Nikon has announced the Nikkor Z DX 16-50mm (24-75 equiv.) F2.8 VR, its first APS-C zoom lens with a fast, constant aperture for its mirrorless Z mount. It's an important addition to the company's lineup and will likely be very exciting for those who have cameras like the Z50II, which are very capable but have suffered from a lack of really great zooms.

The lens has 12 elements in 11 groups, with one ED element and two aspherical lenses. It's also Nikon's first APS-C lens for Z mount to have nine aperture blades rather than seven, which should provide slightly rounder bokeh. Wide open, it has a minimum focusing distance of 0.15m (5.9"), which goes up to 0.25m (9.8") at the long end. It uses a stepper motor autofocus system.

The 16-50mm F2.8 lives up to APS-C's promise of smaller, lighter lenses; at 330g (11.6oz) it's just under half the weight of Nikon's recently-released (and quite light for its class) full frame 24-70mm F2.8 S II. It's also welcome that it includes optical stabilization, as none of Nikon's current APS-C mirrorless cameras have stabilized sensors. The lens is 88mm (3.5") long and accepts 67mm filters.

Image: Nikon

The lens has Nikon's multifunction control ring, which you can program to change settings such as aperture, ISO and more, and comes with a petal-shaped hood.

The release of this lens is a big moment for Nikon's APS-C lineup. Before now, if you wanted a standard zoom for your APS-C Z-mount camera, you were pretty much stuck with the 16-50mm F3.5-6.3 VR, which was very compact but decidedly slow on the long end. The company hasn't allowed third-party manufacturers like Sigma or Tamron to produce APS-C zooms for its mirrorless systems, so anyone looking up upgrade their kit lens was pretty much forced to go with the larger, heavier and more expensive full-frame options.

While we're very happy to see that this lens is now available, it'll be interesting to see if Nikon continues to release this kind of product for its APS-C cameras. A 70-200 equiv. F2.8 lens, for example, could be a great option for those hoping to shoot portraits or events with a Z50II. It or another lens like it would also be another sign that Nikon was really starting to take its crop sensor lineup seriously, rather than just treating it as the cheap option or a stepping stone to a full-frame system.

Coming back to the present and the 16-50mm F2.8, though, the lens will be available to order starting October 16, and will retail for $899.

Pre-production samples

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

Note: At Nikon's insistence, these samples are re-sized out-of-camera JPEGs, and therefore include corrections and processing that we wouldn't usually include. This is not our standard way of presenting images, so they should be considered as illustrative and not used to assess the lens's performance.

Nikon Z DX 16-50mm F2.8 VR specifications:

Photo: Nikon

Nikon has announced the Nikkor Z DX Micro 35mm F1.7, an APS-C macro lens with a roughly 53mm equiv. focal length and the ability to focus on subjects as close as 0.16m (6.3") away.

The lens's formula uses eight elements in seven groups, with one ED lens. And while in most scenarios it'll have a relatively bright F1.7 aperture, it'll effectively be knocked down to F3.2 in extremely close-focus scenarios. Nikon claims the lens can achieve 0.67x magnification, which it says is "life-size equivalent" in full-frame terms.

It's lightweight at 220g (7.8 oz), and is 72mm (2.8") long, which means you can take pictures of subjects that are 0.09m (3.5") away from the front element. Autofocus is handled by a stepper motor, and the company says it has minimal focus breathing.

The lens's design is minimal; it has a single control ring, which can be customized to adjust focus, ISO, aperture, etc.

The lens is available to order today, and retails for $449.

Pre-production samples

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

Note: At Nikon's insistence, these samples are re-sized out-of-camera JPEGs, and therefore include corrections and processing that we wouldn't usually include. This is not our standard way of presenting images, so they should be considered as illustrative and not used to assess the lens's performance.

Nikon Nikkor Z DX Micro 35mm F1.7 specifications:

Image: Apple

Apple has announced a new 14-inch MacBook Pro, with the most substantial upgrade coming from the newly unveiled M5 chip. Though it's using a baseline chip, not a Pro or Max model, Apple promises a host of improvements to performance that are likely more than enough for most users. The tech giant also says the new MacBook Pro offers better battery life, faster storage and more.

The latest MacBook Pro is powered by the M5 chip, which has the same mix of 10 CPU cores (four performance, six efficiency) and 10 GPU cores as the M4 found in the previous-generation 14" MacBook Pro. Unsurprisingly, Apple is touting improved AI performance thanks to special "Neural Accelerator" silicon in each GPU core and performance improvements to its CPU, GPU and dedicated Neural Engine AI accelerator.

Image: Apple

It's not all AI, though. Apple says the GPU will provide "30 percent faster performance" than the one on the M4, and 15 percent faster multithreaded performance than the M4. It also sees a boost to 150GB/s memory bandwidth, up from the M4's 120GB/s (though that's still a step down from the memory bandwidth found on the M4 Pro and M4 Max chips). Plus, Apple says the new model's SSD is up to twice as fast, which could help with importing Raw files, exporting large video files or running a local LLM. There's now a 4TB SSD option available, where the M4 model maxed out at 2TB.

Despite the performance upgrades, Apple says the computer will still be capable of 24 hours of battery life on a single charge, like its predecessor.

Design-wise, the M5 MacBook Pro keeps the status quo: it offers three Thunderbolt 4 ports – you have to upgrade to a model with a Pro or Max chip for Thunderbolt 5 – an HDMI port, an SDXC card slot and a 3.5mm headphone jack. The 14.2-inch display remains the same, with up to 1600 nits peak brightness for HDR content or 1000 nits sustained brightness in SDR. It also supports the full P3 color gamut, making it a worthy option for those requiring precise color.

The 14-inch MacBook Pro with M5 is available for pre-order today, starting at $1599. It will be widely available on October 22.

Pre-order now:

Image: 7Artisans

7Artisans has released the AF 35mm F1.8 lens for full-frame Sony E, Nikon Z and Leica L mount cameras. The popular prime focal length lens comes at a budget price, yet offers features typically found on more premium models.

Budget lenses typically utilize plastic construction with little in the way of on-lens controls. But the 7Artisans AF 35mm F1.8 uses metal construction for greater durability. It also offers a customizable FN button and MF/AF switch. Additionally, it features an aperture ring that is stepless for silent and smooth operation when shooting video.

Image: 7Artisans

7Artisans constructed the lens with 11 elements in 8 groups, with 2 aspherical, 2 high-refractive and 1 ED element. The company promises corner-to-corner sharpness. An STM motor powers the autofocus, which is compatible with eye and face tracking. 7Artisans says there is enhanced focus breathing suppression for better video performance. It can focus as close as 0.4m (1.3').

The metal construction adds weight, so it isn't the lightest 35mm prime available, coming in at 426g (15oz) for the E mount model. It is still relatively compact, though, measuring 94mm (3.7") long. The lens offers a 62mm filter thread and comes with a petal-shaped lens hood. It features a USB-C port for firmware updates and comes with a USB-C cable.

The 7Artisans AF 35mm F1.8 lens is available for purchase now for $300.

Buy now:

Image: MirageC / Moment via Getty Images

For our latest 'Question of the week,' we wanted to find out what camera stores near you were special hidden gems. Several of you naturally suggested B&H, which was the most common answer, but there were also many more unique and intriguing finds. We even had examples from Japan and Spain! It was exciting to see so many thriving brick-and-mortar camera stores.

In total, over 140 stores were mentioned, with at least 40 distinct ones across multiple countries around the world. Here are a few spotlight stories you shared with us.

Various stores in Vancouver, Canada

DPReview reader Jack Simpson in front of Dunne & Rundle on Granville Street in Vancouver, Canada. Photo: Jack Simpson

Reader Jack Simpson told us about the various camera stores he worked at in Vancouver, Canada:

"All the camera stores I worked at in Vancouver, BC, which were, in chronological order: July 1992 > Broadway Camera (my launch pad), WesPro Camera, Dunne and Rundle Cameras (Foto Source) – where, I think, I started to feel comfortable – Gastown Photo and, lastly, Leo's Camera Supply > mid-March 2020. My favorite was probably Dunne and Rundle because it had a family atmosphere."

The photo above shows Simpson "on my last day at the Granville Street (Dunne & Rundle) location, where they had been since 1929, albeit in three locations."

Wilkinson Camera in Liverpool

Wilkinson Camera in Liverpool on Bold St., seen in the distance as viewed from St Luke's, the Bombed Out Church. Photo: ahaslett

Reader ahaslett gave a vote to Wilkinson Camera in Liverpool:

"My favorite local store is Wilkinson Camera in Liverpool on Bold St. I find Wilkinson's in general a good company, one of several I have bought from here in the UK. They are not the only local store, but they are the best."

"It’s the helpful and knowledgeable staff that stand out for me, not to mention that the store is just across the street from a railway station and on the edge of the city center. There is an excellent coffee shop and bar just up Bold St, where I have been known to buy the Olympus rep a decent cup of coffee as a thank you for a great demo."

B&H Camera in New York

Reader monte12345 bought this camera over the phone from B&H Photo in New York in 1984. Photo: monte12345

Not surprisingly, several readers called out B&H Photo in New York. Reader monte12345 told us:

"I bought this camera [see photo above] in 1984 from B&H by calling the phone number listed in an ad in the back of Modern Photography. Called them up and placed the order, and mailed them the check, and when it arrived, they called me and let me know the camera and lens had been shipped. Three days later, I received the camera. It was a no-mess, no-fuss operation start to finish, and I still have the camera, and it's still functioning perfectly. Actually, that says a lot about the excellence of Copal shutters. When I got it out today, I hadn't fired the shutter since 1997, and it only took about 10 test fires at 1/4 second for it to start timing accurately. BTW, if you fail to exercise a shutter, this will happen."

Reader maoby mapped out the 147-hour walk from his home near Montreal to B&H Photo in New York. Image: maoby

Reader maoby had a slightly more humorous take on B&H:

"Obviously, it's B&H that comes up most often, which is good because I don't live far from there. I'm going to take a short health walk to visit it."

Schiller's Camera in St. Louis

Schiller's Camera in St. Louis, Missouri. Photo: gipper51

Reader gipper51 shared a favorite photo haunt in the Midwest, Schiller's Camera:

"Schiller's Camera, St. Louis, Missouri. Special since they've been in business since the late 1800s (seriously). They offer lots of services beyond gear sales. Print services, including canvas and metal, photo restoration, film developing, audio/video transfers for old media, rental gear, photo classes, and they lead workshops and group outings around the local area. Many of the employees have been there 20+ years, and they know their stuff."

Yodobashi Camera in Tokyo

Dozens of tripods stand on display in the tripod section of Yodobashi Camera in Tokyo. The store can be a bit of sensory overload to newcomers, but once you've spent an hour there, you'll never forget the Yodobashi song that plays constantly near the escalators. Photo: Dale Baskin

Reader Nikonosman gave a shout-out to one of the great photo stores of the world, Yodobashi Camera:

"Yodobashi Camera in Tokyo, Japan. I don't get to New York or Chicago, and Atlanta no longer has what I'm looking for, but I visit Japan annually, and the camera stores there are out of sight!"

"Yodobashi Camera is a chain store, and you can find it in popular Tokyo districts such as Shinjuku and Akihabara, not to mention other cities throughout Japan. You really want to visit their stores. Where else can you see an entire department devoted to tripods, for example, or a huge department with nothing but camera bags?"

If you haven't had a chance to join the somewhat nostalgic discussion, it's not too late. The post is still open, so you can get in there and share a photo and experience at your local camera store.

Thank you to everyone who took the time to answer, and we look forward to hearing your responses next time!

Click here to answer the Question of the week

Image: Laowa

Laowa has officially launched its 200mm F2 AF lens for full-frame cameras. The new telephoto prime for Sony E, Nikon Z and Canon EF mounts promises pro-level quality and features yet comes in at nearly half the price of the recently released Sigma 200mm F2 DG OS Sports, and does so with a more compact build.

Long telephoto lenses tend to be bulky and heavy, including the small selection of 200mm primes on the market. However, Laowa's 200mm F2 AF is relatively compact and lightweight. The Sony E and Nikon Z mount versions weigh 1.71 kg (3.74 lb), while the Canon EF mount version weighs 1.59 kg (3.51 lb). The Nikon Z version is the longest model, coming in at 176.8mm (6.9"), with the Canon EF version the shortest at 148.3mm (5.8"). For comparison, Sigma's new 200mm F2 lens weighs 1.80 kg (3.97 lb) and is 203mm (7.99") long.

Image: Laowa

Laowa promises "flagship-level results" from its latest lens. It features 11 elements in 9 groups, including two extra-low dispersion elements, one anomalous dispersion element and one ultra-high refraction element. Laowa says it offers well-controlled chromatic aberration with "razor-sharp clarity" for sharp images edge-to-edge with accurate colors. It also promises large bokeh.

Photo: Bastian Kratzke / Laowa

Laowa also says the lens provides precise and fast autofocus, making it well-suited for capturing sports and wildlife. It can focus as close as 150 cm (4.92'), slightly closer than the Sigma offering. It is compatible with 105mm front filters, and the Sony E and Nikon Z mount versions feature a built-in 43mm rear filter holder as well.

There are plenty of on-lens controls, including an aperture ring, focus limiter switch, AF/MF switch, FN button and a knob to quickly adjust the position of the lens support when changing orientation. Laowa also designed the lens with weather sealing to protect against dust and moisture.

The Laowa 200mm F2 AF lens is available for pre-order for $1799 for Canon EF and $1999 for Nikon Z and Sony E. It will ship in November 2025.

Buy now:

Laowa 200mm F2 specifications:

Nikon Small World 2025 Photomicrography Winners

Nikon has announced the winners of its 2025 Small World photomicrography competition, gathering images from all around the world that show off the microscopic universe around us in shocking detail. The winning images depict a wide range of subjects, including cells from a variety of organs (and even species), insects, fungi and minerals, just to name a few.

There's also a Small World videography competition, for which Nikon announced the winners last month.

There are twenty winners, which you'll see in this slideshow, but there are several other honorable mentions and images of distinction, which Nikon has hosted on its site. The company says it received "thousands of entries from scientists and artists across the globe."

1st place: Zhang You

Subject: Rice weevil (Sitophilus oryzae) on a grain of rice

Technique: Image Stacking

Objective Lens Magnification: 5X

Location: Kunming, Yunnan, China

About the image: You is a member of the Entomological Society of China and the Entomological Society of Yunnan Province. He told Nikon: “It pays to dive deep into entomology: understanding insects’ behaviors and mastering lighting.” “A standout work blends artistry with scientific rigor, capturing the very essence, energy, and spirit of these creatures.”

The image was created over the course of two weeks out of 100 exposures taken with a medium format camera.

You told Nikon: “I had observed rice weevils in grains before, but never one with its wings spread.” “This one was naturally preserved on a windowsill, perhaps in a final attempt to escape. Its tiny size makes manually preparing spread-wing specimens extremely difficult, so encountering it was both serendipitous and inspiring.”

2nd place: Dr. Jan Rosenboom

Subject: Colonial algae (Volvox) spheres in a drop of water

Technique: Reflected Light

Objective Lens Magnification: 5X

Location: Rostock, Mecklenburg Vorpommern, Germany

3rd place: John-Oliver Dum

Subject: Pollen in a garden spider web

Technique: Image Stacking

Objective Lens Magnification: 20X

Location: Medienbunker Produktion, Bendorf, Rheinland Pfalz, Germany

4th place: Dr. James Hayes

Subject: Heart muscle cells with chromosomes condensed following cell division

Technique: Confocal

Objective Lens Magnification: 100x

Location: Vanderbilt University, Department of Cell and Developmental Biology, Nashville, Tennessee, USA

5th place: Dr. Igor Siwanowicz

Subject: Spores (blue/purple structures) of a small tropical fern (Ceratopteris richardii)

Technique: Confocal

Objective Lens Magnification: 25X

Location: Howard Hughes Medical Institute (HHMI), Janelia Research Campus, Ashburn, Virginia, USA

6th place: Dr. Francisco Lázaro-Diéguez

Subject: Rat liver cells

Technique: Confocal

Objective Lens Magnification: 63X

Location: Albert Einstein College of Medicine, Bronx, New York, USA

7th place: Stella Whittaker

Subject: iPSC-derived sensory neurons labelled to show tubulin and actin

Technique: Confocal, Fluorescence, Image Stacking

Objective Lens Magnification: 10X

Location: National Institutes of Health, National Institute of Neurological Disorders and Stroke, Bethesda, Maryland, USA

8th place: Dr. Igor Siwanowicz

Subject: Mallow pollen germinating on stigma while being parasitized by a filamentous fungus

Technique: Confocal

Objective Lens Magnification: 40X

Location: Howard Hughes Medical Institute (HHMI), Janelia Research Campus, Ashburn, Virginia, USA

9th place: Wim van Egmond

Subject: A fungus (Talaromyces purpureogenus) known for its red, diffused pigment

Technique: Image Stacking

Objective Lens Magnification: 10X

Location: Micropolitan Museum, Berkel en Rodenrijs, Zuid Holland, Netherlands

10th place: Dr. Dylan Burnette & Dr. James Hayes

Subject: Heart muscle cells (iPSC-derived) showing condensed chromosomes in metaphase

Technique: Structured Illumination Microscopy (SIM)

Objective Lens Magnification: 60X

Location: Vanderbilt University School of Medicine, Department of Cell and Developmental Biology, Nashville, Tennessee, USA

11th place: Marek Miś

Subject: Sunflower trichomes (hair-like plant outgrowths)

Technique: Polarized Light

Objective Lens Magnification: 10X

Location: Marek Miś Photography, Suwalki, Podlaskie, Poland

12th place: Halli Lindamood & Eric Vitriol

Subject: The actin cytoskeleton (cyan) and endoplasmic reticulum (red) of a mouse brain cancer cell

Technique: Confocal, Deconvolution

Objective Lens Magnification: 100X

Location: Augusta University, Department of Neuroscience and Regenerative Medicine, Augusta, Georgia, USA

13th place: Henri Koskinen

Subject: Slime mold (Arcyria major) releasing spores

Technique: Image Stacking, Reflected Light

Objective Lens Magnification: 10X

Location: Helsinki University, Helsinki, Uudenmaan lääni, Finland

14th place: Manfred Heising

Subject: Quartz with biotic goethite filaments

Technique: Image Stacking

Objective Lens Magnification: 5X

Location: LWL Museum of Natural History Münster, Münster, Northrhine-Westphalia, Germany

15th place: Zhang You

Subject: Geometer moth (Geometridae) laying eggs

Technique: Image Stacking

Objective Lens Magnification: 5X

Location: Kunming, Yunnan, China

16th place: Rogelio Moreno

Subject: Spore sacs (sporangia) of a fern

Technique: Fluorescence, Image Stacking

Objective Lens Magnification: 40X

Location: Panama, Panama

17th place: Hong Guo

Subject: Water fleas (Daphnia) and algae

Technique: Image Stacking

Objective Lens Magnification: 5X

Location: Chengdu, Si Chuan, China

18th place: Marius Mählen, Koen Oost, Prisca Liberali & Laurent Gelman

Subject: Fluorescently marked mouse colon

Technique: Confocal

Objective Lens Magnification: 20X

Location: Friedrich Miescher Institute for Biomedical Research, Basel, Basel Stadt, Switzerland

19th place: Eduardo Agustin Carrasco

Subject: Parasitic fungus (Cordycipitaceae) on a fly (Calliphoridae)

Technique: Image Stacking

Objective Lens Magnification: 2X

Location: Cuenca, Azuay, Ecuador

20th place: Zachary Sanchez

Subject: Marine copepod

Technique: Confocal

Objective Lens Magnification: 60X

Location: Vanderbilt University, Department of Cell and Developmental Biology, Nashville, Tennessee, USA

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) to 120mm (5x), 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) on the 16 Pro to 100mm (4x) 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' virtual lens 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. 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' virtual lens (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' virtual lens 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 telephoto module.

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 a 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