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

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

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

The ground-breaking normal

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

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

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

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

Photo: Abby Ferguson

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

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

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

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

Off the beaten path

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

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

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

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

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

Wait, weren't these supposed to be boring?

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

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

Why is this happening?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sony RX1R III

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

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

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

Leica Q3 Mono

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

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

Fujifilm GFX100RF

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

Fujifilm X half

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

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

Sigma BF

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

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

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

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

Readers' Choice: Best gear of 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Best camera runner-up: Sony a7 V

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

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

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

Best camera winner: Nikon Z5II

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

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

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

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

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

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

Poll Rules:

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

Image: GMVozd via Getty Images

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

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

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

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

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

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

41

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

4 weeks ago

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

63

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

1 month ago

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

62

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

1 month ago

Not all Gear of the Year needs to be hardware.

109

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

1 month ago

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

142

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

Dec 16, 2024

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

132

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

Dec 10, 2024

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

48

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

Dec 9, 2024

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

132

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

Dec 27, 2023

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

217

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

Dec 19, 2023

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

108

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

Dec 18, 2023

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

265

Gear of the Year: Richard's Choice Nikon Z8

Dec 13, 2023

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

69

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

Dec 6, 2022

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

186

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

videoDec 3, 2022

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

142

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

Dec 28, 2021

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

508

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

Dec 26, 2021

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

157

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

Dec 23, 2021

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

60

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

Dec 22, 2021

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

83

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

Dec 20, 2021

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

356

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

Dec 31, 2020

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

170

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

Dec 22, 2020

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

212

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

Dec 20, 2020

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

349

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

Nov 26, 2020

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

161

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

Nov 24, 2020

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

281

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

Dec 22, 2019

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

63

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

Dec 20, 2019

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

35

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

Dec 18, 2019

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

228

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

Dec 16, 2019

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

204

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

Dec 13, 2019

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

154

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

Dec 11, 2019

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

123

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

Dec 9, 2019

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

174

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

Dec 6, 2019

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

311

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

Dec 4, 2019

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

36

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

Dec 30, 2018

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

163

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

mobileDec 28, 2018

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

288

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

Dec 27, 2018

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

202

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

Dec 26, 2018

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

227

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

Dec 24, 2018

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

324

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

Dec 23, 2018

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

178

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

Dec 21, 2018

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

116

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

Dec 8, 2017

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

69

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

Dec 1, 2017

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

336

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

Nov 30, 2017

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

238

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

Nov 29, 2017

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

251

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

Nov 26, 2017

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

313

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

Nov 25, 2017

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

143

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

Nov 16, 2017

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

736

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

Nov 10, 2017

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

91

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

Dec 28, 2016

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

35

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

Dec 26, 2016

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

75

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

Dec 23, 2016

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

217

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

Dec 19, 2016

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

170

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

Dec 14, 2016

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

49

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

Dec 8, 2016

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

68

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

Dec 6, 2016

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

214

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

Dec 5, 2016

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

147

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

Dec 30, 2015

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

121

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

Dec 28, 2015

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

200

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

Dec 23, 2015

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

230

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

Dec 21, 2015

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

404

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

Dec 18, 2015

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

56

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

Dec 14, 2015

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

333

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

Dec 10, 2015

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

397

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

Dec 8, 2015

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

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

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

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

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

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

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

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

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

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

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

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

Overflying P-47 Thunderbolt at an airshow Photo: Community member Jon555

In this week's Question of the week, our community reflected on the most significant photography lessons they learned in 2025, ranging from practical gear insights to mindset shifts that changed how they approach shooting. We certainly learned a lot from reading about their experiences, thank you, community.
​
Some lessons emerged through sheer hard work and expertise in camera technology (in some cases, decades of experience). In contrast, others developed from missed shots or chance successes in the field. The community's lessons reveal how preparation and a willingness to rethink old habits can make a difference to both results and enjoyment behind the camera.

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

Jacques Cornell: Always bring backups for every mission-critical piece of gear to every on-site job. This has been my mantra as an event shooter for decades, but I still had to learn it again when I got sloppy on the second day of a trade show job and brought only what I (wrongly) thought I'd need. SMH.

Paper Wasp: I learned the value of in-body image stabilization. Even with a camera several years old and well behind current technology, I managed to take very nice, sharp photos hand-held in situations that would have made it very difficult without it.

kcccc: If you shoot handheld in aperture mode, don't trust that the camera's auto-chosen shutter speed will always give you unblurred images. Always check the shutter speed, choose a minimum shutter speed that one can feel confident taking sharp photos (depending on zoom level, IBIS, hand stability, etc).

MTiz: To embrace shadows! Negative space is powerful.

GinoSVK: Never, ever touch ‘crop mode’ again! I accidentally engaged it while playing with the settings the day before a wildlife photoshoot. It cost me a few shots until I realized it.

Fawn in Penticton, BC Photo: Community member Jack Simpson

Jon555: That I can use an e-shutter for a lot of shots I would have assumed it wouldn't work for, like propeller aircraft. 1/160th was enough after all... who knew. I did a whole Air Show that way, and out of 2200 images (what's worse - all in single-shot mode, no bursts), I haven't seen one where the e-shutter damaged it. An F-35 B damaged my hearing, tho... boy, are they loud when hovering.

f1point4andbethere: Every rule you create for yourself will be something you experiment with breaking one day later.

Satyaa: Small things matter as much as the big things. They are often forgotten or ignored, but can be potential pitfalls.

Winterfrost: Enjoy when you accidentally (besides photowalks specifically...) take a good picture that wasn't planned. Always look for chances, opportunities, but expect nothing - stay humble.

I have the habit of setting up my cameras the night before an event. I make sure everything is in place, double-check the settings I want to use, and that batteries are charged, etc. I focus on big things but often miss small things. The exercise of going through this setup the night before often saves me.

sirhawkeye64: Not every shot has to be a hero shot. For many years, I always went into the field thinking I had to get the "perfect" shot or the money-making shot, but later realized that that tends to lead us to disappointment many times (I mean, if you get it, great, and you feel good about it, but if you don't, it can bother you). By shifting my mindset to focus more on what I want to get out of it, and less on what others will think, I have found it helpful.

User4541379541: Stop [always] listening to 'experts.' Find your own style. Don't be a clone. Photography is a personal thing. The freedom to express and convey what you see."
Since then, I saw my world in a different light, and it's beautiful!

Custom-made digital background scene Photo: Community member Frenchfx

Frenchfx: I took a master class on still life and learned how to apply digital backgrounds properly, and the difference was amazing. My work took on a whole new look. More professional, more appealing, and just all around better.

Swerky: Not going to a photography outing with expectations in mind. I would often go out shooting by saying to myself, for example, that I wanted to do macros today. However, for some reason, I arrive on location and see that circumstances aren’t in my favor. So I either need to adapt and find something else or return home frustrated. This goes with the larger idea of not falling into habit but always pushing your boundaries.

wh1tby: Camera ergonomics really do matter. I had always assumed that if you liked the results from a camera and lens combo, you could adapt to any ergonomic issues, e.g., an over-sensitive shutter, a lack of an aperture ring on Fuji X-series lenses, exposure compensation dials that either locked or were too easy to change, etc.

When I found my bad shot rate was going up, I realised a) they do matter and b) I had to focus on the camera that is easier for you to use and not try to force yourself to ‘adapt’. Some camera and lens combinations are not suitable for you, and they will detract from the primary objective of photography: the photograph.

And wildaboutnature had a list of things to suggest:

• Research my subject to maximise my chances of getting the shots I want, but always be adaptable and able to switch to other subjects.
• Take lots of shots, varying the composition and camera settings.
• Always have a backup camera and lenses with me on any vital shoot. Keep spare batteries and spare cards in my pocket.
• It might rain, so always have a polythene bag in my pocket.
• Download and make at least two backups after each shoot and each editing session.
• Don't waste money on gear that I don't genuinely need.

Across all these stories, it's clear that the most valuable lesson learned in 2025 was that the perfect shot sometimes comes about by a unique set of circumstances, and being flexible (both in terms of hardware and mentally adapting to the moment) is critical to capturing that magical shot.

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

2025 by the numbers

As 2025 comes to a close, we're looking back at what happened this past year. We've already shared our favorite gear and photos, but now let's zoom out and look at the bigger picture: the numbers and stats for 2025. We think it provides a fun overview of the status of the camera industry and what happened here at DPReview over the course of the year.

Cameras released: 26

2025 brought the release of 26 stills and hybrid-focused cameras. We saw a vast range of models from the major players, from pocketable compacts like the Ricoh GR IV to the medium format Hasselblad X2D II 100C and everything in between. The count doesn't include cinema cameras like the Sony FX2. It also doesn't include action cameras, of which there were quite a few, including the GoPro Max2 and DJI Osmo Nano.

It was certainly an interesting year for camera releases, with bold models like the Sony RX1R III, Sigma BF and Fujifilm X half. Of course, there were also plenty of expected announcements, including the Canon EOS R6 Mark III, Nikon Z5II and Panasonic Lumix S1II.

26 is only one shy of the number of releases we saw last year, though that depends in part on how you count them. Both 2024 and 2025 included models that could be considered duplicates, such as the Ricoh GR IV / GR IV HDF from this year. It's also maybe a bit generous to call the Nikon Coolpix P1100 a new release, since it was primarily updated with a USB-C port. Still, it's nice seeing the number so high after a few stagnant years, and we hope 2026 continues the trend.

Zoom lenses released: 21

2025 was a rather exciting year for zoom lenses, even if there weren't quite as many new ones as 2024. Many of the zoom lenses we saw were updates on standard, bread-and-butter focal lengths. Although that may not sound very exciting, those new offerings often came with some impressive features or innovations.

For example, Nikon's 24-70mm F2.8 S II featured a fully internal zoom design, which we hadn't seen before. Hasselblad's XCD 35-100mm F2.8-4 E offered a standard range in a surprisingly compact body for medium format cameras. We were also excited about Sigma's commitment to APS-C with the 17-40mm F1.8 DC Art, so much so that it earned it a spot on our Product of the Year shortlist.

The zoom releases didn't entirely focus on standard focal lengths, though. This year also brought the standout Sony 50-150mm F2 GM, with its wide telephoto zoom range, fast and constant aperture, excellent sharpness and reasonable size. The price may be eye-watering, but the optical engineering impressed us, earning it the honors of best zoom lens of the year in our annual awards.

Prime lenses released: 37

First, a disclaimer: this number does not include all prime lenses that came out this year. Just as we pointed out last year, prime lenses, especially manual focus ones without electrical contacts, are increasingly easier to manufacture. We would have to spend days trying to come up with a complete list if we included all of those. Instead, we've only counted lenses we covered at DPReview or added to our database.

Even with that in mind, we saw a healthy number of new prime lenses in 2025. There were plenty of rather expected offerings, but there were also some pleasant surprises, especially from Sigma. In fact, Sigma achieved a few firsts, such as the first full frame mirrorless 200mm F2 and the first full frame autofocus 135mm F1.4. 2025 also marked the return of Zeiss to the camera lens manufacturing world, with the company releasing two prime manual focus lenses for E, RF and Z mounts.

Interviews with major manufacturers: 11

Over the course of the year, DPReview staff spoke with many of the major camera and lens manufacturers. Those interviews covered a variety of topics, including the state of the camera industry, future plans, design inspiration and more. We've linked to every 2025 interview below, so you can check out what each had to say.

1. "We're here, we understand our position in the industry," Zeiss discusses its new lenses and new approach
2. New Pen not yet on the drawing board, says OM System
3. Shades of gray: did Ricoh just hint at a Monochrome GR?
4. "Our plan hasn't changed," says Fujifilm of X-Pro, but X-E may have snapshot future
5. Fujifilm weighs in: "There's a lot of potential in compact cameras"
6. We interviewed Fujifilm's executives about the GFX100RF and Content Credentials
7. Sigma CEO Kazuto Yamaki reveals the connection between the Sigma BF and Chanel No. 5 perfume
8. A conversation with Sigma CEO Kazuto Yamaki: Still committed to Foveon
9. Canon talks compact camera comeback, third-party lenses and new users
10. How Leica balances tradition and innovation after 100 years
11. Inside Canon's HQ: we found out why Canon wants to build the Porsche 911 of photography

Images in sample galleries: 5016

It was a busy year for the DPReview team in terms of taking gear out for sample gallery purposes. In total, we uploaded 5016 images to sample galleries, which is to say we took a lot of images this year. After all, that number only includes a small selection of what we actually take while testing gear.

As usual, our sample galleries were centered around cameras and lenses, with a few smartphone galleries as well. Our editors had some personal favorites in terms of images they took, including the Sigma BF and Sony RX1R III galleries for Richard, and the Sony 50-150mm F2 GM and pre-production Fujifilm GFX100RF galleries for Mitchell.

Episodes of the DPReview discussions show: 16

This year marked the beginning of our DPReview discussions show, where members of the team regularly sit down to chat about various topics. Most of these conversations centered on new releases, such as the Fujifilm X half, Sigma's 17-40mm F1.8 DC Art lens, the latest iPhone, the Hasselblad X2D II and more. But we also took time to help our community manager pick a new camera, share gift ideas and, of course, discuss our annual awards.

You can watch all of the existing videos on our YouTube channel. The discussion format is one we will be continuing into 2026, and we look forward to seeing where it takes us.

Number of photos submitted to Editors' photo challenges: 2939

We continued our monthly Editor's photo challenges in 2025, with themes covering a broad range of topics. Over the course of the year, we asked you all to submit your favorite images of winter sports, water, human-powered travel, summer adventure, landscapes, road trips and more. We even had a few camera-specific challenges, such as one dedicated to smartphone photography and one for images taken with compact cameras.

You all answered the call each time, submitting 2939 images over the course of the year. It was a consistent reminder of just how talented our community is, and we can't wait to see what you share in 2026.

Number of forum posts: 468,425 (and counting)

Our forum community is at the heart of what makes DPReview all that it is, largely because of the wide breadth of discussions. From thought-provoking questions and problem-solving tips to providing feedback on work and more, we love seeing what is going on in our forums. And this year, you all kept busy there. At the time of writing, you've created a total of 468,425 forum posts. Of course, that number grows each day, and it's likely to exceed half a million by the end of this year.

Number of sustainable, modern forum systems transitioned to: 1

Of course, we'd be remiss if we didn't mention one of the most significant moves for DPReview this year: the new forum system. We'd been operating on a proprietary, custom-built software system since the site's inception 25 years ago. That wasn't viable anymore, so, in order to make the forums easier to maintain, improve and access on all devices, we transitioned our forums to new, modern forum platform in October of this year. To oversimplify things, it was a massive undertaking. But all legacy forum content successfully transitioned to the new platform, and new features were (and will continue to be) unlocked.

We greatly appreciate our community's patience and support during the transition and look forward to exciting improvements coming in 2026.

Issues of our newsletter: 48

Lastly, we sent 48 issues of our newsletter this year, two more than last year. If you weren't aware that we even had a newsletter, you may want to consider signing up! It highlights some of our best stories each week, so you can stay up-to-date on what's happening at the site.

Sign up for the DPReview Newsletter

This year saw the release of several extremely competent full frame hybrid cameras such as the Panasonic S1II, Canon EOS R6 III and Sony a7 V, show above. Photo: Mitchell Clark

As we come to the end of the year, it can be fun to take a trip down memory lane and look back at the year that will soon be in the rearview. What were the releases that we could've sworn happened forever ago? What were the stories that are still having an impact today? And what series are we looking forward to continuing into the new year?

January

Photo: Richard Butler

2025 started off with a bang, with the release of the Leica SL3-S – a full frame camera focused on speed, rather than resolution – and our review of the Nikon Z50II, an entry level APS-C camera designed for photo and video creators.

Read our Nikon Z50II Review

The former release inspired Richard Butler to write about what counts as a "real" Leica, and how branding works in general. We also got an interesting and in-depth look at the history of sensor development, from the people who were there.

February

Photo: Mitchell Clark

February was when things really picked up, and not just because that's when the camera industry gets together to hold the CP+ trade show.

OM System kicked things off with its announcement of the OM-3, a retro-styled mirrorless with a stacked Four Thirds sensor, which we were able to review by launch day. It also updated three lenses for its system. Panasonic also had a new camera; the high resolution, full frame S1RII, which aimed to be a solid offering for both stills and video shooters.

Read the OM-3 review

Not to be left out, Nikon launched its 35mm F1.2 S lens, its first video-focused full frame power zoom lens and releasing Z-mount versions of Red's most powerful cinema cameras.

Meanwhile, we were busy with reviews, finishing our testing of the Panasonic GH7 and the Leica D-Lux 8... just in time for Canon to surprise announce another compact camera, the PowerShot V1, which we were the first to get our hands on. We also got to test out Zeiss' 50mm F1.4 'Otus' lens – its first major release in six years – and interview the company's Senior Manager of Creative Arts.

Read the GH7 review

Speaking of lenses, Sony had some new ones, too: a 16mm F1.8 full frame prime, and a 400-800 super telephoto. We also got to see over a dozen new lenses from third-party manufacturers like Viltrox, Laowa, and TTArtisan at CP+.

The Sigma BF is unlike any camera we've seen recently. It's also only one of the several things the company announced in February. Photo: Richard Butler

Realistically, though, the month belonged to Sigma, who managed to overshadow everyone at the last minute with its announcement of the super-minimalist BF, a full frame camera stripped down to the bare essentials. If that wasn't enough, it also updated its logo, announced a stabilized 16-300mm (24-450mm equiv.*) F3.5-6.7 lens for APS-C systems and a full frame 300-600mm F4 lens for sports shooters and, on top of all that, refreshed its entire lineup of I-series primes.

Phew!

* - 26-480mm equiv. on Canon

March

Photo: Richard Butler

Things didn't slow down much in March, which kicked off with a ton of phone news coming out of the Mobile World Congress show. There were budget offerings from Nothing and Google, exciting concepts from RealMe and Xiaomi, and the continuation of a Leica partnership from the latter.

We also started releasing our interviews from the major manufacturers we got to talk to during CP+; OM System, Ricoh, and Fujifilm (which came in two parts).

Speaking of Fujifilm, we were able to travel to Prague to cover the announcement of the GFX100RF, a fixed lens camera with a 100MP medium format sensor. We also had the chance to sit down with their executives again to talk about the launch.

Rounding out the month was a slate of announcements from Canon. The PowerShot V1 finally got a price and availability outside of Japan, and the company released three new products: a 20mm F1.4 prime in its full frame VCM series, the EOS R50 V, an APS-C vlogging camera, and a new wide-angle power zoom lens to act as its kit.

April

Photo: Mitchell Clark

Things calmed down a bit in April, with there being only one major camera release: Nikon's budget full frame offering, the Z5II. Which isn't necessarily a bad thing, as its price to performance ratio would end up earning it our Product of the Year award (but we're getting ahead of ourselves).

The bad news for value-oriented cameras, at least in America, was April's other big story: the US' launch of tariffs on imports from other countries. While things have (mostly) shaken out, the US government's ever-changing and arbitrary approach meant manufacturers and the market struggled to figure out how to price things for a few months, a story we tracked closely.

April also saw the release of Sony's 50-150mm F2 lens, a fast, full frame zoom offering. We also continued to cover the Sigma BF, through interviews with Sigma CEO Kazuto Yamaki, a deep dive on its UI and the potential implications for the industry, and Richard Butler's personal challenge to use it every day while on vacation holiday in the UK.

May

The Panasonic S1II may look like the rest of the company's second-gen S1 cameras, but its partially stacked sensor and the capabilities it brings make it one of the most well-rounded options out there for stills and video shooters. Photo: Richard Butler

After resting a bit in April, we and the camera industry were back in full swing in May. We finished our reviews of the Canon EOS R50 V, screen-less Camp Snap camera and the Sigma BF, with the latter including a deep-dive into its innovative (and completely unadvertised) implementation of the UltraHDR JPEG spec. We also published our final interview from CP+ 2025, where we met up with executives from Canon.

May also marked the beginning of us publishing regular educational articles, aimed towards beginners who are still figuring out the ins and outs of digital photography. We also launched a few new series:

• A YouTube show where the team discusses camera and photography news
• Articles highlighting photographers using interesting techniques to take amazing pictures
• Article on the history of the camera industry and the business shenanigans and zombie brands therein

Of course, there were several launches in May, too. Panasonic came out with the S1II, a full frame hybrid camera designed to excel at both stills and video, and the S1IIE, which used the same body, but paired with a standard BSI sensor, rather than a partially stacked one. The company also released a 24-60mm F2.8 lens, to act as a budget (and back)-friendly alternative to the standard 24-70mm F2.8 zoom.

The X half remains a strange release, but it's hard to knock a company for trying something new. Photo: Richard Butler

On the other side of the photography spectrum, Fujifilm announced the X half, a compact camera with a Type 1 sensor and tons of quirky, fun features aimed at making photography fun for beginners. Ricoh also announced it was working on the GR IV, releasing a few tantalizing details for fans of its stalwart enthusiast APS-C compact.

Finally, DJI announced the fourth iteration of its Mavic Pro drone, though availability in the US was spotty, to say the least, as it wasn't supposed to officially launch in the country (a trend that would continue for the rest of the embattled company's products throughout the year).

June

The X-E5 ups the ante on the Film Simulation dial by letting you assign recipes to it, and brings the rangefinder-styled camera back upmarket with more programable command dials and milled aluminum top and bottom plates. Photo: Richard Butler

Summer is typically a relatively quiet time for the camera industry, but 2025's was arguably an exception. We saw two camera launches in June: Fujifilm's rangefinder-style X-E5, which came complete with the film simulation dial that's been making its way onto several of the company's products, and OM System's OM-5 II, a light refresh that brought updated menus and a USB-C port.

There were also a few interesting lenses released in June. Sigma released its super-fast APS-C standard zoom, the 17-40mm (26-60mm equiv.*) F1.8 DC Art, and Fujifilm released the XF 23mm F2.8 R WR, a 35mm equiv. pancake lens that emulates the one found on its still quite hard to find X100 series cameras.

Beyond covering all of that, we also published our review of the GFX100RF, and went hands-on with Peak Design's new Pro tripods.

* - 27-64mm equiv. on Canon

July

The RX1R III was a bolt out of the blue. Photo: Richard Butler

July only saw one blockbuster release, but it was a big one: the Sony RX1R III, the company's full frame compact camera with a fixed 35mm F2 lens. It was released pretty much out of the blue, with very few rumors or teasers leading up to the launch.

Tamron also had an announcement in July, releasing its updated 16-30mm F2.8 wide-angle zoom lens.

As for reviews, we published our experiences with the Fujifilm X-E5, PowerShot V1, from both a photography and videography standpoint, and the Fujifilm X half, which Richard Butler says was one of the most difficult-to-review cameras he's ever written about. We also interviewed Leica for its 100th anniversary, and took a look at how the Kodak brand name was making a comeback in some surprising places unrelated to photography.

August

The X2D II not only shoots HDR output files by default, but lets you preview them on a bright rear display. Photo: Richard Butler

We were hard at work on reviews in August, publishing them for the Sony RX1R III, Panasonic S1RII, and Nikon Z5II. We also covered the launches of the Ricoh GR IV, which was fully unveiled after being teased in the spring, and the Hasselblad X2D II, a medium format camera that goes all-in on HDR.

There was a lot of lens news in August, too. Sigma announced a 12mm (18mm equiv.*) F1.4 prime for APS-C cameras, as well as a 200mm F2 prime for full frame systems. Alongside the X2D II, Hasselblad released a fast, standard zoom for medium format, and Nikon updated its own full frame standard zoom, creating the first internally zooming 24-70mm F2.8 for full frame systems.

Our new community coordinator, Mathew Anderson, is here to act as a bridge between us at DPReview and our community.

We also made a big investment in our community, bringing on Mathew Anderson to act as our full time community manager. If you've spent any time in our forums at all, you'll almost certainly be familiar with him, as he's been working to make sure we keep in touch with what our readers and members need most.

* - 19mm equiv. on Canon

September

The Nikon ZR is an interesting release, but September belonged to the lenses. Photo: Mitchell Clark

Things ramped back up in September, with a slew of lens news. Canon introduced an 85mm F1.4 to its VCM lineup, and OM System released its long-awaited 50-200mm (100-400mm equiv.) F2.8 IS Pro for Micro Four Thirds. Sigma was back at it again with three full frame lenses: an updated 35mm F1.2 which was lighter and smaller than its predecessor, a 135mm F1.4 made to be a portrait powerhouse, and a 20-200mm F3.5-6.3 designed to be small enough to travel anywhere with. Panasonic and Sony also got in on the action, releasing the 100-500mm F5-7.1 OIS and 100mm F2.8 Macro GM, for their respective full frame systems.

Nikon also announced a new camera, the video and vlogging-focused ZR, which takes the partially stacked sensor from the Z6III and puts it in a small body with a big screen and Red logo. We also posted our final reviews of the Hasselblad X2D II and Ricoh GR IV, and dug into some of the marketing behind the new iPhone and its lenses.

October

A visit to Canon's lens factory in Utsunomiya, Japan, was a highlight of the month. Photo: Richard Butler

We opened October with a visit to Canon, where we got to interview executives about the company's culture and take a tour of the company's lens production facility. We also traveled to Adobe's Max conference to hear about the future of Photoshop and Lightroom, which, unsurprisingly, involved a lot of AI.

Some of the most interesting releases this month were lenses. Nikon introduced a fast standard zoom for APS-C with the 16-50mm (24-75 equiv.) F2.8 VR, alongside a 35mm (53mm equiv.) F1.7 'Micro' branded lens for capturing close-up objects. Tamron also brought out its 25-200mm F2.8-5.6 to compete with Sigma's 20-200mm, and Fujifilm released a collapsing 13-33mm (20-50mm) F3.5-6.3 stabilized lens.

An M series without a rangefinder? Is this blasphemy? Photo: Richard Butler

That lens, however, is initially only available kitted with the X-T30 III it was announced alongside, an entry-level mirrorless camera with an EVF and a film simulation dial. Leica also released a new camera: the M EV1, a camera that eschews the company's classic rangefinder mechanism for an electronic viewfinder. This prompted an excellent op-ed from Richard Butler on jargon and the semantics of "mirrorless," which we promise is more interesting than those descriptors may make it sound (or, to a certain type of person, is exactly as interesting as those descriptors promise).

As for reviews, we published our final thoughts on the OM System OM-5 II. That may make it seem like it was a quite month, but that's because we were gearing up for...

November

The EOS R6 III is a strong new entry in the very competitive midrange enthusiast marketplace. Photo: Mitchell Clark

... the Canon EOS R6 III, which was November's first big release, alongside the company's $470 45mm F1.2 lens (no, the price isn't a typo). Leica was also back this month, with the Q3 Monochrome, a – you guessed it – black and white version of its full frame compact with a 28mm F1.7 lens.

We also published our review of the Panasonic S1II, following a firmware update that brought dramatic improvements to its autofocus performance and cooling performance for video.

DPReview also got a big update in November, as we officially moved our forums onto a modern, sustainable platform. Come say hi!

December

The a7 V's faster, partially stacked sensor, brings a much-needed speed boost to Sony's mainline full frame entry. Photo: Mitchell Clark

This brings us to this month. While releases have finally slowed down, with the massive exception of Sony's enthusiast-tier a7 V, we've still been busy. We published our review of the Canon EOS R6 III, in-depth looks at Nikon's 24-70mm F2.8 S II and the a7 V's impressive dynamic range performance, and have started on our end-of-year content. That includes our annual awards, our Gear and Photos of the Year series, and this very article. (And there's still more to come!)

While it's been a year full of news, reviews and buying guides, we've also been working on increasing our engagement with the community, featuring your work and thoughts on our homepage. We've done so through the monthly editors' photo challenges, and our question of the week series, as well as with events like our AMA. Look forward to even more of that coming in the new year!

While the EOS R6 III was our last review of the year, we already have our work cut out for us going into next year, with the reviews of the Sony a7 V and the Fujifilm X-T30 III. Stay tuned for those, as well as our coverage of the CP+ show in February and anything else that happens in the upcoming year.

We appreciate you reading our work in 2025, and look forward to bringing you even better coverage in 2026.

DJI's next drone likely won't be authorized for sale in the US. Image: DJI

The US government has placed a de facto ban on the import and sale of new drones and drone parts made outside of its borders, including ones from popular manufacturers like DJI. While people are still able to fly the drones they currently own and retailers can sell current models, it's a major blow to the drone market in the country.

A press release from the Federal Communications Commission, or FCC, predictably cites national security as the reason for the policy change. It acknowledges that "unmanned aircraft systems (UAS), otherwise known as drones, offer the potential to greatly enhance public safety and innovation," but goes on to say that "criminals, hostile foreign actors, and terrorists can use them to present new and serious threats to our homeland." It lists major events, like the 2026 FIFA World Cup and 2028 summer Olympics, as potential reasons to "safeguard" its airspace.

The policy isn't an outright ban on selling foreign drones

The policy isn't an outright ban on selling foreign drones. Rather, it makes it so the FCC can't authorize new drones or critical drone parts* if they're made in a foreign country. However, the end result is that any drone that doesn't currently have that authorization won't be able to be legally imported or sold in the US, without explicit approval from the Department of Defense or the Department of Homeland Security. Again, this doesn't impact drones that Americans currently own (except for, potentially, the availability of replacement parts).

This move has been a long time coming. The US government has been threatening to ban DJI's drones, which make up the vast majority of the market, in one way or another for years. Its most recent move was to require a security audit of the company's products before December 23rd, and to subsequently not carry out that audit, but the efforts have spanned all branches of the government, under multiple administrations.

A DJI spokesperson told Politico that it's "disappointed" in the new policy. The company has clearly seen the writing on the wall, though, as many of its recent products (drones or otherwise) haven't officially launched in the US. That's despite the company telling us that the Mavic 4 Pro had "all necessary approvals and clearances, including FCC certification, for sale in the United States."

Drones are obviously useful tools for photographers and videographers, but they've also become vital in other industries such as forestry, agriculture, industrial inspections and more. While the FCC's press release states that this move will "unleash American drone dominance," it's unclear what, if any, American companies are poised to take up the mantel of designing and manufacturing drones that are as affordable or easy to use as those available from DJI and its competitors.

* - Banning authorization of parts cuts off the obvious loophole of companies selling each part individually, and giving users instructions on how to assemble them

Updated: December 22, 2025

These days, midrange cameras go for around $2500-3000, though in the US tariffs have made great deals in this price range a little harder to come by. For that money, you get something that's incredibly capable; our picks 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 it's worth adapting them, or if you'd be better off selling them to help you 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: Canon EOS R6 III
• The compact option: Sony a7C II
• The wildlife option with reach: OM System OM-1 II
• Best for vlogging: Nikon ZR

Best camera under $3000: Canon EOS R6 III

32MP full-frame CMOS sensor | 3.0", 1.62M dot fully-articulating screen | 7K recording up to 60p

Photo: Mitchell Clark

It earns top place on this list because it's such a complete package, with image quality, burst rates and autofocus capable of helping you tackle pretty much any subject. It's also a very capable video camera; no matter what your needs, its hard to imagine you'll find that the EOS R6 III holds you back.

Read our full review of the Canon EOS R6 III

A tight race

Early 2026 is a great time to be shopping for a midrange camera, as fierce competition has lead to some strong options. Panasonic's S1II has more video features and longer record times than the EOS R6 III thanks to its built-in fan, but misses taking first place on this list because of its higher price tag and autofocus that isn't quite the best in class. Still, if you don't mind spending the extra and are enticed by the lens options available on L-mount, it's a great choice.

Sony's a7 V is also a compelling option, though we haven't fully completed our testing of it. While it doesn't offer every video option that serious videographers might want, it makes up for it with excellent thermal management and record times, as well as battery life that's head-and-shoulders above the others. Like the S1II, it uses its fast sensor readout times to achieve impressive dynamic range performance when using the mechanical shutter, which could be good news for landscape shooters.

Finally, there's the Nikon Z6III, which frequently goes on sale for around $2500, or even less. For those looking for a bargain, it's a compelling option, but at list price it has downsides – mainly slightly worse dynamic range performance and no Raw pre-burst capture option – that the competition doesn't. It's good enough that it was our pick in this category until recently.

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.

An anhinga spreads its wings in a tree to dry at sunset in Everglades National Park in Florida. Unlike many birds in aquatic environments, anhingas don't have waterproof oil on their feathers, so they spend a lot of time with their wings spread to dry out. (Processed from Raw using DxO Photolab) Photo: Dale Baskin

If there's one common thread that weaves through my photography this year, it's that I didn't do very much of it – at least not as much as I would have liked.

That may sound odd coming from a DPReview editor. After all, a big part of my job is testing cameras and shooting sample galleries. However, 2025 was an unusual year. Instead of running around with gear, I spent much of my time on infrastructure projects that will help lay the foundation for the site's future, including our new forum system and some other things you'll see in 2026. (Teaser!)

Add some unexpected events in my personal life, and I found precious little time for taking photos. A glance at my Lightroom library for 2025 is like looking at an empty cupboard. But one image that's special to me is the one at the top of this article: an anhinga spreading its wings to dry at sunset, captured during a trip to the opposite corner of the country.

For context, I'm a huge fan of national parks, not just in the US, but everywhere, and I've visited them all over the world. This year, I finally had the chance to visit one that's been on my list for a long time: Everglades National Park in Florida.*

I honestly wasn't sure what to expect from the Everglades. Living in the western US, national parks usually evoke visions of rugged mountains or grand vistas: Yellowstone. Yosemite. Mt. Rainier. In contrast, the highest point in the Everglades is about 3m (10ft) above sea level.

An American alligator lurks in the shallow waters of Everglades National Park. (Processed from Raw using DxO Photolab) Photo: Dale Baskin

Contrary to popular belief, the Everglades isn't just a giant swamp. It is a slow-moving slough running from Lake Okeechobee to the Gulf of Mexico/America (circle your preference). This unique ecology makes it a fantastic environment for wildlife and wildlife photography. Unlike other regions where you often have to work incredibly hard to get close to subjects, here, the birds and aquatic species often walk right past you.

As with most wildlife photography, however, the hard part is still waiting. Waiting for your subject to be in just the right spot. Or, if shooting from a boat, waiting until you're in just the right spot. You still have to wait for just the right moment when your subject looks in your direction or starts moving in an interesting way.

"As with most wildlife photography, however, the hard part is still waiting."

During the time I was in the Everglades, I was testing the Panasonic GH7 for our review, paired with the Olympus 40-150mm F2.8 PRO lens, which provides an 80-300mm equivalent focal length and is one of my favorite lenses for the Micro Four Thirds format.

And that's the gear I used to capture the photo above of the anhinga, spreading its wings against the sky just as the sun was setting. Unlike many birds, Anhingas don't have waterproof oil on their feathers, so they spend a lot of time with their wings spread out to dry.

Hopefully, 2026 will be the year I get back out in the field more often, testing gear and shooting galleries. And I'm definitely planning to go back to the Everglades as soon as I can.

In the gallery below, you'll find a few more of my favorite wildlife shots from my Everglades adventure.

*The photos in this article were actually taken during the last couple of days of 2024, but since I shot them after writing my 2024 photo of the year article, I'm considering them to be 2025 photos.

Given that the Canon EOS R6 III is also a very capable video camera, we've also put together a sample reel of clips shot with it. If you want to see longer-form videos shot with it, you can also watch our videos about the Fujifilm X-T30 III, Sony a7 V and the Canon EOS R6 III, as they were filmed using it.

As we enter the New Year, we're looking back on our predictions for 2025. Were they firecrackers or duds? Photo: Mitchell Clark

Last year, some of the DPReview editorial staff sat down with a mission: figuring out what we expected camera manufacturers to do in 2025, and to make a list of things we wish they'd do, regardless of plausibility or even feasibility. Now that the year is coming to a close, we thought it'd be entertaining to revisit the list and see how well it's aged.

You'll also get to hear some of our predictions for 2026, as a sort of sneak peek at this year's version of the article. Hopefully, we've done a little better this year, though we wouldn't bet on it. These articles are mainly meant to be a wish list, rather than a report from our crystal ball.

Image: Just_Super / E+ via Getty Images

DPReview community, we wanted to provide you with a brief update on various community-focused initiatives over the past year. Spoiler alert - a lot's been happening!

The health of our community means everything to us. Our team has built a bond with many of you through discussions of digital photography and our shared passion for geeking out about the latest camera gear. Our editorial team - Dale Baskin, Richard Butler, Mitchell Clark, Abby Ferguson, and I – all enjoy getting your thoughts on our articles. It's this community interaction that makes DPReview thrive, and one that I personally want to do whatever it takes to keep it healthy and lasting.

Supporting the community

For the past 25 years, the DPReview forums have operated in parallel to, but largely independently from, our editorial operations. The editors are dedicated to writing engaging articles, but the interest in interacting with you all also takes a significant amount of time. To support and grow our community properly in the long term, it became clear that we urgently needed a dedicated Community Manager. That's why I was brought on, so the team could have a person dedicated to forum moderation, developing engaging content, and ensuring that support requests are responded to promptly (to name just a few parts of my role here).

Being a Community Manager in any capacity is a wonderful experience (and great responsibility), but I especially couldn't pass up the opportunity to help you all out. As soon as I joined DPReview, I began working closely with the team and volunteer moderators to understand the community's interests.

As a Community Manager, one of my central tenets for building a thriving community is to work directly and openly with members to ensure their needs are met. The most important thing we can do is to be more communicative with all of you about what's happening at DPReview, and just as importantly, ensure you are comfortable sharing your thoughts with us about what matters most to you.

Updating the forum system

The forums serve as a central hub for community discussions, so they must remain accessible at all times. It's a massive system that requires constant attention on both technical and moderation fronts. After more than a quarter-century of the forums in operation, our custom-built, proprietary solution had become too complex and expensive to maintain. If we wanted to keep the forums going, we had to find a solution that DPReview could viably preserve into the future.

In deciding what to do, the team had spent months researching individual software solutions that could address the current challenges. They understood the impact a significant change to the forum would have on the community. This included the viability of continuing to maintain an aging system. Long story short, it was clear that a new platform was the only feasible solution, even if it fell just a few features short of being an agreeable one for all users.

Soon after I was introduced to the volunteer moderators and informed of our forum update plans, I wanted to ensure that the community's voice would be represented through them as much as possible until we could publicly discuss it with you all. We collaborated to announce our migration intentions in all key forum areas. Everything unfolded quickly from that point, with the successful launch of the new platform in early November of this year.

Thankfully, the community showed great patience while we completed the migration, despite having concerns. Post-launch support has included gathering your ideas and suggestions on how we can further improve the forums. With just a few 'bug' type issues remaining, we are now moving on to addressing style improvements. These include the need to make notification indicators and forum index feeds easier to read.

Community initiatives in 2025

While the forum improvements continue, there are many other ways we can work together to develop exciting programs that drive interest across the forums. As a first step, I've reached out to several community leaders (volunteer moderators, frequently active posters, etc.) to ask them what they would like to see activated in the community for content and fun initiatives. If you weren't one of them, please feel free to reach out to me at any time as well.

So far, since July of this year, we've implemented the following content and programs:

• Community guidelines updated
• Question of the week series
• The very first community AMA
• Increased presence of the editorial team in the forums

I've barely scratched the surface of hearing from all of you, so please let me know what you think of the initiatives we've introduced so far.

There's one more significant community initiative we're testing this month on YouTube that hasn't been published yet, but will in just a few days. Be sure to keep watch in the forums for it!

Exciting plans for 2026

Our team has some super exciting plans to launch for you all in 2026. We are eager to continue the AMAs as a regular series about digital photography and your favorite camera gear. We'll keep the Question of the Week series going as well. And about that YouTube initiative you'll find out about in just a few more days, well, we hope you enjoy watching it and want more of that, too.

Thank you, community, for everything you've developed for one another. The DPReview team is here to provide support, so please don't hesitate to reach out anytime you need it.

Meanwhile, I hope you all have a safe and happy holidays!

Photo: Mitchell Clark

There's been a lot of talk about the Sony a7 V's dynamic range performance since PhotonsToPhotos released its data on it, showing that it, like the Panasonic S1II, combines the readouts of its low and high gain steps when using the mechanical shutter. We've had the opportunity to test the dynamic range for ourselves with the studio scene to see how it performs, and we can confirm: it is very impressive.

To start, this may be one of the most ISO invariant cameras we've seen to date when shooting with the standard, mechanical shutter mode. That means you have a lot of room to preserve highlights by shooting at lower ISOs, then brightening the image in post (a workflow that also translates well to shooting with HDR in mind). In our tests, we saw essentially no shadow cost to an image shot at ISO 400, brightened to match an image shot at ISO 6400 with the same exposure settings.

The results are comparable in electronic first curtain shutter mode, where the two reads of the sensor at different gain modes can be combined after the mechanical second shutter has closed.

The a7 V's exposure latitude is also very good, so you can dig quite deep into the shadows when processing your Raws. In mechanical shutter mode, it's a bit better than the a7 IV and peers like the Canon EOS R6 III and Nikon Z6III, and roughly on par with the Panasonic S1II.

As expected, its performance isn't as good in e-shutter mode, where it has less time to read out the sensor and therefore can't do it twice, as it can in its mechanical shutter mode. However, its peers' dynamic range performance also suffers in e-shutter mode, so none of the cameras end up with any particular advantage. Of course, the main reason to shoot in their e-shutter modes is to utilize their highest burst rates, where achieving maximum DR performance is less of a concern anyway.

While the a7 V's dynamic range advantage over its predecessor and peers isn't earth-shattering, it'll be exciting to those hoping to exploit the shadows in their images, such as landscape photographers, or those who often shoot to preserve highlights. Be sure to tune in after the New Year for more coverage on Sony's latest camera, including the rest of our studio scene results.

Note: these images were produced using a beta version of Adobe Camera Raw. While they're consistent with other testing that we've seen so far, we'll check to make sure the results are consistent with those produced by the final version of ACR once it's released.

Photo: Mathew Anderson and Adam Savage at SXSW 2025 game industry conference track.

When the team asked me to contribute to their Photo of the Year series, I wanted to showcase a scene that would help the community gain a deeper understanding of me as a community manager. I decided that this could be a unique opportunity to share a photo taken while I was working in the computer game industry. I suppose you can think of me as a gaming photographer. While the game industry doesn't exactly have a photography focus, it does deeply respect and appreciate art and the idea of 'capturing the moment'.

A community manager in the computer game industry is responsible for a range of public-facing tasks, from managing all the activity you've come to expect from me in the forums to posting on social media channels and overseeing influencer/creator relations. I've also run live, on-stage international competitions and hosted on-site gatherings to celebrate various anniversaries (a game launch, a company's birthday, a community member's own birthday... the list goes on).

Community managers tend to wear many hats, and since it's often for a broad age range of members, we (or they) frequently do quite literally wear many hats or costumes to celebrate our games...

Photo: Mathew Anderson at PAX East game industry convention, where he's showing booth visitors a new game just launched by his team.

With many years in the game industry, I've also directed press relations and encountered some rather interesting people. The on-site business dealings at various conferences and trade shows inevitably bump you up against a famous person or two, frequently from the TV/Film industry. You may have heard of Adam Savage, a popular TV personality who hosts the show MythBusters. While I was at SXSW 2025 in Austin, TX, I attended a panel he participated in, titled "Prototyping the Future: Imagining the Future We Want."

After the panel concluded, everyone filed out to the snacks and drinks lounge (a typical arrangement at these sorts of press environments where the host wants to schmooze you to write a good article about their presentation). While sipping on a mystery drink, I spotted Adam in the far corner. I was determined to talk with this legend and wouldn't let infinitely long snack tables and unlimited drinks get in my way. Praise be that an ice cream machine at least wasn't present...

And this is how I got my photo of the year

I walked right up to Adam, letting him finish his conversation with his assistant and another gentleman. Adam looked at me briefly, and I knew that was my cue to introduce myself. I thrust out my hand, Adam shook it aggressively with a mix of confusion and mild interest on his face, and off I went, talking about how I could be his next PR guy.

"I was determined to talk with this legend and wouldn't let infinitely long snack tables and unlimited drinks get in my way."

There have been many situations like this where I didn't have a business card on me, or I was so caught up in the experience that I didn't think to capture a photo of it. Always be ready with your camera! I didn't forget this time. After our brief introduction, I whipped out my iPhone (the only camera I had at the time) and asked if it was all right if we took a selfie together. And this is how I got my photo of the year, which you see at the top of the page.

Obviously, my job pitch didn't go as planned, but in its stead, I'm fortunate to have landed at an even more amazing opportunity right here at DPReview. Seriously, I somehow feel like my career has been building up to this next chapter where I can express my love of digital photography, geek out on the latest gear, and still share and participate in my love of games.

If you also geek out on new computer gadgets, such as buying way too many cables and peripherals for one individual to ever possibly use, or perhaps play a computer game or two on occasion, I would love to hear from you.

Meanwhile, I put together a slideshow of some other interesting moments I've had in the computer game industry. You'll want to ensure you scroll to the end. These aren't all from 2025, of course, as I looked much more geeky a few years ago than I think I do now...

HDR imagery should allow a more lifelike version of images with interesting highlights. Photo: Richard Butler

We often see concern expressed that there's no real innovation in the industry or that, horrors of horrors, there's more progress being made on the less-developed video side of cameras than on the fairly mature photo side of things.

But, despite these concerns, there have been innovations and the green shoots of progress making themselves visible in this year's releases. We've picked the ones that stood out for us as the ones we think are most likely to have some continued impact.

Combined conversion gain in partially stacked sensors

This one rather snuck under the radar for us: Panasonic had introduced a camera with dual gain output, capturing and combining both a high and low gain signal, simultaneously, as far back as 2022's GH6. But in that camera it was a mode that could only be used in certain circumstances. We saw the improvements in the G9 II and GH7 as addressing that camera's drawbacks, rather than recognizing them as something of a breakthrough.

The Panasonic DC-S1II is the first camera we've encountered to be able to read both the signal from a single exposure via both its high and low gain readout modes and then combine them. Photo: Richard Butler

Panasonic pulled a similar trick again with this year's S1II, with a different but conceptually similar technology. The 'partially stacked' sensor in the S1II (which is a conventional BSI CMOS sensor with more complex readout circuitry around the edges) showed better dynamic range than the Nikon Z6III had gleaned from the same sensor, but the company was so tight-lipped about precisely what was going on that it took forum regular Adam Horshack to put it all together.

It transpires that the S1II and later Sony a7 V have a new variant of the dual conversion gain sensors that represented the last major step forward in image quality, back in 2014. The 'partially stacked' versions of the existing 24 and 33MP sensors are not only able to read out faster, delivering quicker burst rates and less rolling shutter, but they're also able to operate in their low gain mode and then re-read the same signal in their high gain mode, and combine the results. This takes longer, so isn't used in e-shutter modes, but means these cameras gain a dynamic range boost at their lower ISO settings (where DR is most meaningful).

This won't make much difference to a lot of photographers but the added ability to dig into the shadows will be useful for, say, sunrise and sunset images and will give more freedom for photographers trying to shoot with output on HDR displays in mind. Perhaps the most exciting aspect is that it appears this boost can be applied to existing sensor designs, without incurring the significant costs of truly stacked designs, so we may get to see boosted versions of familiar sensors.

HDR imagery came a bit closer

The Hasselblad X2D 100D II makes HDR photography easier, both through its high-brightness, wide-gamut rear screen and its use of JPEGs with a brightness map embedded in them. Photo: Mitchell Clark

On the topic of outputting for HDR displays, it felt like we got another step closer to practical HDR workflows this year. Most of the major camera makers have already added true HDR capabilities to their cameras (i.e., output for more lifelike playback on HDR displays, not the wide dynamic range capture being awkwardly squeezed into standard DR playback that we'd previously grown to know and dislike). However, the fragmented nature of the Internet means support for showing and sharing the HEIF files they've settled on remains patchy. Similarly, we've had very few instanced of manufacturers trying to tell the press about these capabilities at all.

As things stand, there's a major risk that smartphones, where the screens, underlying software and cameras are all controlled by the manufacturers, will continue to get better at using this approach, raising users' expectations of what photos should look like and leaving dedicated cameras looking dull by comparison.

With this as the background, we were delighted to see Sigma and then Hasselblad adopt HDR output as the default behavior of their most recent cameras. And, crucially, to do so using a filetype with full sharability and backward compatibility guaranteed. JPEGs.

Ultra HDR JPEGs, which are conventional JPEGs with a brightness map that delivers an HDR version on devices that can display it, can be readily shared and shown on the Internet (rather than being limited to specific platforms, such as Instagram), with the knowledge that anyone can open a version of the file.

With Adobe Camera Raw and Google's Pixel phones also supporting these files, it finally looks like there's a way to exploit the wide DR that large-sensor cameras inherently capture. It'll be interesting to see whether any of the big camera makers follow suit or if they're just going to continue to hope that HEIF gains more widespread support.

Content Credentials

Another long-heralded technology that finally started to appear more widely this year was the Content Credentials image authentication system. Originally developed by a vast consortium of stakeholders from media outlets to camera makers, it was intended as a cryptographically-backed chain of custody, tracing an image back to a specific camera and keeping track of the edits along the way.

With the increased proliferation of AI-generated nonsense on the Internet, we wondered whether a system for proving authenticity might find wider use. And, to that end, Sony extended its application to video files this year.

Nikon also attempted to add it to the Nikon Z6III, until it became apparent that you could use the camera's multi-exposure mode to get the camera to sign-off on an image that didn't originate with the camera. For now it's primarily Sony and Leica that are providing CC-capable cameras but both Canon and Nikon have been part of the effort, so we'd expect to see its support (and use) continue to spread.

Local AI models

While we look to systems like Content Credentials in the hope that they'll provide some bulwark against AI slop, it's probably worth acknowledging that not everything promoted as AI is a scam, an annoyance or a harbinger of the end of the usable Internet.

"AI" tools can increasingly run locally on your computer and allow you to make your chosen edits quickly and easily. They won't currently stop you creating something ill-advised, though. Screengrab of Final Cut Pro's Magnetic Mask tool

In line with CIPA's 2024 statement about how AI should be applied to photography, there are some instances where it's being used to do something to support the creative process, rather than trying to supersede it. For instance, Adobe Photoshop now uses AI models running locally on your machine, to make it trivially easy to select and mask different parts of a photo. Nothing is invented or generated, it's not relying on untold additional processing at a server farm somewhere, it's just speeding up the editing process for you.

Similarly, the magnetic masking tool in Apple's Final Cut Pro video editing software is unbelievably quick and effective at selecting and cutting out objects or subjects (particularly people) from their surroundings, even if they move and change shape, frame-to-frame. These are tools that were almost unimaginable a few years ago, that just let you get to the point of making the edits and adjustments you want, so much more quickly. Whether you're an enthusiast amateur or a working pro trying to power through a whole wedding's worth of images, these locally-running AI models can be a useful helping hand.

Future essentials or passing fads?

Ultimately, all these things are relatively new arrivals, and your first response my well be: I don't need that. But we've often found that new features and technologies can seem unnecessary at first, but once they start to find their way into your workflow, you one day find it frustrating to go without.

We can't yet know which of these innovations will catch on and bed in and which will seem as misguidedly hyped as 3D TVs and NFTs were. It'll be interesting to see where each of these stand, this time next year, and what other innovations and trends have become apparent in the meantime.

Canon RF 24-70mm F2.8L IS: Lensrentals' most-rented lens of 2025. Image: Canon

It's that time of year when Lensrentals gives a glimpse into the trends it's seen during the year with its annual list of most-rented gear. This years' numbers suggest Canon and Sony increasing a stranglehold, but not for the same purposes.

The Lensrentals list gives a fascinating insight into trends within the industry. It's a very different perspective from sales figures in that these aren't necessarily the lenses and cameras people are buying, but instead are the ones they're choosing to use rather than buying. Some of it will be people trying a product before making a purchase but the majority will be renting a lens for a special occasion that they can't justify purchasing, or getting hold of a body (or second body) for a particular event or shoot.

Interestingly, though, Lensrentals' inclusion of batteries in their most-rented gear list this year might be the key to making sense of the numbers.

The appearance of Sony's NP-FZ100 battery at number 3 and Canon's LP-E6NH in 20th place is interesting, given Sony cameras typically achieve significantly better battery life than Canon. But, put together with a look at the most-rented cameras from each brand: the FX3 video camera for Sony and the much more stills-focused EOS R6 II and it reveals a pattern: people are renting Sony for video and Canon for stills.

Ultimately, the precise motivations for rentals can't be divined from the numbers, but you can do a little tea-leaf reading.

This might also explain why the Sony a7S III makes the top 20 but the a7R V, which is a much better stills camera, doesn't. It's the 6th most-rented Sony camera, with the likes of the FX6 being rented more frequently. Also making the top 20 is a Compact Flash express Type A card, with the most-rented accessory list showing a larger capacity not far behind, which again suggests people are renting kits for data-intensive shoots. Though, in theory it could be read as people choosing to rent, rather than buy, a format solely used for high-intensity shooting on a single platform.

Lensrentals Most Popular Photo and Video Gear 2025

1. (⇑2) Canon RF 24-70mm F2.8L IS
2. (⇑3) Canon RF 28-70mm F2L
3. (NE) Sony NP-FZ100 Battery
4. (⇑3) Canon EOS R6 Mark II
5. (⇓4) Canon RF 70-200mm F2.8L IS
6. (⇓5) Canon EF 24-70mm F2.8L II
7. (⇑2) Sony FE 70-200mm F2.8 GM OSS II
8. (—) Sony FE 24-70mm G2.8 GM II
9. (⇓5) Canon EF 70-200mm F2.8L IS III
10. (⇑2) Sony FX3
11. (NE) Sony 160GB CFexpress A card
12. (⇑1) Sony a7 IV
13. (⇓7) Canon EOS R5
14. (⇑1) Canon RF 100-500mm f4.5-7.1L IS
15. (⇓4) Sony a7S III
16. (⇓6) Canon EOS 5D Mark IV
17. (⇑1) Canon RF 50mm F1.2L
18. (⇑1) Canon RF 15-35mm F2.8L
19. (⇓3) Sony a7 III
20. (NE) Canon LP-E6NH Battery

Ultimately, the precise motivations for rentals can't be divined from the numbers, but you can do a little tea-leaf reading. For instance, the decline in the popularity of the Canon RF 70-200mm F2.8L IS can probably be attributed to the arrival of the non-retracting RF 70-200mm F2.8L IS Z, which didn't itself make the top 20 but is likely to have split the vote, so to speak. We have to assume that the existence of the EOS R5 II (the most-rented camera not to make the top 20) is the main reason for the original R5's drop in position, given Canon rentals were up, overall.

The precipitous drops shown for the EF 24-70mm and 70-200mm F2.8s and the EOS 5D IV suggest that we're beginning to see the twilight of DSLR systems, after a surprisingly strong performance last year. This backs up the trend we see in the production data: DSLR shipments in the first ten months of 2025 were down 26.7% and now sit at around 580K, vs the 5M mirrorless cameras shipped in the same period. As a region, the Americas have seen the smallest declines in DSLR shipments, but the Lensrentals numbers suggest that trend is present here, too.

Again it's interesting to note that, despite Nikon having a very strong lineup and there being a lot of buzz around the likes of the Z6III, there are no entries at all for the Z-mount in the top 20. Only the seven most-rented cameras make the overall top twenty and the Nikon Z8 was the 17th most rented camera. The value of Nikon rentals fell, in percentage terms, relative to 2024. That said, given the popularity of the FX3, we'll have to see whether the ZR has any impact on these figures next year.

More worrying for Nikon, perhaps, might be the fact that RED rentals have dropped from just over 2% of rentals in 2023 to 1.11% last year. Lensrentals isn't primarily a video rental house used by the production industry, but such a big decline doesn't seem like a promising signal.

A breakdown of each brands' contribution to Lensrentals' revenue, in 2025. As noted in their blog, this disproportionately favors brands with expensive gear, such as Red and Leica. Image: Lensrentals

The overall brand share shows Canon and Sony cementing their hegemony, with only DJI showing an appreciable uptick in revenue generation share. There are fractional improvements for Fujifilm and Leica, but overall the story appears to be that Canon and Sony are increasingly dominating Lensrentals' business. It's interesting to speculate on the degree to which that's indicative of wider market trends.

Read more about the most-rented gear over on Lensrentals' blog

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Photo: Abby Ferguson

2025 was inadvertently the year of medium format photography for me. It started with my husband gifting me a medium format film camera for Christmas last year, which was the camera I used to take my favorite photo of 2025. We also saw two digital medium format camera releases this year: the fixed-lens Fujifilm GFX100RF and the Hasselblad X2D II 100C. The Fujifilm camera was certainly intriguing, but I've been a Hasselblad fan from afar ever since I got into photography (I mean, just look at the 503CW), and I was highly impressed by the new release, at least on paper.

Sometimes, we build things so much in our heads that when we finally get a chance to experience them in real life, disappointment follows. There's a reason people say to never meet your idols, after all. Luckily for me, such was not the case with the X2D II 100C. Instead, it simply confirmed what I had originally expected: this is one heck of a camera.

With the 35-100mm lens, it's still a relatively reasonable size to bring along on adventures. Photo: Abby Ferguson

Given that my previous medium format experience has been film-based, I'm used to medium format photography being an extremely slow and clunky process. I had heard that was largely the case with previous digital offerings that used the larger format, especially compared to smaller-sensor modern mirrorless cameras. The X2D II bucks that assumption, though.

I was able to pick up the X2D II and use it exactly like my Sony a7 III without much thought, especially since I was using it with the XCD 35-100mm F2.8-4 E, which is surprisingly small and fast for a medium-format standard zoom. Yes, as a whole, it's larger than my typical kit, but it was by no means unreasonable to take it out of a studio setting. In fact, I brought it on a (short) hike and had no issues or complaints about the size or weight.

"Simply put, it made medium format photography easy."

More so than the form factor, though, I was impressed by the autofocus. In fact, given the age of my Sony, it even seemed like the autofocus, especially eye detection, was better on the Hasselblad. It found eyes pretty much immediately and was very sticky, including when the subject, or I, moved around. It even had no issues with my husband's tinted glasses and did a great job finding the eyes of my black dog and cat, something cameras often struggle with. Simply put, it made medium format photography easy, something I didn't necessarily expect.

I used the X2D II to photograph one of my recurring subjects, broken glass. Photo: Abby Ferguson

The Hasselblad also uses an 'Ultra HDR JPEG' workflow, the same approach that we were surprised to find on the Sigma BF (Sigma didn't market the feature at all). What's nice with the X2D II, though, is that the rear monitor is HDR-capable, so you can see your HDR photos in all their glory right there on the display. It made me excited to look at the pictures I just took, especially when photographing in dramatic light. Because, wow, they looked good (and this is not a comment on me as a photographer, but rather on the quality of the display).

Unfortunately, I don't yet have a computer capable of displaying these images in their full glory. For now, viewing them on the tiny screen on my phone is the only way for me to bask in the HDR-ness. Needless to say, I greatly look forward to a bit of a computer upgrade soon that will allow me to appreciate the images fully.

If you click through to the original, you can see the HDR version (provided you are using an HDR-compatible display). It's a good example of how much more depth you can get in certain situations. Photo: Abby Ferguson

Lastly, although a feature that often gets overlooked, I also truly appreciated Hasselblad's approach to the menu system on the X2D II. It was drastically simplified and pared down compared to just about every other camera system. Instead of having to wade through page after page of options, there is a limited selection of icons that take you to straightforward settings. Plus, all essential things that might need to be changed while photographing can be adjusted without entering the menu system at all. It was a refreshing switch, and was again a surprise on a camera as robust as the X2D II.

Of course, Gear of the year isn't supposed to necessarily be waxing on about the technical aspects of a camera. It's a series that isn't here to highlight the best gear of the year (although the Hasselblad X2D II did win our best high-end camera award this year), but instead looks at gear that made for a memorable experience for each of us, personally. The Hasselblad was just that for me.

"Even more important, the camera made me excited to take photographs."

Experiencing the X2D II satisfied a lifelong dream of at least using a Hasselblad, so that's a check on the memorable part. But beyond that, the camera looks nice, feels nice, and made medium format photography highly approachable (I'm strictly speaking about the process here, not the price of the system or the size of the files you have to deal with later). While I'm not sure if I took any museum-quality photos with it during my short testing window (actually, I'm sure that I did not), I do like many of the images I took. Even more important, the camera made me excited to take photographs, something that I often struggle with, so that's a notable win in my book.

Gallery

You can see a small selection of the images that I took (and edited) with the Hasselblad X2D II 100C below.