Image: OM-System

The OM System OM-3 gave users quick and easy control over its deeply customizable picture profiles with its control knob on the front of the camera. Now, the company has made it easier to find and download custom recipes made by others with its newly launched OM-3 Recipes hub.

When OM System launched the OM-3 in February, it iterated on the "Creative Dial" feature from the PEN-F, providing quick access to various color profiles for JPEG files. The camera came with several preset options, but also allowed users to customize various parameters, including sharpness, contrast, vignetting, virtual color filter, simulated grain, individual saturation control of 12 hues and more. Customizing those parameters to create a recipe can be time-consuming, though, especially if you're trying to match a specific aesthetic.

Each recipe offers a brief description with the photographer's name.

The OM-3 Recipes hub, however, lets you download recipes uploaded by other users, allowing for creative looks without fiddling with individual settings. The new hub currently features six recipes, each developed by a different photographer and providing a distinct look. For example, Jerred Z's recipe is a monochrome profile with soft midtones, deep shadows and some grain. Kyler Steele's profile is described as a "vintage inspired recipe that focuses on vibrant greens and golden yellows while stripping away blues." The hub also features a section to check out images taken with OM-3 Recipes to find inspiration and see what others are creating.

Installing still requires quite a few steps, but it is at least easier than inputting specific parameters (something you have to do with, say, Fujifilm's recipe system). To install a recipe, photographers need to download the image associated with the recipe, plug the camera into a computer via USB-C and open the OM Workspace app. You aren't able to install recipes using the OI.Share mobile app. Renaming the recipes is also not entirely ideal, as it can only be done on the camera itself after they've been installed. You can see the full installation instructions on the OM Recipes hub website.

You can submit your own recipes as well.

Users can also submit their own recipes using a form on the hub. The form asks for basic information like name, email address and Instagram account, along with the recipe name and description. It also asks for a JPEG file straight from the OM-3 that used the recipe.

Using recipes is currently a big trend in the photography world. Panasonic's take is the Lumix Lab, Ricoh says it's trying to do something similar for the GR IV and Nikon is slowly rolling out something similar for its cameras. Additionally, while Fujifilm doesn't have a hub for easily sharing recipes (one of DPReview staffer Mitchell Clark's complaints with the X-E5), it's giving you more control over them than it has in the past.

You can learn more about the OM-3 Recipes hub and download the available recipes at the OM System website.

By every measure, Jasmine Quiñones is extremely creative. Her images have perspective; her short films make you feel something. But she's not immune to getting stuck in a creative rut.

She was in one such rut when we first got in touch about contributing to our new video series with MPB about upgrading gear on a budget. In an attempt to extricate herself, Quiñones pitched an idea back to us: What if I downgrade instead?

In search of said downgrade — and, hopefully, a creative upgrade — she dove headlong into our Camera Comparison tool. She had her mind set on a simple point-and-shoot camera and quickly narrowed her selection down to the Fujifilm XQ2.

Then, Quiñones popped over to MPB, the leading platform for buying, selling, and trading camera equipment, and found one in stock, in excellent condition and, importantly, at an affordable price. While she was there, Quiñones also grabbed a Sigma 4.5mm f/2.8 fisheye lens, because, why not? She was under budget after all.

If you're in a creative rut or just looking to break out of your photographic comfort zone, we hope Quiñones' experience can serve as a reminder. That is, that sometimes the best way forward is back. And that old things can bring new perspectives.
Buy, Sell, or Trade with MPB

We've just finished up with a busy month of smartphone news, but we're not quite done with our coverage yet. Recently, the DPReview team sat down to discuss some of the finer points of smartphone photography, including how the phones achieve their digital crops, the sensor sizes currently being used by Apple and others, and the balance of hardware and software in mobile photography.

If you've finished the video and are still looking for more on mobile photograhpy, you can check out our opinion piece below, where we talk about the marketing phone companies do around their center crop modes.

Image: Meike

Meike, a Hong Kong-based manufacturer specializing in budget cinema and photography equipment, has removed L-mount lenses from its website. The move, spotted by a DPReview reader, has sparked questions about the company's intentions to continue supporting the mount.

Users have taken to forums to report having issues finding L-mount Meike lenses on the Meike website and through sellers on AliExpress and Amazon. One DPReview member said he purchased an L-mount lens via a seller on AliExpress on September 21, but when he went to check the price out of curiosity on September 22, the L-mount version was no longer available. He couldn't find it through other sellers, either, and a visit to the Meike website revealed that the L-mount section is no longer there.

Indeed, as of September 30, there is no L-mount option under the Camera Lens tab. A look back using the Internet Archive Way Back Machine reveals an L-mount category as of the last recorded snapshot on September 18.

The screenshot of the Meike website on the left, which shows an L-mount category, was taken using the Way Back Machine and its snapshot on September 18. The screenshot on the right was taken on September 30.

At the time of writing, Meike has not released a statement about the situation with L-mount lenses. However, some users have reported that Meike responded to them via email, clarifying that L-mount lenses are currently out of stock and that they will be relisted after an upgrade and calibration.

Naturally, there are plenty of rumors and speculation about what the removal of Meike L-mount lenses means. Many wonder if this means that Meike is joining the L-mount alliance and that it removed its existing L-mount lenses to get them up to snuff with the new requirements. Others wonder if this is a quiet recall because of supposed focusing issues with certain models.

Meike responded to our request for comment by simply stating, "Our website is being updated." The reply suggests the L-mount models haven't been entirely discontinued, as it seems likely the company would've mentioned it if they had. Still, Meike hasn't provided any additional context about why they were removed in the first place.

Photo: Richard Butler

Many cameras, especially entry-level models, most often come as a kit with a lens. Appropriately referred to as 'kit' lenses, they are typically 'standard zooms' offering a range from fairly wide angle to moderate telephoto (such as 18-55mm on APS-C cameras). The focal length range is versatile and works well for many subjects, which helps you test the waters right away without spending money on additional lenses. They are also affordable, helping keep the cost of your kit down, and are typically compact, making them easier to take with you.

However, there are downsides to the kit lens. If you are interested in growing your skills as a photographer, you will likely reach the point where you've outgrown the kit lens and need to upgrade to something else. Knowing when you've reached that level can be tricky, though.

Signs you've outgrown your kit lens

Everyone's experience and situation are different, so there isn't one exact timeframe or answer for when to upgrade. However, below are some common signs that could suggest it might be the right move.

You're struggling in low light

Most kit lenses offer rather small maximum apertures. That means you have to compensate with a slower shutter speed or higher ISO when working in low-light situations, which isn't always ideal. Making matters even worse, most have variable maximum apertures, meaning you lose light as you zoom in.

Upgrading to a higher-end lens will provide you with a wider maximum aperture, making it easier to work in low light. Plus, that maximum aperture will stay constant when you zoom in and out, meaning the lens's low-light performance doesn't degrade when you zoom in to longer focal lengths.

You can't blur the background as much as you'd like

The Fujifilm XF 16-55mm F2.8 R LM WR II is essentially an upgraded version of a kit lens. The F2.8 aperture makes it easier to blur the background than the similar Fujifilm XC 16-50mm F3.5-5.6 OIS lens. Photo: Richard Butler

Another issue with the small maximum aperture is depth of field. Wider apertures allow you to get a shallower depth of field, creating a blurry background that helps keep the focus on your subject. Aperture isn't the only thing that controls depth of field, but due to its smaller aperture, it can be difficult to achieve a small area in focus with a nicely blurred background when using a kit lens.

If you like the look of slim areas in focus with bokeh in the background (or foreground) and are struggling to create that with the kit lens, then upgrading to a lens with a wider maximum aperture will be smart.

You're having difficulty capturing sharp images

While new kit lenses have shown substantial improvements in image quality, most still lag behind higher-end lenses simply because they are built to be budget-friendly. Kit lenses often suffer from a few image quality issues that can be frustrating.

The primary image quality issue with kit lenses is that they may not be very sharp on the edges of the frame or at both ends of the zoom. You may notice that the center is nice and sharp, but the corners look out of focus. Stopping down your aperture can help, but you don't always want to resort to that.

Kit lenses can have other issues that affect apparent image sharpness, such as color fringing – especially on high-contrast edges, where cyan or magenta lines commonly appear. They can also suffer from more pronounced lens flare and ghosting (bright spots, streaks or duplicate shapes), which may take away from overall sharpness and clarity.

If you're frustrated by the image quality you're getting because of a lack of sharpness or strong color fringing, then it's probably time to upgrade.

Build quality is a concern

When producing lenses that are designed to be budget-friendly, manufacturers inevitably have to make some sacrifices to keep the cost down. Build quality is often one of those sacrifices. Kit lenses are typically made of lightweight plastics and lack weather sealing, which can make them more prone to breaking.

Higher-end alternatives generally use sturdier materials and feature weather sealing to protect against dust and water. As a result, they are more durable and better able to withstand adverse conditions. If you know you want to take your camera in wet or dusty environments, or simply want to have a durable lens for daily use, you may want to upgrade.

The autofocus can't keep up

Finally, kit lenses may have slower autofocus, which could prevent sharp images when working with fast-moving subjects. The sluggish autofocus means you may end up with more out-of-focus images than you would get with a faster-focusing lens. If you like photographing action of any variety and feel like the lens isn't able to keep up, it's time to upgrade.

What to consider before upgrading

For most people, it makes sense to upgrade the standard zoom lens instead of opting for a different focal length range. That way, you get a nice range of versatile focal lengths in one lens and don't need to continue to rely on the lens that's holding you back. Photo: Richard Butler

If any of the above issues resonate with you, it's probably time to consider a new lens. However, you should think carefully about what that new lens should be, as they can be quite expensive. Having a good understanding of what's prompting the upgrade will make it easier to work out which new lens will actually address your needs, saving you from buying something that isn't quite right.

When considering what you should upgrade to, start with focal length. The kit lens focal length is one you'll likely still use (there's a reason it's the common choice for kits), so for most people, it's smart to upgrade that instead of opting for a completely different focal length. However, if you've noticed that you consistently wish you could zoom in more, or, alternatively, get a wider view, a different zoom range may be best.

If you've noticed that you consistently wish you could zoom in more, or, alternatively, get a wider view, a different zoom range may be best.

Aperture is the other main factor to pay attention to. If your main complaint with your kit lens is poor low-light capabilities or the inability to blur your background, then you may want to spend the extra money to get a wider maximum aperture on your next lens. At the very least, look for a zoom lens with a constant maximum aperture, so that you aren't frustrated when zooming in. Alternatively, while some zoom lenses offer very wide apertures, prime lenses are usually the best way to maximize low-light capabilities and dramatic depth of field.

No matter what you're looking for, it's important to spend time researching to learn what the promised image quality will be. After all, you want to ensure that you actually get an upgraded option, not just something slightly different. Many zoom lenses are good, but some don't strive for much above average clarity and image quality, rather than delivering truly sharp, vibrant or impressive results. Our lens comparison tool can be a useful way to check if what you're considering is truly going to be better optically.

Elevate your photography

For most, upgrading from the kit lens sooner rather than later is wise. Kit lenses have improved over the years, but they can still hold you back. If you are even a little bit serious about photography, don't wait too long to invest in a lens that will allow you to grow and reach your creative goals.

2025 Bird Photographer of the Year Winners

The winners of the 2025 Bird Photographer of the Year contest have been announced, showcasing remarkable photographs of the avian species from around the world. This year, more than 33,000 images were submitted, with entries created by seasoned pros and those younger than 11 years old.

The adult competition features eight categories, including Best Portrait, Birds in the Environment, Bird Behaviour, Birds in Flight, Black and White, Urban Birds, Conservation (Single Image) and Creative Perspectives. Additionally, there are youth categories for 15-17 year olds, 12-14 year olds and 11 and under.

This year's grand prize winner was a photograph of a bird flying in front of a solar eclipse, taken by Liron Gertsman of Canada. "I spent well over a year of planning to capture my dream of a bird in front of the total solar eclipse," says Gertsman. "I enlisted the help of
a boat to position myself near some islets off Mazatlán that were frequented by seabirds. As the moon uncovered the sun’s edge at the end of totality, I captured this image during the eclipse phase known as the 'diamond ring' – a moment that lasts mere seconds."

"Exceptional bird photography takes technical excellence, artistic vision, and dedication. When everything comes together, you get a spectacular image like this one," says Will Nicholls, Director of Bird Photographer of the Year. "This photograph is a striking reminder of what human creativity can achieve. In a world increasingly filled with AI imagery, it’s refreshing to celebrate a picture that is both awe-inspiring and rooted in the natural world."

The contest also crowned Tomasz Michalski the Young Bird Photographer of the Year 2025 for his silhouette of a black vulture.

This year, the Bird Photographer of the Year contest donated more than £5,000 to its partner charity, Birds on the Brink, which provides funding to grass-roots bird conservation projects around the world.

You can see more of the winning images and learn more about the contest at birdpoty.com. Additionally, the 2026 contest is now open for entries and invites photographers of all experience levels from anywhere in the world.

Bird Photographer of the Year

Photographer: Liron Gertsman / Bird Photographer of the Year

Awards: Overall Winner and Gold Award for Birds in Flight

Image title: The Frigatebird and the Diamond Ring

Location: Mazatlán, Sinaloa, Mexico

Bird: Magnificent Frigatebird, Fregatta magnificens.

Technical details: Canon EOS R5 with Canon RF 100–500mm F4.5–7.1 lens. 400mm | 1/4000 sec| F7.1 | ISO 10,000

Caption: After well over a year of planning and about a week of in-person scouting on the coast of Sinaloa in Mexico, my dream of capturing a bird in front of a total solar eclipse finally came true on April 8, 2024. Totality was due to last almost 4.5 minutes, and I had enlisted the help of a boat to position myself near some islets off Mazatlán that were frequented by seabirds. As the moon uncovered the sun’s edge at the end of totality, I captured this Magnificent Frigatebird in front of the spectacular eclipse phase known as the ‘diamond ring’, a moment that lasts just seconds.

Young Bird Photographer of the Year

Photographer: Tomasz Michalski / Bird Photographer of the Year

Awards: Young Bird Photographer of the Year and Gold Award for 15-17 Years

Image title: Minimalist Wings

Location: Popoyo, Nicaragua

Bird: Black Vulture, Coragyps atratus.

Technical details: Olympus E-M1 Mark II with Leica 100–400mm F4–6.3 lens. 400mm | 1/320 sec | F22| ISO 125

Caption: I took this photo during the biggest trip of my life, which was to Central
America in July 2024, in the first country we visited, Nicaragua. I saw this
big vulture drying its wings on a pole close to our hotel. I was being
watched by the bird but it was very calm so I had a long time to
photograph it. The scenery wasn’t beautiful so I decided to frame it with
only part of the bird being in the photo. I tried various combinations and
this one is my favourite.

Best Portrait - Gold Award

Photographer: Steffen Foerster / Bird Photographer of the Year

Image title: Bloody Petrel

Location: Sea Lion Island, Falkland Islands (Malvinas)

Bird: Southern Giant Petrel, Macronectes giganteus

Technical details: Canon EOS R5 with Canon RF 400mm F2.8 lens. 400mm | 1/3200 sec | F2.8 | ISO 1000

Caption: Giant petrels are the scavengers of the Southern Ocean, often seen feeding
on carrion. This individual has its head stained red with blood from a recent meal. Although their feeding habits may seem gruesome, these birds play a vital role in the ecosystem by preventing the spread of disease. Despite their appearance, giant petrels are surprisingly devoted parents, with both males and females taking turns incubating their single egg and guarding their chick for weeks. Once heavily persecuted for their oil, their populations have rebounded thanks to conservation efforts, although they still face threats from fishing practices and climate change.

Best Portrait - Silver Award

Photographer: Maxime Legare-Vezina / Bird Photographer of the Year

Image title: Voice of the Ash Forest

Location: Jasper National Park, Alberta, Canada

Bird: Common Raven, Corvus corax

Equipment: Canon EOS R5 with Canon EF 600mm F4 III lens. 600mm | 1/400 sec | F4 | ISO 1250

Caption: After the devastating wildfires of summer 2024, I visited Jasper to witness the desolation. In the scorched landscape, where ash covered everything, only a few animals had returned. Among them, Common Ravens were some of the first to reclaim the land. This one, perched on a charred tree, was calling out, as if mourning the loss of its kingdom.

Bird Behavior - Gold Award

Photographer: Francesco Guffanti / Bird Photographer of the Year

Image title: Angel or Demon

Location: Aosta Valley, Italy

Bird: Golden Eagle, Aquila chrysaetos

Technical details: Nikon Z 6 with Nikon Z 24–70mm F4 lens. 35mm | 1/250 sec | F5 | ISO 4000

Caption: A Red Deer killed by a car in the pine forest near to where I live provided a fantastic opportunity to document the activity of carnivores and scavengers visiting the carcass. With the help of a friend I positioned and camouflaged a motion sensor and two mirrorless cameras nearby. To avoid any disturbance I avoided the use of flashes or any other type of artificial light. After foxes, crows and some small birds had paid a visit, most unexpectedly, and despite the thick blanket of branches, a Golden Eagle appeared and descended to feed on the carcass. It was an unforgettable experience.

Bird Behavior - Silver Award

Photographer: Mateusz Piesiak / Bird Photographer of the Year

Image title: King of the Forest

Location: Jura, Switzerland

Bird: Western Capercaillie, Tetrao urogallus

Technical details: Canon EOS R5 with Canon EF 400mm F2.8 II lens. 400mm | 1/1600 sec | F2.8 | ISO 800

Caption: This male capercaillie, illuminated by the first rays of the rising sun, had perched in the ideal spot. The emotions I felt are hard to put into words. Overwhelmed by the scene, I forgot to adjust my camera settings, resulting in most of the photos being blurry. Thankfully, though, a few turned out sharp!

Birds in Flight - Silver Award

Photographer: Baiju Patil / Bird Photographer of the Year

Image title: Through the Marigolds

Location: Hiware Bazar, Maharashtra, India

Bird: Barn Swallow, Hirundo rustica

Technical details: Nikon D4 with Nikon 14–24mm F2.8 lens. 14mm | 1/250 sec | F10 | ISO 200

Caption: The fields of marigolds around the village of Hiware Bazar are a sight to behold, and seeing the flocks of swallows skimming over them gave me the idea for this photo. I noticed that some of the birds kept feeding over the same area and set up my camera so that I could fire it with a remote. This is one of the many thousands of photos I took and is the one I am most pleased with.

Birds in the Environment - Gold Award

Photographer: Franco Banfi / Bird Photographer of the Year

Image title: Feasting at Sunset

Location: Espíritu Santos, Mexico

Bird: Brandt’s Cormorant, Phalacrocorax penicillatus

Technical details: Sony A7R III with Sony 8–15mm F4 lens. 15mm | 1/200 sec | F8 | ISO 400

Caption: I was in the Sea of Cortez, near Los Islotes, a fistful of rocks that is part of the Espíritu Santo archipelago, to document the unbelievable recovery of this marine protected area. Los Islotes is the southernmost breeding site of the Californian Sea Lion in the Northern Hemisphere, but it is a wonderfully wild place for many other reasons. I was fascinated by the extraordinary skills and elegance of Brandt’s Cormorants as they fed on an almost endless school of small pilchards. Most of the hunting activities took place at sunset, when the low natural light conditions were challenging. But on one occasion the conditions were favourable and I was able to take this particular image that gives a three- dimensional perspective.

Birds in the Environment - Silver Award

Photographer: Levi Fitze / Bird Photographer of the Year

Image title: Structures

Location: Alpstein, Switzerland

Bird: Rock Ptarmigan, Lagopus muta

Technical details: Sony a7 IV with Sony 200–600mm F5.6–6.3 lens. 512mm | 1/2000 sec | F6.3 | ISO 800

Caption: I spotted this Rock Ptarmigan walking slowly up a snowy hillside in the Swiss mountains on a frozen winter’s day. Ptarmigans are masters of camouflage, their white winter plumage blending in so well with the snow. I noticed that the footprints this bird was leaving in the snow, emphasised by the low, flat light, were perhaps more noticeable than the bird itself. I framed the image so that the bird was part of the picture to highlight its expansive environment and show the wonderful textures in the snow.

Black and White - Gold Award

Photographer: Jannik Jansons / Bird Photographer of the Year

Image title: The Giant

Location: Hornøya, Varanger, Norway

Birds: European Shag and Common Guillemot, Gulosus aristotelis and Uria aalge

Technical details: Canon EOS R5 with Canon EF 16–35mm F2.8 III lens. 34mm | 1/640 sec | F22 | ISO 800

Caption: Using a wide-angle lens, I photographed a shag taking off on the Norwegian island of Hornøya. In the image it looks like a gigantic bird flying over all the others, but in reality the bird is flying very close to the lens and therefore appears much larger. Because of the very small aperture, the sun is captured as a star through the blades of the lens. The conversion to black and white reinforces the confusing perspective, as the details are hard to see and it is more difficult to determine the birds’ relative size.

Black and White - Silver Award

Photographer: Raoul Slater / Bird Photographer of the Year

Image title: Black and White Swan

Location: Gympie, Queensland, Australia

Bird: Black Swan, Cygnus atratus

Technical details: Canon EOS R5 with Canon EF 100–400mm F4.5–5.6 II lens. 263mm | 1/8000 sec | F5 | ISO 800

Caption: At thirteen, I switched my Canon AE-1 from programme mode to aperture priority – and I’ve worked that way ever since. I prefer controlling depth of field first, shutter speed second. It usually works – except in moments like this, when photographing in low, pre-dawn light when the sun suddenly rises. I forget to adjust, the shutter speed maxes out, and the image blows out. This photo, taken on a misty morning, appeared three stops brighter than I’d visualised – and it took my breath away. Sometimes, a divine accident redeems a thousand mistakes.

Creative Perspectives - Gold Award

Photographer: Philipp Egger / Bird Photographer of the Year

Image title: Photo Art

Location: Alps, Italy

Bird: Common Kingfisher, Alcedo atthis

Technical details: Nikon Z 7 II with Nikon Z 24–70mm F4 lens. 36mm | 1/200 sec |
F11 | ISO 125

Caption: My idea behind this photograph was to capture a kingfisher flying over a piece of artwork so that the two became merged. To achieve this, I mounted my camera on a dead fallen tree across a small stream and pointed it vertically downwards at the artwork positioned just above the water’s surface. I then waited for days in my camouflaged tent not far away triggering the camera with a radio remote release when the bird flew over the picture.

Creative Perspectives - Silver Award

Photographer: Andreas Hemb / Bird Photographer of the Year

Image title: Landing in a Sea of Swans

Location: Tysslingen, Örebro, Sweden

Bird: Whooper Swan, Cygnus cygnus

Technical details: Sony a1 with Sony 400mm F2.8 lens. 400mm | 1/4 sec | F5.6 | ISO 500

Caption: Nothing heralds the arrival of spring more evocatively than the sight and sound of migrant birds in Sweden, with the appearance of Whooper Swans being a particular highlight. I took this image at dusk as the swans were gathering in a field next to a lake. Using a slow shutter speed to emphasise motion, I tracked one of the swans as it came in to land, aiming to capture its grace against an abstract sea of swans on the ground.

Urban Birds - Gold Award

Photographer: Alex Pansier / Bird Photographer of the Year

Image title: Feathered on Panels

Location: Near a highway, Netherlands

Bird: Carrion Crow, Corvus corone

Technical details: Sony a1 with Sony 100–400mm F4.5-5.6 lens. 348mm | 1/500 sec | F13 | ISO 6400

Caption: A lone bird rests on a vast field of solar panels alongside a highway in the Netherlands – a striking symbol of the tension between green energy and nature. As we transition to sustainable power, the infrastructure often claims scarce space that could have been left for wildlife. This spontaneous moment captures that paradox: progress requires space, but at what cost to nature? No bait was used – just a fleeting encounter between a bird and a modern-day monoculture.

Urban Birds - Silver Award

Photographer: Tomáš Grim / Bird Photographer of the Year

Image title: Urban Incubator

Location: Brno, Czech Republic

Bird: Eurasian Jay, Garrulus glandarius

Technical details: Nikon Z 8 with Nikon Z 180–600mm F5.6–6.3 lens. 250mm| 1/20 sec | F7.1 | ISO 1000

Caption: Eurasian Jays are not generally thought of as urban birds but can sometimes be found in parks and gardens. They almost always build their nests in trees, avoiding artificial structures – so when a friend reported finding a jay’s nest inside (!) a streetlamp I considered it a joke; the Eurasian Jay is not a hole nester. Yet I could not resist checking it out and to my amazement the nest was real. I waited for the ‘blue hour’ to combine the warm light from the lamp with the cold colours of this unique nest’s surroundings before taking this photo.

Conservation (Single Image) - Gold Award

Photographer: Sarthak Agrawal / Bird Photographer of the Year

Image title: Radiographing

Location: Aurangabad, Maharashtra, India

Bird: Common Hawk-Cuckoo, Hierococcyx varius

Technical details: Nikon D5600 with Nikon 18–55mm F3.5-5.6 lens. 18mm | 1/60 sec | F5.6 | ISO 320

Caption: This pictured is of an injured juvenile Common Hawk-Cuckoo that had been rescued after being hit by a vehicle in the city. The bird had taken shelter under a parked car before being rescued by the ManwithIndies Foundation and sent for treatment under the forest department’s guidance. To assess the damage to its wings, a radiograph was
obtained after anesthetising the bird. Common Hawk-Cuckoos are brood parasites, laying their eggs in the nests of smaller urban birds like sunbirds, prinias, and tailorbirds. While these smaller birds have adapted well to urban environments, the much larger hawk-cuckoo struggles to navigate and survive. Every year, several cuckoo chicks are found under similar circumstances, and foundations like ManwithIndies rescue many of them.

Conservation (Single Image) - Silver Award

Photographer: Charlotte Keast / Bird Photographer of the Year

Image title: Trapped

Location: Entebbe, Uganda

Bird: Shoebill, Baleniceps rex

Technical details: Canon EOS R5 with Canon RF 14-35mm F4 lens. 14mm | 1/2500 | F4 | ISO 160

Caption: In heartbreaking contrast to its wild peers, this Shoebill stork is confined in a small dirty cage in a zoo in Entebbe, Uganda. Known for their solitary and elusive nature, Shoebills thrive in vast wetlands, hunting in silence and flying gracefully over open landscapes. Here, trapped behind glass for the entire day and on full display to the public, this majestic bird is deprived of space to fly, hunt or retreat from the constant gaze of visitors. Just a few miles away its wild counterparts enjoy the freedom of Uganda’s marshes – a stark reminder of the unnatural conditions that captivity imposes on such extraordinary creatures.

12-14 Years - Gold Award

Photographer: Harry Sedin / Bird Photographer of the Year

Image title: Jewel of the Forest

Location: Haleakalā National Park, Hawai'i, United States

Bird: ‘I‘iwi, Drepanis coccinea

Technical details: Canon EOS R7 with Canon EF 100–400mm F5.6–8 lens. 400mm | 1/320 sec | F8 | ISO 1000

Caption: Haleakalā National Park is infamous for altitude sickness, but visiting it led me to an unforgettable moment. Feeling lightheaded at nine thousand feet, we turned back and stopped at Hosmer Grove Campground. The moment I stepped out, flashes of red flickered through the trees, three to four ‘I‘iwi landing on a sunlit bush. With harsh light and no clouds above us, I underexposed the shot, creating a black background that made the
bird’s scarlet feathers glow. The altitude may have made me miss out on a Short-eared Owl, but it gave me the perfect opportunity to capture Hawaii’s iconic honeycreeper in stunning contrast.

11 and Under - Gold Award

Photographer: Sasha Jumanca / Bird Photographer of the Year

Image title: Graceful Flight Over Wild Bloom

Location: Mahmudia, Romania

Bird: European Bee-eater, Merops apiaster

Technical details: Nikon Z 9 with Nikon Z 600mm F4 lens. 600mm | 1/4000 sec | F4 | ISO 1250

Caption: While exploring the Danube Delta in Romania this summer, I discovered a European Bee-eater colony in a nesting cliff where the birds were tirelessly chasing prey for their chicks nestled in the burrows. The birds were flying over a field of wildflowers, whose colours beautifully mirrored the bee-eaters’ plumage. I was captivated by their agility as they swiftly changed speed and direction, tracking insects through the air. After many attempts, I finally captured this bird in flight, its wings fully spread, showing the beautiful colours of its feathers in great harmony with the flowers.

$2000 or the equivalent in your local currency is a lot to spend on a camera, especially when you're just starting out. However, if you can spare the funds, it's the price bracket where cameras start to get really good. You can expect powerful but easy-to-use autofocus systems, cameras that make it easier than ever to learn the craft of photography, and even some more advanced and capable options.

While this article used to only consider cameras up to $1500, because of inflation (and, in the US, tariffs), this class of camera has risen in price; if a camera cost $1500 when it was introduced in 2019, its successor may now cost around $1800.

The biggest decision will likely be whether to go with a full-frame camera – a name that comes from their sensors being the same size as a frame of 35mm film – or a camera with a smaller APS-C or Micro Four Thirds sensor.

Essentially, choosing a sensor size comes with trade-offs between size, price, and image quality, as well as features. You can get some pretty advanced cameras in all three sensor sizes for under $2000, so that focus on system price and portability vs. peak image quality is the biggest distinction.

After extensive use, the following cameras would be our picks in this price range:

Our picks:

• Best camera for under $2000: Nikon Z5II
• Enjoyable to shoot with: Fujifilm X-T5
• Most versatile option: Sony a6700
• A fixed prime-lens compact: Fujifilm X100VI
• The affordable kit: OM System OM-5 II

Best camera for under $2000: Nikon Z5II

24MP BSI full-frame sensor | In-body image stabilization | Dual UHS-II card slots

The Nikon Z5 II is the first full-frame camera to launch for under $2000 that doesn't feel like it's asking you to make big compromises. Lens availability is still a concern, but it's a capable and enjoyable camera to use. Photo: Mitchell Clark

It earns its place on this list by being one of the most capable and fully featured full-frame options we've seen at this price point. More expensive options may offer better video, faster burst rates and more bells and whistles, but the Z5II will be more than enough camera for a vast number and variety of photographers. You'll have a hard time outgrowing it.

Read our full review of the Nikon Z5II

See the Nikon Z5II studio scene

The other full-frame options

Canon's entry-level full-frame camera, the EOS R8, used to top this list thanks to its great autofocus and detailed, full-width video. With the Z5II, Nikon has caught up in autofocus performance, and we feel its inclusion of IBIS, better viewfinder, autofocus joystick and larger battery make it a significantly nicer full-frame pick.

We also considered the Sony a7c, which is still available at seemingly tempting prices. However, it's a little hard to recommend in 2025; it's essentially a smaller and less-expensive a7 III, which means it also has less sophisticated autofocus, video and image stabilization, as well as clunky, dated menu design. The a7c also has no front control dial – a feature Sony added to the a7c II – and, most significantly, a very small, low-resolution viewfinder.

A single control dial and lack of EVF also keep the Panasonic S9 from a more prominent position on this list, and it doesn't help that its autofocus isn't quite on pace with Canon, Nikon or Sony's greatest.

Enjoyable to shoot with: Fujifilm X-T5

The X-T5 puts control over all your exposure parameters right on the top plate. Photo: Richard Butler

While the X-T5 doesn't have the absolutely best autofocus or highest-end video, we find its user interface, honed over several generations and complete with every dial you could ever ask for, makes it one of the most enjoyable and engaging APS-C cameras to shoot with.

Read our full Fujifilm X-T5 review

See the Fujifilm X-T5 studio scene

Most versatile option: Sony a6700

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

The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though. Photo: Richard Butler

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters, and is included on this list because it provides some of the best autofocus you can get in an APS-C camera.

Read our full Sony a6700 review

See the Sony a6700 studio scene

Other APS-C cameras worth considering

The Canon EOS R7 is also an excellent option, providing a high-resolution sensor, great autofocus, and the ability to shoot at up to 15fps. Sigma has also recently started making APS-C lenses for RF mount, giving those who want to go beyond the kit lens more options, though there's still no particularly great telephoto option for sports and wildlife photographers.

A fixed-lens option: Fujifilm X100VI

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

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy. Photo: Richard Butler

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a new, higher price than its predecessor and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it too can still quite hard to find.

Updated with in-body image stabilization and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical.

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

If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

The affordable kit: OM System OM-5 II

20MP Four Thirds sensor | Up to 7.5EV stabilization | IP53-rated dust and water resistance

The OM-5 II offers a smaller, more rugged alternative to APS-C or full-frame cameras. Photo: Mitchell Clark

Even smaller than APS-C are Four Thirds sensors. The Micro Four Thirds system uses a sensor one-quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations, and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though, is a significantly smaller system for which some of the lenses are much less expensive.

The OM System OM-5 II is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera. And while most cameras in this list are around $1500-2000 on their own, you can easily get the OM-5 II and a lens while still staying within that budget. We're still working on our full review of it, but its hardware is very similar to that of the original OM-5, so it should perform identically when it comes to image quality and autofocus.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

Why you should trust us

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

Image: Sony

Sony has announced the FE 100mm F2.8 Macro GM, a high-end full-frame macro lens that can achieve up to 1.4x reproduction on its own, and 2.8x reproduction when paired with a teleconverter.

The lens is made of 17 elements in 13 groups, with two of Sony's XA and ED elements, which the company says will help reduce chromatic aberrations. It also uses a Nano AR II coating to reduce flare and ghosting when you're shooting a backlit subject. It can focus on subjects as close as 0.26m (10.2") away in both manual and autofocus mode.

If you're getting that close to something that's liable to splash water on you, the good news is that the front element also has a fluorine coating to repel water and oils. The lens is also sealed to keep out dust and moisture. It weighs 646g (22.8oz) and is 148mm (5.8") long.

Image: Sony

Focusing is handled by a pair of linear "XD" motors. Sony says these are faster, more accurate and quieter than the piezoelectric drive in its previous 90mm F2.8 macro lens; the company says it supports focus tracking at up to 120fps. The lens features a focus clutch mechanism that lets you quickly switch to manual focus, and the ring has both distance and magnification markings on it. It also has a focus limiter switch, letting you set it to search its full range, from 0.5m to infinity or 0.26m to 0.7m.

That's far from the only switch on it. It also has a control for clicking and declicking the aperture ring, an iris lock switch and a switch for controlling the optical stabilization. The latter system can work with the camera's IBIS system, letting you get sharp photos even at relatively low shutter speeds (provided your subject is also very still). The lens also has twin customizable function buttons.

Sony's latest macro lens is also compatible with teleconverters, which will increase its focal range and magnification capabilities, at the cost of reducing the effective aperture setting. It also lets you get the same level of magnification from further away. For example, Sony says that, with the lens alone, you'll need around 90mm (3.5") of working distance to your subject to get the full 1.4x magnification. With the 2x teleconverter, you can be up to 145mm (5.7") away and still get that 1.4x reproduction, reducing the likelihood of casting shadows on your subject or otherwise disturbing it.

The Sony FE 100mm F2.8 Macro GM will retail for $1499, and will release on November 13th.

Sample Gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

With thanks to Lensrentals for the camera body.

Sony FE 100mm F2.8 Macro GM specifications

The Premiere on iPhone app allows for multi-track editing and a long list of additional features. Image: Adobe

At the beginning of the month, Adobe announced that it was bringing its popular video editor to iPhones. Now, Premiere on iPhone is officially available for download – for free – giving content creators and editors a new option for editing on the go.

With Premiere for iPhone, Adobe aims to bring the robust functionality of the desktop-based Premiere Pro to phones. "We’re excited to bring the power of Premiere to creators’ fingertips, delivering pro-level creative control, without the pro-level complexity," said Mike Polner, vice president, product marketing, creators at Adobe." Premiere on iPhone makes it easy for creators to craft and share stories on mobile with studio-quality audio, precise editing tools and stunning visuals, to turn everyday content into polished stories anytime, anywhere."

You can generate sound effects in-app; however, generative AI requires the purchase of Firefly generative credits. Image: Adobe

Premiere for iPhone provides a long list of features. These include unlimited multi-track timeline, 4K HDR editing, frame-accurate adjustments, animated captions, speed and motion effects and instant background removal. It also offers AI audio tools such as Enhance Speech for clear voiceovers and Generative Sound Effects. Users can also generate assets with Adobe's generative AI in-app or access the company's expansive library of creative assets, including stickers, images, fonts and royalty-free music.

Adobe says the new app is designed with features ideal for a new generation of creators creating shorts for YouTube or TikTok, along with seasoned pros editing client work or personal projects. Unlike some of the other mobile video editing apps, Adobe says the Premiere app is a "distraction-free, watermark-free experience."

If you have a Premiere Pro subscription, you can send edits from your phone to your computer. Image: Adobe

The Premiere on iPhone app is completely free, and anyone who downloads it can start creating right away. No Adobe account or login is required to edit and save projects locally or export video. Some features will require sign-in to an Adobe account, such as access to creative assets or if users want to send projects from mobile to desktop Premiere Pro (which requires a subscription to use). Additionally, generative AI features require a login and the purchase of Firefly generative credits.

Premiere on iPhone is now available for download in the App Store. Adobe says Premiere on Android is in development, so hopefully Android users don't have long to wait.

Image: MirageC / Moment via Getty Images

Last week, we wanted to spark some potentially unexpected or controversial responses with our 'Question of the week.' We were curious about the cameras you hate on paper but love in real life. Alternatively, you could share about cameras you love on paper, but the hands-on experience didn't live up to the hype. We wanted to discover cameras that surprised either for good or for bad. Here's what you all had to say.

Cameras that exceeded expectations

You all brought up a very diverse range of cameras, from older DSLR models to brand new mirrorless and medium format options and everything in between. Tony Hall even surprised us with a mention of the Instax Mini. However, there were some common themes across responses.

Nikon Zf

The Nikon Zf was mentioned more than anything else when considering cameras that don't look great in terms of specs or expectations, but are nonetheless loved.

"I bought it on a lark last February just to try out a mirrorless I thought I could not grow too attached to. Just a 'play around' camera. I since have come to enjoy mirrorless cameras as my regular shooting tools," said AWG_Pics. "The Zf is still my most fun camera to shoot. It was definitely my gateway drug into mirrorless." While many complain about the lack of a grip on the Nikon Zf, Pierre Legarde has a different perspective: "The lack of grip makes me hold this camera in a way I'm more involved in shooting. It's something to get used to, but in the end, it's rewarding."

Older models

Another common theme was older models that were pleasant surprises. For example, a few of you highlighted the Sigma SD Quattro. "On paper: grumpy, if usable, autofocus. Uses DSLR lenses from a dead, yet still expensive, mount. Shooting past base ISO in color is a bad idea. Limited dynamic range; both highlights and shadows clip in an ugly way. Overheats even in moderate heat, said Earl Goodson. "In real life: and yet....Those foveon COLORS. Crisp, realistic details. Subtle non-Bayer tonality that makes you want to just study the hues."

Similarly, a few of you mentioned the Nikon Df. "Everything on paper told me that the Df was "wrong" (...and not just for me but for everyone... the hybris!)," said remrebus. "Now I own one and it's the only Nikon that I have and I'll never sell it (...for a numerous reasons that I don't explain here 'cos it would be a long list)."

Multiple people also mentioned the Nikon 1 cameras, including the V1, V2 and J5. "The specs don't look that great and the small sensor was a turn off before I received one as a gift," said lecoupdejarnac. "The system is just plain fun to shoot with and I've gotten lots of good wildlife shots with the killer 70-300mm lens (810mm equivalent!)."

Brian Chichester added that the initial reviews pointed out the Nikon 1 V1's many faults. However, "Much later I got my hands on one, used it, and realised that for me, it worked. I use it mainly as a monochrome camera and I would say that is its strength," he explained. "But it shows that, above and beyond spec sheets, a camera is a tool that either suits your hands and your purposes or it doesn't."

Bridge cameras and compacts

There were also quite a few responses that mentioned bridge cameras or compacts. For example, Smaug01 mentioned that the OM System TG-7 was a camera that doesn't look great on specs but that he has been enjoying. "On paper, it has a tiny sensor, which should kill it for me right there. However, I'm finding that I'm out of my "any visible noise is bad" phase and becoming more open-minded as I ease into middle age," he said. "The ability to actually drop this directly in a pocket without worry about dust being ingested, and the fact that the useful zoom lens is pretty fast made me open my mind enough to open my wallet and buy one."

IEBA1 didn't mention a specific model, but did highlight compact travel zoom cameras as ones to hate on paper but love in use. "In general, I hate tiny, fiddly cameras with minimal buttons and control," they said. "But my favorite travel camera is a too-small, tiny battery, tiny sensor camera. Because I can put it my jacket pocket and I have everything from macro, wide angle, and a 30x zoom."

Cameras that disappointed despite their specs

There were also mentions of cameras with specs that should have resulted in an excellent device, but things didn't play out quite that way. The Sony RX series was one that popped up a few times.

"A few years ago I had a Sony RX100 VII. Great on paper and truly pocket sized," said GeoffNZ. "In reality the menus were too busy and fussy and the controls too fiddly, even for me with average sized hands. The built in flash was a nice idea but was not very powerful - it just about did some fill in flash if the subject was very close. Start up time very sluggish. It also got sensor dust from the moving lens."

Yardcoyote also expressed their dislike for the RX100 series. "I went to buy the first version when the second version came out-- the camera was perfect for me on paper and I had the money in my pocket in cash," they said. "Went into the store, picked it up and couldn't put it down fast enough. Nasty slippery fiddly little thing. Being 'pocket sized' has never been enough to sell me any camera and certainly not that one.)"

You can still share

If you haven't had a chance to throw in your two cents, it's not too late. The post is still open so you can get in there and discuss cameras that surprise or disappoint. Thank you to everyone who took the time to answer, and we look forward to hearing your responses next time!

Click here to answer the Question of the week

Photo: Abby Ferguson

Have you ever noticed that sometimes your photographs turn out oddly blue or orange? This common situation has made countless beginner and enthusiast photographers scratch their heads in frustration. Luckily, it has an easily addressable cause: white balance issues related to the color of light in your scene. In this article, we'll cover why your photos might be drastically shifted to one color or another and how to fix it.

Why can colors go awry?

Light at sunset can be intensely golden in color, but that may not be something you want to get rid of. Photo: Mitchell Clark

All light sources have different colors, which appear as color casts. That's even true of natural light, with the color of light shifting throughout the day. For example, late evening light (i.e., golden hour) looks quite orange and warm, while midday sun looks much more neutral and just before sunrise or just after sunset can be quite blue (aptly named blue hour). We often refer to the color of light as warm (golden hour) or cool (blue hour), and it can also have a tint that can lean either green or magenta.

A lot of artificial lights have even more extreme color casts. Incandescent bulbs, for example, are very warm with a strong orange color cast. Fluorescent lights can result in an unattractive green tint. More commonly these days, you've likely noticed that LED light bulbs come in various types of white, such as daylight, soft white, bright white and more.

Our brains instinctively adjust to diverse types of lighting (usually), but cameras can struggle to do the same. When that's the case, you may end up with images with strong color casts. Sometimes that's useful (such as showing the warm glow of golden hour), but other times, it can be quite unpleasant and distracting. When you see extremely orange or blue tints in your photos, it's a sign that your camera's white balance setting is struggling to determine the correct color of the scene.

What is white balance?

White balance can also be used to refer to the colors in an image. In this case, the white balance is a little on the warm side, but it's within a reasonable level. Photo: Abby Ferguson

Put simply, white balance is a camera setting that corrects the colors in photographs by adjusting for the color of light in a scene. To do this, the camera aims to interpret the scene, trying to work out what the color(s) of the objects are and how the light may be influencing them. It will then attempt to compensate for color casts to produce more natural colors in the final image.

This process works best if your photograph contains something neutral (such as white or gray, which is why it's called white balance), as otherwise your camera may have difficulty working out what the colors should look like.

How to manage white balance in-camera

Image: coolvectormaker / iStock / Getty Images Plus via Getty Images

Your camera is, by default, set to an automatic white balance setting. The automatic setting typically works quite well; however, as you've noticed, that isn't always the case. Sometimes, more manual adjustment is necessary.

Beyond the auto white balance, cameras also provide presets for specific types of light. For example, most cameras offer settings for tungsten, incandescent light, fluorescent light and flash. You'll also notice natural light-related presets, including daylight, shade and cloudy. These presets won't be foolproof, but can at least get you closer to a correct white balance in tricky situations or when your camera isn't quite getting things right on auto.

Camera manufacturers are also increasingly adding Auto White, Auto Warm or Auto Cool settings. These are ideal for situations where you want to preserve some of the color cast to keep the original mood, such as at golden hour or around a campfire.

There are more advanced techniques for situations that call for highly precise white balance, but that's a topic for another day. For now, don't be afraid to try out the different presets to determine which one best fits a given situation. Below, you'll see some specific examples for managing orange and blue photos.

Fixing blue photos

On the left: This lamp produces a very warm light (though not as warm as the example below), but on auto white balance, it looks a bit too neutral for my liking. On the right: Setting the white balance to Tungsten produces a much too blue image. Photo: Abby Ferguson

If your photograph has a strong blue tint, it's likely because you are working in the shade or under overcast skies, and your camera isn't appropriately adjusting to the cooler light color. Changing your camera to the cloudy or shade settings should warm the photo up to provide a more accurate (and generally more attractive) white balance.

Alternatively, a strong blue tint could be the result of your camera overadjusting for warm light. You may need to take manual control in such instances, choosing a preset that keeps some of the warmth. Or, just as with orange photos, it could be that your white balance was accidentally set to something wrong. In that case, your camera is compensating for warmer light that doesn't actually exist in the scene, turning things blue. In that case, switching your white balance back to auto or another appropriate setting will help you achieve a better white balance.

Fixing yellow or orange photos

For this photo, my camera's white balance was set to Cloudy, which isn't appropriate for the scene and produced an excessively orange photo. Photo: Abby Ferguson

Photos that are too yellow or orange usually happen when you're taking photographs inside. If that's what you're experiencing, it's likely that the room you are in has incandescent bulbs or warm LEDs, which emit an orangish color. Switching your camera to the incandescent setting should get you closer to a correct color.

Overly orange or yellow photos could also be the result of accidentally or unknowingly changing your white balance to a setting meant for bluer lighting conditions. If you aren't shooting in incandescent light or with warm LEDs and are still getting overly warm photos, double-check what your white balance settings are and change to auto or an appropriate setting if it's not there.

How to manage white balance with editing

On the left is a corrected version of the orange photo above. It was corrected from the jpeg file and, as a result, has some odd colors, especially in the highlights. On the right is the correction on the Raw file, left slightly warm to retain some of the color of the light. Photo: Abby Ferguson

If you've already taken the photos and aren't in a situation to retake them, you may not be out of luck. There are ways to adjust white balance in editing programs as well. Most editing apps will feature temperature and tint sliders, allowing you to change how warm or cool (temperature) and pink or green (tint) your photos are. Some will, like your camera, have an auto white balance setting that attempts to even out the color temperature and tint as best it can. However, that won't always work very well.

Some editing programs also feature an eyedropper tool that allows you to point to something that should be white or neutral gray in the photograph, and the software will adjust the white balance based on that. If the presets aren't cutting it, but you can't figure out what it should be with the sliders, the white balance dropper can be a very useful tool, provided you have something neutral. Sometimes, you just have to move the sliders to get something that looks right to your eye.

When fixing white balance in editing, there is one caveat: JPEG files will have a somewhat limited ability to fully correct white balance. You can correct white balance within reason, but if it is substantially wrong, you may run into color issues that can't be fixed all the way. Raw files, on the other hand, contain file information before white balance has been applied, giving you more flexibility to adjust when editing.

Learn to notice the color of light

I took this photo almost entirely because of the warm light and shadows. Starting to notice the color and quality of light will help you use it to your advantage. Photo: Abby Ferguson

Photography is all about light, and recognizing the role that light's color plays in your images is an important factor that you'll learn to manage. At first, you may simply be trying to fix unwanted color casts. But learning to think about light (and its color) from a creative perspective is also critical to developing your photography. After all, it can be a very useful tool in conveying moods and vibes. Once you understand why white balance can go wrong and how to adjust it, you can then use it intentionally to craft powerful images and even develop your own style.

The September Editors' photo challenge

The theme for our September Editors' photo challenge was "Pixels in your pocket."

We asked you to share images captured with the camera that's always with you: your smartphone, and the photographers who submitted photos clearly didn't "phone it in." Capturing everything from misty seasides to towering cliffs, in vibrant color and stark black and white, and from far corners of the globe, you proved that small sensors can tell big stories.

As usual, we were overwhelmed with great pictures – many more than we can present 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 want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Picos clouds

Photographer: Jswell

Photographer's statement: This photo was taken while guiding a climb on Picos Urriellu in Picos de Europa National Park, Spain, on a post-storm morning – a combination of circumstance and position.

Equipment: Apple iPhone 16 Pro

Painting with light

Photographer: DerGatekeeper

Photographer's statement: At the “Zeche Zollverein” in Essen, Germany, there is a closed coal mine. The mining buildings are converted into a kind of industrial museum. The stairs have been illuminated with special lights, giving the scene an impression of being not of this world.

Equipment: Apple iPhone 16 Pro Max

The way up

Photographer: jaggedhorizon

Photographer's statement: I love skiing and skitouring just as much as I love photography. And the best thing is, being far away from the beaten path in the mountains, I can combine both, whether I carry a camera or a phone. I loved the simplicity of this image showing “skin tracks” and in the background, the Aiguille Rouge, near Arolla in Switzerland.

Equipment: Apple iPhone 15 Pro Max

Balloons over Myanmar

Photographer: light_reaction

Photographer's statement: This photo was taken while soaring above Bagan, Myanmar. This moment was guided by a UK army veteran piloting our balloon – a tradition in Bagan where British and international pilots work alongside local crews. Ballooning here is more than a visitor’s thrill: it’s a source of pride and support for the local community, with companies employing hundreds of locals and funding projects in education, health, and heritage conservation, ensuring that the ancient temples continue to inspire and sustain those who call Bagan home.

Equipment: Apple iPhone 8

Spiral spiral

Photographer: fatplanediaries

Photographer's statement: I spent a summer with family in Europe. At the time, I only brought a prime for my camera, so I ended up using my Samsung for all other focal lengths. My camera ended up becoming my B cam, as I enjoyed smartphone photography quite a bit that vacation.

Equipment: Samsung Galaxy S10 Plus

Blue is the color

Photographer: Briminkie

Photographer's statement: Breakfast in a Broadstairs hotel on a lovely September day. The man in the cap blended nicely into the frame, and all of a sudden, there was a David Hockney vibe.

Equipment: Google Pixel Fold

Vorderer Gosausee (Front Gosau Lake)

Photographer: supernaut

Photographer's statement: One stop to rest on a long mountain bike ride. This place is really a spot of beauty and helped to regenerate strength for the upcoming challenge.

Equipment: Google Pixel 9 Pro

Nakasendo phone booth

Photographer: slowscan

Photographer's statement: A solitary phone booth lights up a small section of the old Nakasendo, a historical road of 500 km between Tokyo and Kyoto, which passes through the mountains of Japan's interior. I took this photo while walking between Kiso-Fukushima and Agematsu, two towns that operated inns for travelers of this road in the Edo period.

Equipment: Apple iPhone 15 Pro

Picking up the moon

Photographer: Alisher Kabulov

Photographer's statement: This photo of a lone stork was taken in a half-abandoned village in Belarus. Admiring the sunset, the stork had no idea it had become a character in a tale of the stolen moon.

Equipment: Samsung Galaxy S23 Ultra

Tilt

Photographer: WarthFire GTX

Photographer's statement: There's a hill that I always climb during my lunch break, and I observed this condo and a tree on the hill. I just tilted the phone sideways so the tree appeared straight, and the condo tilted, to get this shot.

Equipment: Samsung Galaxy S22 Ultra

Værøy, Norway

Photographer: Markku H

Photographer's statement: This place is the Håen viewpoint on the island of Værøy in Norway. It is 438m above sea level. It had just snowed when we hiked to the viewpoint, which also made the place slippery and a bit scary.

Equipment: Samsung S25 Ultra

Breaking waves

Photographer: GeffBourke

Photographer's statement: This photo was taken in the early morning along the shoreline at Pacific Grove, CA. A storm was coming in, and the waves were magnificent, crashing onto the rocks.

Equipment: Apple iPhone 16 Pro Max

Frozen notes, Salida

Photographer: jaberg

Photographer's statement: "Frozen notes Salida" was made as my friend Lucy and I walked the town (Salida, CO) on a day that suddenly turned cold. Our newly purchased Melenzana jackets were conveniently stowed in the trunk of the car, and we were somewhat underdressed. Lucy, Minnesota born and bred, and an artist in her own right, shivered patiently as I worked the scene and ultimately composed this shot, bolstered by the promise of a warming stop in a local microbrewery as our next stop. There, with an eye to the incoming weather, we decided to stay the night in Salida.

Equipment: Apple iPhone XS

Milky Way over Monument Valley, Arizona

Photographer: philzucker

Photographer's statement: I stumbled out of my RV at around half past four in the morning at a campground in Monument Valley, Arizona, in May of 2024. We were scheduled to go for a sunrise tour. Looking up at the dark sky, I was suddenly wide awake; I saw the Milky Way for the first time in my life with my naked eye! I ran back inside my RV, grabbed my phone tripod, and made a couple of 4-minute astro mode exposures with my Google Pixel 7 Pro. This one came out the best, and only looking at the picture later, I realized that the rising sun showed its first dim rays exactly where the Milky Way rose. I have a large print of it hanging in my office.

Equipment: Google Pixel 7 Pro

Milwaukee Art Museum

Photographer: Mike Zweyer

Photographer's statement: I took this picture with a Motorola G4 in 2017. I didn't have a camera at the time, but I was always interested in photography. It all seemed so complex and complicated then, so I used my phone. I got a Fujifilm X10 camera not long after.

Equipment: Motorola G4

Chasing soap bubbles

Photographer: GiorgioDC

Photographer's statement: It was January 6, 2020, Epiphany, a beloved children's holiday in Italy, especially in Rome. I was in Piazza del Popolo with my three-year-old niece, who stopped, fascinated by the soap bubbles, trying to catch them. I was careful to hide the sun behind the obelisk and took the backlit photo.

Equipment: Apple iPhone 11

Alcedo atthi

Photographer: GinoSVK

Photographer's statement: “Rybárik” (a diminutive of fisherman), as we call it here in Slovakia, is returning to our natural landscapes nowadays. Fortunately, Rivers are cleaner, and awareness about preserving untouched riverbanks is growing. This particular photo was captured on the river Váh, which is the longest river in Slovakia and also the one that flows entirely within our national borders. Not long ago, I spotted another specimen deeper in the woods, beside a very small stream, likely thanks to the beaver colony there.

Equipment: Samsung Galaxy S24 Ultra

Diner

Photographer: Larry_T

Photographer's statement: I visit this diner often and had this photo in mind, sitting at the end of the counter. I used my iPhone 15 and took about 10 shots looking down the counter. The woman looking back at her friend breaks up the leading line of customers facing forward. I was fortunate to capture her eyes and expression.

Equipment: Apple iPhone 15

Pastel sunset

Photographer: Doc Hathaway

Photographer's statement: My wife and I were camping at Southwick on Lake Ontario and took a walk to the beach to enjoy the evening. Clouds were pretty thick on the horizon, so I didn't expect a great sunset, but they started to thin a bit as the sun was crossing the horizon.

Equipment: Samsung S23 Ultra

Carefree butterflies

Photographer: Frenchfx

Photographer's statement: I went fishing at this Bernheim Forest, Kentucky lake. I wasn't having any luck, then I saw these two butterflies hanging around this bush. I pulled out my Samsung S24 phone and had great luck. They didn't pay any attention to me at all. I walked right up to them, and they remained there flying all around the bush. The phone did a great job of freezing the action, too.

Equipment: Samsung S24

Ricoh GR IV | F2.8 | 1/60 sec | ISO 800 | Out-of-camera JPEG, Std. color mode Photo: Mitchell Clark

Earlier this week, we published our review of the Ricoh GR IV, a photographer's compact camera with an APS-C sensor. Alongside it, we uploaded a brand new sample gallery full of the images we'd taken during the review process.

That gallery is in addition to the one we posted shortly after we received the camera, which you can also view below. With this one, we made sure to include a few more examples taken using the camera's various color modes. There's also a wider variety of lighting situations and locations, as we took the camera to a few urban environments where it was more at home.

See the sample gallery

Review samples

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

Initial samples

Image: TTartisan

When TTartisan announced its AF 40mm F2 lens last month, the company teased that it would be available for L mount "soon." It seems like the wait is over, as the lens has now popped up on the company's site.

It's a particularly exciting option for L mount, as it's relatively light and compact for a fast, full-frame normal prime. It weighs around 167g (5.9oz) and is 44mm (1.7") long. That could make it a good fit for, say, the Panasonic S9, which could definitely benefit from a compact lens, especially one with an aperture control ring.

This is the company's second autofocus lens for L mount, following the 75mm F2 it released earlier this year. While it appears to be broadly compatible with cameras from Panasonic, Sigma and Leica, the company's site notes that it "does not currently support Leica SL3-S and SL3," though it doesn't explain why. While we don't suspect that many people are sticking a $170 lens on their $7500 camera, it does seem like an odd limitation.

The TTartisan AF 40mm F2 for L mount is available on the company's site and on Amazon. It's also available for Nikon Z mount and Sony E mount.

TTartisan AF 40mm F2 specifications

Panasonic Lumix 100-500mm F5-7.1 OIS @ 500mm | ISO 1600 | 1/640 | F7.1 Processed with Capture One Photo: Richard Butler

The Panasonic Lumix S 100-500mm F5-7.1 OIS is a relatively affordable new tele-zoom for L-mount cameras. We've borrowed a sample and had an opportunity to shoot a handful of samples with it at the local nature reserve.

Sadly there weren't many interesting birds around and the time we were able to visit, so we've ended up mainly with pictures of our favorite fallback waterfowl: ducks. There was a Belted Kingfisher, surveying the scene, but he seemed determined to only perch too far away to be photographed, even with the 1000mm reach of the new lens and a 2.0x teleconverter.

At 1285g, excluding the tripod foot, we found the 100-500mm to be pretty easy to hand-hold, and we probably would have been better off leaving the tripod foot at home. Panasonic gives a figure of 7.0EV of stabilization for the lens when combined with a Dual IS 2-compatible body, and we found it could be very stable. At the longer focal lengths, it's definitely worth setting the stabilization to 'Always' on, rather than 'On half-press' as you'll really need the stabilization to be working while you frame your shot.

We found it pretty easy to handhold, and we probably would have been better off leaving the tripod foot at home

The zoom ring is large and positioned so that the balancing point of the lens remains approximately within its limits, even when at 500mm, so you won't find yourself having to shift your hand further forward to full reach. It has a more than 90 degree throw, meaning you get quite subtle control over focal length, but you'll probably need to plan your starting hand position carefully if you want be able to extend all the way through the zoom range in a single pull.

There's a tension adjuster for the zoom ring, letting you determine how readily the zoom ring moves, but on our pre-production unit, the difference was pretty subtle.

2.0x teleconverter

We also shot it with the 2.0x teleconverter and have included a few examples. Before you attach a teleconverter, it's worth pushing the "Zoom Limit" switch into the On position. That way, once you extend the lens beyond its 150mm focal length, it won't then retract back any further than that point: preventing you from smashing the rear element of the lens into the TC.

It's worth noting that, while you can engage the Zoom Limit at any focal length, it doesn't like to disengage when the lens is set to 150mm, so you'll need to zoom in a little, to get the catch to release.

A 2.0x teleconverter takes the maximum aperture at full zoom down to F14, which can be a bit of a challenge, even in bright light, and in our samples it does rather unpleasant things to the bokeh. We found our S1R II remained at F14 (rather than its 'wide-open' setting), if you take the teleconverter off, so it's worth paying attention to this, if you're swapping it on and off a lot.

Still, even though 1000mm still wasn't enough to get a good shot of the elusive Kingfisher, we did appreciate that this is one of the more affordable ways to get so much reach on such a large sensor.

Panasonic Lumix S 100-500mm F5-7.1 sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

2025 Astrophotography Prize

The 2025 Astrophotography Prize winners have been announced, highlighting spectacular images of celestial objects and phenomena. The global contest is dedicated to education and "raising the standard of astrophotography for all entrants," and offers a unique judging and scoring system.

The global contest features four categories: Remote Imaging, Deep Space, Solar System and Astro Landscape. Three specialist astrophotographers scored each entry out of 100. Then, the top 25 in each category were debated and re-scored in a live, public finale. The Astrophotography Prize says that the "transparent process offers unmatched insight into the secrets behind award winning composition, technical excellence, and creative impact, inspiring participants and viewers alike."

This year attracted 545 entries from 35 countries. The judging panel featured 20 astrophotographers from the United States, the United Kingdom, France, Germany, Thailand, Singapore, New Zealand, and Australia. You can watch the judging replays for each category on the contest website.

Photographer of the Year & Remote Imaging Winner

Photographer: Ani Shastri

Title: Deep Field Squid Nebula (Ou4)

Location: SRO Auberry, CA

Equipment: PlaneWave CDK350, ZWO ASI6200MM, Chroma SHO

Exposure: Ha: 84x600s, Oiii: 171x600s, Sii: 54x600s

Total integration time: 51.50 hours

Details: A breathtaking image of a nebula six times the size of the full moon. Captured over 51 hours at Sierra Remote Observatories in California with a PlaneWave CDK350 and ZWO ASI6200MM camera, the photograph captivated the judges for its scale and precision.

Remote Imaging Runner Up

Photographer: Steeve Body

Location: Swan Reach, South Australia

Equipment: Player One Zeus-M Pro, FSQ-106EDX4 + 0.72× QE reducer @f/3.6, Antlia LRGB + 3nm SHO filters

Exposure: LRGB 150x300s each, SHO, 150x1200s each

Total integration time: 200h

Entrant statement: A naturalistic widefield view of Vela, colour-enhanced using narrowband mapping: Hα to red, O III to blue, and S II to yellow.

Remote Imaging Top 5

Photographer: Alpha Zhang

Location: Chile, DeepSkyChile

Equipment: Moravian G4-16000, Takahashi FSQ106EDX III, Astrodon LRGB Gen2 HaSIIOIII 5nm, TAK 0.72x Reducer 645RD

Exposure: 2Panels Mosaic, Lum 80×900s=20h, RGB 40×900s each=30h, Ha 120×900s=30h, SII 120×900s=30h, OIII 160×900s=40h

Total integration time: 150h

Entrant statement: Rosette blooms like a rainbow flower, Christmas Tree rises in radiant glow; together they weave romance and wonder, cosmic colors flowing through endless night’s embrace.

Remote Imaging Top 5

Photographer: Jan Beckmann

Location: Trevinca, Spain

Equipment: TS ONTC8 200/800 Astrograph, iOptron CEM70G, ZWO ASI2600m

Exposure: L: 87 x 300 s R: 61 x 300 s G: 30 x 300 s B: 30 x 300 s Ha: 360 x 300 s

Total integration time: 47.3h

Entrant statement: Sh2 126 the Lacerta (Gecko) is a striking dark nebula located in the constellation Lacerta, known for its intricate structures and surrounding Halpha emission clouds.

Remote Imaging Top 5

Photographer: Alpha Zhang

Location: Chile, DeepSkyChile; SiChuan China

Equipment: Moravian G4-16000, Takahashi FSQ106EDX III, Astrodon LRGB Gen2 HaSIIOIII 5nm, TAK 0.72x Reducer 645RD

Exposure: 10m/15m subs per channel: L57/31 R28/16 G23/16 B30/16 Ha139/32 SII151/32 OIII186/34

Total integration time: L17h15m; R8h40m; G7h50m; B9h00m ;Ha31h10m; S233h10m; O339h30m; Tot146h35m

Entrant statement: Spaghetti Nebula threads glow like electric veins, blue-green filaments weaving through dust, a luminous tapestry softly whispering endurance, sorrow, and the beauty of hidden light.

2025 Celestron Prize Winner & Solar System Winner

Photographer: Alessandro Ravegnin

Title: Magnetic Shadow

Location: Romano d'Ezzelino, Italy

Equipment: C11HD Edge f/10 + Baader Astrosolar + Optolong Red filter + ZWO ASI183MM

Exposure: Stacking of 300x10ms

Total integration time: N/A

Entrant statement: "Magnetic Shadow", AR370, one of the most beautiful sunspot groups of this solar cycle, captured with good seeing (0.5" resolution)

Solar System Runner Up

Photographer: Damir Maksan

Location: Williamsdale, NSW

Equipment: Sony a6400 camera mounted on a Meade LX-90 telescope

Exposure: 1/2000th second, ISO 500, 7 frames

Total integration time: N/A

Entrant statement: The International Space Station, captured with a telescope, transiting the moon travelling at 26,000 km/h. The crossing happened in 1/2 second.

Solar System Top 5

Photographer: Dan Bartlett

Location: June Lake, California

Equipment: asi2600 mcPro, Celestron C14 SCT, Hyperstar

Exposure: 26 x 30seconds

Total integration time: 0.217

Entrant statement: On 2024-04-01 the sky cleared enough to allow 13 minutes of imaging time on 12P/ Pons-Brooks. The solar activity has taken its toll.

Solar System Top 5

Photographer: Łukasz Remkowicz

Location: Russellville, Arkansas

Equipment: Canon EOS R, Canon RF 100-500 @500mm, ZWO Am3, ASIAIR,, ASIAIR

Exposure: 9 x 4 frames each) on: 1/200, 1/100, 1/50, 1/25, 1/13, 1/6, 0.3, 0.6, 1.3 seconds

Total integration time: About 0.0028h

Entrant statement: Total solar eclipse in Ruseville, Arkansas in 2024, showing the solar corona and the Moon’s earthshine.

Solar System Top 5

Photographer: Lóránd Fényes

Location: Hungary, Balatonalmadi

Equipment: Player One Ares-M Pro, DIY 400/1820, IR-Pass filter

Exposure: 4 x 500 frames frames

Total integration time: 15 minutes

Entrant statement: Crescent Moon IR mosiac

Deep Space Winner

Photographer: Paul Milvain

Title: The Southern Cross Aflame

Location: Forbes, Victoria

Equipment: ZWO ASI2600MM Pro, Stellarvue SVX80T-3SV telescope, Astronomik deep sky RGB-HA filters

Exposure: 440 X 120 Second each R-G-B, 450 X 300 Second HA

Total integration time: 81.5

Entrant statement: This is a 9 panel mosaic of the Constellation Crux and surrounds, shot over a period of months, in RGB-HA.

Deep Space Runner Up

Photographer: Paweł Radomski

Location: Borchow, Poland

Equipment: ZWO ASI2600MM-C, AZ-EQ6, TS Newton 8" f/5 Carbon, Antlia LRGB Filters

Exposure: L: 514x180sec, RGB: 150x180sec each channel

Total integration time: 48h 12min

Entrant statement: LDN1448 is a very rarely photographed dust region where intense star-forming processes are taking place

Deep Space Top 5

Photographer: Rodney Watters

Location: Glanmire, NSW, Australia

Equipment: Camera: ZWO ASI6200; Lens: Canon 200mm f2.8

Exposure: R: 51 × 300" - G: 50 × 300" - B: 51 × 300" - Hα: 35 × 1200"

Total integration time: 24h 20m

Entrant statement: A widefield image of the Large Magellanic Cloud, our close neighbor galaxy at a distance of 158,200 light years.

Deep Space Top 5

Photographer: Jan Beckmann

Location: Heidelberg, Germany

Equipment: TS Hypergraph 6, Takahashi e130D, Skywatcher NEQ6, iOptron CEM70G, QHY 294m pro

Exposure: L: 89 x 180 s R: 22 x 180 s G: 25 x 180 s B: 30 x 180 s H-alpha: 64 x 300 s OIII: 125 x 300s

Total integration time: 24.3 h

Entrant statement: Comet C/2021 S3 PANSTARRS crossing Cygnus with Weinberger 1-10 (PK086+05.1) to the right.

Deep Space Top 5

Photographer: Joshua Robertson

Location: Coffs Harbour, NSW, Australia

Equipment: ASI2600MM, Antlia RGB Pro, Antlia 4.5nm Ha, Antlia 3nm O3. Takahashi FSQ-106ED

Exposure: 5 Panel Mosaic, for Each Panel: 60x15s each of R, G, B, 48x300s Ha, 48x300s O3

Total integration time: 43hrs, 45min

Astro Landscape Winner

Photographer: Matteo Strassera

Location: Tenerife, Canary Islands, Spain

Equipment: Canon R5, Sigma 14mm f1.4 Art

Exposure: Land: 8*120 sec; Sky: 8*60 sec

Total integration time: 60 sec each frame, 480 sec total

Entrant statement: A 360 panorama showing the arch of the Milky Way stretching across the sky above the volcanic landscape of Tenerife, in the Canary Islands

Astro Landscape Runner Up

Photographer: Matteo Strassera

Location: Namibia, Karas Region

Equipment: Canon R5, Canon 14-35RF f4

Exposure: Land: 7*120 sec; Sky: 7 tiles * 5 frames 15 sec

Total integration time: 75 sec per tile, total 8 min 45 sec

Entrant statement: An abandoned train stop in Namibia’s desert glows softly, embraced by the Milky Way’s arc, captured under one of the clearest skies on Earth

Astro Landscape Top 5

Photographer: Jason Perry

Location: Anmatjere, Northern Territory, Australia

Equipment: Nikon Z7II with Nikkor Z 14-24mm f/2.8 S Lens

Exposure: 2 row pano, 10 exposures total at 60 seconds each.

Total integration time: 0.16 hours (10 min)

Entrant statement: Aboriginal Warrior, with spear in hand, stands watch over his land in a remote area of the Northern Territory.

Astro Landscape Top 5

Photographer: Jason Perry

Location: Valley of Dreams, New Mexico, USA

Equipment: Nikon D850 and Sigma 20mm f/1.4 Art lens

Exposure: 161- 6 second exposures

Total integration time: 0.25

Entrant statement: Located in Navajo Nation land of New Mexico, Alien Throne is a hoodoo which was created over millions of years by wind, rain, and water.

Astro Landscape Top 5

Photographer: Louis Leroux-Gere

Location: Kirkjufell, Iceland

Equipment: Canon EOS 6Da, Sigma ART 24mm f/1.4, Nisi Natural Night

Exposure: 20*4s

Total integration time: 1m40

Entrant statement: Aurora pillars and thunderstorm above Kirkjufell

Image: Viltrox

Most compact flash units look fairly similar, with little to make them stand out. Viltrox has gone a different direction with its new Spark Z3, a TTL on-camera flash. The affordable and compact unit promises lots of power with a "cyber-inspired" design that makes it visually distinct in a crowded field.

The Spark Z3 features a matte metallic body and a "translucent 'light core'" on the top of the device. Viltrox describes it as "futuristic Cyber Mech aesthetic." It comes in gray and green, giving users at least one option slightly different than the typically neutral colors of flash units.

The Spark Z3 comes in black and green. Image: Viltrox

The Spark Z3 is highly compact, weighing 144g (5.1oz) and measuring 78.4 × 67.2 × 55.9mm (3.1 x 2.6 x 2.2"). It easily fits in a pocket or bag, making it more feasible to bring when traveling or at events. It also won't add much weight to the camera, which is always appreciated.

Despite the compact size, the Spark Z3 provides a fair amount of power with 26Ws output. That's not as powerful as more expensive or larger flash units, and won't serve as a replacement for those. But it is plenty for close-range work, fill flash or casual event photography. It also has a one-second recharge time at full power, allowing photographers to shoot rapidly. It offers a TTL Auto Mode, which is ideal for beginners.

The Spark Z3 comes with a diffuser to soften light. Image: Viltrox

For those who want more control, there is also a manual mode with seven power levels ranging from 1/64 to full power. It also features built-in optical triggering, enabling off-camera use. The flash supports both Sync Trigger Mode and Anti-Preflash Mode, making it easier to work in multi-light setups. It also comes with a diffuser to soften the light.

Viltrox promises up to 650 full-power flashes per charge, and users can recharge the device via USB-C in 70 minutes.

The Viltrox Spark Z3 is available today for $55. It is available for Nikon (Z3-N) and Fujifilm (Z3-F) cameras, with Sony (Z3-S) and Canon (Z3-C) versions coming soon.

Buy now:

Image: Esquisse Camera

It's a cry echoed throughout comment sections and forums every time we see a new Micro Four Thirds camera: where are the truly small options? Why is no one making a camera that takes advantage of the small lenses available for the system to create a package that's truly pocketable, such as a modern successor to the Panasonic GM5 or Olympus PEN-F?

These are the kinds of questions that drove Côme Courteault to co-found Esquisse Camera, a group working on a "timeless carry-everywhere camera" with a minimalist design that's smaller than a deck of cards. The project, announced today, is still in very early stages, but we sat down with Courteault to talk about what drove him and the team to take on the task of creating the thing that so many people have been asking for.

What is the Esquisse Camera?

While nothing is set in stone yet, Esquisse Camera's website describes the vision: a camera that weighs less than 350g, features just the controls you need for photography, paired with fast autofocus, a 20MP+ Four Thirds CMOS sensor and a corner-mounted EVF. The design will call back to classic cameras of the past, and some current models, with an aluminum unibody wrapped in leather. That's all at a target price of less than $2000.

Courteault says the team has drawn inspiration from the Panasonic GM5 and Olympus PEN-F, humorously saying that there's frequent debate about which is better. "All of the team wanted to go with Micro Four Thirds for portability, almost pocketability, because the lenses are very small as well. And this is basically the only interchangeable lens platform that offers this with AF and all the modern tech."

A drawing of what the front of the Esquisse Camera might look like. Image: Esquisse Camera

He also says he drew inspiration from his other main camera, the Leica M11, when it came to materials and feel. "This is also something we want to achieve in a smaller body, at a different price point, of course."

The name, Esquisse, is the French word for a sketch, outline, or preliminary drawing (Courteault says the people working on the project are split between France and China). "This is because this is our first camera. We intend to build a brand on top of it, but right now we understand that it's a rough sketch, so we use the French word for this." He jokes that it's better to have a name, rather than just a mix of numbers and letters.

What makes it special?

Obviously, the size is a big part of the pitch, and the goal is to make it the size of a deck of cards or, as Courteault puts it, a pack of cigarettes. "We always felt there was an underserved market for this kind of street photography, travel, pocketable-ish camera," he says.

The Esquisse Camera site says the goal is to have "all essential photography functions right under your thumb," and shows a design featuring a shutter button, dials for exposure compensation and ISO, a clickable top-plate command dial and two function buttons. It also shows a touchscreen to control the autofocus point.

Another mock-up, this time showing the rear controls. The website says the tentative plan is for a 3" rear screen and a 3.69M-dot OLED EVF. Image: Esquisse Camera

It also mentions a dust and splash-resistant design – a common ask for highly-portable cameras – and 256GB of internal storage. As the site notes, though, all these specifications could change as the company works with manufacturers and continues development.

Of course, with something this ambitious and small, there will be trade-offs. Courteault is up front in saying that the camera won't shoot video. "We designed not to incorporate video, both for ergonomic reasons... we feel video is completely different and photography is very specific, and we really want to provide a photographic experience." He also cites concerns around the amount of heat video would generate in such a small body.

Building in public

The core team at Esquisse is four people, though there are others with varying levels of involvement. "At the core, we're amateur photographers," Courteault says. "We teamed up with people who have experience in consumer electronics and industrial design, and everything we need to make this camera." Courteault himself comes from the software side.

"We want to see the market feedback before we actually fundraise"

He says the team is currently a group of enthusiasts spending their own money to make the camera that they'd like to use, and that they're still considering how the business will actually run. But a primary focus is making sure potential buyers are included in the process. "In all transparency, we want to see the market feedback before we actually fundraise and incorporate and invest more in this."

Esquisse is hoping to get feedback from the people who sign up to its email list. "We want to be transparent about this, we'll update them with design decisions that we have to make, compromises we have to make, because there will be trade-offs."

"We're really doing this because we are frustrated. We want this camera for ourselves."

When I asked if he was worried about larger companies taking advantage of the transparency to beat them to release, he laughed. "Honestly, if bigger companies want to do this... I'd be a customer, so what can I say?" He thinks Esquisse can make different choices than a large company would, but says, "If they want to get in there, I would do something else and buy the camera and would be happy about it. We're really doing this because we are frustrated. We want this camera for ourselves."

The long road ahead

Courteault admits that it's very early in the process of announcing this kind of project and that there are many steps still to go. The site lists a goal of launching the camera in Q4 2026, which is relatively soon in the world of product development.

We asked where the project was in terms of manufacturing, and he says that the team was "considering several options" when it comes to actually getting it made. "There are things for which we're pretty much set, and things that are still being discussed."

"We don't think customers should be the investors of a company, it's two different jobs"

"We are still open to new companies," he says. "The real challenge is to get the electronics small enough so that it can fit in this very small body." He also says they were discussing pricing with companies, but that he could only go into so much detail since talks were still in progress.

When it comes to getting funding, Courteault says they'll consider fundraising from investors later in the process, but that they don't plan on taking money from customers until there's a working production unit. "We don't think customers should be the investors of a company, it's two different jobs. Investors who are funding this kind of project know the risks and how difficult it is; customers are just buying products, so we shouldn't mix the two."

He did say they'd consider taking pre-orders to get a sense for how many cameras they'll need to make and to ensure they have the money to get them made.

Our take

When we asked Courteault what he's most excited about with the Esquisse Camera, he says it's the form factor. "For anyone who's been using a GM5 or a Sony RX100, this is going to be closer to that than to the other mirrorless cameras." He admits there are a few size compromises to include the EVF. The plan is to make it around a centimeter taller than the GM5, but the goal is still to have a camera that you can carry with you at all times.

I have to agree. I'm on the record saying that I want to see more innovation and variety in the Micro Four Thirds system, and it seems like many people out there agree. However, whether there will be enough to make this project a success could be another story.

The jump between having a finished design and getting products into people's hands is a big one

While Courteault seems confident that the team can deliver the camera through a combination of small production runs and efficient manufacturing and development, it's also a notoriously complex industry. This isn't the first project I've covered promising to fill a much-beloved niche, and not all of them have worked out. The jump between having a finished design (or even a production sample) and actually getting products into people's hands is a big one.

Still, I'll be following this project with interest, especially as it moves into the engineering and manufacturing stage. I want to believe that, some day, you'll get to read our review of the Esquisse Camera.

The Xiaomi 15T Pro features a Leica-branded camera system. Image: Xiaomi

Xiaomi has announced the latest devices in its T lineup, which is designed to bring flagship features to a more accessible price point. The 15T and 15T Pro smartphones focus on photography as a standout feature, with their Leica co-branded three-camera systems.

The two phones share some camera specs and features, starting with a host of Leica-branded components, including Leica Vario-Summilux lenses. They also offer the Leica street photography mode, which allows users to open the camera from the lock screen for ultra-fast shooting, and Leica Master Portrait tools with bokeh effects. Plus, they provide other Leica-tuned photographic styles, filters and shutter sound.

Both the 15T and 15T Pro feature the same 12MP, 15mm equivalent ultra-wide camera. The main and telephoto cameras are where things diverge, with the main camera on the 15T Pro offering a larger, Light Fusion 900 sensor and slightly faster aperture. However, the telephoto camera is the most significant difference between the two devices. The 15T Pro offers a 115mm equiv. focal length, while the 15T only offers a 46mm equiv. lens (which isn't really a telephoto offering). The telephoto camera in the 15T Pro also provides significantly more reach than its predecessor, the 14T Pro, with its 60mm equiv. lens.

From a video perspective, the 15T Pro can record up to 4K120 and 8K30, while the 15T tops out at 4K60. Both can record 10-bit log at 4K60 and support custom LUT imports with HDR10+ across all focal lengths.

The Xiaomi 15T Image: Xiaomi

Outside of camera features, the 15T Pro uses the MediaTek Dimensity 9400+ processor and 12GB of RAM. The 6.83-inch AMOLED display has a 144Hz refresh rate and 3200-nit peak brightness. It supports 90W wired charging and 50W wireless charging.

The 15T uses the MediaTek Dimensity 8400-Ultra chipset with 12GB of RAM. It also features a 6.83-inch display with a peak 3200-nit brightness, though the refresh rate tops out at 120Hz. The charging is slower on the standard 15T, with only 16W wired charging and no support for wireless charging. Both models feature Gorilla Glass 7i and an IP68 rating for water resistance.

The Xiaomi 15T Pro is available in Black, Gray and Mocha Gold at a starting price of €799, while the 15T comes in Black, Gray and Rose Gold and starts at €649.

This 50x image shows what algae look like in a water dropllet that's in the center of a 50 yen coin. It's probably not something you ever thought to wonder about, but it's visually arresting nevertheless. Image: Benedikt Pleyer

Nikon has announced the winners of its Small World in Motion competition. The contest calls for videos shot using microscopic lenses, offering a view of the world that we rarely get to see with our bare eyes. This year's winners include footage that shows the self-pollination process of a thymeleaf speedwell flower, a baby sea urchin and what it looks like when you put algae into the hole at the center of a 50 Yen Coin.

Nikon says it puts on the contest, which also has a corresponding stills photography section, to act as a "showcase of the world's most dynamic microscopic imagery." In a press release announcing the winners, Nikon senior communications manager Eric Flem said the winners show off "the extraordinary choreography of life unfolding at a scale beyond ordinary sight."

First place: Jay McClellan

Second place: Benedikt Pleyer

Third place: Dr. Eric Vitriol

Fourth place: Penny Fenton