arena to office

For pro sports photographers, the real race begins after the shot. Getting images to editors and clients first is critical – and the EOS R1 keeps you ahead. Multiple MIMO antennas, Wi-Fi 6E and 2.5G BASE-T ethernet enable stable, ultra-fast transfers when every second counts. Direct FTP upload and in-camera voice memo tagging streamline delivery, so files reach press or socials faster. Designed for modern workflows, the EOS R1 lets you stay immersed in the action while ensuring every image arrives without delay.

Photo: Canon

4. Smart assistive features

Canon’s most advanced assist functions give photographers the freedom to focus on the moment, not the controls. Action Priority tracks players based on their movement near the ball, while Register People Priority locks onto the most important person in crowded scenes. Deep learning isn’t just for autofocus performance: it also powers in-camera upscaling, allowing you to crop into the action and still deliver images at up to 4x their original resolution.

Photo: Canon

5. Durable design, built to perform under pressure

A weather-sealed, heat-dissipating body, clad in a newly designed textured rubber grip, provides assured handling in all conditions – from rain-lashed sidelines to wind-chilled ski slopes. Even the large, high-resolution EVF features an anti-fog design for a clear view in the cold. For peace of mind, Pro CPS (Canon Professional Services) membership provides direct access to a pro rep, on-site support and service centers across Europe for fast, factory-quality repairs and maintenance.

Sign up to get the latest on Canon’s EOS R1 and what it can do for you.

The Leica M11 uses a Sony sensor. Image: Leica

Leica is reportedly developing a proprietary sensor with an advanced design, according to Dr. Andreas Kaufmann, Chairman of the Supervisory Board of Leica Camera AG. Speaking as a guest on the Leica Enthusiast podcast, which was reported by Leica Rumors and PetaPixel, he shared a very brief (and vague) glimpse into the company's ambitions.

The Leica Enthusiast podcast is in German, so we relied on machine learning translations. While the episode touches on a variety of topics, the most noteworthy part is that, partway through, Dr. Kaufmann unveils, "We are also developing our own sensor again." When asked about the development time, he simply said "five years." It isn't clear whether that's how long Leica has been working on the project or if it's the expected timetable for a finished product, but to us it seems likely that it's the former.

Dr. Kaufmann then briefly went into some of the history of the sensor in the M series to provide some context. He explained that the M10 utilized a sensor that was entirely developed in Europe. Development was conducted by AMS in Graz, Austria, with design work handled by AMS’s Dutch development office, and fabrication taking place at a French foundry in Grenoble. With the M11, though, Leica switched to using Sony sensors.

"Work began on developing a proprietary sensor again, with a more advanced design."

That appears to be changing, however. When discussing the switch to Sony sensors in the M11, Dr. Kaufmann added that "at the same time, work began on developing a proprietary sensor again, with a more advanced design. And I think we have made considerable progress there." Unfortunately, that brief comment is all the information that's currently available. "At the moment, we cannot say more," he said.

There's a broad range of things that "developing a proprietary sensor" could mean. It could involve anything from building its own sensor from the ground up (which would be a massive undertaking, especially for a company of Leica's size) to customizing an existing design from another manufacturer. For now, as per usual, we'll just have to wait and see what Leica is actually up to.

Your best photos of 2025

As 2025 drew to a close, we invited DPReview readers to share their best photos from the past year in our "Best photo of 2025" challenge. The response was fantastic, with submissions ranging from breathtaking vistas to stunning macro photos. Thanks to everyone who participated in this challenge!

As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

To view all the submissions and discover which photos resonated most with your fellow readers, please visit the challenge page.

If you'd like to participate in other photo challenges, you can visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

St. Magdalena under the stars

Photographer: JT26

Photographer's statement: A crystal clear night at the Church of St John. I love something that gives scale to the image. This church is surrounded by a jagged range of mountains; the lone figure (me) with a bright hand torch gives a small bit of scale in the scene.

Equipment: Leica SL3 + Sigma 16-28mm F2.8 DG DN

Budgerigar love

Photographer: Lance B

Photographer's statement: A male Budgerigar feeding his female mate while she is in her nesting hollow. While I was there, he was most attentive and came back numerous times.

Equipment: Nikon Z8 + Nikon Nikkor Z 600mm F4 TC VR S

Halloween frenzy

Photographer: fatplanediaries

Photographer's statement: It hasn't been that long since we graduated, but we still party like we're in college. Taken during the annual Halloween party with my friends, all 200 of us stuck in a Brooklyn backyard. It was packed, it was uncomfortable, and it was fun as hell.

Equipment: Sony a7R IV + Sony FE 20mm F1.8G

The heart

Photographer: GreenFirePhotography

Photographer's statement: This is the Heart Nebula (IC 1805), a colossal emission nebula located about 7,500 light-years away in the constellation Cassiopeia. This stellar nursery is quite a hotbed of activity, centered around a young open star cluster called Melotte 15. The energetic winds and radiation from these massive, newborn stars are the reason the nebula's gases are lit up so brightly, essentially acting as the power source for this entire cosmic light show.

This image was created using the Hubble Palette, a clever technique that maps the light from ionized sulfur, hydrogen, and oxygen gases into different color channels to create this vivid and detailed portrait. Shot over three nights in late October, this is a stack of 161 images broken into 5-minute exposures.

Equipment: ZWO ASI2600MC + Williams Optics Red Cat 51 V2

European sea eagle

Photographer: Arnold448

Photographer's statement: I visited a falconer to practice capturing birds in flight. The falconer is well known for flying his birds in the most natural way, and I was right on the water's edge on my belly on a cold November morning. I captured this shot in full flight with the wings touching the water.

Equipment: Canon EOS 5D Mark IV + Canon EF 500mm F/4 L USM

Two of a kind

Photographer: Charles Baxter

Photographer's statement: Patience paid off while seated in my home garden observing wisteria blooms after noticing the Gulf Fritillary butterflies fluttering to the colorful purple colored petals. Handholding my Olympus camera with a long lens, I got a shot of two visitors.

Equipment: Olympus OM-D E-M1 Mark II + Olympus Zuiko Digital ED 50-200mm 1:2.8-3.5 SWD

January sunrise by the Pacific

Photographer: User1107186962

Photographer's statement: I was driving with a friend to watch the sunrise over the Pacific Ocean, but we realized we were running late. The fog was so thick along the way that I almost lost hope of catching the sunrise at all. Then, before we could even make it to the ocean, the sun began to rise while we were still on the road. That's when we stumbled upon two male elk grazing in front of the glowing horizon. We stopped the car, and I quickly grabbed my camera, running around to line up the elk with the rising sun. This photo is a reminder of that moment, as if the elk and I were both quietly watching the world awaken beneath the rising sun.

Equipment: Fujifilm X-T5 + Fujifilm XF 70-300 F4-5.6 R LM OIS WR

London after the rush

Photographer: Andrea Corrado

Photographer's statement: As the working day ends, London slows but never stops. People spill into the streets, the red bus gliding through the junction as the city shifts from work to life.

Equipment: Nikon Z8 + Nikon AF-S Nikkor 85mm F1.8G

Serengeti 2025

Photographer: Vesselin Yankov

Photographer's statement: This photo was taken in February 2025, in Serengeti National Park, Tanzania. This is the period between the two rainy seasons, when the grass has grown, and nature is lush and green. The sunset on that day bathed everything in incredible light. Zebras and various species of antelope were grazing everywhere as far as the eye could see, undisturbed by predators.

Equipment: Fujifilm X-S20 + Sigma 100-400mm F5-6.3 DG DN OS

Mystical morning on the bayou

Photographer: JohnnyBE

Photographer's statement: Out on a boat during a fog-filled November morning, this Texas bayou was transformed into a dreamlike landscape, as backlit Spanish moss draped from grand cypress trees emerged from the mist and autumn colors slowly strengthened with the rising sun.

Photographing from a slowly drifting boat in low light, using a zoom lens and requiring as much depth of field as possible, presented a significant challenge. Pushing the ISO was necessary to get this all to work.

Equipment: Nikon Z8 + Nikon Nikkor Z 70-200mm F2.8 VR S

Excavating pileated

Photographer: The Chad

Photographer's statement: While hiking in the woods, I came across a pair of Pileated Woodpeckers excavating a cavity in an old madrone tree. This shot shows the male spitting out the wood chips. Unfortunately, this is near a popular hiking path, so the nest was eventually abandoned.

Equipment: Nikon Z8 + Nikon Nikkor Z 400mm F4.5 VR S

Vanishing point

Photographer: jonestheroad

Photographer's statement: University of Nottingham Jubilee Campus: I was drawn to the stark, futuristic form of the building and chose a low viewpoint, a wide-angle lens and the rails on a bench to provide dramatic leading lines

Equipment: Panasonic Lumix DMC-G1 + Panasonic Lumix G Vario 7-14mm F4 ASPH

Man meets the sea

Photographer: Andreas Graf

Photographer's statement: The sculpture "Man Meets the Sea" was created to mark the Danish municipality of Esbjerg's 100th anniversary in 1995. It is very impressive, but it is best appreciated with people nearby to give a sense of its size. Traveling alone, I had no one to "put in place," so I just had to wait. I didn't know what exactly I was waiting for until, all of a sudden, having waited for more than an hour in windy conditions, there it was... that magic moment when four people were right where I wanted them to be, with each individual taking a different position relative to their man. It really made my day, and a great shot.

Equipment: Nikon Z6III + Nikon Nikkor Z 24-120mm F4 S

Northern pygmy owl

Photographer: CheeYong

Photographer's statement: Tiny yet mighty, I was fortunate to find this little owl and spent the day watching this little creature hunt prey that was similar to her size. One of the most amazing owls to photograph this year.

Equipment: Sony a1 + Sony FE 200-600mm F5.6-6.3 G OSS

The stare

Photographer: NMindel

Photographer's statement: The Pantanal of Brazil offers a rare opportunity to see Jaguars in their natural habitat. It was near dusk when I saw these eyes staring at me, and I was lucky enough to get the shot.

Equipment: Sony a1 II + Sigma 500mm F5.6 DG DN OS Sports

The Matterhorn above Zermatt

Photographer: MatzelPhotography

Photographer's statement: Having only been in Switzerland for two days and with great weather, I decided to take a 3-hour train ride to reach my personal highlight of this two-week backpacking trip. Arriving in Zermatt, the view was better than I could have ever imagined. After hiking for the entire day on just one bottle of water and two croissants from the train station, I was on my way back down to Zermatt. Coming down and seeing the light fading, I was frantically searching for a location to set up my tripod. Then, behind some snow-covered bushes, I spotted an opening with this exact view. What a Day

Equipment: Panasonic Lumix DC-S5 + Panasonic Lumix S 20-60mm F3.5-5.6

Fiery Skipper in morning dew

Photographer: Bmark

Photographer's statement: This photo was taken at a local wildflower and native plant garden. The conditions were near ideal with a shaded location and this beautiful Skipper sitting high upon the plants.

Stack of 40 images, stacked in HeliconFocus.

Equipment: Nikon Z8 + Sigma APO Macro 180mm F2.8 EX DG OS HSM

Fantastic journey

Photographer: HaroldC3

Photographer's statement: It was a late summer day, and my wife and I went for a hike in the Columbia River Gorge (on the Washington side). I had not researched the hike very much, but had been in the area many years ago. We had done most of the hike, and it was rather uneventful photographically. But alas, at the end of the hike was this waterfall. And as I started to head back, I felt thankful to have found it.

Taken with a full-spectrum camera using an IRChrome filter.

Equipment: Nikon D810 + Tamron 17-35mm F2.8-4 Di OSD

Chip Cruz

Photographer: unkleboo

Photographer's statement: My friend Chip Cruz and I were collaborating on a video shoot for his website. He is a guitarist. He asked me to do some drone stuff for him, so we went out onto frozen Lake Mendota in Madison, Wisconsin, and got some really cool stuff on the lake. It was something like 8ºF (-13ºC) out that morning, so he suffered a bit to get this shot.

Equipment: DJI Mavic 3

Misty morning

Photographer: supernaut

Photographer's statement: Landscape photography in Tuscany. This was one of the last photos taken that morning, as the ground fog began to rise and shortly afterwards enveloped everything in its soft blanket.

Equipment: OM System OM-1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

The December Editors' photo challenge

The theme for our December Editor's photo challenge was "Shades of Gray."

For this challenge, we asked you to share your best black and white photography. We received entries ranging from fine art to candid portraits and everything in between. As usual, DPReview readers didn't disappoint, submitting stunning images that demonstrate the raw power of monochrome.

As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you'd like to participate in other photo challenges, you can visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Dwarf dogwood

Photographer: Krummj

Photographer's statement: I took this photograph on Lena Point, in Juneau, Alaska, back in 2012. This is in the panhandle, a rainforest, on a bluff overlooking the channel. I used a tripod and pointed the camera straight down, and used manual focus. I was quite happy that all three blossoms were in focus. We have a great print of this hanging in our bedroom.

Equipment: Olympus E-5 + Olympus Zuiko Digital ED 12-60mm 1:2.8-4.0 SWD

Sunset buffalo

Photographer: MRK83

Photographer's statement: Three cape buffalo at the Night Hide at Zimanga private game reserve in South Africa. There is subtle flood lighting, and the last light from the sun is visible through the clouds. Guests usually have one session in the Night Hide. For that session, they are taken to the hide in the late afternoon and picked up the next morning. There are four bunk beds, and guests take turns to nap. On this night, we saw all the big five (elephant, lion, rhino, leopard and buffalo), but the rhino and leopard seemed to know we were there and did not come to the waterhole. This was the best image that I got.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

The lecture

Photographer: Birddogman

Photographer's statement: We took my beloved Joy to one of the family farms for her first upland bird hunt as an 11-week-old puppy. She spotted a bunch of birds about 300 yards away in the cut corn. Rather than carefully stalk them in an effort to get them to hold for a point, she charged them at full tilt.

When they all flushed, she then proceeded to chase them and bark them into the next county. She came prancing back to me and Chase, my older, experienced Brittany, proud as puppy punch and ready for great praise for her "achievement." Instead, poor Joy got a lecture from both Chase and me to the effect that "You are supposed to be a pointing dog, not a chasing dog!" Joy's chagrined expression, looking at Chase, says it all.

Equipment: Fujifilm X-T1 + Fujifilm XF 18-55mm F2.8-4 R LM OIS

Lucky tern

Photographer: vbuhay

Photographer's statement: I was hoping to catch one of those Terns diving for minnows at the foot bridge in Bolsa Chica Wetlands when this bird with a catch in its beak flew right in front of me, no more than 10 feet away. I was lucky to have pre-set up my camera, and I instinctively just pointed and squeezed the shutter release, and four frames later, it was gone.

Equipment: Nikon D750 + Tamron SP 150-600mm F5-6.3 Di VC USD

Framed!

Photographer: JacquesC

Photographer's statement: While walking in Dublin to do some street photography, I spotted this guy and immediately decided to photograph him. It took only seconds when the right opportunity appeared, and I was able to capture him in a split second while he was perfectly framed by other pedestrians. This shot inspired me to shoot street for many years afterwards.

Equipment: Nikon D700 + Nikon AF-S Nikkor 70-300mm f/4.5-5.6G VR

Oregon coast sunset

Photographer: High Desert Hiker

Photographer's statement: On a trip to the Oregon Coast, we found this rock channel at sunset. Timing the wave motion, matching the shutter speed to the water speed and maintaining an awareness for an abnormally high wave was a good challenge. While I concentrated on capturing the image, my wife let me know when a large incoming wave indicated that a retreat would be advisable. Out of roughly 40 images captured, this was the best.

Equipment: Nikon Z7 II + Nikon Nikkor Z 14-24mm F2.8 S

Down the waterfall

Photographer: TorsteinH

Photographer's statement: I was walking around a local lake. At the end of the lake, there is a dam to regulate the water level. There I found the boat that had taken a trip down the waterfall. I made several photos I was pleased with, and this one was the best in black and white.

Equipment: Olympus OM-D E-M10 II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

One step at a time

Photographer: pybcan45

Photographer's statement: Killing time at Musée des Beaux Arts de Québec, I was impressed by the architecture of those stairs, so I spent more time taking pictures around the stairs than inside the expo halls.

Equipment: Olympus OM-D E-M10 III + Panasonic Lumix G Vario 12-60mm F3.5-5.6 ASPH Power OIS

Flight 93 memorial

Photographer: Drogo B

Photographer's statement: On a clear January day in 2020, I was stunned and humbled by the stark lines of the Flight 93 Memorial. I cannot remember a federal structure ever having such an effect on me.

Equipment: Fujifilm GFX 50R + Fujifilm GF 32-64mm F4 R LM WR

Tides of silence

Photographer: MJG7328

Photographer's statement: I call this photo "Tides of Silence." It explores the desert not as landscape, but as rhythm and breath. I'm drawn to dunes as sculptural forms shaped by wind and time, where light glides across curves and settles into deep, quiet shadow. My approach to the dunes is restrained, emphasizing soft, luminous crests balanced against rich, matte darkness, allowing shadow to carry as much meaning as light. I find the dunes move like waves held in suspension, inviting contemplation rather than spectacle.

This image was taken with a medium-format digital camera and processed in black and white with a focus on tonal control, selective dodging and burning, and careful management of midtones and shadow depth. The final image emphasizes a matte black point, soft highlight rolloff, and restrained micro-contrast to preserve texture and achieve a quiet, sculptural quality.

Equipment: Fujifilm GFX 100S + Fujifilm GF 100-200mm F5.6 R LM OIS WR

Posing and opposing

Photographer: Bert959

Photographer's statement: Panganales, Madagascar. When I engaged the two girls with my camera, one of them immediately posed as a seasoned photo model. The other girl played the maybe game, rolling eyes sidewise, and unveiling a banknote in her hand. I convinced her with a smile. The black-and-white rendition much enhances the expressivity of the initial color frame.

Equipment: Leica SL2 + Leica Summilux-SL 50mm F1.4 ASPH

Manhattan Bridge

Photographer: TJ Olympus

Photographer's statement: Iconic view of one of the towers of the Manhattan Bridge framed by surrounding buildings, as seen from Washington Street in Brooklyn. The bridge, one of three classic bridges connecting Brooklyn and Manhattan, which opened in 1909, has attracted onlookers and photographers for over 100 years. The Empire State Building, built in the early 1930s, ended up being framed on the east side of the Manhattan Bridge's arched footings, as only seen from Washington Street.

Equipment: Leica M8 + Canon 50mm f/1.8 LTM

Winter tree snow fog

Photographer: James A Rinner

Photographer's statement: The day after a heavy snowstorm last year was very warm, creating fog in our backyard. This lone tree on the other side of the creek stood out of the fog. I grabbed my camera and walked through the deep snow to frame this shot.

Equipment: Leica M-Monochrom + 28mm Minolta M-Rokkor

Winter tree snow fog

Photographer: YaserDelbaz

Photographer's statement: I took this photo in a classroom. When I was teaching low-key photography. A single ray of light and a spiritual feeling emerged from this scene in the camera. I loved it myself.

Equipment: Canon EOS 6D + Canon EF 24-105mm f/4L IS USM

Death Valley dune

Photographer: mesaguy

Photographer's statement: A sand Dune in Death Valley, California, taken with a custom-made panoramic view camera. Shot using 120mm color transparency film and converted in Photoshop to a black and white image.

Equipment: VPan custom view camera

Distant mourning

Photographer: Occams Razor

Photographer's statement: This photo was taken in Fez, Morocco. We arrived in the late afternoon, and while most of our group headed towards the market, my wife and I walked in the opposite direction and stumbled upon this gathering at a distance. With the sun coming from a somewhat backlit angle and the atmospheric haze, a memorable scene was created, especially with the graduated tones in the background.

Equipment: Canon EOS R5 + Canon RF 24-240mm F4-6.3 IS USM

Some shade

Photographer: coolpeeks

Photographer's statement: Saying that Tokyo gets warm in the summer is an understatement. Even large buildings get torn down and rebuilt quite frequently, so that coming back to the same place a few years apart often results in very different sights. This one was taken last summer, at the Harajuku Junction, across from the Tokyu Omotesando mall, at what would shortly be the Dior Tokyo Jingumae store.

Equipment: Nikon Z8 + Tamron 28-75mm F2.8 Di III VXD G2

Time

Photographer: Dais

Photographer's statement: Musee d'Orsay was formerly a railway station, and its large clock here allowed light to flood in. The contrasting silhouettes and the clear passing of time motif made for a fun composition.

Equipment: Fujifilm X-T2 + Fujifilm XF 23mm F2 R WR

Iguazu Falls

Photographer: Roberto Peradotto

Photographer's statement: On a cold July morning, the waters of the Iguazu River were fast-flowing and strong. I set up my tripod as close as I could to the falls, having to dry the lens frequently.

Equipment: Nikon D60 + Sigma 10-20mm F4-5.6 EX DC HSM

Milkweed seedspill

Photographer: eloquenteye

Photographer's statement: The surging regenerative power of biology! Seed pod collected in autumn, brought indoors, allowed to dry out, and ready to burst by January. Photographed in a studio with one light.

Equipment: Canon EOS 5D Mark II + Canon EF 24-105mm f/4L IS USM

By now, you may have seen our articles calling 2025 one of the most interesting years in recent history when it comes to camera releases and new lenses. We got the DPReview editorial team together to discuss why that might be, and to go a bit more in-depth on what made some of last year's most out-there releases so interesting.

Part 2

Heads up: this article is the second part of our wish list and predictions article for 2026. If you missed the first part, you can read it here (preferably before continuing this one; the outro will seem completely out of the blue if you haven't read the intro).

Click here to read Part 1

Canon - What we expect

The original EOS R7 was released in mid-2022, so it's probably about due for a refresh, possibly with a faster sensor and improved ergonomics. Whether we actually get one or not will likely be a bellwether for how much faith Canon has in the future of APS-C; at the moment, it has a very complete lineup of cameras, but seems to have left pretty much all the work on lenses to third parties like Sigma and Tamron (a tale as old as time). If the EOS R7 II comes out as a strong offering, it'll be a good sign for the future of Canon's mirrorless APS-C cameras.

We also wouldn't be surprised if Canon made a run at mirrorless tilt-shift lenses this year, given that they championed them in the DSLR era, and that the rest of their lens lineup is looking relatively complete. We also expect to see at least a few refreshes of the earlier lenses for RF mount if Canon feels like they could do them better, like Nikon and Sony have done with their second-gen 24-70 F2.8s.

Finally, Nikon's very good Z5 II has made Canon's entry-level EOS R8 seem a little off the pace, so we wouldn't mind seeing a refreshed version. If Canon really wanted to go for gold, it could use the sensor from the EOS R6 III, but realistically, updating the body to have a better battery, better controls and stabilization would probably be enough to get back in the race.

Canon - What we'd like to see

Most of the major manufacturers have told us they've seen demand for compact cameras, but so far, no one has actually released a new, photo-focused option. We'd love to see the sensor from the PowerShot V1 make its way into a body with controls better-suited to photography, but given that Canon somewhat recently told us that it's working on ramping up PowerShot G7X III production, we're not sure how likely that is. Maybe enthusiasts just aren't the audience companies are aiming for with their compacts.

If Canon is going to continue the EOS R3 line, this would be the year we'd expect to see a follow-up, but we doubt that'll happen. The original came out when Canon wanted to give pros a mirrorless option without undercutting its recently-released EOS 1DX III, but now that the EOS R1 is out, it's hard to imagine what an EOS R3 II could do to differentiate itself from the full-fat pro body.

We mentioned Canon's lens lineup looking relatively complete, but the one offering it's missing is a fast, ultra-wide prime for astrophotography, which we (and by "we," we mean Dale Baskin) wouldn't mind seeing.

We'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework for firmware updates

And if we're really stretching, we'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework by bringing improvements made in newer cameras to its older models via firmware updates. We strongly suspect the EOS R5 II could handle running the EOS R6 III's live white balance picker, and that it's possible to let you map pre-burst capture to a button on the EOS R1.

Ricoh / Pentax - What we expect to see

Given that they've already been announced, it's not a bold prediction to say that we expect to see the Monochrome and HDF versions of the Ricoh GR IV this year, but we are looking forward to them.

As for Pentax, we feel that if we don't see a new film camera or DSLR from them this year, it'll be a pretty clear signal – intentional or otherwise – that they're no longer participating in the camera market. When we interviewed them in early 2025, the company said it would "carefully research the market and then listen to [its] users and DSLR fans," and then draw a business roadmap. That would imply there wasn't one before, making it hard to believe that we'll see a new camera with a Pentax badge on it this year.

Ricoh / Pentax - What we'd like to see

We'd love to see a Ricoh GR IVx with a 40mm equiv. lens, but it may be a bit too soon after the release of the IV for that, yet.

If our dreams came true, we'd also get a new film camera from Pentax, perhaps a full frame follow-up to the Pentax 17. It's hard to tell how likely that is – it's our understanding that camera's development was driven by an engineer who's now left the company – so unless the Pentax 17 sold really well, there may not be much motivation left to continue that work.

OM System - What we expect to see

The camera that stands out most in OM System's lineup is the budget-friendly OM-D E-M10 Mark IV, as it still has Olympus' nameplate and branding. While the company could theoretically give it the OM-5 treatment, updating the branding and adding USB-C and the new menus, we don't necessarily think it's likely. OM System has made it clear that it's doubling down on the adventure and nature crowd, rather than mass market consumers, and it's hard to tell whether it could make a theoretical OM-10 live up to that reputation while still keeping it at a reasonable price.

With that said, OM System has shown it's capable of surprising us. Shortly after we released our article last year, saying that we didn't expect much from them, the OM-3 arrived at our desks, clearly signaling that there's still something left in the tank there... or that they have great products that they keep waiting in the wings just to prove us wrong. If that's what it takes to get another good Micro Four Thirds camera, though, we'll take it.

OM System - What we'd like to see

When we interviewed OM System executives at CP+ in 2025, there was a lot of talk about a new Pen, continuing the line of cameras focused on "ultimate beauty and the ultimate craftsmanship." While so many manufacturers have told us that most people simply don't buy rangefinder-shaped cameras, we think OM System's ethos of travel and compactness would really work well with the concept. We're imagining an X100 rival with the OM-1/3's sensor, and while it almost certainly wouldn't come cheap, it could be a very interesting option in a market starved for truly tiny cameras.

Nikon - What we expect

Nikon is one of the few brands where I think you can make some confident predictions about what might arrive this coming year. The Z9 is a little over four years old, which is a typical lifespan for one of its flagship cameras. In addition, we've seen Nikon move towards introducing the Content Credentials image authentication system, and the current Z9 lacks the hardware to deliver it. It's impossible to know whether a replacement would use the same sensor (perhaps as a Z9S) or if there's some excellent next-gen sensor waiting in the wings to form a more substantial upgrade. We'll have to wait and see.

The other model that seems likely is a ZfcII, bringing the Z50II's improved AF and processor into the company's Instagram-friendly retro body. Of course, it could turn out that most of the demand for a classically-styled camera was from the established, enthusiast audience, rather than the younger, more social media-focused crowd that the original Zfc was aimed at, in which case perhaps the bigger Zf already plugs the gap, but we think there's room for both.

Nikon - What we'd like to see

The other model that looks due for replacement, if the sales figures justify it, is the Z30. To us, it seems like an opportunity to brand it as the ZRc and borrow some of the buzz the ZR has created. We'd expect it to still be a little more vlogging-centric than the ZR and, if we had to choose, we'd probably prefer to see a newer sensor (in both this and the hypothetical ZfcII) rather than 32-bit float audio and Raw capture, but let's see what happens.

Finally, in light of the release of the DX Nikkor 16-50mm F2.8, we'd still love to see a spiritual successor to the D500. Modern AF, a fast sensor and a decent buffer, perhaps in a recycled Z6 body, would be a lovely thing. A big battery and image stabilization would be the cherry on the cake. We're not holding our breath, though.

We'd also like to signal to the Universe (and Nikon's product planning department) that a Z-mount version of the 300mm F4 PF would be excellent, so long as there are no awkward interactions with on-sensor PDAF. And, even though it looks really unlikely, at this point, we feel we should hold out a little hope for an updated Z7 model, even if it's not clear how it'd fit in the lineup.

Tamron - What we expect to see

Given that Tamron's bread and butter is lenses that are slightly off the beaten path, it's not particularly easy to guess what its next move will be. This year, we saw it complete its "trinity" of G2 F2.8 zooms, which leaves us thinking that it will revisit some of its more obscure existing lenses to improve their optics and potentially tweak their focal ranges.

Tamron - What we'd like to see

While the market for primes is tipping towards saturation, it's hard not to wish that Tamron would play a more significant role in it. The company has a few offerings, like its 90mm macro, but perhaps it could take the same "find a niche and fill it" approach that it does with its zooms.

Tech - What we might see

We have a longer article going into the tech that shaped 2025, and we suspect the trends we discussed in it will continue to have an impact in 2026. If we had to bet which one will make the biggest splash, it'd be partially stacked sensors that increase readout speeds without the negative impact on dynamic range in stills that we initially thought they might come with.

While we're interested in seeing whether a higher resolution full frame option that uses the tech will appear, we're perhaps more excited about its application to other sensor sizes. If OM System and Panasonic had access to a Micro Four Thirds sensor that was fast, but not as expensive as the stacked model from the OM-1 and OM-3, or if Fujifilm had a 100MP medium format sensor that read out as quickly as previous-gen full frame ones, it could open the gates for some very interesting cameras.

We'll also be keeping a close eye on whether any manufacturers follow Sigma and Hasselblad's lead in adopting UltraHDR JPEGs. Unlike the HDR output options available in most cameras today, the format allows for more dazzling images straight out of camera, without giving up standard JPEG's broad software compatibility or harming the viewing experience on a standard DR display.

Summary

So those are our best guesses and biggest hopes on what's in store for the coming year. If our exercise in grading our 2025 predictions is anything to go by, we wouldn't recommend taking any of it to the bank. As always, the point has mostly been a bit of fun... and if we can inspire any product managers to subtly bend upcoming releases to our whims, so much the better.

Of course, we're just humans and aren't attuned to every data point and hidden trend that may be out there, lurking in plain sight. Maybe we should check in on the AI to see if it's churned out any bright ideas...

Oh. It's just told us that Canon is going to make a retro-styled model with a wind-on lever that shoots Ultra HDR JPEG in the vertical format and will only capture video in open gate. We're pretty sure it's just as thoroughly confused by recent trends in the industry as we are and is hallucinating, but after last year...

One of Abby's resolutions is to revive an old series focused on photographing artists while they work. This image was from one of those sessions. Photo: Abby Ferguson

Happy New Year, DPReview community! For many, the start of a new year is a time to set goals (or refresh old ones), from big, bold resolutions to smaller incremental changes. So, as we kick off 2026, the DPReview team is taking time to reflect on how we did with last year's resolutions, along with what we want to accomplish this coming year.

Dale

I'm pleasantly surprised by my 2025 results. I pledged to give away gear to beginners, use my phone more as a camera, and print more photos. As the great philosopher Meat Loaf opined, "Two out of three ain't bad." (I didn't quite get to the printing)

For 2026, I simply want to take more photos. After a year focused on behind-the-scenes infrastructure projects, I'm chomping at the bit to get back into the field. Beyond that, I have three resolutions:

First, I need to return some sanity to my digital assets. I'm currently failing my own "digital shoebox" challenge, and the clutter is catching up with me. Second, I plan to use a wider variety of photo processing software. Adobe products do a great job for me, but I want to broaden my horizons. I recently started using DxO Photolab for a couple of projects, and I'm really enjoying the change of pace.

Finally, I plan to finish a documentary film project I started years ago in the Peruvian Amazon. I'm still missing some key assets I wanted to include, but like all filmmakers, I've reached the point where I just need to make it work and get it out there!

Mitchell

I'm happy I got this portrait, but it would've been nice to use a flash (and ND) to make the lighting a little more dramatic. Fujifilm X-E5 | Fujifilm XF 33mm F1.4 | F1.4 | 1/1000 sec | ISO 160 Photo: Mitchell Clark

As is often the case with resolutions, my report card for this year is a bit shaky. I absolutely took more portraits, and think my sample galleries have been more well-rounded for it. However, I took about as many pictures with my phone this year as I did last year, and I'm not sure if I picked up a flash even once.

So, as is tradition, my resolution this year is to actually do what I said I would last year, and start practicing flash photography. But as CGP Grey once said, wishing on a star that you were better than you are is a bad strategy for improvement. Thankfully, I have some help in the form of Godox's new iT32 flash, which can easily and, more importantly, cheaply, be adapted to any camera system, which eliminates the main barrier that I had to actually using flashes. (Look, it's hard when you're a camera reviewer who's constantly changing which brand you're shooting with.) Once I get my hands on one, I'll have a great excuse to actually start using flash.

And because I'd feel bad just re-using one of my resolutions from last year, I'll also say that I spent far less time outside than I wanted to in 2025, with or without a camera. So my goal for 2026 is to get out more often to climb, hike, camp and, yes, shoot some landscapes.

Mathew

Photo: Mathew Anderson

I joined DPReview in mid-2025 with the directive to revitalize the community by first helping to update the forum system. We accomplished a key forum migration milestone just a few weeks ago (although style and other improvements are still to be made), but it took up so much of my time that I didn't have a chance to share many of my actual photo-taking experiences.

2026 is going to be the year when I am much more involved in sharing my digital photography experiences with you all! I hope you will ask many questions, show curiosity about the scenes, and hopefully teach me a thing or two about what it takes to become a veteran digital photographer. I am looking forward to it!

Abby

I'd like to take more portraits in general in 2025, but especially ones of artists in their element. Photo: Abby Ferguson

Last year was a bit of an oddity for me, as I didn't set any resolutions for myself as I normally do. I started working here at DPReview right after the new year, so getting my feet under me at the new job was my primary focus at the time. Leading up to 2026, though, I've been thinking about resolutions a fair amount. The past handful of years, but especially 2025, were challenging photography-wise. I'm not going to be so bold as to say I will magically solve my photography dilemma, but there are still some things I'd like to work towards in 2026 that I've been missing lately.

One of my resolutions is to apply to more shows this year. I'd love to get my photography in front of more people beyond just social media and DPReview, and the only way that will happen is if I put in the effort. So, I'll be keeping an eye open for calls for work and putting my photographs out there to the applicable ones.

I am also setting the goal of reviving a project I worked on when I lived in Hawai'i, but put on hold when I moved a few years ago. That series was dedicated to photographing artists in their studios, documenting the details of their workspaces and also the process behind their art. Starting that project back up would allow me to take more candid portraits again, something I've been missing lately. Plus, it was a fun project that introduced me to some wonderful people, and I'd love to make time for it once again.

Our Wish List for 2026

When we set out to make predictions for the year ahead this time last year, we discovered that our crystal ball wasn't working. And unfortunately, despite several attempts to recalibrate it, we still haven't managed to get it working.

Instead, we decided to get with 2025's hottest trend* and train an AI model to do our predicting for us. After all, we figured, we have probably the most comprehensive camera database in the world that we can use as a dataset.

Turns out 2026 will still be hard to predict. Most of the major camera makers have updated their core lineups such that, with a few exceptions, it's not obvious which of the remaining models are going to receive updates and which have already been quietly abandoned.

Camera makers seem to be trying all sorts of novel ideas in an attempt to attract new audiences, and the more data we gave our AI model about 2025's cameras, the madder its suggestions became. So, like the rest of the content on DPReview, we're going to have to make do without the help of machine learning or large language models and rely on a group of camera enthusiasts making semi-informed guesses.

As always, this article does not include any information from manufacturers nor any speculation from rumor sites.

*By which we're referring to the cooling costs of all these AI tools that none of us asked for and which have definitely made the internet better.

Sony - What we expect to see

The cameras under the a6700 in Sony's APS-C lineup are looking very long in the tooth now, and it seems possible we could see an update to them. As for whether we'll get another camera like the a6100, which is aimed at as broad an audience as possible with an ultra-affordable price tag to match, though, it's hard to tell. It's possible that going after vloggers is more profitable than courting beginner photographers nowadays, so we wouldn't be shocked if we instead see a more entry-level APS-C ZV camera.

It also feels like we're about due for the a7R VI, though it'll be interesting to see which way Sony takes it. We could see arguments for either speeding up its current 61MP sensor with partially stacked readout tech, and gaining improved dynamic range performance in the process, or going even higher resolution. It's always possible that Sony could do both, but perhaps we ask for too much.

If we had to place bets, our money's on an FX3 II coming out before we see another a7S, perhaps with the tilting EVF and mechanical shutter like the recently announced FX2. Sony launched the FX3 shortly after the a7S III, which was probably a bit disappointing to early adopters who likely would've been better served by the more cinema-focused body. We'd like to think Sony wouldn't make that mistake twice.

Sony - What we'd like to see

You all knew this one was coming: we really wish Sony would make a new RX100. If we're really picky, we'd also ask that it have the 24-70mm equiv. F1.8-2.8 lens from the Mark V, and a sensor that didn't make it cost $1200 ... wait, are you serious? Sheesh. Okay, make that $1700, as the current VII does. At this point, though, we'd just be happy to see a new compact from Sony that has any signs of modernity, like USB-C instead of microUSB, and tolerable menus.

Sigma - What we expect

We think the only thing that's easy to predict from Sigma is updated firmware for the BF, mainly because we were told it was a project that would continue to develop once it was out in the wild. Beyond that, I don't think it's possible to second-guess what the company might do next.

We'd love to see aperture or control rings and weather sealing added to refreshed versions of the DC DN primes, and their appearance on this year's 12mm F1.4 DC and 17-40mm F1.8 DC gives us some hope in that regard. Sadly, given the status updates that have been given, we aren't predicting that the promised full-frame Foveon camera will arrive in 2026, but we want to believe it's still possible, so we don't want to relegate it to the wishful-thinking list.

Sigma - What we'd like to see

In terms of a wishlist, we'd love to see the downsizing approach Sigma took with the 35mm F1.2 II applied as broadly as possible (we're going to assume it's easier said than done). And, because Richard was involved in the discussions leading to this article, we're going to say yet again that we'd love to see a modern version of the 50-150mm II EX DC HSM: because 70-200mm equivalents for APS-C can be a brilliant thing if they're usefully smaller, lighter and less expensive than camera maker's 70-200mm F2.8 lenses, and Sigma has a proven record of delivering on those fronts.

Fujifilm - What we expect

Surely it's time for a new X-Pro? Fujifilm has made clear that it intends to make one, so 2026 must surely be the year. As perhaps the most photo-focused camera in the lineup, it needn't necessarily wait for a fancy new sensor, though building a flagship model around a sensor or processor that then gets superseded too soon would risk taking the shine off the experience for owners.

Beyond that, the oldest cameras in Fujifilm's lineup are the X-H2 and X-H2S twins. Could a sensor with faster readout (a partially stacked variant of the 40MP chip, perhaps?) allow the two lines to converge again, offering a single hybrid model that excels at both stills and video, rather than forcing buyers to pick which is more important to them?

Fujifilm - What we'd like to see

2025 was a quiet year in terms of lens launches for Fujifilm, so we'd expect to see some action on that front. Both its X and GF lens ranges are looking complete enough that it's hard to point to any obvious gaps that still need filling, so we're into the realms of what we'd like to see replaced or upgraded.

An updated version of the 50-140mm F2.8 with any excess of the downsizing pixie dust used on the 16-50mm F2.8 II sprinkled in its direction would be nice. There are also a couple of primes that might benefit from a refresh and the application of the latest focus motor know-how, but everyone seems to have a different opinion about where this should start.

Leica - What we expect

The most confident prediction we can make is that we'll see a variety of special edition models from Leica this year. We haven't a clue which brands the German perfectionists will choose to gang up with (and wouldn't rule out having to go straight to Wikipedia to work out who they are, once announced), but there'll definitely be some.

We also think it might be time for an M12. We've seen just about every possible variation of the M11, including one that isn't even a rangefinder, so the time is surely getting close. If nothing else, the company's pioneering commitment to the Content Credentials concept suggests it's time for the principal M model to gain the requisite hardware. But, as with so many of our guesses predictions, it depends a lot on whether someone has anything better than the current 61MP sensor about to take to the stage. That is likely to be the catalyst for much of what does or doesn't happen in 2026.

Leica - What we'd like to see

Leica operates in such rarefied fields and such obscure niches, it's hard to even know what to wish for (other than the lottery win that should probably happen before any of us try to get too committed). Perhaps we'll see Leica become the next company to adopt a true HDR workflow, with a bright monitor and default use of an HDR delivery format. The company's creation of mono variants of some of its cameras suggests it's comfortable playing to specialized niches, but there's a difference between embracing a style of photography with a long and storied history, versus leaping into a technology that is inherently near-incompatible with prints.

Whatever else, we'd love a Q3 43 Mono.

Panasonic - What we expect to see

Given how well the S1II's sensor performs for video, it feels inevitable that Panasonic will release some sort of video camera based around it. That could take the form of a Nikon ZR or Sony ZV-E1 competitor, focused on vlogging and ease of use, or it could be something more akin to the Canon EOS C50 or Sony FX3, with a cinema-style body that has even more cooling and is covered in attachment points.

Beyond that, it's hard to predict what Panasonic might do next, given that it just updated pretty much all of its high-end, full frame cameras. It still seems a bit early to expect an update to the S5 series... if indeed the company plans on continuing that line at all, instead of replacing it with the S1IIE. Panasonic is another one where the only thing we really expect is the unexpected, be that a new camera or a feature-packed firmware update.

Panasonic - What we'd like to see

We said it last year, and we'll say it again: we'd love to see a new enthusiast compact from Panasonic, potentially as a continuation of the LX100 series. Though, like with Canon and Sony, it seems like companies have a lot of momentum in just letting the compact market ride.

Similarly, we'd also be excited if Panasonic were to come out with a new GM or GX camera; the market is sorely missing a truly compact Micro Four Thirds option that plays into the mount's greatest strength: its collection of solid, compact lenses. Is Panasonic invested enough in the system to do that? We're not sure, and the fact that they repurposed a full frame body for the G9 II gives us extra pause, but that doesn't keep us from hoping.

To be continued...

This article would be unbelievably long if we tried to cover every major brand here, so we've split it into two. The second part will be coming shortly, and we'll add a link here as soon as it's live.

The Sigma 17-40mm F1.8 was one of our favorite lenses in a year of great lenses. Photo: Mitchell Clark

We recently argued that this year had some of the most interesting camera releases that we've seen in a long time. But cameras are only half of the equation when it comes to photography, and, looking at our lens timeline, it's clear that it's also been a weird and wonderful year for optics, too.

We've seen interesting updates to bread-and-butter lenses, wildly ambitious primes and zooms, and things that we may never have thought to ask for, but are glad they exist. And, unsurprisingly, the innovations haven't all been happening at the major camera companies; you'll see Sigma, Viltrox, Laowa and others pop up just as often as we cover what's made this year such an interesting one for lenses.

The ground-breaking normal

Nikon's new standard zoom this year still managed to break the mold. Photo: Nikon

While it's always fun to talk about exotic and specialist lenses, they're not what most photographers will end up buying and using. Thankfully, there have been several lenses that cover standard focal lengths and use cases, but that come with some eye-catching feature or innovation.

The quintessential example of this is probably Nikon's 24-70 F2.8 S II; it's a workhorse full-frame standard zoom, refreshing an option that, honestly, wasn't all that old. But with it, Nikon managed to do something that we hadn't seen before: make an F2.8 standard zoom with a fully internal zooming design, making it easier to handle and more weather resistant.

Speaking of standard zooms, how about a medium format one? Hasselblad's XCD 35-100mm F2.8-4 E is a 28-76mm F2.2-3.2 equiv., with a size and weight that's strikingly similar to its full frame counterparts. Paired with the company's new X2D II, it provided a walkaround photography experience that was so normal, you could be forgiven for forgetting you were using a camera packing a 100MP sensor.

Photo: Abby Ferguson

Going the other direction, we also saw two great APS-C standard zooms this year. We're delighted that the Nikon Z DX 16-50mm F2.8 VR exists, though, arguably, it's mostly exciting because the company hasn't allowed anyone else to make that kind of lens for its Z mount cameras. What really impressed us was Sigma's 17-40mm F1.8 DC Art; it follows up on a legendary lens from the DSLR era, but now there are cameras that can actually focus it. Its price, size and weight are all really impressive given its fast aperture, and it's the kind of thing you'd only see from a company committed to driving APS-C systems forward.

Sigma also released the 35mm F1.2 DG Art II this year, which is smaller and lighter than its predecessor, making it an F1.2 prime you could conceivably walk around with. It's also somewhat affordable, at a fraction over half the price of the 35mm F1.2 Nikon put out this year. However, if you're looking for less expensive fast primes, it's hard to ignore what Viltrox has been doing with its Lab and Pro series this year, entries in which have garnered positive reviews, even when compared to more expensive options from more established brands.

We hope the 45mm F1.2 is just the beginning of a line of compelling budget options from Canon

And while we're talking about primes, it's also worth calling out Canon's latest 45mm F1.2, since its $470 price tag makes it the cheapest autofocus F1.2 lens we've ever seen. It's only 1/3EV faster than the F1.4 lenses Nikon's been releasing (which are faster focusing and a bit stronger when it comes to IQ), but we hope it represents just the beginning of Canon providing a line of compelling budget options to its mirrorless lineup.

Off the beaten path

The Sigma 135mm F1.4 isn't a compact lens by any means, but it's certainly a looker. Image: Sigma

Of course, if companies had just come out with good versions of lenses we'd usually expect, this year would hardly be winning any superlatives. Thankfully, we've also seen a slew of lenses that did something completely new or provided an option that we haven't had for a long time.

Sigma was one of the leaders in this space, with several of its press releases starting by declaring a lens as a first at something; the first 200mm F2 for full-frame mirrorless systems, the first full-frame autofocus 135mm F1.4, the first lens for mirrorless with a 18.8x zoom ratio, etc. The company put out so many lenses that made us go "hold on, now, that's an interesting idea," that we potentially could've written this article based on its work alone.

Thankfully, we saw other brands trying new things, too. Perhaps the most notable is Sony's 50-150mm F2 GM. While we've seen other F2 zooms before, getting a telephoto option opens up a whole new world; it's a versatile lens that lets you achieve a large degree of subject separation, and that isn't an absolute beast to carry around with you.

This year also saw Nikon release its first full-frame power zoom lens, focused on video, Panasonic making a full-frame ultra-telephoto zoom lens that doesn't break the bank and takes teleconverters (partially made possible by a clever spring mechanism) and OM System coming out with its long-awaited 50-200mm F2.8.

Wait, weren't these supposed to be boring?

Fujifilm's latest kit lens, paired with the X-T30 III, seems perfectly suited for the audience the camera's aimed at. Photo: Richard Butler

Even the kinds of lenses that would usually be completely unremarkable have something that make them interesting, this year. Sigma and Tamron both released all-in-one zooms – the 20-200mm F3.5-6.3 and 25-200mm F2.8-5.6, respectively – which offer reasonable image quality for their range despite being shockingly small and light for full-frame lenses. Meanwhile, Fujifilm and Canon put out entry-level APS-C kit lenses that go surprisingly wide in a way that might appeal to people who are mostly used to shooting with their phones. The Fujifilm 13-30mm collapses, making it absolutely tiny when paired with a camera like the X-M5 or X-T30 III, and the Canon is a powerzoom with a remarkably quiet motor that you won't hear in your video.

Why is this happening?

While we've (perhaps over-thoroughly) covered what made this such an interesting year for lens releases, that does raise the question: what made everyone suddenly start throwing a bunch of surprisingly good ideas at the wall?

The basics have been taken care of, it's time to get creative

While it's hard to say for sure, it's probably a similar story as it is with cameras; for most mounts, the basics have been taken care of, and there aren't any obvious holes in the lineup. There are some exceptions, sure (especially in APS-C land), but most photographers will be able to get most of the lenses they need. That leaves engineers free to work on less conventional ideas and to focus on things that they think might give their system a competitive edge.

Speaking of competition, customers have more and more options when it comes to standard lenses. If you're looking for a fast, autofocus prime on E or Z mount, you have not only the one or two options from Sony or Nikon, but upwards of half a dozen offerings from third parties like Sigma, Viltrox, Meike, 7artisans, TTartisan, the list goes on. It's possible the bigger brands are releasing lenses that they think won't be so easy to replicate in the near-term.

Whatever reasons the manufacturers have, it's a win for the rest of us. We here at DPReview appreciate having interesting things to test and write about, and consumers benefit from having even more options, including ones that may allow them to try out niche things they couldn't before. So here's to the year that came before, and to an even weirder 2026.

People have been asking for a medium format X100 for years, and the GFX100RF isn't one. Then again, people have been asking for a full-frame X100 for years, and they don't seem happy about Sony's attempt. Photo: Richard Butler

The camera industry isn't what it once was, I think we can all agree. The 6.5 million interchangeable lens cameras shipped by CIPA members last year represented a 50% fall in sales volume since the high, back in 2010, while the 1.9 million fixed lens cameras represented a fall of 98%.

Despite this, most of the companies competing in the industry back in 2010 are still present, and those we've spoken to this year sound more upbeat than they have in a while. Because, while the base is much smaller, ILC shipment volumes in the first ten months of 2025 are 11% up, compared with last year and fixed lens camera sales are up by around 26% over 2024.

Which is to say that there still appears to be a market for cameras, but it's a very different world to the one of fifteen years ago, when a majority of people bought cameras. Now the industry caters to a smaller audience: photographers, vloggers and people who specifically want a dedicated camera, because most people have a perfectly capable phone when they want to take pictures.

I don't remember the last time we saw so much invention, experimentation or niche-tickling lunacy as we've seen in 2025

I'm going to argue that the result has been perhaps the most interesting year for cameras in the eighteen years I've been covering the industry. There have been countless excellent cameras in that time, and a whole host of interesting ones, but I don't remember the last time we saw so much invention, experimentation and niche-tickling lunacy as we've seen these past 12 months.

The Ricoh GR IV isn't included in this article, despite being a knowingly niche product, because it's a niche that's been proven to exist. Photo: Richard Butler

We've had the sensible cameras, of course, with all the biggest players refresh their mid-priced do-everything cameras with devices that can go toe-to-toe with the pro sports models of just a few years ago, while simultaneously producing higher-than-broadcast video footage, at least for short periods. But while the Panasonic S1 II, Canon EOS R6 III and Sony a7 V bring almost unimaginable levels of performance and capability to a comparatively affordable price point, there have also been a wealth of weird cameras that aren't trying to be do-it-all multi-tools.

Look at some of this year's releases through a pragmatic lens of whether they're the best tool for the job, and the conclusion you'd typically draw is "no." These aren't cameras trying to be the best, the most flexible or the most practical. They're intentionally, knowingly niche cameras, and if they don't appeal to you, that might not be by accidental. Not all of them succeed in their ambitions, but just because they don't make sense to you, don't assume they're a mistake.

Sony RX1R III

The RX1R III was castigated for being a lazy update, despite addressing the biggest problem with its predecessor (albeit very belatedly). When I was using it, or looking at the photos it took, I didn't cross-examine myself about whether my expected level of developmental diligence had been met.

The Sony RX1R III doesn't seem too unusual on the face of things: it's the fourth in a series of high-end photographers' compacts, previous versions of which built up a strong following. And yet the belated update to the series was met with derision, bordering on anger. A wince-inducing price tag and technology shared with much lower priced models didn't help, along with the re-use of a lens that doesn't necessarily make full use of its new, higher resolution sensor or, at least, not at close focus distances and wide apertures. It's so lazy, critics howled.

And yet, in use, it's excellent. It's the smallest fixed-lens full-frame camera you can buy, it's so single-minded in its purpose (photos shot at 35mm focal length) that it's much nicer to use than the likes of the a7CR, with which it shares so many components. It's small, fun to use and the pictures look great, because it turns out that biting sharpness isn't always what you want from a lens. It also turns out that the amount of perceived effort put into a camera has nothing to do with how good it is. It is really, really expensive, but if you're the kind of person it's aimed at (and I am), it's really, really good.

Leica Q3 Mono

It has an excellent sensor, great lens and is superbly built, but I still wonder whether the total audience for a $7800 fixed-lens full-frame compact that can't comprehend chrominance could all fit on a double-decker bus.

Then we have the Leica Q3 Monochrom, which is essentially Ginger Rogers to the Sony's Fred Astaire, in that it does everything the RX1R III does, but more expensively and in mono. Has there ever been a camera aimed at a smaller audience than a $7800 fixed-lens full-frame camera that can't perceive color? I joked that Leica probably already knows the names of the people who'll buy it. But those buyers will get a fabulous camera that's fast, focused and fascinating to shoot with and yes, that stabilized lens is sharper than the Sony's. It's not for me, but again, I'm delighted it exists.

Fujifilm GFX100RF

Likewise the Fujifilm GFX100RF. People have been asking for a "medium format X100" for years, and this year Fujifilm didn't make them one. Instead it introduced a camera with a wider-angle lens, without the X100 series' hybrid viewfinder and with styling seemingly borrowed from its Instax range. The lens is comparable, in equivalent terms, to the X100's and there's no image stabilization, so it's potentially less capable in the dark, but in good light it'll deliver better image quality than anything else this portable. There's an aspect ratio dial with settings so complex that you can't actually see all of the etching. In principle it's a less practical option than Leica's Q3 (and how often is Leica the practical choice?). But it adds an option that's never existed before.

Fujifilm X half

Better to be a heroic failure than to not try. Which has been the rest of the industry's response to youthful demand, so far. And no, adding Raw wouldn't have made it better. Photo: Richard Butler

On which note: the Fujifilm X half, another contender for the title of the DPReview commenters' least favorite cameras of 2025. And I understand why: it looks like it's almost the sort of camera many of us have been asking for: a small, pretty, enthusiast compact. But that not what it is at all. Instead, it's a decidedly un-self-serious attempt to make a camera for young people who'd otherwise be buying an old compact on eBay. It's fun, it's silly, it's nostalgic for a confused idea of a past that never existed. Unfortunately it's also (and this was 2025's other prevailing trend) really quite expensive. In practice, I was disappointed by its lack of responsiveness and its disappointing IQ, given how large a sensor it has, but isn't it better to heroically fail than to not even try?

Sigma BF

The Sigma BF is an utterly original take on what a picture-taking device should look like and how it should operate. Just in case there's someone that doesn't want a black lump that looks like it wants to be a late 80's SLR when it grows up. Photo: Richard Butler

And yet, it's perhaps not the least 'serious' camera launched this year. That title probably goes to the Sigma BF, a profoundly original attempt to make a desirable photo-taking device for people who wouldn't otherwise buy a camera. It's undeniably stylized, almost to the point of impracticality, it's also built with a sensor that doesn't naturally lend itself to use without a shutter mechanism, which essentially rules out the chance of using flash. But it's also designed – rather well, I'd argue – to be operated with a single dial and without a viewfinder, which seems to have agitated the kind of people who are presumably dissatisfied with the many, many multi-dial, viewfindered cameras that remain available.

It's a response I don't really understand. Yes, SLR-shaped cameras with multiple dials will probably excel in a wider range of situations than this oddball bunch. But this off-beat gang are being offered in addition to the sensible, pragmatic, do-everything cameras. In many instances, I suspect some of these stranger models will live alongside those quotidian powerhouses for many photographers.

We've seen some incredibly capable cameras this year, to the point we found it almost impossible to choose a camera of the year. I don't think anyone's saying these are better than those options, or that the likes of the Sigma BF is going to usurp them. But, having spent years reading comments asking why camera makers don't make cameras for photographers, it seems inexplicable to complain when they try to do something interesting and different. And I'd argue that, collectively, these cameras shows a spirit of invention and experimentation we've not consistently seen since the very early days of digital photography. In their own, sometimes peculiar, ways these might be the photographer-focused cameras we've all been hoping for, even if that specific photographer isn't always us.

Readers' Choice: Best gear of 2025

For the past few weeks, our readers have been voting on their favorite cameras and lenses released in 2025, and this year we've seen some of the closest races in recent memory. Now that the first round of voting is over, it's time to reveal the winners.

Remember, though, it isn't over just yet! Now it's time to pick an overall winner. Make sure to cast your ballot for the 2025 Reader's Choice Product of the Year – this one's for all the bragging rights.

Best prime lens runner-up: Canon RF 45mm F1.2 STM

First up is our runner-up for Best Prime Lens of 2025: the Canon RF 45mm F1.2 STM, a fast, normal prime lens that makes fast aperture photography a possibility for just about any Canon RF user. While it may not be as critically sharp or optically perfect as the other F1.2 primes in Canon's RF lens lineup, it offers a more accessible price point that won't break the bank, providing many Canon shooters with the creative opportunities that such a fast lens can offer.

It's also worth pointing out that while the RF 45mm F1.2 STM was the runner-up in our poll, this category was a horse race with a photo finish, with the winner nosing its way to victory by a mere 0.1% margin.

Best prime lens winner: Sigma 135mm F1.4 DG Art

The 2025 Readers' Choice Award for Best Prime Lens goes to the Sigma 135mm F1.4 DG Art, a fast prime that practically begs to be used for portrait work. Sigma has a history of creating unique lenses, and this one is no exception; while there are similarly fast manual focus 135mm lenses, and several 135mm F1.8 lenses with autofocus, this is the first such lens to feature both a fast F1.4 aperture and autofocus in the same lens.

It's easy to understand why the Sigma 135mm F1.4 DG Art garnered so much attention from our readers this year. If you plan to shoot it, though, you'll want to make sure your arm is ready: this lens weighs 1420g (50.1oz) and sports a 105mm filter thread. However, the results are marvelous, and the workout will likely be worth the effort when you see the results.

Best zoom lens runner-up: Nikon Nikkor Z 24-70mm F2.8 S II

Our Readers' Choice runner-up for Best Zoom Lens of 2025, the Nikon Z 24-70mm F2.8 S II, proves that lenses don't have to be unique to win respect. Sometimes, making a solid workhorse even better is all the magic that's required.

Nikon's second-generation 24-70mm F2.8 zoom lens for Z-mount builds upon the original with an internal zoom design, offering enhanced weather sealing and increased utility for use with gimbals and video rigs. And at 675g (23.8oz), it's 16% lighter than the original while gaining a faster voice-coil autofocus motor. Considering how popular the 24-70mm F2.8 category is with enthusiast and pro photographers, it's no surprise to see this lens gain such well-deserved recognition.

Best zoom lens winner: Sony FE 50-150mm F2 GM

The 2025 Readers' Choice Award for Best Zoom Lens goes to the Sony FE 50-150mm F2 GM, which secured a clean sweep across zoom lens awards this year; this same lens also won the Best Zoom category in our 2025 DPReview Annual Awards.

The Sony FE 50-150mm F2 GM was one of the most interesting lenses of 2025, providing a versatile zoom range, fast aperture and outstanding image quality that delivers sharp images while also allowing for impressive levels of background separation, and it does it all in a design that's actually manageable to carry around. This is a well-deserved win for a lens that will undoubtedly remain popular for years to come.

Best camera runner-up: Sony a7 V

Grabbing the runner-up position from our readers for Best Camera of 2025 is the Sony a7 V, a model that almost didn't make it into our poll this year, thanks to the fact that Sony announced it just days before the poll went live.

However, it appears that Sony has delivered a gem, significantly improving upon its predecessor and winning the confidence of readers. The a7 V arrives with an updated 33MP 'partially stacked' sensor that supports 30fps shooting with full 14-bit readout, features the most up-to-date AF system in the a7 line, pre-burst capture and 4K/60p video derived from 7K capture. It also manages to deliver impressive dynamic range thanks to its ability to simultaneously utilize data from the sensor's low-gain and high-gain modes.

The a7 V will likely be Sony's workhorse camera for enthusiast photographers for the next several years, and judging by your votes, it looks like Sony has a winner.

Best camera winner: Nikon Z5II

Our 2025 Readers' Choice Award for Best Camera goes to the Nikon Z5II. This is quite an accomplishment considering the variety of interesting and impressive cameras released this year, but it likely speaks to the fact that the Z5II has everything it needs to get the job done, even if it's missing a few bells and whistles.

The Z5II isn't the fastest camera released this year, nor does it have the most impressive specs. However, it can deliver great stills and video, includes in-body image stabilization, Nikon's latest AF system, and has the great ergonomics users have come to expect from a Nikon camera. It's a great all-around camera that does most of the things most photographers need, and at a price that makes you wonder if there's a catch. (There isn't.) In our review, we concluded that few of us really need anything more, and it looks like our readers agree with that assessment, awarding this camera the top spot for 2025.

Vote now for the Readers' Choice Product of the Year!

You helped determine the winners in the individual categories, so now's the time to cast your vote in one last poll! Choose your favorite product from this list of winners and runners-up between now and Thursday, January 8th. Watch for an announcement of the winning products shortly after the poll closes.

As always, thanks for casting your votes and being a part of our community throughout the year.

For the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once from a single account.

Image: GMVozd via Getty Images

We're quickly nearing the end of the year, and that means you may have seen a slate of articles from the DPReview staff discussing some of the equipment we enjoyed using most this year as part of our Gear of the Year series.

We're taking a moment to recognize the column, as we started writing it in 2015, which means we've officially been doing it for ten years.* Not every format we try out ends up working, and many that survive will evolve into something else over time, so it's worth celebrating the ones that have stuck around largely the same as when they debuted.

It's a format we enjoy writing, as it lets us focus on the gear that we emotionally connected with, instead of what was technically best (not that those are always entirely separate categories). It also allows us to give our thoughts on products beyond just cameras and lenses. Batteries, cloud photo management services and camera bags have all been chosen by various staff members throughout the years.

To mark the anniversary, editor Richard Butler has very kindly gone back through the archives, finding each Gear of the Year article and tagging them as such. That means you can now find them all in one place if you want to, for example, see what the DPReview staff's favorite gadgets were in 2018. We can't promise that every pick stands the test of time, but they were genuinely felt reflections when they were written. We look forward to discussing our favorite gear with you for another decade.

* Technically 2015 to 2025 inclusive is 11 years, but we skipped Gear of the Year in 2022.

We've put all of the Gear of the Year articles below, so feel free to peruse them.

40

Gear of the Year - Abby's choice: the Hasselblad X2D II 100C

3 weeks ago

This monster of a camera made medium format photography approachable and, well, fun.

63

Gear of the Year - Mitchell's Choice: the optically audacious Sony FE 50-150mm F2 GM

3 weeks ago

This fast zoom was a joy to use and comes from a company that's been consistently putting out great lenses.

62

Gear of the Year - Dale's choice: Adobe Project Indigo

4 weeks ago

Not all Gear of the Year needs to be hardware.

109

Gear of the Year - Richard's choice: the elegantly esoteric Sigma BF

1 month ago

In a year of impressive cameras, there's one that stuck in Richard's head, both for the experience and the results.

142

Gear of the Year - Dale's choice: Canon EOS R5 II

Dec 16, 2024

Managing Editor Dale Baskin picked the Canon EOS R5 II as his Gear of the Year, but it wasn't an easy choice. Find out why he chose it and what the competition was.

132

Gear of the Year - Richard's choice: Leica D-Lux8

Dec 10, 2024

Richard's Gear of the Year explicitly isn't the best camera he used this year, but it's one he feels strongly about, nonetheless.

48

Gear of the Year - Mitchell's choice: ThinkTank Retrospective 30 V2

Dec 9, 2024

To prepare for a job that requires carrying around a lot of cameras, editor Mitchell Clark bought a big bag. It's worked out well.

132

Gear of the Year: Eric's Choice - Google Photos

Dec 27, 2023

You can't be a photographer without taking photos, but after the birth of his son, DPReview's newest editor, Eric Limer, gives much more thought to sharing them. And that, he explains, is why Google Photos is his choice for Gear of the Year.

217

Gear of the Year: Shaminder's Choice - Leica Q3

Dec 19, 2023

The Leica Q3 is expensive, has a fixed lens and struggles with some ergonomic issues, but it's also the most fun Senior Editor Shaminder Dulai had with any camera all year. He explains why this rangefinder-style camera is his personal gear of the year.

108

Gear of the Year: Dale's choice - Sigma 14mm F1.4 DG DN Art

Dec 18, 2023

The Sigma 14mm F1.4 Art was impressive enough to win our Best Prime Lens award for 2023. Managing Editor Dale Baskin explains why he chose it as his personal gear of the year as well, taking it to the subarctic for some aurora borealis photography.

265

Gear of the Year: Richard's Choice Nikon Z8

Dec 13, 2023

We've already given the Nikon Z8 a Gold award and selected it as our Product of the Year, but it's the events surrounding the way we covered it that made it stand out for our Technical Editor, Richard Butler.

69

DPReview TV's Best and Worst Gear Of 2022 (In pictures!)

Dec 6, 2022

Chris and Jordan recently spent a delightful afternoon sharing their list of the year's best and worst camera gear. Now that their hangovers have worn off, they've prepared a more sober reflection on their choices.

186

DPReview TV: The best and worst cameras and lenses of 2022

videoDec 3, 2022

It's that magical time of the year when Chris and Jordan look back on the year's best and worst releases of photo and video gear. Tradition dictates a drinking game, and this year it's a doozy...

142

Gear of the Year 2021: Chris' choice - Wotancraft Pilot 10L shoulder bag

Dec 28, 2021

Chris Niccolls, the host of DPReviewTV, reviews a different lens or camera every week. Look closely though, and you'll see the same piece of gear make an appearance in almost every episode. It's the Wotancraft Pilot 10L shoulder bag, and it's Chris' pick for Gear of the Year, 2021.

508

Gear of the Year 2021: Barney's choice - Nikon Z9

Dec 26, 2021

Senior Editor Barnaby Britton is a fan of extreme low-light imaging - something that the Nikon Z9 makes easy. Click through to learn more about why the Z9 is his favorite camera of 2021.

157

Gear Of The Year 2021: Jordan's Choice - Apple M1 iMac

Dec 23, 2021

In this article, DPRTV's hard-working videographer, Jordan Drake, explains why the shiny golden Apple M1 iMac was his favorite piece of gear of 2021.

60

Gear of the Year: Gannon's choice - Kolari EF-RF Drop-In Filter Mount Adapter

Dec 22, 2021

Of all the gear released in 2021, it was Kolari's EF-RF Variable ND Mount Adapter that proved to be News Editor Gannon Burgett's favorite piece of equipment.

83

Gear of the Year 2021: Dale's choice - Sony 14mm F1.8 GM

Dec 20, 2021

Editor Dale Baskin picked the Sony 14mm F1.8 GM as his favorite gear of 2021 after using it for a week in Arches National Park. Find out why he thinks it's the Goldilocks of wide angle lenses, and see some great photos of the American southwest along the way.

356

Gear of the Year: Carey's choice - Sony a9 II

Dec 31, 2020

Attempting a road trip in the middle of a pandemic offers plenty of opportunities for things to go awry. Good thing the Sony a9 II proved to be about as reliable as the vehicle it was traveling in.

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Gear of the year 2020: Dan's choice - Tamron 70-180mm F2.8 Di III VXD

Dec 22, 2020

Tamron's 70-180mm F2.8 is a high-quality telephoto lens for Sony E-mount that won't break your back or the bank. Read about why it's been one of Dan's personal favorites this year.

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Gear of the Year: Dale's choice - Fujifilm X-Pro3

Dec 20, 2020

Dale's favorite camera this year is one of the most interesting and distinctive mirrorless ILCs on the market - the ultra-traditional, rangefinder-styled Fujifilm X-Pro 3.

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Gear of the Year: Richard's choice - Canon RF 800mm F11 IS STM

Nov 26, 2020

Technical Editor Richard Butler's pick was the unusual lens that gave him the opportunity to try something new. The Canon RF 800mm F11's unique combination of telephoto reach, affordability and light weight will likely enable even more people to do the same.

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Gear of the Year: Barney's choice (part 1) - Fujifilm X100V

Nov 24, 2020

In a year when social distancing became a way of life overnight, Senior Editor Barney Britton maintained a small sense of connection via the Fujifilm X100V.

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Gear of the Year 2019 - Rishi's choice: Sony FE 135mm F1.8 GM

Dec 22, 2019

Here's the lens that got Science Editor Rishi Sanyal to finally step away from his obsession with wide-angle portraits: the Sony FE 135mm F1.8 GM.

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Gear of the Year 2019 - Dale's choice: Laowa 15mm Zero-D

Dec 20, 2019

Editor Dale Baskin chose the wide angle Laowa 15mm F2 Zero-D lens as his favorite gear of the year. In his opinion, it provides a great balance of size, price and optical performance. He's still on the hunt for the perfect photo of the northern lights.

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Gear of the Year 2019 - Dan's choice: DJI Mavic Mini

Dec 18, 2019

A bring-everywhere flying smartphone camera is the best $400 you can spend on a piece of gear this year, says editor Dan Bracaglia. Which is why he's picked the DJI Mavic Mini as his gear of the year.

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Gear of the year 2019 - Barney's choice (part 2): Nikon Z 50mm F1.8 S

Dec 16, 2019

Senior Editor Barney Britton's second Gear of the Year pick is the lens that changed his perspective on what a 'nifty fifty' could be.

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Gear of the Year 2019 - Jeff's choice: Canon PowerShot G5 X Mark II

Dec 13, 2019

The compact form factor, fast and versatile lens, and pop-up viewfinder made Canon's PowerShot G5 X II an easy pick for DPReview editor Jeff Keller's favorite camera of the year.

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Gear of the Year 2019 - Richard's choice: Sigma 56mm F1.4 DC DN

Dec 11, 2019

The arrival of an EF-M version has given Technical Editor Richard Butler even more opportunities to shoot with the Sigma 56mm F1.4 DC DN. It's the fifth time he's picked an APS-C product.

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Gear of the Year 2019 - Allison's choice: iPhone 11

Dec 9, 2019

After nearly a decade of using Apple phones, Managing Editor Allison Johnson jumped ship and became the happy owner of a Pixel device. But the iPhone 11 might just tempt her back.

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Gear of the Year 2019 - Carey's choice: Sigma 45mm F2.8

Dec 6, 2019

Over months of using Sigma's 45mm F2.8 Contemporary lens, Reviews Editor Carey Rose rediscovers that there's so much more to a lens than speed and sharpness.

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Gear of the Year 2019 - Barney's choice part 1: Ricoh GR III

Dec 4, 2019

Senior Editor Barney Britton's first choice for Gear of the Year is a camera that he has carried with him more than any other in 2019 (not including his phone) – the Ricoh GR III.

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Gear of the Year 2018 - Dale's choice: DJI Ronin-S

Dec 30, 2018

The DJI Ronin-S may not be as instantly recognizable as some other products from 2018, but Editor Dale Baskin explains why he picked this production tool as his 2018 Gear of the Year – and why he chose it to shoot a documentary film.

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Gear of the Year 2018 - Allison's choice: Google Photos

mobileDec 28, 2018

DPR's Managing Editor Allison Johnson captured a trip to San Francisco the way most millennials do: on her phone. The surprising ease with which she was able to share her photos across platforms using Google Photos makes it her pick.

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Gear of the Year 2018 - Carey's choice: Panasonic GX9

Dec 27, 2018

The Panasonic GX9 isn't the best or least expensive camera that Reviews Editor Carey Rose tested this year. But its combination of features, form factor and image quality make it an enjoyable camera to use – and his pick for this year.

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Gear of the year 2018 - Jeff's choice: Nikon Coolpix P1000

Dec 26, 2018

The Nikon P1000 is a bit of an oddity, but the unique shooting opportunities it makes possible are why it's Editor Jeff Keller's pick this year.

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Gear of the Year 2018 - Dan's choice: Tamron 28-75mm F2.8 Di III RXD

Dec 24, 2018

Editor Dan Bracaglia's pick is the lens that he's recommended more than any other in 2018 – and the one he feels Sony's mirrorless system desperately needed.

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Gear of the Year 2018 - Barney's choice: Nikon Z7

Dec 23, 2018

Senior Editor Barney Britton's pick this year is the camera that he describes as "close to perfect" for the kind of photography he does.

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Gear of the Year 2018 - Richard's Choice: Fujifilm's 4K video cameras

Dec 21, 2018

Technical Editor Richard Butler's pick helped him capture his favorite images of the past 12 months: all 17,100 of them. Specifically, two series of 8MP images. Shot at a rate of 23.97 frames per second.

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Gear of the Year 2017 - Jeff's choice: Olympus Tough TG-5

Dec 8, 2017

Whether it's a trip to the beach for some snorkeling or scrambling up a 10,000 ft volcano, the Olympus Tough TG-5 proved to be a great travel companion for Jeff. That's why it's his 2017 Gear of the Year.

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Gear of the Year 2017 - Dale's choice: Sigma 14mm F1.8 Art

Dec 1, 2017

2017 has been a pretty good year for lenses, but the one that had the biggest impact for editor Dale Baskin was the Sigma 14mm F1.8 prime, a lens that lets him capture big sky and magic light.

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Gear of the Year 2017 - Dan's choice: Sony a9

Nov 30, 2017

The Sony a9 is the brand's first truly refined mirrorless camera, in this writer's opinion.

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Gear of the Year 2017 - Richard's choice: Sony NP-FZ100

Nov 29, 2017

Even though (or perhaps because) 2017 has seen the release of some of the most impressive cameras he's ever used, Richard has ducked the difficult decisions and made an unexpected choice for his Gear of the Year. But, as always, he's going to argue his point.

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Gear of the Year 2017 - Carey's choice: Sony FE 85mm F1.8

Nov 26, 2017

Lightweight, great optics, affordable – with Sony's FE 85mm F1.8, you don't have to just pick two of those features. For Carey Rose, who's already an 85mm fan, it strikes a perfect balance.

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Gear of the Year 2017 - Barney's choice (Part 2): Nikon D850

Nov 25, 2017

In the first part of Barney's Gear of the Year article, he wrote about the camera he's used most in 2017 – the Leica M10. In Part 2, he's writing about a camera that he's barely even touched. Read on to find out why the D850 made his list for best gear of 2017 regardless.

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Gear of the Year 2017 - Allison's choice: Google's HDR+ mode

Nov 16, 2017

They say seeing is believing, and that's exactly what happened when one DPR staffer took the Google Pixel 2 out for an afternoon shooting under challenging conditions.

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Gear of the Year 2017 - Barney's choice (part 1): Leica M10

Nov 10, 2017

As 2017 winds down (yeah, we're shocked too) it's a great time to reflect on the past year. Over the coming week's we'll revisit some personal favorite cameras and lenses that we encountered this year, and what made them stand out.

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Gear of the year: Allison's choice - Fujifilm Instax mini 90

Dec 28, 2016

After talking herself out of buying one for years, DPR homepage editor Allison Johnson finally picked up a Fujifilm Instax mini Neo 90 this year – and it hasn't left her side since. Read more

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Chris' Gear of the Year part two: Canon 16-35mm F2.8L III

Dec 26, 2016

This lens was just too good to pass up as a Gear of the Year nominee, so our resident landscape shooter Chris decided to add the Canon 16-35mm F2.8L III to his list of picks. Read more

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Gear of the Year 2016: Dan's Choice – the DJI Mavic Pro (which he stinks at flying)

Dec 23, 2016

A childhood of flying $20 RC helicopters didn't prepare DPR staffer Dan Bracaglia for the challenges of flying a drone, but that's part of the reason why the DJI Mavic Pro is his gear of the year pick. Read more

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Gear of the Year 2016 - Barney's choice: Nikon D500

Dec 19, 2016

The Nikon D500 has been one of our favorite cameras since it was released earlier this year. Find out why after a challenging video shoot, the D500 made Barney's pick for Gear of the Year. Read more

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Gear of the Year: Richard's choice - Fujifilm X-T2

Dec 14, 2016

The release of some supremely capable cameras left reviews editor Richard with some tough choices to make for his Gear of the Year pick. Against stiff competition, he's gone for the Fujifilm X-T2, the camera that most surprised him this year. Read more

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Gear of the Year: Chris' choice - F-Stop Tilopa camera bag

Dec 8, 2016

There were plenty of amazing cameras and lenses to choose from this year, but DPR staffer Chris Williams chose the F-stop Tilopa as his gear of the year. Read more

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Gear of the Year: Tamron 90mm F2.8 Di VC USD Macro F017

Dec 6, 2016

Continuing our 'Gear of the Year' series, staffer Sam Spencer discusses a lens that has made a significant visual contribution to the site this year – the latest Tamron 90mm F2.8 Macro. Read more

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Gear of the Year: Carey's choice - Canon PowerShot G9 X

Dec 5, 2016

DPR staffer Carey Rose didn't take to the Canon G9 X right away, but after some time using it he's learned to embrace the minimalist controls and loves the portability of Canon's handy little 1" compact. Read more

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Gear of the Year Part 8: Wenmei's choice - Lensbaby Velvet 56mm f/1.6

Dec 30, 2015

Wenmei's Gear of the Year is a lens that forces her to step outside of her comfort zone and focus (softly or not) on the creative aspect of her photography. When she's capturing a quiet moment or special connection, she finds herself reaching for the Lensbaby 56mm f/1.6 portrait lens. Read more

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Gear of the Year Part 7: Allison's choice - Olympus Tough TG-4

Dec 28, 2015

Allison's Gear of the Year is a camera that's been able to accompany her almost everywhere she's travelled this year, whether floating down rivers or just putting up with the rough-and-tumble of Florida's theme parks. Whether or not it's 'the best,' the Olympus Tough TG-4 ended up being the camera she had with her. Read more

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DPReview Gear of the Year Part 6: Richard's choice - Fujinon 56mm F1.2R APD

Dec 23, 2015

Richard Butler's choice of Gear of the Year isn't a product launched this year (our choices of best products of the year were recognized in the DPReview.com Awards), instead it's the one that's prompted him to work on his photography. So what's so special about the Fujifilm 56mm F1.2 APD?

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DPReview Gear of the Year part 5: Barney's choice - Sony RX1R II

Dec 21, 2015

A sucker for 35mm, DPR Editor Barney Britton found himself drawn to 2013's Sony RX1 and R for all of the obvious reasons, but shooting with them left him cold. But just when he was about to give up hope on seeing an improved replacement, the RX1R II arrived. Find out why it's pick for Gear of the Year. Read more

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Gear of the Year Part 4: Dale's pick - Samsung NX1

Dec 18, 2015

Historically an SLR shooter who has used his fair share of mirrorless cameras, DPR editor Dale Baskin found the NX1 to be most impressive when he reviewed it. The camera may have looked like a moon at first, but over the course of his time with it the NX1 proved to indeed be a space station. Find out why it's his Gear of the Year pick, despite a recent disturbance in The Force. Read more

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DPReview Gear of the Year Part 3: Sam's Choice - The Fujifilm Instax SP-1

Dec 14, 2015

Continuing our 2015 series of articles highlighting staff favorites of the past year, DPR studio manager Samuel Spencer takes a look back, yet simultaneously forward, at instant photography and the Fujifilm Instax Share SP-1 instant printer, and the experiences he had with it while shooting his sister's wedding last March. Read more

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DPReview Gear of the Year part 2: Carey's choice - Fujifilm X-A2

Dec 10, 2015

DPReview's newest staff member finds surprise and delight in the Fujifilm X-A2, the least expensive model in Fuji's interchangeable-lens camera lineup. While its build quality can't compete with his X100's, the X-A2 proves itself with a large sensor, sharp kit lens and features that elevate it beyond its entry-level class. Read more

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DPReview Gear of the Year Part 1: Dan's choice - Nikon D750

Dec 8, 2015

Kicking off our 2015 series of articles highlighting some staff favorites of the past year, DPR editor Dan Bracaglia writes about his experience with the Nikon D750. But this is less a story about his favorite piece of gear from the last 365 days, and more about a photographer and system owner holding out several years for the perfect camera. Read more

Season's greetings! As we approach the end of 2025, it's our tradition to wish you all a Merry Christmas, Happy Hanukkah, Happy Boxing Day, Happy Kwanzaa, Joyous Festivus, and Happy Holiday to all. As always, we're grateful that you stuck with us for another trip around the sun.

If there's one thread that weaves through everything we've done here at DPReview in 2025, it's a focus on investing in the future of the site.

Earlier this year, we expanded our editorial roster by bringing on Abby Ferguson as our full-time News Editor, providing us with more resources to cover industry news and create educational content. In addition to her writing, Abby is an artist who teaches photography at the college level. In 2026, we're going to find more ways to showcase her photography and share her unique perspectives with you.

"If there's one thread that weaves through everything we've done here at DPReview in 2025, it's a focus on investing in the future of the site."

We also made significant investments to ensure the future of our forums, some of which required tough choices. Our forums are a treasure trove of information dating back to the earliest days of digital photography, crowd-sourced by experts for over 25 years. More often than not, when I search for my own photography questions online, the answers are right here in our own forums.

To say the forums are a huge part of DPReview is a dramatic understatement. They're at the core of what we do: a place to share knowledge and make connections. To support this mission, we welcomed Mathew Anderson in July as our first-ever Community Manager. This is the first time in DPReview's history that we've had a full-time member of the editorial team dedicated to supporting our forum users, and it's long overdue.

Another critical investment was migrating our forums to a new software platform. Our previous system was a quarter-century old, and while it appeared stable on the surface, behind the scenes, it was being held together by duct tape and glue. We reached a point where it was no longer sustainable, leaving us with a tough decision: consider a future where we could no longer support the forums, or migrate them to a modern platform that would ensure their long-term viability.

"This is the first time in DPReview's history that we've had a full-time member of the editorial team dedicated to supporting our forum users."

We chose the latter solution, even if imperfect, because the alternative was unthinkable. We sincerely appreciate your patience throughout this process. The job isn't done, and we'll be making improvements in the weeks and months ahead based on your feedback..

Finally, we experimented with new media formats, such as our YouTube team discussions, as well as community-focused content like our Question of the Week series and our first full year of Editors' photo challenges. We plan to introduce even more in 2026, including feature articles about our community members and their photography.

Whether you're a regular reader, commenter, lurker or troll, thank you for being a part of the DPReview community. We're looking forward to another great year in 2026.