85%

Overall score

Jump to conclusion

The Sigma BF is a minimalist 24MP full-frame mirrorless camera that offers distinctive design and an unconventional user interface.

Key specifications

• 24MP full-frame CMOS sensor
• Phase detection AF with human and animal detection
• Full-time HDR capture embedded in JPEGs
• No mechanical shutter
• 3.2" 2.1M dot rear touchscreen
• Pressure-sensitive buttons with haptic feedback
• 6K video up to 30p, 4K up to 30p
• 1080 up to 120p
• Leica L-Log profile
• Zebras and False Color exposure displays
• 230GB of internal memory
• 10Gbps USB-C port, external mic compatible

The Sigma BF is available in Black or Silver at a cost of $2000. Sigma has also made versions of all its i-series primes to match the silver version of the camera.

Index:

• What is it?
• Body and controls
• Initial impressions
• Shooting experience
• Image quality
• Autofocus
• Video
• Sample gallery
• Specifications

What is it?

The Sigma BF is explicitly not trying to be a do-everything, Swiss Army Knife of a camera. Sony's a7C II already exists, bringing an EVF, multiple dials, a mechanical second-curtain shutter mechanism and in-body image stabilization, for a list price just 10% higher than the BF's.

But if Sigma was trying to go head-to-head with Sony in the mass market, it probably wouldn't be spending seven hours milling each camera out of blocks of aluminium, nor doing so in Japan: neither of which is the approach you take if you're primarily driven to hit a specific price point.

Similarly, just looking at the specs, the BF might be mistaken for an unstabilized Panasonic S9 in a fancier body, but despite sharing a sensor, the two cameras couldn't be more different.

Instead Sigma explicitly says the BF is designed for 'everyday' photography. An elegant object designed to be carried with you, rather than a utilitarian device you take when you're taking photos. It's absolutely not optimized for rapid operation, it's not teeming with clever features. Instead it includes only the bare essentials for photography (or, arguably, slightly less than that, given its lack of mechanical shutter).

Think of it like a Moleskine notebook: in many respects it's not as practical for taking notes and recording ideas as the smartphone you're already carrying, but the very process of carrying it with you acts as a prompt to look at the world and capture the thoughts you were having. The BF is trying to do the same.

It's the difference between a camera that you'd grab when you want to go and take photos of something, vs a tool that encourages you to look for things to photograph.

Body and controls

User interface

The best way to understand the BF is to note the dedicated settings display towards the top right-hand corner on the back of the camera. This displays one of ten parameters:

These are also the ten parameters that appear on the main screen if you press the center button on the back of the camera, in the pattern shown in the table above.

You can navigate between them by pressing the cardinal points on the rear dial, then scroll the dial to change the current setting.

Pressing the center button lets you see and edit the camera's core ten parameters, but the chosen setting is also shown in the dedicated settings display to the top right of the screen. In this instance the aperture value is shown in dark grey because it's being controlled from the lens.

But you don't have to press the center button and bring them up on the main screen: once you've learned their relative positions (and chances are it's the ones in the bottom row you'll change regularly), you can navigate around them just using the settings display. And, for me, that's the key to understanding the BF: it's designed so that the core settings can be adjusted without looking at the main screen. You can set the camera to show all the settings on the main screen,

In keeping with this idea, the touchscreen is almost solely used for positioning the AF point or selecting a subject to track: even if you summon-up the settings on the main screen, you can't tap to change settings, just choose what to focus on.

Exposure modes

The BF has no mode dial, so exposure mode is set by selecting which parameters you want to be controlled by the camera. This is done via the main screen. Press the center button to bring up the settings then press it again to edit them, and the ISO, aperture value and shutter speed indicators show 'Auto' options above them, letting you engage and disengage automated control of each parameter.

Any of the exposure parameters that can't be changed by spinning the dial, either because they're set to Auto or because aperture value is being set by an aperture ring, is rendered in darker grey, both in the settings display and on the main screen display.

Other settings

Ten further settings, including the level gauge and options to display information such as focal length and focus distance are accessed via the three-dot button. Navigating down to the word 'System' takes you to the menu where fundamental settings such as date and time are edited.

Another ten settings, six of which relate to how much detail appears on the main screen (exposure parameters, guides, virtual horizon, etc), can be accessed by pressing the 'three dots' settings button. At the bottom of this settings menu is the word 'System' which gives you access to a ten-option-long list of fundamental camera settings, including firmware information, copyright information, menu language and date/time.

That's the extent of the BF's interface: ten top-level parameters, ten settings and ten menu options. But what this doesn't fully convey is the degree to which it's a camera in which Shutter speed, Aperture value, Exposure compensation and ISO can all be set using just the settings display, leaving the monitor solely for focus and composition.

Handling

The BF is a very solid-feeling camera, as you might expect from something hewn from a solid block of metal. The body itself is relatively light but the weight adds up as soon as you mount a lens of any appreciable size on it.

Despite it's minimalist appearance, it's quite easy to hold. The textured front-plate and raised thumb rest at the back mean you can get a pretty solid grip on the camera, and you can cradle the weight of the lens in your left hand if you're working with anything larger than one of the compact primes offered by Sigma or Panasonic.

However, we found that it was common for our ring finger to wrap around to the base of the camera as we held it, which quickly makes apparent how sharply angled the edge of the BF is. It's not hard to imagine users adding a little tape to the lower edge of the camera or being tempted to chamfer the edge with a fine file, once they come to live with the camera.

I've primarily used it with the Sigma 35mm F2 prime and the Panasonic 20-60mm F3.5-5.6 lenses, both of which are small and light enough that it's been comfortable to use.

Electronic shutter

The BF has no mechanical shutter and a sensor that takes 24.8ms to read out. Having seen this sensor in other cameras, this suggests its stills are being captured with 12-bit precision, which will slightly blunt the dynamic range at base ISO.

This readout speed (corresponding to 1/40 sec) also means the camera couldn't sync with a flash at shutter speeds faster than this rate. It also introduces the possibility of rolling shutter distortion of fast-moving subjects and means you're likely to encounter banding when shooting under artificial lights.

It's better news on the video side of things, where a rolling shutter rate of 20.9ms for its 24, 25 and 30p modes (6K, 4K or 1080) isn't too terrible. Things speed up to deliver the 1080/60 mode (10.4ms) and 1080/120 modes (7.8ms), suggesting line-skipping is being used.

Battery

The BF uses a new 11.88Wh BP-81 battery. This will power the camera to a CIPA rating of 260 shots per charge. As always, the CIPA figure will tend to under-represent how many shots you're likely to get, and we found it's the camera's propensity to show its charge percentage on its settings display that caused us to worry a little disproportionately.

Still, a rating of 260 is pretty low and means you may want to consider carrying a power bank if you plan to do more than occasional shots each day. Putting it on to charge overnight, just as you might do with your phone will probably be sufficient for everyday casual use, though.

A gentle press of the power button puts the camera into standby mode, but the battery will continue to drain at an appreciable rate. The BF starts up from cold quickly enough that this is usually a better approach.

Initial impressions

By Richard Butler

Even the body cap is an over-engineered delight.

The Sigma BF is one of the most unusual cameras we've ever encountered. On paper it looks like an under-specced rival to the Panasonic DC-S9 or even the Sony a7C II. Or, perhaps even a slightly re-purposed Sigma fp. But, even though it shares components and a small rectangular body, the BF is quite unlike any of these cameras.

Sigma's CEO, Kazuto Yamaki talked about completely re-thinking the camera's interface to pare it back to the fundamental things a camera needs to offer, in an attempt to make it simple to use, with the aim of making a camera for everyday use. And the more I use the BF, the more I think I understand this intent.

The idea of a dedicated settings display, leaving the main screen as a means of composing your image and positioning the focus point is a refreshingly simple one, undermined only by the challenge of viewing a fixed LCD in bright light. The decision to display only one setting, rather than a full array of settings and icons makes it very quick to interpret and I did find it made me consider what changes I wanted to make, shot-to-shot, in a way I don't on a more conventional twin-dial camera.

Playback mode has three levels of information that can be displayed, this is the most detailed, but you can also opt just to see the top two rows of information, or just the first. Touching, rather than pressing, the playback button lets you review the last image you shot, without entering the full playback mode, for as long as your finger remains on the button.

This really hit home when I realized I prefer to set aperture from the camera, rather than using an aperture ring; I think the camera works best with everything controlled from the settings display, rather than trying to increase the number of control points.

Another surprise was how good the BF's autofocus appears to be. Its subject tracking is very simple to use and impressively tenacious, while its eye detection works well and can be left turned on without minimal risk of the camera prioritizing nearby faces ahead of a different subject you've selected.

There are distinct downsides, though. The lack of mechanical shutter not only means there's a risk of rolling shutter and that the camera can't be used with flash, it also means it's quite prone to banding caused by the inherent flicker of artificial lights. This can be fairly subtle at longer shutter speeds but becomes increasingly apparent in short exposures, limiting its use as an indoor camera, despite a sensor that works well in low light.

Sigma 35mm F2.0 | F4.0 | 1/500 sec | ISO 400 Photo: Richard Butler

Sigma's sometimes quite dramatic color modes may not be to everyone's tastes, and I'm not wholly convinced by the 'Light Source Priority' auto white balance mode, that tries to maintain some of the character of the detected light source. But even when the results are unexpected, they're often interesting.

The BF's battery life is also quite short. An external charger is available, if you want to keep a second battery topped-up, but mainly it's a case of remembering to put the camera on to charge regularly, just as you might for your smartphone.

Other than a slight concern about the sharp lower front edge, I'm really looking forward to spending more time with the BF. It's not a camera that lets you respond quickly to the unexpected; instead it's one that makes you slow down and look for the photos you might otherwise not notice.

Shooting experience

We took the time to spend a couple of weeks shooting with the BF the way it was designed to be used: as a daily companion whose presence would hopefully encourage us to look for photographic opportunities we might not otherwise recognize.

It constantly asked "what are you trying to photograph, and how do you want to capture it?"

It turns out to be surprisingly capable, if seen and used this way, with its unusual but highly focused interface making us think about what we were trying to achieve, with each shot. Find out more in our shooting experience article:

What's the Sigma BF really like to live with?

Image quality

We'll be conducting our full studio tests soon. We'll be testing a series of cameras alongside one another and will add the images to this review and revisit the score as necessary.

In our general use we've found the camera's standard color mode to be pretty good and its slightly more idiosyncratic 'Rich' color mode gives distinctive, and often attractive, results. We've encountered this sensor often enough that we're confident in the Raw results.

Base ISO and HDR

The JPEGs do contain a surprise though: the BF has a base ISO of 320 and an Auto ISO system that likes to use ISO 400 as its lowest setting. This is done to prompt lower exposure levels, capturing more highlight information. This extra highlight information is then used to give highlights with a more gentle roll-off and to allow the camera's undocumented HDR capabilities.

The JPEGs look normal on most displays but they also include a gain map that can be used by devices with high dynamic range displays to make the very bright highlights glow brighter. You don't have to do anything, an HDR version of your image is created within the standard JPEGs.

The downside of this is that, unless you override it by setting the camera to a lower ISO, all your shots with be a bit noisier than they could be, because you're capturing less light for your midtones and shadows, in order to capture more highlights.

There are a few odd quirks beyond this: at present DNGs shot below ISO 320 can sometimes be rendered at the wrong lightness if you try to re-process in-camera, and minor adjustments of the 'Look Effect' of each mode can have an unexpectedly large and unpredictable impact. But generally, we found the Sigma produces interesting-looking images and gives you a good amount of scope to adjust them in-camera.

Autofocus

The BF's autofocus system is very simple: you can either select all-area or specify a single point. You can decide whether subject detection is engaged and whether it is looking for people, animals or both.

The BF's AF is simple but effective, and its eye detection is very reliable. Sigma 35mm F2 DG | F2.8 | 1/100 sec | ISO 100 Photo: Richard Butler

There's also a choice about whether manual focus for fine-tuning is available any time you turn the focus ring or just when the shutter is half-pressed. With focus precision in mind, there's a focus peaking option, with a choice of color and intensity and, in AF-S mode, the option for the camera to show you a zoomed-in view of the selected AF point when focus is achieved.

Generally we'd leave the camera in AF-C mode and all-area focus with subject detection engaged. This way the camera would focus on people's eyes if there's a human in the frame but leaving the option to tap on the screen if there's a specific point we wanted to focus on instead. For the kinds of photos the BF is designed for, this worked 99% of the time (with one instance of having to use manual focus override for a very backlit shot).

The camera's eye detection proved very fast and precise, letting us focus on composition and capturing a good expression, in social situations. It's not a complex system that would be well suited for sports or wildlife shooting, but for casual and social photography, it does exactly what you want, without you really having to think about it.

Video

The Sigma BF has a surprisingly strong video feature set, can accept external mics via USB and is easy to balance on a gimbal.

The Sigma BF has a surprisingly extensive video feature set for such a seemingly minimalist camera. But perhaps it shouldn't be a surprise, given the same sensor underpinned Panasonic's S1H video flagship.

You have the option to shoot 6K (or UHD 4K derived from that same capture) at up to 30fps. Alternatively it can capture 1080 video at up to 120p. Unlike the fp, though, the BF can happily save 10-bit footage as H.265 files, and gains the ability to shoot Log footage using Leica's Log profile (meaning conversion LUTs are available).

The Sigma includes video features that are still relatively unusual on hybrid cameras, including a false color display that applies a colored tint to different brightness regions, to let you quickly assess exposure even when working in hard-to-interpret color modes. It can also let you adjust exposure time in terms of shutter angle, making it easy to maintain correct exposure when switching frame rates.

"Its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work"

It can accept external mics or headphones via its USB socket. We weren't able to test whether its 'Headset' mode, that expects both a mic and headphone connection works with a USB splitter/adapter. The BF is also compatible with the UVC/UAC standards, so can be used as a webcam.

Its lack of stabilization weighs heavily against it for handheld use, but its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work. The single dial interface is likely to be a little fiddly to adjust, once mounted, but if you set the shutter speed (or shutter angle, that's an option) to your chosen value, use a lens with an aperture ring and either leave ISO locked or on Auto, you shouldn't need to change too many settings.

Conclusion

On paper the Sigma BF sounds worryingly like a rebodied Sigma fp: the company's modular hybrid camera that was received as much more of a video rig than they'd intended. Encountered in-person and it risks looking like a design exercise, with all the attendant concerns that it might be style over substance. Actually using the camera dismisses both concerns.

The BF's user interface is perhaps its strongest feature, giving a refreshingly uncluttered shooting experience. There aren't indecipherable icons or pages of menus, just a settings display for your shooting parameters and a rear LCD for composition. It's about as back-to-basics as you can get but, critically, without its minimalism making things awkward.

The Sigma BF doesn't have a large, protruding grip, but the textured metal front means it's easy enough to grip, fairly comfortably (unless your fingers extend around the sharp lower edge of the camera).

It's not an all-rounder by any means. Its lack of viewfinder limits its usability in bright light, its lack of mechanical shutter rules out the use of flash and means you have to pay attention to artificial lighting. Its interface and operation prioritizes considered shooting ahead of the ability to respond quickly. If you're looking for a camera that can do a bit of everything, there are plenty of better alternatives.

However, as a device for capturing moments, and encouraging you to capture moments, it's really rather good. Its interface is genuinely radical and well thought out and I was constantly surprised by how simple but effective its autofocus is.

The Sigma is a lovely device for capturing the world around you. Sigma 35mm F2.0 DG | F7.1 | 1/160 sec | ISO 125 Photo: Richard Butler

Overall I've enjoyed my time with the BF tremendously, and I suspect plenty of other people will, too. I found the experience both fascinating and refreshing: paring photography back to its very essence. It was this focus and simplicity – which shouldn't be mistaken for minimalism for its own sake – that makes the BF so unfamiliar and so compelling. The allegation that it's style over substance is misguided, I believe, as it's the substance, rather than the style that I found most enjoyable. It certainly has some style to it – I don't remember the last time so many friends and strangers asked me what I was shooting with – but it's not something that evoked much of a response, personally.

That's probably too niche a prospect for us to be able to give the BF one of our awards. Those are framed in terms of whether a camera should be on your shortlist. And if there's any other camera on your shortlist, then the BF shouldn't be there, because it's a dreadful substitute for anything else. But that's not its intent and that's not its appeal.

I don't feel we can give it an award, but it's going to take a lot for it not to be my Gear of the Year.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Compared to its peers

As I've tried to argue throughout most of this review, the Sigma BF doesn't really have any direct peers, because it's not really trying to be the same thing as other cameras. If judged on their terms, it's limited and limiting. You can look at the list of what it lacks, by comparison, and write it off. And if you're considering other cameras, then you'd probably be right to do so.

It's barely appropriate to even think of it as a camera. At the most fundamental level a car and a bicycle are both devices to get you from A to B, and yet thinking of a bike as a car that's missing an engine and two of its wheels would be to completely miss the point. The BF and most other cameras are both devices for capturing images, but the way they do it and the experience that you get from them means direct comparison doesn't necessarily make sense.

The BF costs more than Panasonic's S9 because it features much more solid (and expensive) construction and is made in Japan by a company that can't compete with the economies-of-scale larger camera companies can achieve. There's little sign of any significant Leica-esque 'luxury goods' markup, though.

If you want to be needlessly reductive, you could compare it to Panasonic's vlogging-focused Lumix DC-S9. They're both small, single dial cameras with no viewfinders, based around the same sensor and same lens mount. The Panasonic has a flip-out screen, in-body image stabilization and a list price $500 lower. For taking photos I'd choose the Sigma every time.

The S9 has a single control dial but uses the same interface as Panasonic's three-dial S-series cameras. This isn't necessarily a drawback for the vlogging for which it's designed, but having used both for photography, the BF feels pleasantly focused, while the S9 feels maddeningly lacking. If you've never used either, it might look like the S9 lets you get just as much camera, plus IBIS and a lens for the same money. That's a cynical assumption, duly evoking Wilde's line about knowing "the price of everything and the value of nothing".

Sigma BF sample gallery

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

One photo a day with the Sigma BF

A photo day in London

Leica will be releasing limited edition M11 cameras in six cities for its 100th anniversary. Image: Leica

Leica is no stranger to limited edition cameras. It celebrated 70 years of the M series with a $23,000 platinum-plated kit and has released a black and gold Q2 in collaboration with Daniel Craig and Greg WIlliams, a streetwear-themed version of the D-Lux 7 and a $50,000 gold-plated M10-P, among a long list of others. It should come as no surprise that the company is releasing a special edition for its 100th anniversary, then.

As part of the 100 Years of Leica celebrations happening in a handful of cities worldwide, Leica is releasing limited edition M11 cameras. These special M11s feature engravings on the top plate for each city where events are hosted throughout the year. The cameras feature a "premium glossy black paint finish" and "stylish black cowhide armouring." The buttons and dials on the top of the camera are silver-chromed. Leica is only releasing 100 units per city, and the top of the camera will feature the serial number. Otherwise, it is the exact same as the standard Leica M11.

The limited edition Leica M11s feature an engraving on the top plate reflecting the city where they are sold, and the edition number out of 100. Image: Leica

Leica kicked off the special edition M11 in Dubai on January 22, followed by Milan, Italy at the beginning of April. New York is the third city in the lineup, launching today, with the "NEW YORK USA" engraving. Each version is sold exclusively in the respective country. If you're itching for the New York edition, be prepared to spend $10,695 – a mere $1500 more than the standard M11.

Updated May 1, 2025

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Panasonic S1RII
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.

While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Best camera for a less expensive resolution boost: Panasonic S1RII

44MP full-frame BSI sensor | 40fps burst shooting with pre-capture | 8K video up to 30p

The S1RII's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in. Photo: Mitchell Clark

The S1RII doesn't have the highest-resolution sensor, but for landscapes, it can make up for that with its quite capable 177MP high-resolution multi-shot mode, which can compensate for some movement and is processed in camera. It's also quite capable for everyday photography, with high burst rates and tons of video features, though it doesn't have the greatest autofocus system for routinely shooting motion and action.

Click here to read our review of the Panasonic S1RII

Click here to see the Panasonic S1RII studio scene

Want higher single-shot resolution?

While Panasonic's high-resolution multi-shot mode is arguably the best in the business, it won't give you much benefit if you're trying to shoot subjects or scenes with motion. With its 60MP full-frame sensor, the Sony a7R V can capture more detail in single-shot mode than the S1RII. Its autofocus system is also more reliable for non-landscape uses, but while it can shoot 8K, it doesn't have the rolling shutter performance or extra video tools the Panasonic offers.

Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

The compact option: Fujifilm X-T5

Photo: Richard Butler

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

Updated May 1, 2025

By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• The compact option: Sony a7CR
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested. Photo: Richard Butler

Read our EOS R5 II Review

See the EOS R5 II Studio Scene

Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.

Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality. Photo: Richard Butler

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

A cheaper option?

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video features. But while we found it to be a quite capable camera, its autofocus UI and performance are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering for the savings.

The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here. Photo: Richard Butler

Buy now:

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

Read our Sony a7CR initial review

High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV studio scene

Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

IQ above all else: Fujifilm GFX 50S II

51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II studio scene

Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

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

Photo: Yinwei Liu / Moment via Getty Images

QHYCCD, a Chinese astronomy camera company, recently announced on its Facebook page that it will no longer ship cameras to the US because of the tariffs. "This was not an easy decision for us, and we deeply regret any inconvenience it may cause. If you’re in the U.S., we encourage you to reach out to local distributors — they may still have stock available," the post says.

It may be a sign of what's to come, as the US tariffs that have been such a hot-button issue over the past month start to go into effect. Many economists predicted that the US tariffs would have a broader impact on goods coming into the United States beyond higher prices. Justin Wolfers, Professor of Economics and Public Policy at the University of Michigan, explained, "If there's equipment from highly-tariffed nations – like China – the tariffs may make them so uncompetitive that retailers drop the brand altogether rather than importing cameras they won't sell." Unfortunately, those predictions are becoming a reality.

"the tariffs may make them so uncompetitive that retailers drop the brand altogether"

The cessation of shipments is already being felt in other industries, too. For example, keyboard company Keyboardio announced in April that it would be pausing all US orders starting on April 23. That date was chosen to ensure orders would arrive in the US before the tariffs take effect on May 2. Keyboardio's post on its website details the reasoning behind this, explaining that DHL has already stopped taking packages that require formal customs clearances coming into the US. The company also cites the overall lack of clarity regarding future fees and delivery times as additional reasons for pausing orders.

Additionally, popular video game controller brand 8Bitdo originally announced on April 30 that it would no longer ship to the US. It has since walked back that statement, saying it is only pausing orders from May 1 to May 5 for Chinese Labor Day. Still, as with many aspects of these tariffs, the situation is in flux and can change on a day-by-day basis.

As with many aspects of these tariffs, the situation is in flux and can change on a day-by-day basis.

The US tariffs are also affecting more well-known brands in the camera industry. PetaPixel reported today that the DJI Osmo Pocket 3 has jumped in price to $800 and is listed as out of stock on most websites, including Amazon, B&H and DJI's own site. A DJI spokesperson told PetaPixel that "Due to local market conditions and industry environment, including trade-related policies, we may experience extended delays in restocking, and have had to adjust our pricing strategy."

It seems unlikely that major brands like Sony, Nikon and Canon will pause shipments to the US, though Canon has said that its prices will increase. It's also very feasible that smaller accessory brands will decide to pause orders to the US, just as gaming and computer accessory brands have started to do. Once stock that's already in the US runs out, that could be it for some of these products for those in the US.

Thank you to DPReview reader Fervent Astronomy for the tip about QHYCCD's announcement.

Image: Neewer

Neewer announced that its new outdoor studio flash, designed to overpower even midday sunlight and fill large softboxes, is available for pre-order. The company says the Neewer Q6 offers 600Ws output, a consistent 5700K color temperature, fast recycle times, TLL/HSS support, smartphone app control and a quartz flash tube.

The Q6 weighs 3kg (6.6 lbs) without the handle and is 195 x 185 x 170mm (7.7 x 7.3 x 6.3"), roughly the size and weight of a small dumbbell. If you've fitted your camera with a a compatible flash or wireless trigger, it can use Canon E-TTL, Nikon i-TTL, Sony TTL and Fujifilm TTL systems. It also supports Manual and Multi (Stroboscopic) modes. Neewer has equipped it with features like front/rear curtain sync, a "masking" mode that exposes the subject and background separately, making it easier to separate them while editing, burst modes for continuous shooting and timelapse capabilities from 0.01 to 30 seconds.

Main Specs:

• Color Temperature: 5700K (+/-150K)
• Full Power Flash: 400 (with modeling light off)
• Flash Duration: 1/20400s max
• Recycling Time: Approx. 0.01-0.9s
• Flash Mode: TTL/M/MULTI/BURST MODE
• Stroboscopic Flash: 1-100Hz, 1-100 times
• Flash Exposure Compensation (FEC): -3EV to 3EV, 1/3 EV increments
• Sync Mode: High-speed sync, front/rear curtain sync
• Delay Flash: 0.01-30s

Neewer promises a constant 5700K (±100K) color temperature across power levels for color accuracy, an essential element for product and commercial photography. Flash power is adjustable in 0.1-stop increments, from 1/512 all the way up to full power (1/1), giving users precise lighting control.

It features a durable quartz flash tube (rated for 300,000 flashes), two TFT color screens, color-coded groups, and an intuitive layout designed for easy control. A smartphone app allows you to adjust flash modes, tweak settings and update firmware directly from your phone.

It can also connect to Neewer's sold-separately 2.4G wireless QZ or QPRO triggers, with five groups and 32 channels for flexible multi-flash setups. This lets you control your flashes from up to 100m (328 ft.). A 3.5mm sync port adds compatibility with other triggers.

Image: Neewer

Powered by a 28.8V/3000mAh lithium battery, the Q6 can deliver up to 400 full-power flashes per charge. Fast recycling times (0.01-0.9 seconds) and freeze mode allow you to shoot high-speed subjects, such as cars or cyclists, with precision. It supports up to 1/8000s high-speed sync (HSS), ideal for dance or fashion with movement, and ultra-short flash durations from 1/209 to 1/10989 seconds.

A 30W bi-color LED modeling lamp (2700-6500K) allows for real-time previewing or serves as a continuous light for video. The Bowens mount makes it compatible with a wide range of modifiers, including reflectors, softboxes, snoots and beauty dishes.

Neewer's Q6 aims to be an asset for location shoots where consistent, natural-looking light is critical. It is available for pre-order at a special price of $499.99 (regularly $699.99). The company warns that the US price may increase soon due to tariffs. Shipping is estimated to start on May 18th.

Printing images successfully in a darkroom requires lots of skill, especially if you're printing iconic photographs for Magnum Photos, a cooperative of photographers going back to 1947. Such is the case for Pablo Inirio, a Magnum master printer. This video profile of Inirio briefly walks through his background and process in the darkroom, giving interesting insight into what a master printer does.

Inirio explains how amazing it was seeing a photograph develop for the first time. "The first time I saw an image come up in the developer, I was like, wow, this is great," he says. "You know, because it's almost like a little bit of magic in there, you know? You know it's just a chemical process and all that. But still, when you see the image comes up, it's like, wow, this is cool. From then on, I was hooked."

"it's almost like a little bit of magic in there"

Inirio started working for Magnum in 1992 after he answered an ad asking for a printer for an agency. They initially hired someone else, but they called him back two to three weeks later because the person they had hired left. Throughout his time working for Magnum, he's printed images from Bruce Gilden, Gilles Peress, Eugene Richards, Burt Glinn, Inge Morath and many more.

What stood out to me most about the video was his process walkthrough. Being a master printer means you often need to repeat a print months or years later. Because of this, Inirio says he tries to keep the process really simple and keeps notes to save himself time later. His notes take the form of outlines on a working print, labeling sections that he's dodging or burning or adding contrast filters. You can even buy reproductions of his test prints, complete with mark-ups and notations. Seeing how he looks at a photo relative to printing is fascinating, and I've found myself closely examining his notations on prints many times.

If you've never had the opportunity to step inside a darkroom, this is a neat video to watch to see what the process is like. As Inirio points out, it's not really like how movies show it, with pictures hanging up with clothespins. But it is a truly special process that, even when you've been doing it for a long time, still feels a little bit magical.

The month of May brings new opportunities to get your work seen by a large, international audience. While they sometimes get flak, photography competitions, when judged fairly and conducted with integrity, offer exposure to industry decision-makers, an opportunity to get your work published or exhibited and recognition that can elevate your career.

As we've learned, not all competitions are created equal. Some have been exposed as cash grabs at best and content farms at worst. We waded through a long list of open calls and came up with this list of eight competitions worth considering. From Pop Art to Landscape and Black & White, there is a genre for every type of photographer.

We'll lead with the free-to-enter competitions and follow with contests that require an entry fee. No matter the contest, it's essential to read the rules and terms and conditions closely. As a former judge, I can't tell you how frustrating it is to disqualify a promising submission because a watermark was left on or the photo was formatted incorrectly. Reading the requirements will at least get your foot in the door.

We wish you the best of luck if you decide to enter any of these competitions. While there is no guarantee that your work will be selected, and rejections are always discouraging, taking steps to get your work out there is always valuable. If any noteworthy contests are missing, let us know.

The CEWE Photo Award

Image: CEWE Photo Award

Deadline: May 31st

Entry Fee: Free

Website

CEWE is a leading photo printing company based in Europe. Its annual competition offers €250,000 in prizes, including vacations and photography gear. Participants can enter up to 100 photos, taken on anything from a full-frame camera to a smartphone. CEWE also donates €0.10 for every entry to the SOS Children's Villages International. There are 10 categories to enter, including Travel & Culture, Landscape, Food and Macro/Close-up.

Banff Mountain Photo Essay Competition

Image: Banff Centre for Arts and Creativity

Deadline: May 5th

Entry Fee: Free

Website

The Banff Photo Essay Competition emphasizes storytelling through a curated series of images that delve into mountain culture, natural history, adventure, wildlife, sports and the environment. Open to amateur and professional photographers, you must submit three to five images that can stand independently but also combine to create a narrative. A prize of CAD 3000 and a showcase at the Banff Centre of Mountain Film and Book Festival will be awarded to one Grand Prize Winner.

Photometria Awards Open Call, "Non Stop Pop"

Image: Photometria

Deadline: May 31st

Entry Fee: The first image is free or €5 for up to 3 photos

Website

This competition invites professional and amateur photographers to explore the influence of pop culture on modern society. Submissions will be judged by Magnum photographer Alec Soth, who is looking for compelling and original interpretations. The overall winner will receive Nikon gear and the top 25 images will be exhibited during the 17th Photometria International Festival in Ioannina, Greece.

The Motif Collective: Black and White Photography Competition & Sunrise and Sunset

Image: The Motif Collective

Black and White deadline: May 7th

Sunrise and sunset deadline: June 7th

Entry Fee: $12 to $36, depending on the number of submissions

Website

The Motif Collective currently has two contests: Black and White and Sunrise and Sunset. April's contest, which closes on May 7, focuses on the art of monochrome imagery. The May contest is dedicated to sunrises and sunsets and closes on June 7. Both are open to professionals and amateurs worldwide; participants can submit up to six images. The prize pool scales with the number of entries and can reach up to $10,000 in total cash rewards. There will also be an artist showcase gallery promoted across its social media channels.

International Garden Photographer of the Year Macro Art Photo Project

Copyright: © Zsolt Varanka

Deadline: May 6th

Entry Fee: €16 for up to 4 single images

Website

The Macro Art Photo Project from International Garden Photographer of the Year asks that photographers from all over the world capture the fine details of plants, insects and other natural forms. Only single entries are accepted as the judges aren't looking for a series of images. Winners will get international exposure through exhibitions and publications.

reFocus Awards: Black & White Photo Contest

Image: reFocus

Deadline: May 13th

Entry Fee: Anywhere from $12 to $50 for single images and series

Website

The reFocus Black & White Photo Contest is open to student, amateur and professional photographers. Individual entries or a series of two to five monochrome images can be submitted. Winners receive $4000 in cash prizes, custom-engraved trophies and features in the reFocus Artist Directory. There is also a People's Vote Award, which allows the public to select standout work.

40th AOP Photography Awards

Image: AOP Photography Awards

Deadline: May 15th

Entry Fee: Anywhere from £50 to £90 for a single image or project

Website

The Association of Photographers (AOP) deems its awards competition as the "Oscars" of the photography world. While this competition is only open to AOP members, everyone from students to assistants and professionals at any stage in their career can apply for inclusion. The 10 open categories include Documentary, Portrait, Best Moving Image and Still Life. Winners will be exhibited and featured in a book.

Nature Photographer of the Year

Image: Nature Photographer of the Year

Deadline: May 25th

Entry Fee: Free for Youth Category and £34 to £49.50

Website

NPOTY features 12 categories including Birds, Landscapes, Underwater and Natural Art. There's also a Youth category for photographers under 18 and the Fred Hazelhoff Award for Best Portfolio submission. The total prize pool is £25,000 with the overall winner receiving £3000. Winning images are displayed at the Nature Talks Photo Festival and receive international recognition in publications and exhibitions.

Do you remember last year's rumors of a new DJI Osmo 360 camera? We now have the first leaked picture (the new DJI Osmo 360 camera is in the middle):

Coming soon: new DJI Osmo 360 camera

DJI Osmo 360 camera mockup and size comparisons

The post First DJI Osmo 360 camera picture leaked online appeared first on Photo Rumors.

Images: PGYTech, SmallRig, Chimera, Epson

Another week down, another chance to check out some new accessories. This time around, we've got some massive printers, a wildly fast SD card, cages for new cameras and more. But first, as always, the deals.

Deals of the week

Image: Nikon

The Nikon Z7 II has been included in our Best Cameras for Landscapes buying guide because it provides a lot of image quality at a very reasonable price. This week, it's even cheaper, selling for $500 under MSRP.

Image: Nikon

If you're more excited by style and shooting experience, Nikon's retro-inspired Zf is also on sale for $200 off.

More mounting options

Image: Chimera

Chimera, a lightning company that prides itself on building quality modifiers that it says will be "durable and long lasting," is giving users even more mounting options. Its new Chimera Pro series light modifiers are compatible with Bowens mount rings, which many users may already have, given the widespread use of the mount by several of the biggest names in lighting.

There are several different modifiers in the Pro series, including a 30" lantern and four sizes of its "LightBank" softboxes. Pricing will depend on what option you're going with, but they're currently available to preorder at B&H and Chimera's website.

An SD card that reaches new heights

Image: Adata

SD Express has been around for a few years now, but Adata says its latest card is the first to support the SD 8.0 Express specification. That means it has write speeds of up to 1200MBps and read speeds up to 1600MBps. Adata says that's 12 times faster than standard UHS-1 cards and four times faster than what UHS-II cards are capable of. It even trades blows with some relatively high-end CFExpress cards despite being the same tiny SD form factor we're all familiar with.

Of course, the elephant in the room with SD Express is that there currently aren't any cameras that support the standard; they'll work in a standard SD card slot, but only at UHS-1 speeds, which sort of defeats the purpose. But if a camera manufacturer ever does decide to support the standard, it seems like there will be cards ready to go for it.

Currently, there's no word on pricing or availability for Adata's SD8.0 Express card, but the company says it'll come in a 512GB capacity.

Kitting out the Canon EOS R50 V...

The cage lets you attach accessories like the sold-separately handle, as well as various coldshoe-compatible add-ons. Photo: SmallRig

Canon's latest camera is the video-focused EOS R50 V, which seems like it's designed specifically to fit into a cage or a gimbal. It's no surprise, then, that SmallRig has already stepped in to make a cage for it, which adds a deeper grip and a plethora of mounting points. It also has a built-in Arca-Swiss quick-release plate, which could be a big upgrade since, by default, some larger tripod plates will block the EOS R50 V's battery/SD card compartment. If you don't need all the mounting points, SmallRig is also selling an L-shaped mounting plate that adds the grip and tripod plate but doesn't go all the way around the camera.

Image: SmallRig

Also available from SmallRig: a furry windscreen that attaches to the camera's hotshoe and covers the microphone to cut down wind noise. Thankfully, its design includes a coldshoe mount as well, so you can still mount a microphone, monitor, light or other accessory on top of your camera.

... and the Insta360 X5

Photo: PGYTech

The EOS R50 V isn't the only camera getting a cage this week. PGYTech has designed one that locks on to Insta360's latest 360 camera, the X5. The X5 is a bit of a blank slate camera, so the cage adds some attachment points for coldshoe accessories, as well as a bit of protection in the form of silicone lens covers.

Print big

Image: Epson

Recently, Epson announced two new large-format printers: the SureColor P7370 and the SureColor P9370. At 24" and 44" respectively, the printers are aimed more towards commercial use than home use, but they're also designed to be a bit less expensive than higher-end models. While the company's site doesn't currently have pricing info, PetaPixel reports that they're around $1000 cheaper than their higher-end counterparts. That's because they use a 10-ink system instead of a 12-ink one, though Epson says they're still capable of "accurate color reproduction and industry-leading print permanence."

The two models will be available in "summer 2025."

Read last week's roundup

The latest news from Leica:

The Leica D-Lux 8 camera is now $2,790 in the US (up $1,195)

The Leica D-Lux 8 camera is listed for $2,634 on Amazon

Aether x Leica Reporter Jacket: now available in “Monochrom”

New Leica M11-P Safari edition camera rumored to be announced on May 8th (€9,250)

New IDS Works accessories: M11 Lite grip & modular CL grip

DxO Mark tested the sensor of the new Pixii Max full-frame digital rangefinder camera with Leica M-mount

Review: Kipon M-M 2x Baveyes optic extender for Leica M-mount lenses

Leica M11 100 Years of Leica “NEW YORK USA” exclusive limited edition camera launch in NYC this weekend

Additional information on the new Voigtlander NOKTON 35mm f/1.2, 40mm f/1.2, and 50mm f/1.2 Aspherical lenses for Leica M-mount

Reminder: Leica price increase coming to the US tomorrow, get your gear now

The post The latest news from Leica appeared first on Photo Rumors.

The latest news from Ricoh/Pentax:

Ricoh has a new patent for an 18.3mm f/2.8 lens, most likely designed for the rumored GR IV camera

The Pentax 17 film camera won several international awards

Two Ricoh models listed in the top 20 bestselling cameras for 2024 at Map Camera Japan

The post The latest news from Ricoh/Pentax appeared first on Photo Rumors.

The latest news from Nikon:

New Nikon rebates in Canada

New Nikon rebates started in Europe

Rumors from Reddit: Nikon rep said US price increase coming in June

New recipes added to Nikon Imaging Cloud

RIP: the Nikon D6 camera is now officially discontinued

CIPA March 2025 stats

New Nikon camera model N2410 registered in China

Another CP+ interview with Nikon: “We are exploring the possibilities offered by AI to facilitate image selection”

The post The latest news from Nikon appeared first on Photo Rumors.

Tamron released their Q1 FY2025 financial results - here is the summary:

• Sales decline in photographic products (Own-brand): Continued slump in sales in the US market, and reactionary decline in China market from high growth in 1Q, 2024.
• Continuing geopolitical risks and uncertainty over the policies of the new U.S.
  administration have led to a widespread slowdown in overseas economies.
• The JPY depreciation against USD, but appreciation against EUR.
• Continuing higher material costs and rising labor costs due to inflation.
• The market for interchangeable lens cameras and interchangeable lenses grew
  in both quantity and value, driven by steady demand for mirrorless cameras.

Tamron plans to launch six new lenses in 2025 (five more new lenses in addition to the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD):

• Before 2023: approximately five new lenses per year
• Initial medium-term management plan (2024-2026): 6 to 7 new lenses a year
• New medium-term management plan (2024-2026): 10 new models a year starting from 2026

Tamron's impact of US tariffs:

Here are the details for the Tamron Photographic Products:

Source: Tamron

The post Tamron Q1 financial results: “Slump in sales” because of “risks and uncertainty over the policies of the new US administration” appeared first on Photo Rumors.

Bikers rounding the corner during a bike race in the Seattle summer. The evening provided some excellent lighting and a chance to test a camera's autofocus tracking skills. Photo: Richard Butler

The theme for our May Editors' challenge is human-powered travel.

We're looking for photos that show people propelling themselves in fun or interesting ways. That could be walking, hiking, skateboarding, biking, roller-blading or even more exotic means of transportation, as long as they're not motorized. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time.

You can submit photos to the competition starting Sunday, May 11th. The last day for entry will be Saturday, May 17th (GMT).

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

Walk, run, pedal or paddle to the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see the rules

Photo: Abby Ferguson

Interchangeable lens cameras, or cameras that let you swap out lenses, can unlock a lot of opportunities and new creative control for your photography. That's because different focal lengths (offering different fields of view) result in unique views of a scene, allowing you to create dramatically different images based on which lens you select. However, choosing a lens for a given situation can be overwhelming when you're starting out. Below, you'll find some of the more common lens types in terms of focal length and the situations photographers typically use them for to help you identify which may be best for you.

Before jumping in, it's important to note that a lens’s angle of view (its view of the world) changes depending on the camera’s sensor size. A holdover from the film era is that the angle of view provided by a focal length on a 135/full-frame camera tends to be used as the reference point. As a result, it's common to discuss equivalent focal lengths, i.e., the full-frame lens that would give the same view of the world as the one you're actually using. For example, a 50mm lens on a full-frame camera gives a normal view, but on an APS-C camera it offers a more zoomed-in view, equivalent to the one a 75mm lens would give on full-frame. In this article, when we talk about the effect of a specific focal length, we're referring to its impact on a full-frame camera, and by extension, the effect a lens with an equivalent focal length would have on other systems.

Normal lenses

A normal lens is a popular choice for many situations, including some styles of portrait. Photo: Richard Butler

Normal lenses, or lenses with a focal length between 40 and 55mm, have a name that hints at their function. These lenses produce a natural-looking view of the world. As a result, they are often seen as one of the more versatile focal lengths, ideal for portraits, travel, still life and more. It's a fantastic focal length for beginners, but it's also a lens that most photographers, even seasoned pros, like to have in their kit.

Many beginner cameras come with a lens, called a kit lens, which covers the normal range and a little bit on either side. While kit lenses are a good starting point, that range makes them fairly limiting as you expand your skills and creativity. As a result, you may find yourself wanting to invest in something else that provides focal lengths outside of the typical kit range.

Wide-angle lenses

This image was taken with a 16mm lens, providing a sweeping view of the Palace of Versailles. Photo: Mitchell Clark

As the name suggests, wide-angle lenses provide a wide view of the world, described as a wide angle of view. These lenses have focal lengths of less than 43mm, though once they get shorter than 22mm, they are referred to as ultra-wide-angle. Put simply, the lower the number, the wider the angle of view.

Because of their broad coverage, wide-angle (and ultra-wide-angle) lenses are ideal for capturing a large portion of a scene at once. They are a go-to for landscape photographers who want to capture sweeping landscapes. They are also essential for real estate photographers looking to capture an entire room. Finally, wide-angle lenses are standard in wedding or event photographer kits, as they make it possible to capture large groups.

Telephoto lenses

A 150mm focal length provides a tight view. Photo: Mitchell Clark

Lastly, telephoto lenses offer a narrower angle of view. By focusing optically on a small arc of the scene and expanding it to fill your photo, a telephoto lens effectively zooms in. These lenses have focal lengths greater than 70mm, with anything over 300mm considered a super telephoto lens. The higher the number, the narrower the field of view and the greater "zoom" power a lens has.

Because telephoto lenses make subjects appear closer than they actually are, they are a must for wildlife and sport photographers. That way, they can stay on the sidelines or at a safe distance from wildlife while still producing a strong photograph of the subject. They also allow you to isolate your subject more easily, which is why moderate telephoto lenses (like the 85mm) are a go-to option for portrait photographers.

Final thoughts on selecting a lens

Deciphering focal length and its impacts can be complicated, and there's more to it than what's covered here (such as magnification, distortion, depth of field and equivalent focal lengths). However, this should give you a good starting point as you think about what you need in your kit. You can get more detailed information on choosing a lens in our buying guide.

The FCC filing for the upcoming DJI Osmo 360 camera leaked online - here are some of the pictures:

First DJI Osmo 360 camera picture leaked online

Coming soon: new DJI Osmo 360 camera

DJI Osmo 360 camera mockup and size comparisons

Via hakasushi

The post More DJI Osmo 360 camera leaks appeared first on Photo Rumors.

SG-Image announced a new 35mm f/1.2 APS-C lens for E/Z/FX/MFT/M/R/L mount. The new lens can be purchased from eBay. SG-Image lenses are also sold at AliExpress and Amazon Japan.

Additional information:

The post New SG-Image 35mm f/1.2 APS-C lens (E/Z/FX/MFT/M/R/L mount) appeared first on Photo Rumors.

Here is a list of some of the upcoming/rumored cameras and lenses:

Cameras

• Canon retro camera
• Canon EOS R6 Mark III camera
• Hasselblad X2DII camera
• Leica M11-V | Leica M11-p Safari
• Ricoh GR IV | Ricoh GR Mono
• Pentax K-3 III replacement
• Panasonic fixed-lens camera | Lumix L-mount full-frame camera
• Fujifilm X half-frame | Fujifilm GFX Eterna | Fujifilm X-E5
• Yashica City 300 | Yashica FX-D
• DJI Osmo 360 camera | DJI Mavic 4 drone
• OM SYSTEM PEN camera
• Sigma Foveon X3
• At least two new Sony cameras (one will be for video)
• Nikon Z9II | Nikon Z full frane compact video camera

Lenses

• Sigma 200mm f/2 lens
• Fujinon XF 23mm pancake lens | Fujinon GF 32-90mm f/3.5
• 7Artisans AF 24mm f/1.8 lens | 7Artisans 85mm lens for L-mount
• Thypoch 21mm f/1.4 lens
• Viltrox AF 50mm f/1.4 Pro
• Light Lens Lab 50mm f/1.5 Z21 lens
• OM SYSTEM 50-200mm Pro lens
• Zyhongyi Optics 55mm f/2.8 1-5x super macro lens
• Three new Schneider Kreuznach × LK Samyang lenses
• Five new Petzval lenses

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Tamron recently built a second factory in Vietnam. Photo: Tamron

Quarterly financial results for brands are trickling out, and a common theme so far is the impact of the US tariffs on production and pricing. Last week, Canon publicly discussed that it would be raising prices, likely only in the US, because of the tariffs. Now, Tamron has released its Q1 financial results, with the release detailing changes to production in response to the tariffs.

While Tamron's materials for its Q1 financial results don't share as much as Canon's, they do provide some insight into what the brand is doing in response to the US tariffs that went into effect at the beginning of April. In the materials, Tamron calls out that it is looking to "strengthen the global tripolar (Japan, China, Vietnam) production system." As part of that, the company began production at its new factory in Vietnam in February, citing "geopolitical risks, along with rising tariffs on Chinese imports" as reasons for building the second factory in the country.

Production at its second Vietnam factory began in February this year. Photo: Tamron

According to Tamron's financials, it currently produces approximately 25% of its products in Vietnam, 65% in China and 10% in Japan. However, it is aiming to adjust that by 2028, reducing the amount produced in China to 45% while increasing the amount produced in Vietnam to 45%. Additionally, Tamron says it will reduce its parts procurement from China to 20% this year, down 10% from the current amount.

Tamron didn't specify any plans for shifting production specifically for its Photographic Products category. However, roughly 15% of that segment is produced in China, with approximately 60% coming from Vietnam and 25% from Japan. That could be good news for US consumers, since most of its lenses come from countries with lower tariffs for US imports than China. However, it isn't clear how many parts for those lenses come from China.

Tamron thinks that further cost reductions could help absorb the impact of tariffs

Even with the uncertainty surrounding the tariffs, Tamron hasn't changed its initial forecast for the year in light of its progress in Q1, saying that it exceeded its plan. That's despite a slump in sales in the US market as well as a "reactionary decline in China market," since it says gross profit increased as a result of "cost reductions and productivity improvements." Tamron thinks that further cost reductions could help absorb the impact of tariffs, but added that the tariff situation is fluid and it will "consider possible measures to minimize the impact." It didn't specify if some of those measures could mean increased prices in the US.

Tamron added, "From the 2nd quarter, uncertainty and economic slowdown are expected to increase further due to the expanding impact of US tariffs, rekindling of trade friction, and the continuing weakening of the USD and strengthening of the JPY." The US tariff situation continues to be a constantly evolving situation, so only time will tell what the actual impact will be.

The company has already announced one lens this year – the 18-300mm F3.5-6.3 Di III-A VC VXD lens to RF mount and Z mount – and says five more are coming. Image: Tamron

The financial results presentation also contained some more exciting news: Tamron plans to release six new models in 2025, up from the company's typical five lenses per year. That includes the already announced Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD, which is Tamron's seventh model for Nikon Z-mount and the second model for Canon RF mount. Even better, it says that it will have 10 new models (including variants for different mounts) per year starting in 2026.