For this challenge, we asked you to share your best black and white photography. We received entries ranging from fine art to candid portraits and everything in between. As usual, DPReview readers didn't disappoint, submitting stunning images that demonstrate the raw power of monochrome.
As always, we received many more great photos than we can feature here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.
Photographer's statement: I took this photograph on Lena Point, in Juneau, Alaska, back in 2012. This is in the panhandle, a rainforest, on a bluff overlooking the channel. I used a tripod and pointed the camera straight down, and used manual focus. I was quite happy that all three blossoms were in focus. We have a great print of this hanging in our bedroom.
Equipment: Olympus E-5 + Olympus Zuiko Digital ED 12-60mm 1:2.8-4.0 SWD
Photographer's statement: Three cape buffalo at the Night Hide at Zimanga private game reserve in South Africa. There is subtle flood lighting, and the last light from the sun is visible through the clouds. Guests usually have one session in the Night Hide. For that session, they are taken to the hide in the late afternoon and picked up the next morning. There are four bunk beds, and guests take turns to nap. On this night, we saw all the big five (elephant, lion, rhino, leopard and buffalo), but the rhino and leopard seemed to know we were there and did not come to the waterhole. This was the best image that I got.
Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro
Photographer's statement: We took my beloved Joy to one of the family farms for her first upland bird hunt as an 11-week-old puppy. She spotted a bunch of birds about 300 yards away in the cut corn. Rather than carefully stalk them in an effort to get them to hold for a point, she charged them at full tilt.
When they all flushed, she then proceeded to chase them and bark them into the next county. She came prancing back to me and Chase, my older, experienced Brittany, proud as puppy punch and ready for great praise for her "achievement." Instead, poor Joy got a lecture from both Chase and me to the effect that "You are supposed to be a pointing dog, not a chasing dog!" Joy's chagrined expression, looking at Chase, says it all.
Photographer's statement: I was hoping to catch one of those Terns diving for minnows at the foot bridge in Bolsa Chica Wetlands when this bird with a catch in its beak flew right in front of me, no more than 10 feet away. I was lucky to have pre-set up my camera, and I instinctively just pointed and squeezed the shutter release, and four frames later, it was gone.
Photographer's statement: While walking in Dublin to do some street photography, I spotted this guy and immediately decided to photograph him. It took only seconds when the right opportunity appeared, and I was able to capture him in a split second while he was perfectly framed by other pedestrians. This shot inspired me to shoot street for many years afterwards.
Photographer's statement: On a trip to the Oregon Coast, we found this rock channel at sunset. Timing the wave motion, matching the shutter speed to the water speed and maintaining an awareness for an abnormally high wave was a good challenge. While I concentrated on capturing the image, my wife let me know when a large incoming wave indicated that a retreat would be advisable. Out of roughly 40 images captured, this was the best.
Equipment: Nikon Z7 II + Nikon Nikkor Z 14-24mm F2.8 S
Photographer's statement: I was walking around a local lake. At the end of the lake, there is a dam to regulate the water level. There I found the boat that had taken a trip down the waterfall. I made several photos I was pleased with, and this one was the best in black and white.
Equipment: Olympus OM-D E-M10 II + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro
Photographer's statement: Killing time at Musée des Beaux Arts de Québec, I was impressed by the architecture of those stairs, so I spent more time taking pictures around the stairs than inside the expo halls.
Equipment: Olympus OM-D E-M10 III + Panasonic Lumix G Vario 12-60mm F3.5-5.6 ASPH Power OIS
Photographer's statement: On a clear January day in 2020, I was stunned and humbled by the stark lines of the Flight 93 Memorial. I cannot remember a federal structure ever having such an effect on me.
Photographer's statement: I call this photo "Tides of Silence." It explores the desert not as landscape, but as rhythm and breath. I'm drawn to dunes as sculptural forms shaped by wind and time, where light glides across curves and settles into deep, quiet shadow. My approach to the dunes is restrained, emphasizing soft, luminous crests balanced against rich, matte darkness, allowing shadow to carry as much meaning as light. I find the dunes move like waves held in suspension, inviting contemplation rather than spectacle.
This image was taken with a medium-format digital camera and processed in black and white with a focus on tonal control, selective dodging and burning, and careful management of midtones and shadow depth. The final image emphasizes a matte black point, soft highlight rolloff, and restrained micro-contrast to preserve texture and achieve a quiet, sculptural quality.
Photographer's statement: Panganales, Madagascar. When I engaged the two girls with my camera, one of them immediately posed as a seasoned photo model. The other girl played the maybe game, rolling eyes sidewise, and unveiling a banknote in her hand. I convinced her with a smile. The black-and-white rendition much enhances the expressivity of the initial color frame.
Photographer's statement: Iconic view of one of the towers of the Manhattan Bridge framed by surrounding buildings, as seen from Washington Street in Brooklyn. The bridge, one of three classic bridges connecting Brooklyn and Manhattan, which opened in 1909, has attracted onlookers and photographers for over 100 years. The Empire State Building, built in the early 1930s, ended up being framed on the east side of the Manhattan Bridge's arched footings, as only seen from Washington Street.
Photographer's statement: The day after a heavy snowstorm last year was very warm, creating fog in our backyard. This lone tree on the other side of the creek stood out of the fog. I grabbed my camera and walked through the deep snow to frame this shot.
Photographer's statement: I took this photo in a classroom. When I was teaching low-key photography. A single ray of light and a spiritual feeling emerged from this scene in the camera. I loved it myself.
Equipment: Canon EOS 6D + Canon EF 24-105mm f/4L IS USM
Photographer's statement: A sand Dune in Death Valley, California, taken with a custom-made panoramic view camera. Shot using 120mm color transparency film and converted in Photoshop to a black and white image.
Photographer's statement: This photo was taken in Fez, Morocco. We arrived in the late afternoon, and while most of our group headed towards the market, my wife and I walked in the opposite direction and stumbled upon this gathering at a distance. With the sun coming from a somewhat backlit angle and the atmospheric haze, a memorable scene was created, especially with the graduated tones in the background.
Equipment: Canon EOS R5 + Canon RF 24-240mm F4-6.3 IS USM
Photographer's statement: Saying that Tokyo gets warm in the summer is an understatement. Even large buildings get torn down and rebuilt quite frequently, so that coming back to the same place a few years apart often results in very different sights. This one was taken last summer, at the Harajuku Junction, across from the Tokyu Omotesando mall, at what would shortly be the Dior Tokyo Jingumae store.
Equipment: Nikon Z8 + Tamron 28-75mm F2.8 Di III VXD G2
Photographer's statement: Musee d'Orsay was formerly a railway station, and its large clock here allowed light to flood in. The contrasting silhouettes and the clear passing of time motif made for a fun composition.
Equipment: Fujifilm X-T2 + Fujifilm XF 23mm F2 R WR
Photographer's statement: On a cold July morning, the waters of the Iguazu River were fast-flowing and strong. I set up my tripod as close as I could to the falls, having to dry the lens frequently.
Equipment: Nikon D60 + Sigma 10-20mm F4-5.6 EX DC HSM
Photographer's statement: The surging regenerative power of biology! Seed pod collected in autumn, brought indoors, allowed to dry out, and ready to burst by January. Photographed in a studio with one light.
Equipment: Canon EOS 5D Mark II + Canon EF 24-105mm f/4L IS USM
By now, you may have seen our articles calling 2025 one of the most interesting years in recent history when it comes to camera releases and new lenses. We got the DPReview editorial team together to discuss why that might be, and to go a bit more in-depth on what made some of last year's most out-there releases so interesting.
Heads up: this article is the second part of our wish list and predictions article for 2026. If you missed the first part, you can read it here (preferably before continuing this one; the outro will seem completely out of the blue if you haven't read the intro).
The original EOS R7 was released in mid-2022, so it's probably about due for a refresh, possibly with a faster sensor and improved ergonomics. Whether we actually get one or not will likely be a bellwether for how much faith Canon has in the future of APS-C; at the moment, it has a very complete lineup of cameras, but seems to have left pretty much all the work on lenses to third parties like Sigma and Tamron (a tale as old as time). If the EOS R7 II comes out as a strong offering, it'll be a good sign for the future of Canon's mirrorless APS-C cameras.
We also wouldn't be surprised if Canon made a run at mirrorless tilt-shift lenses this year, given that they championed them in the DSLR era, and that the rest of their lens lineup is looking relatively complete. We also expect to see at least a few refreshes of the earlier lenses for RF mount if Canon feels like they could do them better, like Nikon and Sony have done with their second-gen 24-70 F2.8s.
Finally, Nikon's very good Z5 II has made Canon's entry-level EOS R8 seem a little off the pace, so we wouldn't mind seeing a refreshed version. If Canon really wanted to go for gold, it could use the sensor from the EOS R6 III, but realistically, updating the body to have a better battery, better controls and stabilization would probably be enough to get back in the race.
Canon - What we'd like to see
Most of the major manufacturers have told us they've seen demand for compact cameras, but so far, no one has actually released a new, photo-focused option. We'd love to see the sensor from the PowerShot V1 make its way into a body with controls better-suited to photography, but given that Canon somewhat recently told us that it's working on ramping up PowerShot G7X III production, we're not sure how likely that is. Maybe enthusiasts just aren't the audience companies are aiming for with their compacts.
If Canon is going to continue the EOS R3 line, this would be the year we'd expect to see a follow-up, but we doubt that'll happen. The original came out when Canon wanted to give pros a mirrorless option without undercutting its recently-released EOS 1DX III, but now that the EOS R1 is out, it's hard to imagine what an EOS R3 II could do to differentiate itself from the full-fat pro body.
We mentioned Canon's lens lineup looking relatively complete, but the one offering it's missing is a fast, ultra-wide prime for astrophotography, which we (and by "we," we mean Dale Baskin) wouldn't mind seeing.
We'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework for firmware updates
And if we're really stretching, we'd like to see Canon copy Nikon, Panasonic, and Fujifilm's homework by bringing improvements made in newer cameras to its older models via firmware updates. We strongly suspect the EOS R5 II could handle running the EOS R6 III's live white balance picker, and that it's possible to let you map pre-burst capture to a button on the EOS R1.
Ricoh / Pentax - What we expect to see
Given that they've already been announced, it's not a bold prediction to say that we expect to see the Monochrome and HDF versions of the Ricoh GR IV this year, but we are looking forward to them.
As for Pentax, we feel that if we don't see a new film camera or DSLR from them this year, it'll be a pretty clear signal – intentional or otherwise – that they're no longer participating in the camera market. When we interviewed them in early 2025, the company said it would "carefully research the market and then listen to [its] users and DSLR fans," and then draw a business roadmap. That would imply there wasn't one before, making it hard to believe that we'll see a new camera with a Pentax badge on it this year.
Ricoh / Pentax - What we'd like to see
We'd love to see a Ricoh GR IVx with a 40mm equiv. lens, but it may be a bit too soon after the release of the IV for that, yet.
If our dreams came true, we'd also get a new film camera from Pentax, perhaps a full frame follow-up to the Pentax 17. It's hard to tell how likely that is – it's our understanding that camera's development was driven by an engineer who's now left the company – so unless the Pentax 17 sold really well, there may not be much motivation left to continue that work.
OM System - What we expect to see
The camera that stands out most in OM System's lineup is the budget-friendly OM-D E-M10 Mark IV, as it still has Olympus' nameplate and branding. While the company could theoretically give it the OM-5 treatment, updating the branding and adding USB-C and the new menus, we don't necessarily think it's likely. OM System has made it clear that it's doubling down on the adventure and nature crowd, rather than mass market consumers, and it's hard to tell whether it could make a theoretical OM-10 live up to that reputation while still keeping it at a reasonable price.
With that said, OM System has shown it's capable of surprising us. Shortly after we released our article last year, saying that we didn't expect much from them, the OM-3 arrived at our desks, clearly signaling that there's still something left in the tank there... or that they have great products that they keep waiting in the wings just to prove us wrong. If that's what it takes to get another good Micro Four Thirds camera, though, we'll take it.
OM System - What we'd like to see
When we interviewed OM System executives at CP+ in 2025, there was a lot of talk about a new Pen, continuing the line of cameras focused on "ultimate beauty and the ultimate craftsmanship." While so many manufacturers have told us that most people simply don't buy rangefinder-shaped cameras, we think OM System's ethos of travel and compactness would really work well with the concept. We're imagining an X100 rival with the OM-1/3's sensor, and while it almost certainly wouldn't come cheap, it could be a very interesting option in a market starved for truly tiny cameras.
Nikon - What we expect
Nikon is one of the few brands where I think you can make some confident predictions about what might arrive this coming year. The Z9 is a little over four years old, which is a typical lifespan for one of its flagship cameras. In addition, we've seen Nikon move towards introducing the Content Credentials image authentication system, and the current Z9 lacks the hardware to deliver it. It's impossible to know whether a replacement would use the same sensor (perhaps as a Z9S) or if there's some excellent next-gen sensor waiting in the wings to form a more substantial upgrade. We'll have to wait and see.
The other model that seems likely is a ZfcII, bringing the Z50II's improved AF and processor into the company's Instagram-friendly retro body. Of course, it could turn out that most of the demand for a classically-styled camera was from the established, enthusiast audience, rather than the younger, more social media-focused crowd that the original Zfc was aimed at, in which case perhaps the bigger Zf already plugs the gap, but we think there's room for both.
Nikon - What we'd like to see
The other model that looks due for replacement, if the sales figures justify it, is the Z30. To us, it seems like an opportunity to brand it as the ZRc and borrow some of the buzz the ZR has created. We'd expect it to still be a little more vlogging-centric than the ZR and, if we had to choose, we'd probably prefer to see a newer sensor (in both this and the hypothetical ZfcII) rather than 32-bit float audio and Raw capture, but let's see what happens.
Finally, in light of the release of the DX Nikkor 16-50mm F2.8, we'd still love to see a spiritual successor to the D500. Modern AF, a fast sensor and a decent buffer, perhaps in a recycled Z6 body, would be a lovely thing. A big battery and image stabilization would be the cherry on the cake. We're not holding our breath, though.
We'd also like to signal to the Universe (and Nikon's product planning department) that a Z-mount version of the 300mm F4 PF would be excellent, so long as there are no awkward interactions with on-sensor PDAF. And, even though it looks really unlikely, at this point, we feel we should hold out a little hope for an updated Z7 model, even if it's not clear how it'd fit in the lineup.
Tamron - What we expect to see
Image: Tamron
Given that Tamron's bread and butter is lenses that are slightly off the beaten path, it's not particularly easy to guess what its next move will be. This year, we saw it complete its "trinity" of G2 F2.8 zooms, which leaves us thinking that it will revisit some of its more obscure existing lenses to improve their optics and potentially tweak their focal ranges.
Tamron - What we'd like to see
Image: Tamron
While the market for primes is tipping towards saturation, it's hard not to wish that Tamron would play a more significant role in it. The company has a few offerings, like its 90mm macro, but perhaps it could take the same "find a niche and fill it" approach that it does with its zooms.
Tech - What we might see
We have a longer article going into the tech that shaped 2025, and we suspect the trends we discussed in it will continue to have an impact in 2026. If we had to bet which one will make the biggest splash, it'd be partially stacked sensors that increase readout speeds without the negative impact on dynamic range in stills that we initially thought they might come with.
While we're interested in seeing whether a higher resolution full frame option that uses the tech will appear, we're perhaps more excited about its application to other sensor sizes. If OM System and Panasonic had access to a Micro Four Thirds sensor that was fast, but not as expensive as the stacked model from the OM-1 and OM-3, or if Fujifilm had a 100MP medium format sensor that read out as quickly as previous-gen full frame ones, it could open the gates for some very interesting cameras.
We'll also be keeping a close eye on whether any manufacturers follow Sigma and Hasselblad's lead in adopting UltraHDR JPEGs. Unlike the HDR output options available in most cameras today, the format allows for more dazzling images straight out of camera, without giving up standard JPEG's broad software compatibility or harming the viewing experience on a standard DR display.
Summary
So those are our best guesses and biggest hopes on what's in store for the coming year. If our exercise in grading our 2025 predictions is anything to go by, we wouldn't recommend taking any of it to the bank. As always, the point has mostly been a bit of fun... and if we can inspire any product managers to subtly bend upcoming releases to our whims, so much the better.
Of course, we're just humans and aren't attuned to every data point and hidden trend that may be out there, lurking in plain sight. Maybe we should check in on the AI to see if it's churned out any bright ideas...
Oh. It's just told us that Canon is going to make a retro-styled model with a wind-on lever that shoots Ultra HDR JPEG in the vertical format and will only capture video in open gate. We're pretty sure it's just as thoroughly confused by recent trends in the industry as we are and is hallucinating, but after last year...
One of Abby's resolutions is to revive an old series focused on photographing artists while they work. This image was from one of those sessions. Photo: Abby Ferguson
Happy New Year, DPReview community! For many, the start of a new year is a time to set goals (or refresh old ones), from big, bold resolutions to smaller incremental changes. So, as we kick off 2026, the DPReview team is taking time to reflect on how we did with last year's resolutions, along with what we want to accomplish this coming year.
Dale
The video clip above is some b-roll for a documentary film I started shooting several years ago in and around Iquitos, Peru. One of my resolutions for 2026 is to finish the film, despite missing some key assets. (I originally shared this clip in an article about a DJI gimbal, which explains the lower thirds title.) Video: Dale Baskin
I'm pleasantly surprised by my 2025 results. I pledged to give away gear to beginners, use my phone more as a camera, and print more photos. As the great philosopher Meat Loaf opined, "Two out of three ain't bad." (I didn't quite get to the printing)
For 2026, I simply want to take more photos. After a year focused on behind-the-scenes infrastructure projects, I'm chomping at the bit to get back into the field. Beyond that, I have three resolutions:
First, I need to return some sanity to my digital assets. I'm currently failing my own "digital shoebox" challenge, and the clutter is catching up with me. Second, I plan to use a wider variety of photo processing software. Adobe products do a great job for me, but I want to broaden my horizons. I recently started using DxO Photolab for a couple of projects, and I'm really enjoying the change of pace.
Finally, I plan to finish a documentary film project I started years ago in the Peruvian Amazon. I'm still missing some key assets I wanted to include, but like all filmmakers, I've reached the point where I just need to make it work and get it out there!
Mitchell
I'm happy I got this portrait, but it would've been nice to use a flash (and ND) to make the lighting a little more dramatic.
Fujifilm X-E5 | Fujifilm XF 33mm F1.4 | F1.4 | 1/1000 sec | ISO 160 Photo: Mitchell Clark
As is often the case with resolutions, my report card for this year is a bit shaky. I absolutely took more portraits, and think my sample galleries have been more well-rounded for it. However, I took about as many pictures with my phone this year as I did last year, and I'm not sure if I picked up a flash even once.
So, as is tradition, my resolution this year is to actually do what I said I would last year, and start practicing flash photography. But as CGP Grey once said, wishing on a star that you were better than you are is a bad strategy for improvement. Thankfully, I have some help in the form of Godox's new iT32 flash, which can easily and, more importantly, cheaply, be adapted to any camera system, which eliminates the main barrier that I had to actually using flashes. (Look, it's hard when you're a camera reviewer who's constantly changing which brand you're shooting with.) Once I get my hands on one, I'll have a great excuse to actually start using flash.
And because I'd feel bad just re-using one of my resolutions from last year, I'll also say that I spent far less time outside than I wanted to in 2025, with or without a camera. So my goal for 2026 is to get out more often to climb, hike, camp and, yes, shoot some landscapes.
Mathew
Photo: Mathew Anderson
I joined DPReview in mid-2025 with the directive to revitalize the community by first helping to update the forum system. We accomplished a key forum migration milestone just a few weeks ago (although style and other improvements are still to be made), but it took up so much of my time that I didn't have a chance to share many of my actual photo-taking experiences.
2026 is going to be the year when I am much more involved in sharing my digital photography experiences with you all! I hope you will ask many questions, show curiosity about the scenes, and hopefully teach me a thing or two about what it takes to become a veteran digital photographer. I am looking forward to it!
Abby
I'd like to take more portraits in general in 2025, but especially ones of artists in their element. Photo: Abby Ferguson
Last year was a bit of an oddity for me, as I didn't set any resolutions for myself as I normally do. I started working here at DPReview right after the new year, so getting my feet under me at the new job was my primary focus at the time. Leading up to 2026, though, I've been thinking about resolutions a fair amount. The past handful of years, but especially 2025, were challenging photography-wise. I'm not going to be so bold as to say I will magically solve my photography dilemma, but there are still some things I'd like to work towards in 2026 that I've been missing lately.
One of my resolutions is to apply to more shows this year. I'd love to get my photography in front of more people beyond just social media and DPReview, and the only way that will happen is if I put in the effort. So, I'll be keeping an eye open for calls for work and putting my photographs out there to the applicable ones.
I am also setting the goal of reviving a project I worked on when I lived in Hawai'i, but put on hold when I moved a few years ago. That series was dedicated to photographing artists in their studios, documenting the details of their workspaces and also the process behind their art. Starting that project back up would allow me to take more candid portraits again, something I've been missing lately. Plus, it was a fun project that introduced me to some wonderful people, and I'd love to make time for it once again.
Our (not so) trusty crystal ball, soon to be obsoleted by 2025's most bubbly tech. Image: Dina Belenko Photography via Getty Images
When we set out to make predictions for the year ahead this time last year, we discovered that our crystal ball wasn't working. And unfortunately, despite several attempts to recalibrate it, we still haven't managed to get it working.
Instead, we decided to get with 2025's hottest trend* and train an AI model to do our predicting for us. After all, we figured, we have probably the most comprehensive camera database in the world that we can use as a dataset.
Turns out 2026 will still be hard to predict. Most of the major camera makers have updated their core lineups such that, with a few exceptions, it's not obvious which of the remaining models are going to receive updates and which have already been quietly abandoned.
Camera makers seem to be trying all sorts of novel ideas in an attempt to attract new audiences, and the more data we gave our AI model about 2025's cameras, the madder its suggestions became. So, like the rest of the content on DPReview, we're going to have to make do without the help of machine learning or large language models and rely on a group of camera enthusiasts making semi-informed guesses.
As always, this article does not include any information from manufacturers nor any speculation from rumor sites.
*By which we're referring to the cooling costs of all these AI tools that none of us asked for and which have definitely made the internet better.
Sony - What we expect to see
The cameras under the a6700 in Sony's APS-C lineup are looking very long in the tooth now, and it seems possible we could see an update to them. As for whether we'll get another camera like the a6100, which is aimed at as broad an audience as possible with an ultra-affordable price tag to match, though, it's hard to tell. It's possible that going after vloggers is more profitable than courting beginner photographers nowadays, so we wouldn't be shocked if we instead see a more entry-level APS-C ZV camera.
It also feels like we're about due for the a7R VI, though it'll be interesting to see which way Sony takes it. We could see arguments for either speeding up its current 61MP sensor with partially stacked readout tech, and gaining improved dynamic range performance in the process, or going even higher resolution. It's always possible that Sony could do both, but perhaps we ask for too much.
If we had to place bets, our money's on an FX3 II coming out before we see another a7S, perhaps with the tilting EVF and mechanical shutter like the recently announced FX2. Sony launched the FX3 shortly after the a7S III, which was probably a bit disappointing to early adopters who likely would've been better served by the more cinema-focused body. We'd like to think Sony wouldn't make that mistake twice.
Sony - What we'd like to see
You all knew this one was coming: we really wish Sony would make a new RX100. If we're really picky, we'd also ask that it have the 24-70mm equiv. F1.8-2.8 lens from the Mark V, and a sensor that didn't make it cost $1200 ... wait, are you serious? Sheesh. Okay, make that $1700, as the current VII does. At this point, though, we'd just be happy to see a new compact from Sony that has any signs of modernity, like USB-C instead of microUSB, and tolerable menus.
Sigma - What we expect
We think the only thing that's easy to predict from Sigma is updated firmware for the BF, mainly because we were told it was a project that would continue to develop once it was out in the wild. Beyond that, I don't think it's possible to second-guess what the company might do next.
We'd love to see aperture or control rings and weather sealing added to refreshed versions of the DC DN primes, and their appearance on this year's 12mm F1.4 DC and 17-40mm F1.8 DC gives us some hope in that regard. Sadly, given the status updates that have been given, we aren't predicting that the promised full-frame Foveon camera will arrive in 2026, but we want to believe it's still possible, so we don't want to relegate it to the wishful-thinking list.
Sigma - What we'd like to see
In terms of a wishlist, we'd love to see the downsizing approach Sigma took with the 35mm F1.2 II applied as broadly as possible (we're going to assume it's easier said than done). And, because Richard was involved in the discussions leading to this article, we're going to say yet again that we'd love to see a modern version of the 50-150mm II EX DC HSM: because 70-200mm equivalents for APS-C can be a brilliant thing if they're usefully smaller, lighter and less expensive than camera maker's 70-200mm F2.8 lenses, and Sigma has a proven record of delivering on those fronts.
Fujifilm - What we expect
Surely it's time for a new X-Pro? Fujifilm has made clear that it intends to make one, so 2026 must surely be the year. As perhaps the most photo-focused camera in the lineup, it needn't necessarily wait for a fancy new sensor, though building a flagship model around a sensor or processor that then gets superseded too soon would risk taking the shine off the experience for owners.
Beyond that, the oldest cameras in Fujifilm's lineup are the X-H2 and X-H2S twins. Could a sensor with faster readout (a partially stacked variant of the 40MP chip, perhaps?) allow the two lines to converge again, offering a single hybrid model that excels at both stills and video, rather than forcing buyers to pick which is more important to them?
Fujifilm - What we'd like to see
2025 was a quiet year in terms of lens launches for Fujifilm, so we'd expect to see some action on that front. Both its X and GF lens ranges are looking complete enough that it's hard to point to any obvious gaps that still need filling, so we're into the realms of what we'd like to see replaced or upgraded.
An updated version of the 50-140mm F2.8 with any excess of the downsizing pixie dust used on the 16-50mm F2.8 II sprinkled in its direction would be nice. There are also a couple of primes that might benefit from a refresh and the application of the latest focus motor know-how, but everyone seems to have a different opinion about where this should start.
Leica - What we expect
The most confident prediction we can make is that we'll see a variety of special edition models from Leica this year. We haven't a clue which brands the German perfectionists will choose to gang up with (and wouldn't rule out having to go straight to Wikipedia to work out who they are, once announced), but there'll definitely be some.
We also think it might be time for an M12. We've seen just about every possible variation of the M11, including one that isn't even a rangefinder, so the time is surely getting close. If nothing else, the company's pioneering commitment to the Content Credentials concept suggests it's time for the principal M model to gain the requisite hardware. But, as with so many of our guesses predictions, it depends a lot on whether someone has anything better than the current 61MP sensor about to take to the stage. That is likely to be the catalyst for much of what does or doesn't happen in 2026.
Leica - What we'd like to see
Leica operates in such rarefied fields and such obscure niches, it's hard to even know what to wish for (other than the lottery win that should probably happen before any of us try to get too committed). Perhaps we'll see Leica become the next company to adopt a true HDR workflow, with a bright monitor and default use of an HDR delivery format. The company's creation of mono variants of some of its cameras suggests it's comfortable playing to specialized niches, but there's a difference between embracing a style of photography with a long and storied history, versus leaping into a technology that is inherently near-incompatible with prints.
Whatever else, we'd love a Q3 43 Mono.
Panasonic - What we expect to see
Given how well the S1II's sensor performs for video, it feels inevitable that Panasonic will release some sort of video camera based around it. That could take the form of a Nikon ZR or Sony ZV-E1 competitor, focused on vlogging and ease of use, or it could be something more akin to the Canon EOS C50 or Sony FX3, with a cinema-style body that has even more cooling and is covered in attachment points.
Beyond that, it's hard to predict what Panasonic might do next, given that it just updated pretty much all of its high-end, full frame cameras. It still seems a bit early to expect an update to the S5 series... if indeed the company plans on continuing that line at all, instead of replacing it with the S1IIE. Panasonic is another one where the only thing we really expect is the unexpected, be that a new camera or a feature-packed firmware update.
Panasonic - What we'd like to see
We said it last year, and we'll say it again: we'd love to see a new enthusiast compact from Panasonic, potentially as a continuation of the LX100 series. Though, like with Canon and Sony, it seems like companies have a lot of momentum in just letting the compact market ride.
Similarly, we'd also be excited if Panasonic were to come out with a new GM or GX camera; the market is sorely missing a truly compact Micro Four Thirds option that plays into the mount's greatest strength: its collection of solid, compact lenses. Is Panasonic invested enough in the system to do that? We're not sure, and the fact that they repurposed a full frame body for the G9 II gives us extra pause, but that doesn't keep us from hoping.
To be continued...
This article would be unbelievably long if we tried to cover every major brand here, so we've split it into two. The second part will be coming shortly, and we'll add a link here as soon as it's live.
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.
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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.
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.
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.
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.
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.
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.
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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.
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.
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.
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.
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.
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.
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.
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...
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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
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
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
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
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
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
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
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
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
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?
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
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
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
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
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.
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.
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!
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.
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.
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.
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
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.
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.
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.
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
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).
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
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.
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.
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.
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
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
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
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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.
Full suite of video recording modes and assist features
What we don't:
Overheating in ambitious video modes
Dynamic range isn't as strong as its best competitors'
Hitting buffer's limit slows camera down
The Canon EOS R6 III is a full frame enthusiast camera, with a 33MP sensor.
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.
It has plenty of customizable buttons and a decent range of settings for them. It's comfortable to hold, but its viewfinder and display aren't the nicest around.
The EOS R6 III has very dependable autofocus across its selection of tracking and subject recognition modes. It can shoot at bursts up to 40fps (though with reduced dynamic range), and supports pre-capture for up to 0.5 sec before you press the shutter.
The EOS R6 III isn't a "jack of all trades, master of none." It's a master of most.
Images from the EOS R6 III have very good levels of detail and pleasing colors. The camera's peak dynamic range can't match the best of its competitors, and it'll struggle a bit more in e-shutter mode, but it's good enough for most use cases.
The video quality from the camera's open gate, Raw and oversampled 4K modes is quite good at 24p, though its higher-framerate and subsampled modes suffer a bit. Its rolling shutter performance is great, and it's quite nice to use for shooting video. However, its overheating performance could limit its most ambitious modes in hot shooting environments.
The EOS R6 III is an abundantly capable camera for most kinds of stills and video shooting. It pairs great performance with excellent ergonomics and a refined user experience.
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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
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.
The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control.
Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate.
“The a7C II is a surprisingly capable camera for its size.”
The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks.
The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.
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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
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.
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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
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.
Sample gallery
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*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.
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Sample gallery
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This week, we released our review of Canon's EOS R6 III. As is usually the case, in the process of testing it for the review, we took hundreds of pictures with a production model in a variety of situations. We've collected the best examples, shot with a variety of lenses and settings, into a sample gallery so you can judge how the camera performs for yourself.
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.
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:
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!
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