Wildlife Photographer of the Year 2025 Winners

The Natural History Museum, London, has announced the winners of its 2025 Wildlife Photographer of the Year competition, a range of images that showcase the variety of life on the planet in 19 different categories. They were chosen out of 60,636 images, with photographers from 113 countries and teritories submitting their work.

The winning photographs are not only portraits of animals and other critters in their natural habitats, but are also often examples of worlds colliding: a hyena in an abandoned mining town, a juvenile giant anteater being nursed back to health in a rehabilitation center. They're reminders that we're just a part of a much larger world.

If you want to see more stunning wildlife photography, be sure to check out our slideshow of the 16 highly commended images released from the competition earlier this year as a sneak peek.

Ghost Town Visitor - Wim van den Heever

Winner, Wildlife Photographer of the Year 2025 / Urban Wildlife

Wim van den Heever (South Africa) photographs this haunting scene of a brown hyena among the skeletal remains of a long-abandoned diamond mining town.

With sea fog rolling in from the Atlantic Ocean, Wim chose this spot for his camera trap after noticing hyena tracks nearby. ‘It took me 10 years to finally get this one single image of a brown hyena, in the most perfect frame imaginable.’

The rarest hyena species in the world, brown hyenas are nocturnal and mostly solitary. They are known to pass through Kolmanskop on their way to hunt Cape fur seal pups or scavenge for carrion washed ashore along the Namib Desert coast.

Location: Kolmanskop, near Lüderitz, Namibia

Equipment: Nikon D810 + 17–35mm f2.8 lens at 17mm; 15 at f2.8; ISO 3200; 2x Nikon SB-800 Speedlight flashes; Camtraptions motion sensor

After the Destruction - Andrea Dominizi

Winner, Young Wildlife Photographer of the Year 2025 / 15 – 17 Years

Andrea Dominizi (Italy) finds a longhorn beetle – a forest sentinel observing an intruder.

Andrea noticed this longhorn beetle while walking in the Lepini Mountains of central Italy, in an area once logged for old beech trees. Using a wide-angle lens and off-camera flash, he framed the beetle against abandoned machinery.

Andrea’s photograph tells a poignant story of habitat loss. As longhorn beetles tunnel into dead wood, fungi make their way inside, helping to break it down and recycle nutrients. If the beetles’ habitat is disturbed or destroyed, the effects ripple across the entire ecosystem.

Location: Lepini Mountains, Lazio, Italy

Equipment: Nikon D7100 + Tokina 10–17mm f3.5–4.5 fisheye lens at 17mm; 1/80 at f8; ISO 400; Godox TT350 off-camera flash and diffuser

Orphan of the Road - Fernando Faciole

Winner, Impact Award, 2025 / Highly Commended, Photojournalism

Fernando Faciole (Brazil) watches an orphaned giant anteater pup follow its caregiver after an evening feed at a rehabilitation centre.

Fernando wanted to highlight the consequences of road collisions, a leading cause of the decline in giant anteater numbers in Brazil. This pup’s mother was killed by a vehicle, and the hope is that it will be released back into the wild after being encouraged to develop crucial survival skills by its caregiver.

Alongside rehabilitation centres, the Anteaters and Highways project of the Wild Animal Conservation Institute is developing strategies to reduce anteater deaths on Brazil’s roads. These include erecting fences and building underground tunnels to allow the anteaters to cross safely.

Location: Centro de Triagem de Animais Silvestres (CETAS), Belo Horizonte, Brazil

Equipment: Nikon D850 + 24–70mm f2.8 lens at 28mm; 0.8 at f22; ISO 31; Nikon Speedlight flash with Greica CT-16 transmitter/receiver

Like an Eel out of Water - Shane Gross

Winner, Animals in their Environment

Shane Gross (Canada) witnesses a peppered moray eel very much in its element hunting for carrion at low tide.

It took Shane numerous attempts over several weeks to document this rarely photographed behaviour. At first the eels were elusive, but once Shane realised that they were scavenging for dead fish, he waited. His patience was soon rewarded when these three eels appeared.

Peppered moray eels are well adapted to the intertidal zone. They can hunt both above and below the water’s surface using their keen senses of smell and sight, sometimes staying out of water for more than 30 seconds.

Location: D’Arros Island, Amirante, Seychelles

Equipment: Nikon Z6 + 24–70mm lens at 24mm; 1/250 at f5.6; ISO 2500; Godox AD400 Pro flash with 24-inch diffuser; light stand

Cat Amongst the Flamingos - Dennis Stogsdill

Winner, Behaviour: Mammals

Dennis Stogsdill (USA) witnesses a caracal hunting a lesser flamingo in the Serengeti National Park, Tanzania.

Dennis had been keeping an eye out for wild cats such as servals for several days when a call came over the radio: one had been seen at Ndutu Lake. But it wasn’t a serval. It was a caracal, successfully hunting wading lesser flamingos.

Caracals have a varied diet, from insects to antelope, and are renowned for the acrobatic leaps they make to snatch birds from the air. But there are few, if any, records of them hunting flamingos.

Location: Ndutu Lake, Serengeti National Park, Tanzania

Equipment: Canon EOS-1D X Mark II + 600mm f4 lens; 1/1600 at f5.6; ISO 2500

Shadow Hunter - Philipp Egger

Winner, Animal Portraits

Philipp Egger’s (Italy) patience is rewarded with the orange glint of an eagle owl’s eyes and the evening light falling on its feathers.

Philipp first saw this nest while climbing and spent four years observing it from a distance. He planned this image meticulously, right down to the slight camera wobble to blur the few elements present, using a telephoto lens.

About twice the weight of a buzzard and with a wingspan approaching 180 centimetres (6 feet), these formidable nocturnal predators are among the largest owls. They nest on sheltered cliff ledges or in crevices, often returning to the same site for years.

Location: Naturns, South Tyrol, Italy

Equipment: Nikon Z9 + 180–600mm f5.6–6.3 lens; 1/10 at f29; ISO 320

Frolicking Frogs - Quentin Martinez, France

Winner, Behaviour: Amphibians and Reptiles

Quentin Martinez (France) discovers a gathering of lesser tree frogs in a breeding event.

In persistent rain, Quentin followed a flooded path to a temporary pool in a forest clearing. He framed this scene with a wide-angle lens and used a diffused flash, which didn’t disturb the frogs, to highlight their metallic sheen.

To attract mates, lesser tree frogs produce short, shrill calls. Huge numbers gather, and the spectacular breeding event – triggered by heavy rains – lasts for just a few hours.

Location: Kaw Mountain, French Guiana

Equipment: Canon EOS 7D Mark II + 17–40mm f4 lens at 24mm; 1/200 at f16; ISO 500; 4x Meike MK320 flashes; homemade softbox

Synchronised Fishing - Qingrong Yang

Winner, Behaviour: Birds

Qingrong Yang (China) perfects photographic timing to show a ladyfish snatching its prey from right under this little egret’s beak.

Qingrong was at Yundang Lake near his home, a place he visits regularly to photograph the feeding frenzies: little egrets patrol the surface, ready to pounce on fish leaping to escape underwater predators.

Once a natural marine harbour, Yundang Lake was sealed off from the sea during 1970s development. Isolated from the tides and currents, it became polluted and stagnant. An engineering project later reconnected it to the sea via a system of gates that regulate water flow.

Location: Yundang Lake, Fujian Province, China

Equipment: Nikon Z9 + 400mm f2.8 lens; 1/2500 at f5; ISO 110

Mad Hatterpillar - Georgina Steytler

Winner, Behaviour: Invertebrates

Georgina Steytler (Australia) showcases the strange headgear of a gum-leaf skeletoniser caterpillar.

Georgina had been looking out for this caterpillar for years when she noticed eucalyptus trees bearing skeletonised leaves, telltale signs that the animal had been grazing. She took this image backlit by the setting sun, using a fill-in flash to illuminate the living head at the base of the stack.

This caterpillar’s unusual headgear is made up of old head capsules, each retained with every moult. The resulting tower is believed to help deflect attacks by predators.

Location: Torndirrup National Park, Western Australia, Australia

Equipment: Olympus OM-D E-M1 Mark III + 90mm f3.5 lens; 1/250 at f22; ISO 500; Godox flash

The Feast - Audun Rikardsen

Winner, Oceans: The Bigger Picture

Audun Rikardsen (Norway) witnesses feeding time around an Atlantic fishing vessel during a polar night in northern Norway.

Audun managed to photograph this chaotic scene of gulls attempting to catch fish trapped by nets. The gulls have learnt to follow the sound of the boats to find a herring feast. Through his work, Audun aims to draw attention to the ongoing conflict between seabirds and the fishing industry.

Unfortunately, many birds drown in or around these purse seine nets each year. Various fisheries and researchers are trialling solutions, including sinking the nets more quickly to make them less accessible to the birds.

Location: Kvænangen Fjord, Skjervøy, Norway

Equipment: Canon EOS R5 + 15–35mm f2.8 lens at 15mm; 1/200 at f4.5; ISO 10000; Canon Speedlite 600EX II flash; LED torch

The Weaver’s Lair - Jamie Smart

Winner, 10 Years and Under

Jamie Smart (UK) spots an orb weaver spider inside its silken retreat on a cold September morning.

Jamie first noticed the dew-laden web before realising its maker was sitting in a nest. With the patience and steadiness needed to manually focus her camera, she kept the spider perfectly lit and symmetrically framed.

This spider’s web is constructed from a scaffold of radial threads, overlaid with a spiral of sticky silk to hold ensnared insects. A strong signal thread transmits vibrations to the spider’s hiding place, triggering it to emerge and collect its prey.

Location: Mid-Wales, UK

Equipment: Nikon Z9 + 105mm f2.8 lens; 1/200 at f10; ISO 80; Nikon SB-910 Speedlight flash; Cygnustech diffuser

Alpine Dawn - Lubin Godin

Winner, 11–14 Years

Lubin Godin (France) finds himself in mist-shrouded mountains with silhouetted ibex.

Lubin spotted the Alpine ibex resting above a sea of clouds during an early morning ascent. As the mist rose and the sun broke over the crags, he retraced his steps to capture this ethereal moment before fog thickened and the light faded.

Native to Europe, the species was hunted close to extinction in the early 1800s. Thanks to protection and reintroduction efforts, ibex now roam large areas of the Alps. However, a rapidly changing climate causing shifts in food availability during breeding seasons may hinder their survival.

Location: Col de la Colombière, Haute-Savoie, France

Equipment: Canon EOS R7 + 100–400mm f4.5–5.6 lens at 140mm + 1.4x teleconverter; 1/640 at f8; ISO 100

Survival Purse - Ralph Pace

Winner, Underwater

Ralph Pace (USA) beautifully illuminates the egg case of a swell shark, tethered to the base of a giant kelp.

Faced with strong currents pushing him from side to side, Ralph struggled to keep steady to photograph this egg case, or ‘mermaid’s purse’. He lit the case from behind to reveal the swell shark embryo within, its gill slits and yolk sac clearly visible among the dark kelp forest.

Researchers estimate that kelp forests in Monterey Bay have declined by more than 95 per cent over the past 34 years. Swell sharks depend on kelp to lay their leathery eggs, making them especially vulnerable to such losses.

Location: Monterey Bay, California, USA

Equipment: Nikon D850 + 28–70mm f3.5–4.5 lens; 1/125 at f14; ISO 640; Nauticam housing; 2x Sea & Sea strobes

Caught in the Headlights - Simone Baumeister

Winner, Natural Artistry

Simone Baumeister (Germany) shows an orb weaver spider on its web on a pedestrian bridge, silhouetted by lights from the cars below.

To achieve this kaleidoscopic effect, Simone reversed one of the six glass elements in an analogue lens. This distorted the image at the edges while leaving the centre sharply focused. She then cropped the picture to move the spider slightly off-centre.

In urban environments, orb weaver spiders often spin webs near artificial lights that attract insects at night. The web acts as an extension of their sense organ, gathering sound and transmitting vibrations, including those of prey, to their legs.

Location: Ibbenbüren, North Rhine-Westphalia, Germany

Equipment: Canon EOS R5 + Carl Zeiss Jena Pancolar 50mm f1.8 lens + 16mm extension tube; 1/250 at f2.8 (-1.33 e/v); ISO 1250

Deadly Allure - Chien Lee

Winner, Plants and Fungi

Chien Lee (Malaysia) uses a UV torch to reveal the fluorescent world of an insect-attracting pitcher plant.

Insects can see ultraviolet (UV) light, but humans can’t, so Chien used a long exposure and a UV torch. Waiting until after sunset, he had just a five-minute window before the ambient light illuminating the backdrop disappeared completely.

Some carnivorous pitcher plants reflect UV light on certain areas as part of their ‘display’. They use colour, scent and nectar to lure their prey into pools of digestive juices at the bottom of their leaves.

Location: Kuching, Sarawak, Borneo, Malaysia

Equipment: Nikon Z9 + Laowa 15mm f4 macro lens; 30 at f16; ISO 100; Convoy C8 ultraviolet torch

Vanishing Pond - Sebastian Frölich

Winner, Wetlands: The Bigger Picture

Sebastian Frölich (Germany) finds a springtail among a galaxy of neon green gas bubbles in Austrian moorlands.

Sebastian visited this fragile wetland ecosystem to highlight its importance as a vast store of carbon dioxide and as a habitat for diverse wildlife. A tiny springtail ran across escaping gas bubbles rising through the algae, giving this image a sense of scale.

Austria has lost 90 per cent of its peat bogs, and only 10 per cent of those that remain are in good condition. Platzertal is one of the last intact high moorlands in the Austrian Alps, and an area renowned for its carbon-storing peat bogs.

Location: Platzertal, Tyrol, Austria

Equipment: Nikon Z7 + 105mm f2.8 lens; 1/800 at f9 (-1.67 e/v); ISO 400

How to Save a Species - Jon A Juárez

Winner, Photojournalism

Jon A Juárez (Spain) documents the groundbreaking science to save the northern white rhino from extinction through in vitro fertilisation (IVF).

Jon spent years documenting the work of the BioRescue Project, and says that witnessing a milestone in saving a species 'was something I will never forget'.

This southern white rhino foetus, which did not survive due to an infection, was the result of the first successful rhino embryo transfer into a surrogate mother through IVF. This breakthrough paves the way for saving the rare northern white rhino from extinction, as scientists can take the next crucial steps towards transferring the first northern white rhino embryo into a southern white rhino surrogate.

Location: Ol Pejeta, Nanyuki, Laikipia County, Kenya

Equipment: Nikon Z9 + 24–120mm f4 lens at 24mm; 1/400 at f7.1; ISO 1600; LED light panel

Seething Pit - Javier Aznar González de Rueda

Winner, Photojournalist Story Award

Visitors gaze at hundreds of western diamondback rattlesnakes at the annual rattlesnake round-up in Sweetwater, Texas. Many of these snakes will be killed and sold for their skin and meat. Round-ups can harm other animals too: snakes are often driven from their rock shelters using petrol fumes, which also affect any creatures sheltering alongside them.

Equipment: Sony α7R III + 24–70mm f2.8 lens at 44mm; 1/30 at f10; ISO 4000

Javier Aznar González de Rueda (Spain) explores the complex relationship between humans and rattlesnakes across the United States.

For centuries, rattlesnakes have been viewed in vastly different ways across the American continent – from reverence and respect to fear and suspicion. Annual rattlesnake round-ups, where hunters compete to collect the highest weight of snakes, began in the 1930s. Today, these competitions are losing their appeal, but in some states, anti-rattlesnake sentiment remains strong.

In this portfolio, Javier calls for respect and protection for these creatures before they disappear from the American landscape.

Sole Survivor - Luca Lorenz, Germany

Winner, Rising Star Award

Luca had been watching a tree hole where this Eurasian pygmy owl and its mate were nesting. When one disappeared, the other continued feeding the chicks. On this day, the remaining bird returned clutching the chicks’ breakfast in its claws, and called for its mate, but there was no reply.

Equipment: Nikon Z8 + 180–600mm f5.6–6.3 lens at 600mm; 1/125 at f6.3; ISO 2500

Luca Lorenz (Germany) explores his passion for the natural world by viewing it through an artistic lens.

Luca’s childhood ambition was to learn everything he could about birds. He spent long hours in the parks around his home on the outskirts of Berlin, observing them. He bought his first camera when he was 13, and photography became a passion.

Through photography, Luca is able to spend time in nature and highlight its beauty. His portfolio aims to show people his personal view of nature and inspire others to protect it.

Taiga Tapestry - Alexey Kharitonov

Winner, Portfolio Award for Visions of the North

A kaleidoscope of colours carpets Mukhinskoye Swamp under a grey sky. Blue lakes and channels fringed with white ice contrast with green and yellow grasses and widespread sphagnum mosses, which turn vibrant orange and red during the brief autumn.

Equipment: DJI Mavic 2 Pro + Hasselblad L1D-20c 28mm f2.8 lens; 1/30 at f2.8 (-0.3 e/v); ISO 100

Alexey Kharitonov (Israel/Russia) finds art in unexpected perspectives across Russia’s northern swamps.

Alexey is a self-taught photographer with a passion for landscape photography. His artistic exploration of remote regions in the Russian North, Siberia and Asia highlights taiga and Arctic tundra scenes as summer rapidly turns to winter.

Using drones, he picks out details in these vast terrains, showcasing their wild beauty through striking compositions. Yet beyond this visual feast lie human-made threats – not least a pressing vulnerability to climate change.

For the past couple of weeks, many of you have noticed a banner at the top of the page that says, "Add as a preferred source on Google." Let me tell you what that is and why it's there.

There was a time when you could search Google for whatever you were looking for and get a clear list of links to authoritative sources. But changes to Google search in recent months have dramatically impacted how news, reviews and expert sources like DPReview appear in search results, making it much more difficult to find the expert information you're looking for. As a result, DPReview, along with industry-leading sites like Wired and The Verge, is asking our readers to proactively add us as a "preferred source" on Google.

I'll explain why we're making this request, how it works, and why these changes in search matter to those who value online journalism and expert sources of information.

The shifting landscape of Google search

For years, DPReview and other websites have depended on Google search to connect them with readers. In return, Google got the search traffic it desired. This relationship fueled the creation of high-quality web content, allowing readers to search for expert information and find it in search results.

This year, however, Google has rolled out some particularly radical changes. AI-generated summaries and overviews now dominate the top of many search results. This is especially frustrating when those summaries are taken word-for-word from a DPReview article or camera review. But here we are.

While it's not the case here, we've seen Google's AI summaries provide answers that are word-for-word the same as one of our articles, and that first photo of the Nikon Zf in the top row is from our review. Unfortunately, Google rarely sends traffic to us when it uses our content this way.

For readers who make it past the (hopefully correct) AI summaries, it's often necessary to wade through row after row of sponsored posts, links to retail sites, and image grids of "popular products" and where to buy them. Meanwhile, content from platforms like Reddit and YouTube is prioritized over publishers who provide much of the data Google uses to feed its AI summaries.

The net result is that many reputable and information-rich websites have experienced double-digit drops in referral traffic. If you're willing to delve far enough down the page, you'll find them, but the fact is that many people don't.

Enter Google's "Preferred Sources"

In 2025, Google announced a new feature called Preferred Sources, and it's one of those rare tech industry products whose name actually describes what it does: it allows you to tell Google what sources of information you like or trust, so that you see results from those sources more often. At the time of writing, Preferred Sources is available to users in the US or India. Hopefully, Google will expand that to other geographies.

If you add DPReview to your preferred sources, it will appear more prominently on search results pages, and you'll see more DPReview content in your feed on Google Discover.

To make DPReview one of your preferred sources on Google, click this link or the Google icon at the top of the page. In the window that appears, simply click the box to the right of DPReview. That's it!

While you're there, take a moment to search for other trusted websites you rely on and add them to your preferred sources, too.

DPReview (and other publishers) need your help

Adding DPReview and other sites you trust to your preferred sources on Google is more than a nice gesture. It helps ensure that our reviews and other expert insights remain visible in a crowded and increasingly AI and sponsor-driven landscape of search results. This matters to all of us; when publishers like DPReview lose traffic, it limits our ability to invest in and publish product reviews, technical explainers and other important content the camera community relies on.

Ask yourself this: Would you rather read a great technical explainer by Richard Butler, or a Google AI interpretation of it? I know which one I would choose, and your help is vital to ensure we can keep publishing that type of content.

Image: Fujifilm

Fujifilm has announced the Instax Mini LiPlay+, an update to its Mini LiPlay camera from 2019. The company calls it a "hybrid" camera; it features a digital sensor, but can also print out the images you take with it onto Fujifilm's Instax Mini instant film.

The actual camera part of the Mini LiPlay+ appears to be relatively unchanged. It still features a tiny Type 1/5 (6.46mm²) sensor behind a 28mm equiv. F2 lens, and enough internal storage to hold around 45 of the 5MP images it captures. That storage can be expanded with a microSD card, and you can use the camera to print images from your smartphone onto Instax film as well.

There are some changes, though. The largest is that there's now a second camera on the back of the camera, which Fujifilm says is for taking selfies. It has a 23mm equiv., F2.2 fixed focus lens, though the company makes no mention of what resolution or size sensor is behind it. You can use it to take selfies as usual, using the rear display to compose your shot, but you can also create what Fujifilm is calling "layered photos," which combines the image from the front and selfie cameras to show you and the place you're taking a picture of in one of four layouts.

Image: Fujifilm

The camera also builds on the original LiPlay's ability to record audio, which can be played back via a QR code printed on the image. Using the companion app, you can now create a "Sound Album," combining up to five images and the sounds recorded around when they were taken.

The camera body has also been redesigned, with a more squared-off design and simplified control layout. At 3", the rear display is larger than the 2.7" one on the original LiPlay, and the camera weighs about 10g more at 265g. It's available in a light "sand beige" and dark "midnight blue."

The Instax Mini LiPlay+ will be available later this month, retailing for $235. This represents a substantial jump over the original's $160 launch price, though that camera currently sells for $200.

Image: Iris

Renowned street and portrait photographer Alan Schaller has created a new social media app called Irys, designed to create a calmer, ad-free alternative to algorithm-driven, engagement-focused photo sharing apps like Instagram. According to the developers, Irys intends to bring the focus back to photography rather than obsessing about metrics such as likes and follower counts.

The app is designed to give photographers control over how much "social" they want in their social media. When posting, users can choose to display or hide likes, comments, and follower counts. That flexibility makes Irys less about chasing engagement and more about presenting work in a curated, distraction-free environment.

A quieter corner of the photo-sharing world

While social media remains an important platform for photographers, many have grown frustrated with algorithms that prioritize trends and reels over still photography. Irys positions itself as a smaller, slower alternative – more Vimeo than YouTube, or in this case, more Vimeo than Instagram.

In place of algorithmic feeds, Irys features Groups, community spaces organized around shared interests and genres. Photographers can connect, collaborate, and organize meetups or exhibitions. The company also plans to curate featured galleries and run talent searches with help from established professionals and partner brands, including Leica, a frequent collaborator of Schaller's.

Irys was created by photographer Alan Schaller in an effort to create a photo sharing app not driven by algorithms, likes and follows. Image: Iris

By emphasizing creative exchange over competition, Irys suggests it wants to appeal to photographers who value community, craft, and privacy over constant exposure.

Subscription replaces advertising

According to its developers, Irys doesn't show ads or sell user data, which they see as a key part of the app's appeal. Instead, it uses a subscription model to support the platform. The free tier allows users to upload up to 100 photos across two collections and join five Groups. A premium subscription, priced at around $6 per month or $60 per year, removes those limits and unlocks additional tools and features.

That makes Irys less like a social network and more like a hybrid between a gallery service and a community hub. The challenge, as always, will be convincing photographers to pay for what other platforms still provide for free, albeit with algorithms and ads.

Updated: October 13, 2025

These days, you can get a lot of camera for around $2500, though in the US tariffs have made great deals in this price range a little harder to come by. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of your preferred kit. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to consider that during your lens research.

Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly outperform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.

Our Recommendations

• Best camera under $2,500: Nikon Z6III
• A close second: Canon EOS R6 II
• The compact option: Sony a7C II
• The wildlife option with reach: OM System OM-1 II
• Best for vlogging: Nikon ZR

Best camera under $2,500: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

It earns top place on this list because it's such a complete package (which has only improved with software updates). Its high burst rates and excellent autofocus mean you can tackle pretty much any subject, and its complete suite of video features make it very capable for recording motion pictures, too. The biggest caveat is price: in the US its MSRP is over $2500, though it appears to routinely go on sale for well below that.

Read our full review of the Nikon Z6III

A close second: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beats the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by your budget (the EOS R6 II has been around longer, so is often available for less) and the two companies' lens lineups and how they match your preferences... with the knowledge that they both control which lenses third parties like Sigma and Tamron can produce for their systems.

Read our full review of the Canon EOS R6 II

The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

Read our full review of the Sony a7C II

Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is tough to recommend in 2025, especially at its post-tariff MSRP in the US. Its viewfinder, ergonomics, and full mechanical shutter are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization. If you're you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd strongly recommend saving up for one of the newer models.

What about APS-C?

We make most of our APS-C recommendations in our best cameras under $2000 buying guide, which covers cameras like the Fujifilm X-T5, Canon EOS R7 and Sony a6700. The latter two are the highest-end crop sensor cameras from their respective brands, but Fujifilm makes the X-H2S, which is historically one of the better video cameras on the market. However, cameras like the Z6III have arguably caught up in capabilities and framerate options, and while the X-H2S' global price is eligible for its list, in the US it's closer to $3000.

The wildlife option with reach: OM System OM-1 II

20MP Four Thirds Stacked sensor | 50fps continuous shooting w/AF, 120fps AF/AE locked | IBIS rated to 8.5EV

Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor.

It's well-suited to wildlife photography, as the Micro Four Thirds system has several lenses that give you plenty of reach without being back (or pack) breakingly large, and its Stacked sensor gives it fast autofocus and incredible burst rates for shooting even the fastest subjects. It also has several computational modes that let it adapt to a wide variety of situations, and sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

The body is quite rugged-feeling (while still being smaller than full-frame counterparts), with dials designed to be used with or without gloves, and has plenty of customizable control points. The viewfinder is relatively large and bright.

While we haven't put the OM-1 II through our full review process, we do have extensive experience with it and with the OM-3, that uses the same processor and sensor. We've found the autofocus to be reliable, though not class-leading, and it's a bit of a shame that continuous autofocus in its 50fps is limited to certain lenses. There's an image quality price to be paid for the smaller sensor, but, for Four Thirds, the OM-1 II's sensor provides good amounts of detail and the multi-shot modes can compensate for this in some circumstances.

While there are more all-round capable cameras at this price point, the OM-1 II fits into its niche quite well and is still quite solid for other kinds of photography. Its video capabilities aren't at the level that other companies provide, but if you simply want to record something, it's certainly up to the task.

Read our initial review of the OM System OM-1 II

Other Four Thirds cameras

The OM-1 II shares most of its DNA with the OM System OM-3, a smaller, more stylish and less expensive option that uses a smaller viewfinder to achieve its classic styling. Both are similar to the Panasonic G9II, though that's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which offers smaller camera/lens combinations at the cost of ultimate image quality. However, they can well worth considering if your photography requires the most compact kit available.

Best for vlogging: Nikon ZR

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

Photo: Mitchell Clark

The Nikon ZR is a video-focused mirrorless camera with a 24.5MP full-frame 'partially Stacked' sensor.

While its Red co-branding and three flavors of Raw shooting show its ambitions as a video production camera, the ZR has a lot of features that make it a great tool for vlogging, too. It has IBIS, Nikon's fairly effective autofocus system, and a 4", 3.07M dot display that can go up to 1000 nits, which should make previewing your image relatively easy, even if the camera is a bit far away from you.

It's also the first mirrorless camera with support for 32-bit float audio recording built-in, even on the 3.5mm input, which means you won't have to worry nearly as much about your audio gain levels when trying to capture the moment.

It can shoot compressed video at up to 5.4K/60, and is capable of 4K/120 for proper slow-motion, though going above 4K/60 will come with a 1.5x crop. In Raw, the ZR can record full-width 6K/60.

We'll be putting the ZR through its paces more in the coming weeks, but it's essentially a Z6III at heart, with a few more video features that should make it a very capable option if you want to go from vlogging to full-on production.

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.

The iPhone 17 Pro Max has Apple's newest technology, but is it worth upgrading from your current iPhone Pro? Photo: Dale Baskin

Each year, Apple's iPhone launch event devotes considerable time to its newest flagship, the iPhone Pro, which always features the company's most advanced cameras. For photography and video enthusiasts who want Apple's latest imaging technology, the iPhone Pro is the clear choice.

And every year, Apple tries to convince us that its cameras are better than ever, and that this is the year to upgrade to make your photos more magical than ever before.

But is it worth it? Most people upgrade their smartphones only every few years, and it can be hard to know when an upgrade will truly make a difference to your photos. We're here to help sort the noise from the facts. In this photography-focused comparison, we'll examine every iPhone Pro model from the last five years – back to 2020's iPhone 12 Pro – to help you decide if an upgrade makes sense.

Before we dive into older models, let's review what's new with the iPhone 17 Pro.

Or, you can jump directly to a comparison with your current model:

• iPhone 16 Pro and Pro Max
• iPhone 15 Pro and Pro Max
• iPhone 14 Pro and Pro Max
• iPhone 13 Pro and Pro Max
• iPhone 12 Pro and Pro Max

The iPhone 17 Pro and Pro Max

The iPhone 17 Pro's headline feature is that, for the first time, all three of the iPhone cameras use 48MP "Fusion" imaging sensors. Image: Apple

Like its predecessors, the iPhone 17 Pro and Pro Max feature a triple-camera system with main, ultrawide, and telephoto modules. The headline feature is that, for the first time, all three camera modules use 48MP imaging sensors.

Apple brands these as "Fusion" sensors, but they are essentially a Quad Bayer design. This design allows the smartphone to computationally combine data from a four-pixel group (pixel binning) with individual pixel data to create a more detailed image. This technology also enables virtual lenses like the 2x and 8x "zoom," which use cropped regions of one of the camera's sensors. Apple calls these virtual lenses "optical quality," but they're essentially a digital zoom enhanced with machine learning-based upsampling.

The only truly new camera on the iPhone 17 Pro is the telephoto, which was upgraded to a larger 48MP sensor. It's 56% larger than the 12MP telephoto sensor in the iPhone 16 Pro, and even larger compared to earlier models, and can deliver better photo quality, particularly in low light.

The iPhone 17 Pro is the first iPhone to capture video using Apple's ProRes RAW, a Raw video format used by professional and advanced videographers. Image: Apple

The iPhone 17 Pro also adds two advanced video features: ProRes RAW recording for greater editing flexibility, and Genlock, a professional feature for frame-perfect multi-camera synchronization via a hardware accessory.

Finally, the iPhone 17 Pro introduces a new 18MP front camera with a square multi-aspect sensor, replacing the 4:3 sensors on all previous models. Dubbed the Center Stage camera, it allows you to capture horizontal or vertical video without reorienting the phone and provides improved video stabilization.

To learn about these features in more detail, see our article iPhone 17 Pro cameras: What's new, what's unchanged.

Buy boxes

The big picture

Before diving into individual comparisons, let's look at how the iPhone Pro's camera system has evolved. In the table below, green boxes represent significant upgrades from previous models. At a high level, this is what to look for:

• Sensor size: All other factors being equal, a larger sensor captures more light for higher quality photos, especially in low light.
• Resolution: More megapixels mean higher-resolution images and the ability to maintain resolution with 'virtual' zoom lenses.
• Focal lengths: While the main and ultrawide cameras have been pretty consistent, telephoto cameras have had more varied configurations.
• Video features: Know which features you need – and which ones you don't – when deciding whether to upgrade.

Editor's note: All focal lengths in this article are full-frame equivalents.

*All focal lengths are full-frame equivalents

Historically, the main camera received notable upgrades on the iPhone 13 Pro and 14 Pro, but has been largely unchanged since the 48MP sensor was introduced on the 14 Pro.

The ultrawide camera was upgraded on the 13 Pro and 14 Pro, and again on the iPhone 16 Pro, which also gained a 48MP sensor.

The telephoto camera has seen more variability, with focal lengths between 52mm (2x zoom) to 120mm (5x zoom), with the most significant upgrade being the iPhone 17 Pro, which gained a 48MP sensor that's substantially larger than in previous models.

Apple has continued to add video features, but all models in the table can capture photos using Apple's ProRaw mode.

If you have an iPhone 16 Pro or Pro Max

The iPhone 16 Pro was the first iPhone Pro to add a 48MP ultrawide camera, complementing the 48MP main camera. Image: Apple

For current iPhone 16 Pro or Pro Max owners, the year-over-year upgrade is difficult to recommend unless you are a heavy telephoto user or require the advanced video features exclusive to the iPhone 17 Pro.

The iPhone 16 Pro has the same main and ultrawide cameras as the 17 Pro. While Apple claims an improved image processing pipeline, which is almost certainly true, it's unlikely to be noticeable in day-to-day use.

The major camera upgrade is the telephoto module. The iPhone 17 Pro gets a 48MP sensor that's over 50% larger than the one in the 16 Pro, giving it significantly more light-gathering capability. The telephoto focal length has also changed, decreasing from 120mm (5x zoom) on the 16 Pro to 100mm (4x zoom) on the 17 Pro.

That may sound like a downgrade, but a common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras. This forced mid-range zoom shots to rely heavily on computationally-enhanced crops from the main sensor. The 17 Pro's 4x telephoto narrows that gap, allowing the phone to switch to the dedicated telephoto lens, and its full sensor area, sooner.

"A common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras."

Additionally, the iPhone 16 Pro and all older models used Apple's previous 4:3 front-facing selfie camera. The new Center Stage camera could be a reason to upgrade if you take many selfies or shoot video on the move.

The only new video features are ProRes RAW and Genlock, both aimed at advanced videographers. Unless you have a specific need for them, these features alone don't justify an upgrade.

If you have an iPhone 15 Pro or Pro Max

The iPhone 15 Pro series bifurcated the telephoto camera, with the smaller iPhone 15 Pro featuring a 3x telephoto lens while the iPhone 15 Pro Max featured a 5x lens and a slightly larger sensor. Image: Apple

For iPhone 15 Pro or Pro Max users, there are some additional considerations. The main camera on the 15 Pro series uses the same lens and sensor as the iPhone 17, effectively delivering the same image quality. However, the 16 Pro introduced a 'second-generation' version of this sensor with 2x faster readout, enabling "zero shutter lag" even when shooting Raw photos. If you've been bothered by this lag on your 15 Pro, it could be a reason to upgrade.

The telephoto cameras are another story. The iPhone 15 Pro and Pro Max use different modules, with 77mm (3x) and 120mm (5x) lenses, respectively. This means upgrading to the 17 Pro's 100mm (4x) telephoto could result in either more or less reach than you're used to. In either case, the upgrade will get you the 17 Pro's new 48MP sensor, which is over 50% larger than the 15 Pro Max's and almost double the size of the 15 Pro's.

Image stabilization is another factor to consider, particularly for low-light situations requiring slower shutter speeds. The iPhone 15 Pro Max's telephoto module uses sensor-shift image stabilization. In contrast, the smaller iPhone 15 Pro's telephoto uses Apple's older, less effective optical image stabilization system. Sensor-shift stabilization didn't come to the smaller iPhone Pro's telephoto module until the iPhone 16 series. Therefore, iPhone 15 Pro users should experience improved telephoto stabilization after upgrading.

The iPhone 15 Pro and earlier models don't include Apple's Camera Control button (seen on the iPhone 17 Pro Max, above). It allows you to launch the camera from anywhere, change key settings with a slide of the finger, and works as a shutter button. Photo: Dale Baskin

Ultrawide and macro photographers may be drawn to the iPhone 17 Pro's 48MP ultrawide camera. Like Apple's other 48MP sensors, it's a Quad Bayer design, so the resolution gain isn't as large as the numbers suggest. Still, it captures more detail and provides more latitude for cropping macro shots. The sensor size remains unchanged, however, so don't expect low-light improvements.

The 17 Pro includes other features not on the 15 Pro, like the Camera Control button and an updated Photographic Styles system that lets you change a look after the photo is taken. Video upgrades include 4K/120p capture (up from 4K/60p) for more dramatic slow-motion, along with ProRes RAW and Genlock support.

If you have an iPhone 14 Pro or Pro Max

The iPhone 14 Pro was the first iPhone Pro to feature a 48MP sensor on the main camera. Image: Apple

The camera modules in the iPhone 14 Pro and Pro Max are broadly similar to those in the 15 Pro, except for the 15 Pro Max's 5x telephoto. As a result, much of the same upgrade logic applies.

The iPhone 14 Pro was the first model with the higher resolution 48MP main camera sensor still used today, though 17 Pro will benefit from the faster readout speed that first arrived on the iPhone 16 Pro. Additionally, the 14 Pro defaults to 12MP photos binned from its 48MP sensor, compared to the 24MP default on more recent models. (Full 48MP resolution is still available via a settings change, however.)

Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor. Neither iPhone 14 Pro model includes sensor-shift image stabilization on the telephoto camera, relying instead on the older, less effective optical image stabilization system. Upgrading to the 17 Pro will provide superior sensor-shift stabilization on the telephoto camera, where it's needed most, and which is especially helpful in low light.

"Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor."

Newer iPhones like the 17 Pro also feature lens coatings not found on the 14 Pro, which can reduce lens flare when shooting into bright light. (Though models with updated coatings still have the green flare balls that have almost become a calling card of iPhone photos.) Newer models can also capture 3D spatial images, a feature the iPhone 14 Pro lacks.

The iPhone 14 Pro and older models don't include the almost universal USB-C plug (seen on the iPhone Pro Max, above), relying instead on Apple's older Lightning connector. Photo: Dale Baskin

Video capabilities may be the most compelling reason to upgrade. The iPhone 14 Pro captures ProRes video, but not the ProRes Log format desired by videographers for its color grading flexibility. Furthermore, its ProRes recording is limited to 4K/30p or 1080/60p, restricting 4K slow-motion options.

The 14 Pro was also the last model with a Lightning connector. Newer models use the more universal USB-C, which offers data transfer speeds up to 10Gbit per second – 20 times faster than the Lightning port's USB 2.0 speeds.

If you primarily use the main camera, upgrading to the 17 Pro is a toss-up, as it's mostly unchanged from the 14 Pro. However, for frequent users of the ultrawide and telephoto cameras, or for videographers who want Log video, the upgrade becomes a compelling, no-brainer decision.

If you have an iPhone 13 Pro or Pro Max

The iPhone 13 Pro was the last iPhone Pro with 12MP imaging sensors on all three camera modules. Image: Apple

With older models, the differences in technology become more stark, and for iPhone 13 Pro or Pro Max owners, upgrading to the 17 Pro will improve the camera experience in nearly every way.

The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor that became standard, and the 17 Pro's sensor is 63% larger. The 13 Pro has a faster F1.5 aperture versus the F1.78 lens on newer models. However, when factoring in both sensor size and aperture, the 13 Pro has about a fifth of a stop less light-gathering ability than the 17 Pro. The 13 Pro also lacks the benefits of the 48MP sensor, which uses pixel binning for extra detail and enables the '2x' zoom option found on newer models.

The situation is similar for the ultrawide camera. Its 12MP sensor is roughly half the size of the 17 Pro's. While its F1.8 aperture is faster than the 17 Pro's F2.2, the 13 Pro's ultrawide is still about a third of a stop behind in total light gathering and lacks the benefits of the 48MP sensor.

"The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor."

The telephoto camera is where you'll see the most dramatic difference. The iPhone 17 Pro's larger, higher-resolution sensor captures almost a full stop more light than the 13 Pro, and allows for more zooming. The 17 Pro also uses more effective sensor-shift stabilization on its telephoto module, compared to the older optical stabilization on the 13 Pro models.

As with the 14 Pro, video features could be a deciding factor, especially if you want ProRes Log for color grading latitude. With all three of the 13 Pro's cameras still at 12MP, lower light-gathering capacity, and a shorter video feature list, this is an easy upgrade to recommend.

If you have an iPhone 12 Pro or Pro Max

The iPhone 12 Pro's triple-camera array. Image: Apple

Five years feels like an eternity in technology, and the cameras on the iPhone 12 Pro and Pro Max are showing their age.

The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger. Despite a slightly faster aperture on the 12 Pro, the iPhone 17 Pro's main camera captures about 1.25 stops – roughly 2.5 time – more light than the iPhone 12 Pro. That's a dramatic difference.

Similarly, the ultrawide sensor on the iPhone 17 Pro is almost twice as large as the 12 Pro's, which also has a slower aperture. The net result is that the 17 Pro's ultrawide camera captures nearly 1.25 stops more light than the 12 Pro's. Again, a dramatic difference.

"The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger."

The situation is more complexe for the telephoto modules. Although the 12 Pro models have smaller telephoto sensors, their much faster apertures allow them to keep pace with the iPhone 17 Pro's newer module in terms of exposure. The catch is their focal length. At 2x (52mm) on the 12 Pro and 2.5x (65mm) on the Pro Max, they are much shorter than the 17 Pro's 4x (100mm) telephoto, making them less useful for distant subjects.

Also, because the 17 Pro's main sensor is so much larger, its '2x zoom' (which uses a cropped area of the sensor) can capture a full stop more light than the 12 Pro's telephoto camera, and its '2.5x zoom' captures a half stop more than the 12 Pro Max's. In effect, the iPhone 17 Pro's main camera can outperform the 12 Pro's dedicated telephoto cameras while also offering a superior 4x optical zoom.

The iPhone 12 Pro's doesn't include camera features like Apple's newer Photographic Styles, which let you change styles on a photo after it's taken, or most of the video features available on the iPhone 17 Pro. Image: Apple

Image stabilization is another key difference. The iPhone 12 Pro Max was the first to introduce sensor-shift stabilization on its main camera, but the smaller 12 Pro used older, less effective optical stabilization. Upgrading from the smaller 12 Pro will provide a noticeable improvement, as all Pro models since the 13 series have featured sensor-shift on their main cameras.

The 12 Pro models also show their age in video. While they capture Dolby Vision HDR and 4K/60p, they lack all the other video features Apple has introduced in the last five years.

If improving photo quality is your goal, this upgrade makes absolute sense. With 12MP sensors across the board, lower light sensitivity, and telephoto lenses that the 17 Pro's main camera can effectively replace, you will see an across-the-board improvement in image quality.

Conclusion

Apple's slick presentations make it easy to feel like you need the newest iPhone cameras, and I give Apple credit for being very good at that. The reality, however, is that most annual updates are incremental. Major improvements are the exception, not the rule.

Also, when considering an upgrade, keep in mind that it may not be necessary to buy Apple's newest iPhone Pro, depending on the features you need or want. If an older model meets your requirements, you might save a chunk of change by buying a recent used phone, or even a refurbished phone from Apple, that's still newer than your current phone and gives you the features you want.

A woman and her dog frolic in the autumn leaves in Almirante González Fernández Park in Buenos Aires, Argentina. Canon PowerShot G7 | F4.8 | 1/200 sec. | ISO 400 Photo: Dale Baskin

Our October Editors' photo challenge, "Fall Follies," is now open for submissions.

Autumn has arrived in the northern hemisphere! The days are getting shorter, the air a little cooler, and the world around us is changing fast. For our October photo challenge, we’re celebrating everything that makes fall special, including vibrant leaves, fall harvests, annual traditions and seasonal celebrations. Show us what "Fall Follies" looks like through your lens.

Photos can be submitted between Sunday, October 12, and Saturday, October 18 (GMT). The challenge is open to photos captured at any time.

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

Visit the challenge page to enter your photos for a chance to be featured on the DPReview homepage later this month.

Enter your photo in the challenge

Alice doesn't live here anymore: Camera Intelligence's second-gen camera will be called Caira. Image: Camera Intelligence

Camera Intelligence, the UK startup previously responsible for the Alice camera, has announced its second-generation product, a camera and app utilizing Google's 'Nano Banana' image generation model.

Like the original model, Caira is a Micro Four Thirds camera that connects to an smartphone over Wi-Fi and is controlled from an app on the phone. The new model uses the "MagSafe" magnetic connector on the back of recent iPhones to provide a physical attachment to the phone. Unlike the original model, there will be no version for Android.

The move to magnetic connection to secure the camera to the phone allows the new version to be 25% lighter, and thinner than the original.

Nano Banana uses natural language input to make edits to the image, letting you amend and add to your image in the camera's app. This generative model comes in addition to the camera's AI-based image processing, which was one of the defining features of the original camera.

AI AF

The company's CEO, Vishal Kumar says the camera uses "a new type of autofocus technique we have developed in house entirely from scratch." It dosen't "use contrast-based or phase-detect autofocus," he says: "We have built a deep neural network (AI) algorithm that can determine if the subject is in or out of focus. If the subject is out of focus, the AI algorithm then predicts how far it is out of focus in terms of distance, and sends a signal to the lens to move precisely into focus."

The Caira camera will be offered via a Kickstarter campaign, starting at the end of October. Kumar says the company has "secured a partnership with a reputable contract manufacturer who has a proven track record in producing cameras for us," and has already built around 50 prototype cameras, ahead of the Kickstarter program.

Camera Intelligence's CEO, Vishal Kumar with the iPhone-attached Caira camera. Image: Camera Intelligence

He says the company has placed preliminary orders for key components and is using Kickstarter to judge how many cameras it ultimately needs to make. "During the first couple of weeks of the Kickstarter campaign, we will gain a better understanding of demand, but we will likely green-light production before the Kickstarter ends," he says.

"Our production timeline already includes a buffer for unforeseen adjustments. We are aiming for Q1 2026 delivery for the Kickstarter units, possibly earlier for some countries."

He says the company is "partnering with a professional, experienced fulfilment company to manage all shipping," having found this challenging with its original product.

Still waiting for Alice

We spoke Kumar about concerns expressed on the DPReview forums that not all backers of the original product have received their cameras. "When we launched our Indiegogo campaign in 2021, we offered worldwide shipping without fully anticipating the distinct logistical and compliance hurdles in each region. Each region essentially has a different customs duties process and also a consumer electronics testing process, especially for Wi-Fi-enabled electronic devices with built-in lithium-powered batteries."

It subsequently restricted sales to Europe, USA and Japan, where it had cleared these hurdles, and cameras have been shipping in these regions. The company faced a different issue in the UK, where it found itself embroiled in a trademark dispute over the name Alice.

Original customers in other counties will receive their cameras, Kumar says: "We are actively working through the final logistical steps to deliver these cameras without incurring unforeseen costs or legal complications that could affect our operations. Shipping the entire backlog of version 1 cameras is our highest priority, and we have ~20% left to fulfill."

Having learned from these experiences, the Caira will initially only be available in UK, EU and USA. Other regions will be announced "in dur course" he says.

There are no current plans to develop an Android version of Caira, Kumar says, but there will be an online form for users to express interest in creating another batch of the first-gen camera.

Image: Sirui

Sirui has announced the Aurora 35mm F1.4, a full-frame, autofocus lens that won't break the bank and is available in a variety of mounts: Sony E, Nikon Z, L mount and Fujifilm X (where it's a 52.5mm equiv.).

The lens's optical formula uses 16 elements in 11 groups, with three aspherical lenses, two ED elements and one SED element and HRI element, each. It has a 13-blade aperture and a minimum focusing distance of 0.35m (13.8").

Speaking of focusing, it has a stepper design and a physical switch for going between auto and manual focus modes. It also has an iris lock switch to keep it in auto mode, as well as a customizable function button and a switch to change the aperture ring between clicked and clickless delineations. As with many Sirui lenses, there's a USB-C port for firmware updates.

Image: Sirui

The lens weighs around 490g (1.1lb), with a bit of variation depending on which version you get. It's around 103mm (4.1") long, and takes 62mm filters. Sirui says the lens is dust and weather-sealed, and has a fluorine coating on the front element to repel oil and fingerprints.

The lens seems like a good option for anyone looking for a fast, wide-angle lens they can carry around with them day-to-day, and it's priced like one, too. It retails for $549 and is available to order now.

Sirui Aurora 35mm F1.4 specifications:

Canon EOS R7 | Tamron 18-300mm F3.5-6.3 | 18mm | F3.5 | 1/1600 | ISO 320 Photo: Abby Ferguson

In August, Tamron announced that its 18-300mm F3.5-6.3 Di III-A VC VXD APS-C lens was available for Canon RF and Nikon Z mounts. While the lens and optical formula aren't new (it already existed for Sony E and Fujifilm X), we took the opportunity to try out the new mount and took the lens around on a Canon EOS R7 body.

Tamron describes the lens as an "all-in-one" option thanks to its extensive zoom range. At the wide end, it provides a 27mm equiv. on Nikon cameras and 29mm equiv. on Canons, and zooms in to 450mm equiv. on Nikon and 480mm equiv. on Canon. Given the range, we aimed to put it to the test in a variety of situations, which you can see in the sample gallery below.

See the 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.

Pure Street Photography Awards 2025

The winners of the Pure Street Photography Awards 2025 have been announced. David Campany, Creative Director at the International Center of Photography, New York, and Dimpy Bhalotia, founder of Pure Street Photography, award-winning photographer and Creative Director, co-judged this year's contest. The contest organizers said this year was special, explaining it was "a celebration of truth, timing, and the human eye in an age of fast production and artificial imagery."

The 2025 edition of the contest attracted 1,160 submissions across 34 countries, with 147 winning and finalist images selected. The awards will culminate in an exhibition at Jhangir Art Gallery in Mumbai from January 22-27, 2026, which is a first for the competition.

You can learn more about the contest and see additional finalist images at the Pure Street Photography website.

Grand Winner

Photographer: Stefanie Waiblinger

Country of residence: Germany

Image title: Who is Next

About the photograph: The Galata Bridge in Istanbul – a place full of life, tradition and spectacular scenery – became the stage for a very special moment. Against the backdrop of the Istanbul skyline, between mosques and minarets, the bride throws her bouquet into the air – a spontaneous, lively moment full of joy and symbolism.

Photographer biography: My journey into street photography began a few years ago. What initially started as a welcome balance to my profession as an architect quickly became an inexhaustible source of inspiration that has greatly expanded and enriched my awareness and my way of seeing.It beautifully complements my love for traveling and allows me to take an intimate look into worlds that would otherwise remain hidden from me. By capturing the timeless charm of everyday life, I aim to create a special atmosphere and evoke emotion. Since the world is full of colours, I love bringing them to life in my photos, which focus on clear and minimalist composition.

First Place Winner

Photographer: Cazerella Tavs

Country of residence: UK

Image title: Meeting in the Middle

About the photograph: There is always an element of surprise to photography and a thrill in capturing a candid moment that can never be replicated. This was one of those moments. An unexpected standoff in the middle of a quiet rural road, where two cows pause as if negotiating the right of way. It emphasises form, symmetry, and contrast what might otherwise be a fleeting roadside encounter transforms into a playful reflection on standstills, stubbornness, and the gentle comedy of rural life – a reminder that even traffic jams can be charming when left to cows!!

Photographer biography: Born in Ireland, now living in the beautiful New Forest UK. I have always been so passionate about photography, it’s my go to, my escape, my therapy. I very seldom leave the house without my camera (my mum totally inspired me from a v young age to capture the world as I see it). I have a keen eye for different perspectives, unscripted moments that can reflect the beauty, bold, emotional rhythm of everyday life. I see the streets as an ever evolving stage with no script, full of character, spontaneity, candid moments/chaotic moments and pure stillness and I am always inspired to capture a snippet of those moments in time. Photography is a form of art, expression and a pure joy.

Second Place Winner

Photographer: Chris Yan

Country of residence: China

Image title: Mirror

About the photograph: his photo was taken in a market in Beijing. Two girls passed by me on an electric bike. One of the girls was holding a large mirror, and her figure was reflected in the mirror. The figure in the mirror merged with the girl in front, which looked very interesting.

Photographer biography: Chris Yan, photographer, Creative Director, was born in Beijing, China in 1981. After graduating from Communication University of China with a degree in art and design, he began to work in international advertising agencies. In 2013 he founded his own company, focusing on commercial design and art creation, and began photography. He mainly explores human stories and street photography, photographing across different countries for the past ten years. He currently lives and works in Beijing.

Third Place Winner

Photographer: Nicole Prüm

Country of residence: Germany

Image title: Phantom of the Past

About the photograph: This shot was taken spontaneously during a walk through New York City 2023. It captures a figure whose profile and attire–fedora and suit–immediately call to mind the appearance of Al Capone. The actual humour lies in the pure chance of the moment: the classic, historical allusion stands directly in front of a modern NYPD Police SUV in the background. The irony of this scene–the unprompted confrontation between the spirit of Prohibition and today’s street police–is what defines the image. It is a quiet, humorous moment of street photography that transports a historical jest into the present day.

Photographer biography: My name is Nicole Prüm. Since 2017, I have been dedicating myself intensively to my passion for photography and have pursued it professionally alongside my main occupation. I work part-time as a physiotherapist. My artistic work focuses on black-and-white photography, with the human figure always at the center in various environments. I am particularly fascinated by photographic compositions that can be read metaphorically and tell visual stories. The main themes of my work are "people in geometry" and "classic street photography.

Finalist

Photographer: Adriana Palermo

Country of residence: Switzerland

Image title: Team work

About the photograph: I took this photo during a trip to Kerala, on an early morning in February 2025. The fishermen were getting ready to pull in their nets – a task that requires both strength and coordination, and one that left a strong impression on me. Over the course of two hours, I took more than 800 shots, trying to capture the complexity and beauty of that moment. This image is the one I feel works best: it conveys the balance between order and chaos, between collective effort and individual strain. The details – the ropes, the waves, the crow, the flamingos in the background – reflect the visual and symbolic richness of a daily scene, turning it into a story. I have a deep connection to this photo: it reminds me of the power of simple gestures, and how working together always leads to meaningful results.

Finalist

Photographer: Anjali Bist

Country of residence: India

Image title: Burning in light

About the photograph: Captured during Dussehra in Dehradun, 2018 – the moment I realized photography was the path I wanted to walk. This image quietly rested in my archives for eight years, waiting to remind me where it all began.

Finalist

Photographer: Anna Marzia Soria

Country of residence: Italy

Image title: Beyond the wall

About the photograph: Beyond the wall, the gaze opens to the balance of new horizons. The mind seeks the beauty of the other that appears on our path. The heart goes beyond boundaries in search of fragile humanity, towards shades of blue in a meeting of peace.

Finalist

Photographer: Bjoern Maletz

Country of residence: Germany

Image title: Rabbits don’t eat bananas

About the photograph: This photo I took in May this year during the Lightleaks Photo Festival in Luxembourg City. As I am always on the lookout for unusual things or little stories in cities, I was initially interested in the funny rabbit backpack, then I saw the bananas and, luckily for me, the arm that didn’t match the rest appeared. That was reason enough for me to press the shutter button for a funny street photo. By the way, rabbits should only be given small amounts of bananas because they don’t tolerate them very well due to their high sugar and starch content.

Finalist

Photographer: Cristiano Bartoli

Country of residence: Italy

Image title: Kite Attack

About the photograph: This photo was taken this years at the Kite Festival in Cervia, Italy. I found the child’s expression funny because it resembles that of the kite. They are very similar.

Finalist

Photographer: Eric Davidove

Country of residence: USA

Image title: The Good, The Bad, The Ugly

About the photograph: I visited the Flea Market for the first time about 14 years ago and did not return again until the end of 2024. That was when I learned about its uncertain fate and decided to attend more regularly to take photos. This photograph is part of a series called The Last Bargain, which contains candid moments that risk being lost in the name of progress.

Finalist

Photographer: France Leclerc

Country of residence: USA

Image title: Head Ball

About the photograph: In a lively neighborhood of Lalitpur, Nepal, children play football with boundless joy. Nearby, an older woman watches them, taking in the scene’s energy. I join her in quiet observation, camera in hand, keeping my distance. Suddenly, the ball veers off course–hurtling straight toward her. The kids freeze, gasping in horror. Ouch! But luckily, no harm was done despite the hit, except perhaps to pride.

Finalist

Photographer: Gavin Libotte

Country of residence: Australia

Image title: Desdemona

About the photograph: I noticed a person posing to have their photo taken and they were lit up by a beam of sunlight. I immediately ran over to the scene and framed the subject in the opera house sail. There was a group of three people in the background which gave a new perspective to the layering. They started dancing around which really helped build drama. I took a few shots for about 30 seconds. When people are engaged in an activity they don’t notice you. This technique of focusing on the audience has been developed by Martin Parr and provides a wonderful insight into a world that we usually don’t notice. When I shoot street, I prefer the 28mm. I am constantly developing my technique to get closer to subjects and still remain unnoticed, trying not to disturb people or the scene. The 28mm lets me fit more elements into the frame. I did a workshop with Julia Coddington on this technique. She is one of the best Australian Street photographers currently practicing.

Finalist

Photographer: Gerd Bonse

Country of residence: Germany

Image title: Benchresting

About the photograph: The photo was taken in Cologne, Germany. I was captivated by the contrast between the two couples. On one side, the colorful McDonald's commercial with the relaxed and fun couple. Close by, the contrast of the dark-clad, serious-looking couple, who are expressionless and don't communicate with each other.

Finalist

Photographer: Gongbu Han

Country of residence: Netherlands

Image title: Haha Nice Shot

About the photograph: It was in Heldenplatz, a monumental, photogenic location in Vienna. Every visitor there would not hesitate to ‘generate a photo’, mostly with their phones. This lady’s shiny reflective phone took place of her eyes, which were fully shadowed by the phone.

Finalist

Photographer: Irina Ebralidze

Country of residence: Finland

Image title: Friends

About the photograph: I photographed these women and their dog in the park. I like capturing moments that hold a story behind them. Everyday life is full of seemingly simple situations that, when you look closer, can feel a bit surreal or even absurd. These are brief moments when reality quietly shifts – through an unexpected contrast or a chance interaction.

Finalist

Photographer: Jaejoon Ha

Country of residence: South Korea

Image title: Hide and seek

About the photograph: I always try to capture natural moments and the emotions they evoke in my photos! My favorite place to work is Domino Park in Williamsburg, Brooklyn! Whenever I walk along the path, I see the playground from above, the bright smiles of children, and the loving faces of their parents! In fact, a positive perspective is important in my photos. I always try to capture a bright perspective as naturally as possible. My mother always loved and was curious about my photography, and she also supported me. She was the only one who cheered me on when I was going through a hard time. My mother was very ill and passed away in August of this year after nearly 10 years of treatment. I’m so sad, and I’m so grateful for her love! When I heard the news in New York, I immediately returned to Korea to see her one last time and say goodbye. I want to tell her how grateful I am and how much I love her!

Finalist

Photographer: Jepin Krishna

Country of residence: India

Image title: The Sacred Collective

About the photograph: 'Pandharpur Wari', a 21 day annual holy pilgrimage in Maharashtra, India wherein a sea of devotees walk barefoot and move as one along the 250 km route. The collective singing, dancing, and chanting by devotees looked like a timeless painting in colours of devotion and joy. I wanted to share this vibrant celebration, not just as a ritual, but as a breathing story of devotion passed down through generations that serves as a powerful reminder of cultural richness and human connection.

Finalist

Photographer: Jignesh Chavda

Country of residence: India

Image title: Thoughts take flight

About the photograph: Holy smoke! An old man smoking as a flock of birds passes by. I took this picture of old man by the river side where there are many birds come to feed and I was walking at the river side walk. As my habit of observation I saw an old man with cigarette and thought that if I make such frames that inspires me not just a wonderful frame in creative way but as an artist, it's seeing how a common material can be shaped into an unexpected form. This inspires a focus on minimalism and impact.The most striking element is how the smoke transforms into a flock of birds that means it to me in this frame. This suggests a sense of internal thought, longing, or desire for freedom literally taking wing. I like the high-contrast, stark black and white, along with the vast, empty white space, creates a powerful sense of the man being alone against a huge, empty backdrop. The man's rugged look, combined with his solid silhouette against the bright, overwhelming light. Also I like the way, He isn't engaging with the viewer or anything else; he is focused entirely inward, or simply observing the world. I used my Sony a6000 / 55-210 camera for this image

Finalist

Photographer: Liliana Ranalletta

Country of residence: Italy

Image title: A deity of the sea

About the photograph: At dawn on the final day of Kumbh Mela 2025 in Varanasi, during Maha Shivratri–the day when Shiva is said to have performed the Tandava, the cosmic dance of creation and destruction–a sadhu stands in the Ganges, eyes closed, arms lifted in prayer. Behind him, a small boat drifts by, its passengers watching, as if drawn into his invocation. For an instant, he seems to carry their weight too, gathering them into his offering. In that moment, it felt as if the river, the light, and the act of faith were all part of the same breath.

Finalist

Photographer: Mariana Basurto

Country of residence: USA

Image title: A Twin Gaze at the Pas

About the photograph: As the sun began to set over Havana, the streets emptied, leaving behind the echo of laughter and distant music. From a nearby house, joyful sounds drifted out – family and friends celebrating the birthday of a loved one who had passed away, choosing to honor their memory through life and rhythm. In that moment, two young twins, dressed in red, stood in the quiet street – one gazing into the distance, the other connecting with a woman – embodying the bittersweet beauty of remembrance, joy, and continuity that defines Cuba’s soul.

Finalist

Photographer: Marika Poquet

Country of residence: United Arab Emirates

Image title: Harbour of Hustle

About the photograph: I have been to many crowded places in India, but nothing had prepared me for the chaos of Sassoon Docks. It’s one of the craziest places I have ever seen. From the moment you arrive, all your senses are immediately activated. The noise is constant and deafening: fishermen shouting, auctioneers calling out prices, vendors bargaining; birds chirping as they circle above, boats rumbling in the distance. The strong smell of fish hits your nose. I found myself constantly on alert, startled by the Koli fisherwomen weaving swiftly through the crowd, and carts and people rushing past from all directions. It was a real exercise just to avoid stepping into a fishy puddle or slipping on a stray fish. Visually, the place is just as overwhelming. Bright colors are everywhere, from fishing boats to crates to clothes of the Koli fisherwomen. Trying to make sense of this chaos with my camera was a real challenge!

Finalist

Photographer: Mona Singh

Country of residence: India

Image title: Secret lives

About the photograph: At first glance it may seem like a simple moment, children wearing masks as if in play. But there was no festival. They were selling those masks at a busy traffic signal their faces hidden their expressions unseen. The masks weren’t for fun..they were for survival. A silent reminder of a childhood lived in shadows.

Finalist

Photographer: Shreenivas Yenni

Country of residence: India

Image title: Between Light and Motion

About the photograph: I captured this photograph in Hampi as the sun was setting. I was drawn to how the fading light touched the moving silhouettes, creating a quiet sense of peace and timelessness. To me, this moment reflects how beauty often reveals itself in simple movements and fleeting light.

Image: DXO

DxO has announced a new subscription service called Premium Support, designed to give photographers priority access to technical support. The program offers direct contact with DxO experts 24 hours a day, seven days a week, including holidays.

The company says the service was created with working professionals in mind, especially those who often face tight deadlines and unpredictable schedules. DxO's head of customer support, Frédéric Baclet, cites two common examples: wedding photographers who may need to process thousands of images overnight, or photojournalists in the field who are expected to edit and deliver photos on deadline.

Subscribers to Premium Support get priority in the support queue, with faster response times and one-on-one assistance from DxO specialists. The service covers all of DxO’s software, including PhotoLab for RAW processing and noise reduction, ViewPoint for precision geometric correction, and FilmPack for recreating the look of analog film stocks. It also extends to DxO plug-ins for Adobe Photoshop and Lightroom, ensuring help is available across different editing environments.

Beyond troubleshooting, Premium Support also includes guidance for installation, configuration, and advanced use cases. DxO says the offering is not limited to professionals; advanced amateurs who prefer editing outside of standard business hours may also benefit from always-on access to help.

Premium Support could offer an extra layer of assurance for working photographers who depend on uninterrupted workflows. With fast-tracked responses and expert guidance, DxO is positioning the new program as a safety net for those who can’t afford delays in their editing pipeline.

DxO Premium Support is available now through the company's website, with three subscription options available: three months for $34.99 (29.99 € / £24.99), six months for $59.99 (49.99 € / £44.99) and twelve months for $99.99 (89.99 € / £79.99).

Image: MirageC / Moment via Getty Images

Welcome back to our Question of the Week series, where we invite you – our passionate community – to share your thoughts on a photography-related topic in the forum!

So far, we've heard your insights on camera and lens buying advice, your takes on smartphone cameras, and even debated controversial gear choices. This week, we're shifting the focus from gear to the people and places that fuel our photography: local camera and digital photography stores.

What is your favorite local camera or digital photography store?

DPReview Community Manager, Mathew Anderson, visiting his local shop (Houston Camera Exchange) in Houston, TX, USA. Photo: Mathew Anderson

Whether it's a shop packed with vintage gems (share your finds!), a place with knowledgeable staff who steer you right or simply a like-minded hangout spot, tell us about the local camera store that holds a special place in your heart. Maybe you found your dream camera there, built your lens collection or just love the chance to hang out with fellow photographers and tech geeks.

We want to know:

• What makes your favorite store stand out?
• Any memorable experiences? Surprising finds? Unique services?
• Where is it located?
• Overall, what keeps you wanting to go back?

Share your story with the community. Head over to the post in the Open Talk forum to join the conversation. You can also share your experiences on social media using the hashtags #DPReview and #DigitalPhotography. From the forums to social media, we'll select at least five responses by next Monday and share them in an article update.

Let's celebrate and support the local shops that are at the heart of our digital photography journeys!

Click here to answer the Question of the week

Amazon's Big Deal Days, the company's second shopping holiday of the year, is underway. The deals run through October 8, with discounts across any category you could imagine. Some of these discounts just bring things back down to pre-tariff prices for those in the US, but it's still savings that you wouldn't otherwise get right now. Regardless, we won't bombard you with deal-related content over the next two days. Instead, we will just be sharing some of the things we would actually recommend buying right now.

Deals on Sony gear

Image: Sony

Sony is participating in Big Deal Days this year, but the discounts are also available on Sony's website if you don't want to shop at Amazon.

Sony a7R V $3800 (10% off)

Sony a7 IV $2200 (19% off)

Sony a6400 $1000 (9% off)

Sony ZV-E10 II $1100 (8% off)

Sony FX30 $1800 (14% off)

Sony FE 24-70 mm F2.8 G Master $1600 (11% off)

Sony FE 50mm F1.4 GM $1350 (7% off)

Sony FE 24-105mm F4 G OSS $1200 (14% off)

Deals on Canon cameras

Image: Canon

Canon EOS R50 with RF-S18-45mm F4.5-6.3 IS STM Lens $800 (18% off)

Canon EOS R7 $1289 ($19% off)

Nikon camera and lens deals

Image: Nikon

Nikon Z5 II with 24-200mm Lens $2497 (6% off)

Nikon Nikkor Z 35mm F1.4 $578 (15% off)

Nikon Nikkor Z 35mm F1.8 S $747 (17% off)

Nikon Nikkor Z 50mm F1.4 $497 (17% off)

Panasonic camera deals

Image: Panasonic

Panasonic Lumix S5II $1498 (25% off)

Panasonic Lumix S5IIX with 20-60mm F3.5-5.6 + 50mm F1.8 Lenses $2298 (22% off)

Panasonic Lumix 85mm f/1.8 S Series Lens $448 (31% off)

Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power OIS $948 (10% off)

Additional camera brands

Image: GoPro

GoPro Hero13 Black Ultra Wide Edition $330 (31% off)

Polaroid Now 3rd Generation I-Type Instant Camera $136 (15% off)

Miscellaneous accessories

Image: Lexar

There are also some savings to be had beyond cameras and lenses, of course. Below is a small selection of accessories that could be worth picking up when on sale.

Datacolor LightColor Meter $298 (15% off)

Neewer 67mm Variable ND Filter ND2-ND400 (1-9 Stops) $21 (20% off)

Neewer 67mm UV/CPL/ND Lens Filter Kit with Hard Shell Storage Case $20 (15% off)

MagicFiber Microfiber Cleaning Cloth $10 (37% off)

SanDisk 256GB Extreme SDXC UHS-I Memory Card $26 (27% off)

SanDisk 512GB Extreme Pro CFexpress Card Type B $120 (24% off)

Lexar 1TB Professional CFexpress Type B Silver 4.0 Memory Card $250 (23%)

Lexar 128GB (2-PK) Professional Silver Pro SD Card $52 (35% off)

PNY 256GB EliteX-Pro60 UHS-II SDXC Memory Card $38 (40% off)

$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography, especially as photography equipment is steadily getting more expensive. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.

At this price point, your options will be entry-level interchangeable lens cameras or larger-sensor compact cameras with built-in lenses. Compacts offer more control than a phone and a greater zoom range, but likely won't offer a huge jump in image quality compared to the latest flagship phones (despite their typically larger sensors).

Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.

It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.

Our recommendations:

• Best camera under $1000: Canon EOS R10
• The better performer: Nikon Z50II
• The affordable kit: Sony a6100
• Best compact camera under $1000: Canon G7X III
• Best camera for content creators under $1000: Fujifilm X-M5

Best camera under $1000: Canon EOS R10

24MP Dual Pixel APS-C CMOS sensor | 4K/30p video (60p with crop) | 15fps shooting (23fps with e-shutter)

Photo: Shaminder Dulai

There are a few things that earn it the top spot on this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma and Tamron have stepped in to round out the selection of primes and higher-end zoom lenses available for it, so you have several good options for moving beyond the kit lens that came with it, something that isn't necessarily true with Nikon's system.

Overall, the EOS R10 is a very capable camera for its price point, and offers a lot of room to grow for those starting out in photography, especially now that there's a reasonable selection of APS-C lenses for it.

Read our Canon EOS R10 review

See Canon EOS R10 studio scene

The other options

While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and an articulating display, but it's still pretty capable.

We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.

The better performer: Nikon Z50II

20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p

Photo courtesy Nikon

The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon has not yet allowed any bright zooms, limiting your upgrade options compared with its rivals.

Read our Nikon 50II review

What about the Z fc?

Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.

The affordable kit: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though. Photo: Richard Butler

It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with the a6100's. However, it's still worth considering if you want to get both a camera body and a decent prime lens for under $1,000.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. It also uses Sony's old menu system, which can be a chore to work with.

Read our Sony a6100 review

See the Sony a6100 studio scene

Best compact camera under $1000: Canon G7X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

The PowerShot G7X III can deliver excellent image quality, backed up by good (though not great) autofocus

The Canon PowerShot G7X III is the last in what used to be a popular style: the pocketable enthusiast photographers' compact, with a relatively large Type 1 20MP sensor and bright zoom lens. Canon has added features to make it more vlogging-friendly, but the clicking control wheel gives a satisfying, hands-on shooting experience.

A note on availability: the PowerShot G7X III has been difficult to get for a while, but Canon has recently stated that it's starting production back up and is working on filling backorders. Still, getting your hands on one may require some patience.

Read our Canon PowerShot G7X III review

See the Canon PowerShot G7X III studio scene

Best camera for content creation: Fujifilm X-M5

26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p

It's aimed at creators taking pictures and video for the web, with a suite of vlogging features that let you shoot video that's ready to upload as soon as you transfer it to your phone. It also has a dial for easily switching between 'Film Simulations,' Fujifilm's much-loved color modes, and the full suite of stills features from larger, more expensive models – minus a viewfinder. Its support for X-mount lenses also gives you access to the most complete range of APS-C lenses, no matter what journey you're on.

Read our Fujifilm X-M5 review

See the Fujifilm X-M5 studio scene

What if I only vlog?

If you plan to shoot more videos than photos, it's worth considering the Canon PowerShot V1. It's a compact camera built for vlogging with its integrated 16-50mm equiv. F2.8-4.5 lens, large (for a compact) Type 1.4 (18.4 x 12.3mm) sensor, complete with optical image stabilization and an ND filter. While we don't think it offers an especially enjoyable photography experience, features like a built-in fan for cooling, headphone and microphone ports, very usable stabilization and the ability to shoot 4K60p with a 1.4x crop make it a quite powerful video camera for its size.

Click here to read the Canon PowerShot V1 review

If you only care about vlogging, and want an even more pocketable option, the DJI Osmo Pocket 3 comes in under $1000 and can't be beat when it comes to stabilization thanks to its built-in gimbal. That, and the ability to sync with DJI's wireless microphones, earn it the top spot in our dedicated vlogging buying guide.

Click here to read our Best Cameras for Vlogging buying guide

Why you should trust us

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

Photo: Reebok/Kodak

Kodak has partnered with Reebok, a shoe manufacturer and clothing brand, to launch a line of shoes and apparel featuring its iconic red logo. It might not be the first time the brands have collaborated, either.

According to a Reebok announcement, the collaboration will introduce the "Reebok x Kodak collection," which reimagines classic Reebok shoe styles, including the Classic Nylon and Club C 85, adorned with the distinctive Kodak red logo. The collection will also feature a range of apparel, such as unisex T-shirts, running gear, and pants.

Kodak claims the collaboration draws from some shoes offered to Kodak staff in the early 90s. This turns out not to be the vague marketing claim it might sound like: the new Reeboks feature a tongue that matches the Kodak Walk shoes, which sneaker heads believe were also made by Reebok.

Photo: Reebok

Kodak has also licensed its name for clothing to a South Korean company and has a history of letting its name be used for a wide array of photo and non-photo related products.

Thanks to Generation Z, Kodak is experiencing a resurgence as young photographers increasingly opt for vintage film cameras and lenses over smartphones and digital cameras. In response, Kodak has begun producing more film products, re-establishing its presence in the photography market.

The company is refocusing on its mission to "make photography as convenient as the pencil" by manufacturing iconic film stocks like Ektachrome and various camera models. While pursuing branding deals, Kodak is, perhaps, taking a more discerning approach to protect its rejuvenated reputation. This is where Reebok comes in.

Photo: Reebok

The new Reebok x Kodak collection will launch on September 30, 2025, through Reebok.com and at select retailers.

Image: Tamron

If you've ever taken a look at Tamron lenses, you've likely noticed a surprisingly long string of numbers and letters in the product name. Reading "Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD" can feel a bit like trying to decipher a secret code. Plus, when you go to read about the lens, you may discover even more acronyms and terms to figure out. In this article, we'll break down that code and clarify what each of the abbreviations refers to. That way, you can more easily decide what's important to you when shopping for a Tamron lens.

Lens type and compatibility

Outside of the focal length and maximum aperture, the first abbreviations on Tamron lenses refer to the lens type and its compatibility. If you don't see one (or more) of these abbreviations, the lens doesn't offer that feature or specification.

Di, Di II, Di III and Di III-A

After the focal length and maximum aperture, you'll find a variation of Di, which is an abbreviation for Digitally Integrated Design. Tamron designed its Di lenses for DSLRs (both APS-C and full-frame), and the Di indicates that the lens is not for a film camera.

These days, you'll most often see the Di followed by II, III or III-A, which gives a little more clarity on the specific type of digital lens.

• Di II lenses are also built for DSLRs, but only those with sensors smaller than full-frame (up to 16 x 24mm).
• Di III is the company's mirrorless identifier, referring to lenses made for mirrorless interchangeable-lens cameras (ILCs).
• Di III-A are mirrorless lenses for APS-C cameras.

SP

The Tamron SP 24-70mm F2.8 Di VC USD G2 is part of the company's SP, or Super Performance, lineup. Image: Tamron

On some DSLR lenses, the very first part of the lens name (even before the focal length) is SP. Tamron hasn't used that designation in its mirrorless lineup, but it stands for Super Performance. It signifies the lens is part of Tamron's high-end professional lens lineup. As a result, it promises better performance and higher optical quality than lenses without that designation, but it also comes at a higher price than the rest.

Stabilization, focusing system and macro

Next in the lens name is a string of letters referring to the type of autofocus motors and, when present, stabilization or macro capabilities.

VC

As you can see on these switches, some Tamron lenses offer multiple settings for Vibration Correction (VC). Image: Tamron

When you see VC in a Tamron lens name, it means the lens offers Tamron's Vibration Compensation, its version of optical stabilization. VC is mostly found on the company's telephoto zoom lenses and aims to reduce blur from camera vibrations while using longer shutter speeds.

VXD, RXD, OSD and USD

Tamron lenses use several different autofocus motors, with an acronym for each. You won't see multiple of these on a single lens, as a lens can only have a single type of autofocus motor.

VXD is one of the more common abbreviations on recent lenses. It stands for Voice-coil eXtreme-torque Drive. The VXD motor is a linear motor focus mechanism, and it is, at the time of writing, the fastest motor in Tamron's lineup. It allows the lens to quickly, quietly and accurately adjust focus. The VXD is ideal for sports, wildlife or video capture where smooth and quiet autofocus is important.

RXD is another frequent term on Tamron lenses. It stands for Rapid eXtra-silent stepping Drive, a type of stepping motor. Though not as fast as the VXD autofocus motor, the RXD motor is relatively fast and quiet. It is suitable for photography and video applications that depend on quiet operation but not utmost speed.

The Tamron 11-20mm F2.8 Di III-A RXD is made for mirrorless APS-C cameras (as the Di III-A tells us) and features a Rapid eXtra-silent stepping Drive (RXD) autofocus motor. Image: Tamron

OSD stands for Optimized Silent Drive, which is also a type of stepping motor. It's less common on new Tamron lenses, and sits below VXD and RXD lenses in terms of autofocus speed and noise.

Older lenses may also feature HLD or PZD acronyms. HLD stands for High/Low Torque-Modulated Drive; it allows users to use manual focus even when in autofocus mode. PZD, which stands for Piezo Electric Drive, is another type of Tamron autofocus motor typically found in its mid-range and travel zoom lenses.

Macro, M1:2 or M1:1

The Tamron 90mm F2.8 Di III Macro VXD is a mirrorless lens (Di III) meant for macro applications and features a VXD autofocus motor. Image: Tamron

Finally, some Tamron lenses, such as the Tamron 20mm F2.8 Di III OSD M1:2, feature an "M1:2" or "M1:1" at the end of the lens name. That means the lens offers a 1:2 or 1:1 maximum magnification ratio for macro photography. Other Tamron lenses, such as the one above, only say Macro in the name.

G2 lens generation

The Tamron 16-30mm F2.8 Di III VXD G2 is the second generation of this lens. Image: Tamron

The last bit of text you'll see on some Tamron lens names refers to the lens generation. If you see G2 at the end of a Tamron lens, that means it is the second generation of that lens. As a result, it likely offers improvements over the original version, including better optical performance, faster and more precise autofocus or improved coatings.

Optical design, build quality and features

ZL refers to Zoom Lock, a switch that locks the lens into a specific position. Image: Tamron

Although not in the lens names, Tamron also uses abbreviations for some of its proprietary technology related to other features on its lenses.

ZL, which stands for Zoom Lock, is a Tamron feature that allows you to lock a zoom lens to prevent unwanted extension of the lens barrel (called zoom creep). It locks the zoom ring at a specific position (typically the shortest focal length), so that when you are wearing the camera on a camera strap or otherwise carrying it pointed down, the lens doesn't extend.

BBAR and BBAR G2 are Tamron's Broad Band Anti Reflection coatings. These coatings aim to reduce ghosting and improve color balance. Tamron also uses an E-BAND (Extended Bandwidth & Angular-Dependency) coating to reduce ghosting and flare even more.

FEC is a feature on some older Tamron lenses. It is a dedicated ring positioned at the front of the lens that allows you to easily rotate a filter, such as a circular polarizer, even when a lens hood is attached.

Terms not specific to Tamron

In addition to the above abbreviations, there are also plenty of terms associated with lenses that aren't specific to Tamron. Most of these come into play with specific lens elements, such as XLD (eXtra Low Dispersion), but that's for another post.

Image: Tamron

Tamron has announced that it's bringing its 70-180mm F2.8 Di III VC VXD G2 zoom lens to Nikon's Z mount, after releasing it for Sony E mount in late 2023. We loved it on that system thanks to its great performance and much smaller and lighter form-factor compared to a traditional 70-200mm F2.8, so it's great to see it coming to this system. It's also a big deal for Nikon users, who haven't always had the greatest access to third-party lenses.

Like the E-mount version, the lens uses a 20-element, 15-group design with one extra low dispersion lens, three low dispersion elements, two glass molded aspherical elements and a hybrid aspherical element. It has a minimum focusing distance of 0.3m (11.8"), and can take 67mm filters, the same as its 16-30mm F/2.8 G2 and 28-75mm F/2.8.

It weighs 865g (30.5oz), which makes it substantially lighter than Nikon's 70-200mm F2.8 VR S, which weighs 1360g (48oz). Giving up the extra 20mm also nets you a substantially smaller lens; the Tamron is 83mm wide and 158.7mm (6.2") long, versus the 88.5mm diameter and 220mm (8.7") Nikon.

It's also substantially cheaper than the Nikon, at an MSRP of $1149 (around $50 more than the Sony version currently retails for). Given that Nikon still seems to keep relatively tight control over what lenses third parties can release for Z-mount, it's nice to see that Tamron is getting to make such a compelling option for the system.

Logo: Affinity

Affinity, a platform of creative apps developed by UK-based Serif, is mixing things up ahead of "big changes" coming on October 30. The website no longer offers a way to purchase its software, and the company's iPad apps are now free.

A message on the Affinity homepage says "Creative Freedom Is Coming" and invites users to sign up to "be the first to know" about changes coming on October 30. After entering an email address, an automated email says, "This isn’t just another update. It’s the beginning of something new. A shift in how creative freedom is defined."

A screenshot of the Affinity website.

The company also posted a similar message to X, formerly Twitter, which has drawn more than 200 replies at the time of writing. In its responses to users, Affinity shared that there will be a keynote with more details. Additionally, it added some important information for current users: "We’re making space for what’s next. This short pause lets us transition cleanly without confusion between versions. Existing customers keep full access to their apps. This only affects new purchases and trials."

We’re making space for what’s next. This short pause lets us transition cleanly without confusion between versions. Existing customers keep full access to their apps. This only affects new purchases and trials.

— Affinity (@Affinity) October 1, 2025

The website no longer offers a way to purchase the desktop versions of Affinity Photo, Designer or Publisher, and the programs have also been pulled from third-party marketplaces, such as the Apple Mac App Store. That's a very unusual move for a company even before a major update. Even more confusing, the iPad apps are still available in the App Store and are listed for free. They used to be $18.49 apiece.

Another layer of concern is that, as of October 6, the website's forums were moved to read-only mode. A post explains that the forum will remain searchable, but a support form is the best way to reach the team now, and Discord is the new community space.

Canva purchased Affinity in March of 2024, and this shift suggests that we may finally be figuring out what Canva's plans for the company's products are. Affinity Photo and its other apps have been the go-to perpetual license option for photographers who want to avoid Adobe's subscription fees. That is not true of Canva, though, which operates on a subscription model.

At the time of writing, no additional information was available. Affinity said on X that it will be teasing information on its social media accounts as October 30 gets closer, so for now, we wait and watch to see what these changes entail.

Dialing in your aperture, shutter speed and ISO doesn't have to be a game of guesswork when using manual mode. If you're consistently getting overly dark or light photos, you may just need to learn how to use your light meter. Luckily, almost every digital camera features a built-in meter that measures the light in a scene, making it easier to get your settings right. It's an integral tool for consistently achieving well-exposed images without lots of trial and error.

What is the light meter?

Your camera's light meter simply measures the available light in a scene. Then, when in manual mode (M), the camera displays the impact on exposure (which you can read about here) on a scale or with positive or negative numbers that you can see through the viewfinder and on the rear screen. The scale tells you whether the camera thinks you need more or less light to have a well-exposed photo.

If you're using P, A or S modes, the camera sets the exposure and ISO based on this light reading and keeps the light meter scale at zero. As a result, you don't need to worry about the light meter in those modes.

How to use the light meter

On this camera, the light meter is a vertical scale on the right side of the display, highlighted with a red box for the purpose of clarity. The positive numbers (overexposure) on top, and negative numbers (underexposure) on the bottom.

It's important to note that each camera manufacturer formats the light meter slightly differently, and many offer different views based on how you have your display set up. As a result, it's important to look carefully or even check your manual. On some cameras, the scale is vertical; on others, it is horizontal. Some don't show a scale at all in certain display modes and instead only use numerical values.

No matter how the light meter is formatted, it will have negative and positive values. Negative numbers represent an image that is too dark (underexposed), and positive numbers represent a too-light (overexposed) photograph. The middle of the scale is zero, which signifies what the camera thinks is a properly exposed photo.

The numbers refer to stops, which are applicable for aperture, shutter speed and ISO.

The numbers refer to stops, which are applicable for aperture, shutter speed and ISO. A full stop is a way of saying half or twice the amount of light, but your camera also lets you change by one-third (or sometimes half) stop steps. That's why you'll see smaller marks in between big ones on the scale (or, for example, -1.7 instead of just -1.0). If you want to change a setting by a full stop, it takes three clicks of your dial.

When your camera measures the amount of light, it displays the exposure level based on your current settings. Some cameras use a white rectangle or triangle under the light meter to display where your exposure falls on the scale. Others will show a line of boxes extending from the center to the current exposure level.

This image is two full stops underexposed, as you can see by the small white box next to the second large tick mark on the light meter.

If you see the marking at a negative number, it means your photograph is darker than the camera calculates as correct. Changing to a slower shutter speed, a wider aperture or, when necessary, a higher ISO will lighten the image. If the marking is all the way at the edge of the scale, you'll need to make a larger adjustment of one (or a combination) of those settings until you get the light meter to reflect zero (or near it). If it's already close to zero, a click or two on your dial should get you in the right spot. For example, if the light meter says -1.0, you can change your shutter speed or aperture by one full stop (three clicks of the dial) to balance exposure.

This image is three stops overexposed, as you can see by the small white square at the top of the scale.

If you see the marking at a positive number, it means your photograph is lighter than the camera thinks is correct. Lowering the ISO or reducing exposure with a fast shutter speed or smaller aperture will darken the image. Again, keep changing one (or a combination) of those settings until the light meter is at zero. For example, if your light meter says +2.0, it means you are two stops overexposed and reducing your ISO by two full stops (so six clicks of a dial) will get the light meter to zero.

Why does the light meter matter?

Sony cameras can also display the full light meter scale, which you can see highlighted in this screenshot with the red box.

Digital photography certainly makes it easy (and affordable) to use trial and error to dial in exposure. However, that process takes time, and many types of photography don't give you a second chance to take the photo. Knowing how to read your light meter can help you get your ideal exposure faster so you don't miss the critical moment.

Additionally, while modern cameras offer quite impressive dynamic range (the difference between the darkest areas of a photo and the lightest), giving you a degree of processing leeway, there is still a limit. If you overexpose a photo too much, you may end up with blown-out highlights, meaning a solid white area with no texture or detail. On the other hand, if your photo is too underexposed, you may notice noise when trying to brighten the image while editing, provided you're even able to bring the detail back.

Getting your exposure closer to correct in-camera will help you preserve critical details.

Getting your exposure closer to correct in-camera will help you preserve critical details and can maximise image quality. It will also make your photographs easier to share as-is if you don't edit them, and faster to edit if you do.

It's also worth mentioning that most mirrorless cameras provide an exposure preview in the electronic viewfinder or on the rear display. That preview will show you a live view of what your photograph will look like as you change aperture, shutter speed or ISO. Screens can help give you an idea of your photograph's exposure, but they aren't very reliable for precise information. They can be hard to see in bright sun, and changing the display's brightness can drastically change your photo's appearance. That's why the light meter (and the histogram) is so important.

Don't forget to use your judgment (and histogram)

A histogram (the chart in the top right of this screenshot) used in combination with the light meter can help prevent overly under- or overexposed images.

While your light meter is a useful tool, it's not the end-all, be-all. After all, your camera doesn't know what you are taking photos of or what type of look you are after, so you still need to use your judgment and other tools at your disposal. That includes using different metering modes and the histogram.

Ultimately, as the photographer, you need to decide what level of exposure is best for what you're trying to convey.

Even with different metering modes, there are times when you need to use the light meter as a rough guide but not a silver bullet. Tricky lighting conditions, such as high-contrast scenes, can throw off your meter, and you will need to decide whether to prioritize highlights or shadows in your exposure. Additionally, there may be times you want to purposefully keep the image darker or lighter to reflect an experience, such as photographing in low light. Ultimately, as the photographer, you need to decide what level of exposure is best for a given scene, what you're trying to convey and your style.