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Introduction
Despite all the headwinds being faced by the camera industry (or perhaps because of them), 2024 has been an excellent year for photographers, in many regards.
We've seen breakthrough technologies and a general raising of the levels of speed, autofocus and video performance that we can expect cameras to offer. And in terms of lenses we've been spoiled by a selection of fast zooms that help underpin their respective systems' promise of performance and a variety of primes that expand what their systems can do. We've even seen lens choice for Canon and Nikon's mirrorless systems start to expand to include at least a degree of third-party involvement.
It's made selecting the key products to highlight particularly difficult. But after some lively discussion, we've reached something like a consensus. The following are the options that stood out to us as the most deserving of the year.
Best Zoom Lens
Shortlist:
Canon RF 70-200mm F2.8 L IS USM Z
Fujifilm XF 16-55mm F2.8 R LM WR II
Sigma 28-45mm F1.8 DG DN Art
Sony FE 24-50mm F2.8 G
Honorable mention: Sony FE 24-50mm F2.8 G
2024 was a year full of interesting lenses, to the point that Sony's 28-70mm F2 GM got crowded out of a very competitive shortlist. But, while we admire the ambition of that lens and Sigma's shorter but substantially less expensive 28-45mm F1.8, Sony's 24-50mm F2.8 G takes the runner-up spot. Its range may seem a little short, but the result is a usefully small F2.8 zoom that lets a7 and a7C shooters access a good chunk of their cameras' IQ capabilities without completely undermining their relative compactness.
Winner: Fujifilm XF 16-55mm F2.8 R LM WR II
The Fujifilm isn't the most eye-catching lens in this company, but we like it nonetheless. A fast standard zoom is a key lens for any system, and we've really enjoyed the latest version. It's significantly smaller and lighter than its predecessor, but still performs very well optically and is priced the same as the original was in 2015. The more compact design makes it easier to travel with and lets cameras like the X-T5 deliver on the promise of offering more compact packages than full-frame. And that's ultimately the appeal: a lens that helps deliver on the potential of the system.
We still don't entirely understand Nikon's logic of making a line of premium F1.8 primes then inserting a line of more affordable F1.4s with less clinically perfect image quality below them, but we're enjoying the outcome. The more characterful Nikkor 35mm and 50mm F1.4s are still very good lenses, optically, but they help put bright primes within reach of more people. And that's good news for anyone who's looking to get more out of their Z-series camera, without committing to the premium 'S' line.
Winner: Sony FE 85mm F1.4 GM II
The Sony 85mm F1.4 GM II isn't a particularly flashy lens, but it addresses the few shortcomings of the Mark 1 lens to deliver a really good product overall. It's lighter and slightly sharper, but most critically, its focus is smoother and swifter than its predecessor, which still relied on DSLR-era ring-type focus motors. The move to linear motors means the GM II becomes the kind of lens where you don't even notice how it behaves; it just does its job. Which is exactly what's required of a workhorse: consistent excellence you simply take for granted.
The Fujifilm X-M5 comes at an interesting moment. It's one of the increasing number of cameras focused on creators who want to take pictures and videos that are easy to get onto the internet but that will stand out on a feed full of images taken with smartphones. Like many of its peers, color plays an important role in that workflow: Fujifilm put its popular Film Simulations front-and-center by dedicating an entire dial to them. But despite its focus on video – it even has a vlog setting on its mode dial – it manages to retain photography essentials like two top-plate control dials and a mechanical shutter, which aren't always a given. It's also not for nothing that, at a time when everything is getting more expensive, including some of Fujifilm's other models, it's the first mirrorless camera we've seen with a price point well under $1,000 in quite some time.
Winner: Nikon Z50II
Sometimes, it's enough to just nail the basics. The Nikon Z50II doesn't break any new ground – it uses the same unstabilized sensor as its predecessor, which hails back to the days of the D500, and has the same processor as cameras like the Z6III, Z8 and Z9. However, that means it gets some of the best autofocus tracking around: it can recognize up to nine subject types and automatically switch between them, giving beginner photographers one less thing to think about. That, paired with a nice, bright viewfinder, up to 11fps Raw burst shooting with pre-capture, and a control scheme that borrows heavily from Nikon's more expensive cameras, make for a very capable stills camera for not a lot of money. And while its full-width UHD 4K video still maxes out at 30fps, video shooters will appreciate the addition of a headphone jack, waveform monitoring, and N-Log for when they want to go beyond the built-in color modes.
The Fujifilm X100VI is like catnip for photographers and people in love with the aesthetic of photography, which is probably why it's still out of stock almost a year after its announcement. It took a winning formula for Fujifilm – a fixed 35mm equiv. F2 lens, a hybrid optical / electronic viewfinder, Film Simulations and a retro design – and updated it with a modern 40MP stabilized sensor and an autofocus system with AI-derived subject detection. It may not be a camera for everyone, but given that it's one of the best examples of its kind, it's no surprise that so many people want one.
Winner: Nikon Z6III
The Nikon Z6III is one of the most well-rounded cameras out there. It's one of, if not the best in its class for image quality, autofocus performance, burst rates and video shooting capabilities, all built into a body with excellent ergonomics. It's one of those midrange cameras that really makes you wonder why you'd spend more – of course, there are more capable cameras out there, but unless you have a specific and compelling reason to want one, it's hard to imagine the Z6III not being able to meet your needs. We'd say more, but – mild spoiler alert – this won't be the last you read about the Z6III on this list.
120 frames per second is a major step up from the 20 or 30fps of its immediate peers. It's not going to be necessary for a lot of situations but could prove highly beneficial in others. Likewise, the image quality impact of its global shutter sensor will make it less well suited for certain pursuits but prove invaluable for others. It's this 'niche-within-a-niche' level of specialization that counts against it for this award, even though we recognize what a breakthrough it represents within that specialist realm.
Winner: Canon EOS R5 II
The Canon EOS R5 II had the unenviable task of having to improve on the already impressive EOS R5 Mark 1. But with a move to a Stacked CMOS sensor and a number of other innovative additions, the EOS R5 II manages to both improve on its predecessor and justify its place in Canon's well-regarded '5' series.
The addition of Eye Control AF and the context-recognition Action Priority AF mode are the standout features but it's the improved subject recognition AF, the added video features and the lower rolling shutter that makes its fastest burst modes more useful that combine to make it a better camera for a wider range of applications than the Mark I. It's just a hugely capable camera, whatever you ask of it.
Global shutter: the ability to capture the entire frame instantaneously, has been a long-sought dream in photography. Leaf shutters come close and global shutter sensors have existed for some time in other applications, but both have come with drawbacks in terms of cost or quality. Instantaneous capture makes it possible to capture full-power flash at high shutter speeds, it eliminates rolling shutter in video and it reduces the types of anomaly that fast-refresh LED displays can cause in photos. There's still an image quality cost to the system in the a9III, but the benefits it brings for certain types of photography can make this trade-off more than worthwhile.
Winner: Canon: Action Priority AF
Canon's Action Priority AF system is the first to move beyond subject recognition and apply machine learning to the challenge of situation recognition. It has been trained to identify pivotal moments in several specific sports and to know which player to direct focus to, in those moments.
The system has made its debut in Canon's pro-sports EOS R1, where most users will already be more than familiar with anticipating key moments in a sport. But we're more excited about the prospect of it becoming available more widely across the camera world, because not all of us are professional sports photographers with years of experience spent learning the dynamics of a sport. If cameras can give the rest of us a helping hand, it could make capturing important memories easier for more people.
Product of the Year
Shortlist:
Canon EOS R5 II
Fujifilm X-M5
Fujifilm XF 16-55mm F2.8 R LM WR II
Nikon Z6III
Honorable mention: Canon EOS R5 II
It's almost impossible to decide between Canon's EOS R5 II and Nikon's Z6III for product of the year. Both bring impressive levels of AF performance, speed and video capability to their respective parts of the market, to deliver hugely accomplished cameras that will support their users across an even wider range of photographic challenges than their predecessors did. We've already recognized the R5 II's 'Action Priority AF' mode in our awards, so the greater accessibility of the Nikon just pips the excellent R5 II to the title.
Winner: Nikon Z6III
The Nikon Z6III is a hugely capable camera that shoots faster, focuses more dependably and comes with a hugely expanded range of video features compared to its forebears. Anyone pushing base ISO images to exploit its full dynamic range will find its files less malleable than its predecessors, but in every other respect it's a significantly more capable camera than the Mark II.
With its higher res viewfinder, significantly improved autofocus and 10-bit video, it's a camera that will serve more people well, across a wider range of photographic styles. An all-rounder that excels even against fierce competition.
Viltrox will soon announce the previously rumored AF 35mm f/1.7 APS-C lens for X/Z/E mount. The new lens will be part of the Viltrox Air series together with the 56mm f/1.7, 20mm f/2.8, and 40mm f/2.5 lenses. Here are the details:
Panasonic S5IIX and Lumix S 28-200mm F4-7.1 | ISO 1600 | 1/200 sec | F4.5
Photo: Dale Baskin
The DPReview community is full of talented photographers, and we want to showcase your best photos of 2024 on DPReview.
What was your top shot this year? Share one image you captured in 2024 and tell us about it. Make sure to tell us the story behind the photo in the caption and why you chose it as your photo of the year. Pick carefully – you can only submit one photo!
Submissions will open on Tuesday, December 10th, and you have until Monday, December 16 (GMT) to submit entries. You can read the full rules on the 'Your best photo of 2024' challenge page.
Essential details: If you want your photo to be featured among our Editors' picks on the DPReview homepage, you must include a title and a caption that tells us the story behind the picture and why you chose it (minimum of 25 words).
DPReview editors will review every photo you submit, and we'll publish our favorites in a slideshow on the DPReview homepage later this month.
We're using our challenge system to host submissions, so other readers can also vote for your photo. User voting will inform DPReview Editors' picks but will not select them. They are one factor in our evaluation.
Do you want to shape and create content for one of the world's largest audiences of photography and video enthusiasts? DPReview is hiring! We have two open positions: a News Editor and a Community Coordinator who will help support our online forums and user community. We can't wait to hear from you.
Please note that these are US-based positions.
News Editor Full-time (Seattle, WA or remote)
Role overview
DPReview is seeking a full-time News Editor to join our growing Editorial team.
The News Editor role at DPReview requires an experienced technical writer who thrives in a fast-paced environment and possesses a deep understanding of digital photography and the camera industry. The News Editor’s primary responsibility is to report on camera and photo industry news, industry trends, and photography culture, including context and analysis that reflect DPReview’s thought leadership in the industry.
Qualified candidates will be capable of independently researching news and information, writing, editing and delivering publication-ready content. They should be able to efficiently and effectively monitor industry news and trends to identify relevant stories from sources including manufacturers, PR representatives, online resources and social media. Additionally, they must be strong collaborators who can work closely with DPReview’s Editorial team to add a unique perspective to news and other short-form articles.
A typical week for the News Editor will involve monitoring trusted sources of information to uncover breaking industry news, developing content around embargoed materials for product announcements, corresponding with PR agents and evaluating pitches for news coverage, uncovering unique stories and story angles exclusive to DPReview, and liaising with and seeking insight from the Editorial team to incorporate expert insight into news. Speed is of the essence, with a target of 2-3 published articles per day.
Like all successful DPReview team members, candidates must be goal-focused self-starters who maintain an agile mindset, operate independently, lead by example, communicate effectively across all channels, and are productive in a remote work environment. This role will report to the Managing Editor but will work closely with the entire DPReview team in a cross-functional environment.
Role responsibilities
Write, edit and publish short-form articles covering breaking news, product launches, newsworthy industry trends, and stories about photography and photography culture, focusing on finding a unique angle whenever possible.
Liaise with and seek insight from the wider editorial team to incorporate expert knowledge into articles.
Analyze news metrics and performance using analytical tools and data to improve performance and deliver increased traffic to news content over time.
Develop and foster relationships with PR representatives to grow DPReview’s portfolio of industry contacts and to ensure consistent early access to breaking news and embargoed information.
Build and maintain relationships with brands, industry experts and independent content creators who may serve as sources of news or similar content.
Monitor information resources such as competitive publications, industry news sources, and social media for story ideas.
Coordinate with DPReview’s social media and platform teams to identify impactful content for promotion across DPreview’s social media channels.
Role requirements
A passion for photography and digital camera equipment
Excellent understanding of the technology behind modern digital imaging
At least 2+ years of writing and producing content at a fast-paced, deadline-oriented, product-focused publication or as an industry-centric technical writer or editor.
Ability to independently produce 2-3 short-form articles per day
Strong grammar and copy-editing skills
Ability to examine and parse data into actionable editorial strategy
Strong project management and communication skills
The ability to work efficiently under pressure and to take feedback constructively
A willingness to travel and work odd hours as the assignment or news cycle dictates
How to apply
Please use the link below to contact us about applying. Make sure to include the following information:
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Reviews Editor position.
A link to your LinkedIn profile if you have one.
Links to writing samples you believe are most related to DPReview’s coverage. If you have writing samples that are not online, please indicate this.
Links to any previous work applicable to DPReview.
Only those candidates considered for an interview will be contacted.
DPReview is seeking a part-time Community Coordinator to join our growing Editorial team.
The Community Coordinator role at DPReview requires an individual with experience managing online communities and creating great user experiences to grow and maintain our online forums. The Community coordinator will serve as an ambassador between DPReview’s Editorial team and our community members, engage directly with users across DPReview’s forums, liaise with and support volunteer community moderators, support users requiring assistance, and approve posts awaiting moderation. The Community Coordinator will identify and create opportunities to turn community-based activity and information into content for publication on DPReview.com.
Qualified candidates will have experience working with or managing an online community or interest group, including community moderation, fostering clear communication between community members and moderators, and a passion for creating a positive and inclusive community environment. Candidates should have an interest in cameras and editorial experience, ideally for a technical publication. Knowledge about photography and related technology, familiarity with the camera market, and experience working with volunteers are strongly preferred.
A typical week for the Community Coordinator will include directly engaging with users in key sub-forums, moderating forum activity to ensure consistency of moderation, providing support to moderators directly or via a private forum, supporting users requesting assistance, reviewing posts that require moderation, and writing approximately three articles per week for DPReview.com built around community activity or content.
Like all successful DPReview team members, candidates must be able to lead by example, possess excellent communication skills, and be productive in a remote work environment. This role will report to the Managing Editor.
Role responsibilities
Engage with users across DPReview’s community forums and act as a liaison between DPReview’s Editorial team and our community.
Provide support to DPReview’s volunteer moderators, monitor forums to ensure consistency of moderation and identify opportunities to improve moderation within the community.
Arbitrate conflicts between community members or between community members and moderators.
Provide support to users seeking assistance with moderation or account issues.
Identify and develop community-based content to be featured on DPReview.com, writing publication-ready articles that meet DPReview’s editorial standards.
Review and approve posts flagged for moderation.
Identify opportunities to increase forum engagement and participation.
Role requirements
1-2 years experience managing an online community (forums, social media groups, Discord, Slack)
1-2 years experience writing editorial content for a regular publication (or similar experience)
Ability to communicate clearly, professionally and with empathy with community members and moderators, including volunteers
Aptitude for mediating community disputes with a respectful tone
Initiative to produce approximately three articles per week based on community activity
Ability to work flexible hours.
Knowledge of photography and digital camera equipment is strongly desired
Familiarity with DPReview’s forums is a plus
How to apply
Please use the link below to contact us about applying. Make sure to include the following information:
A brief introduction of yourself that includes an overview of why you believe you are a good fit for the Community Coordinator position.
A link to your LinkedIn profile if you have one.
Links to writing samples you believe are most related to DPReview’s coverage. If you have writing samples that are not online, please indicate this.
Links to any previous work applicable to DPReview.
Only those candidates considered for an interview will be contacted.
DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.
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The Heralbony Z fcs feature patterns designed by artists, rather than the solid color that the camera usually comes with.
Image: Nikon
Nikon has announced that its limited edition Z fc, designed in collaboration with Heralbony, will now be available in the US. The designs were announced in September but hadn't been available in the States.
According to Nikon, Heralbony is a "Japanese-based creative company working with neurodiverse artists." Each of the four Heralbony editions of the Z fc features a pattern from a different artist on the leatherette-inspired wrap across the front of the camera, as well as on the top of the viewfinder and rear grip.
Image: Nikon
The Heralbony versions don't cost extra compared to the normal colors, though they are only available in a $1,199 kit with the DX 16-50 F3.5-6.3 lens; you can't buy just the body with the design or have it retroactively applied to an existing Z fc.
I've been reviewing cameras since 1997 and in that time I've learned a lot about what to do – and not to do – in that demanding business. In celebration of DPReview's 25th anniversary, here are five things I've learned about reviewing cameras, usually the hard way, both at DPR and on my website, DCResource.
Websites like DPReview often get access to products well before they're launched. The trust attached to that privilege comes with great responsibility. If we take the product out in public, the brand and model name is often covered by gaffer's tape, just in case there are any spies nearby.
Underlying this trust is the embargo: the time when the product will be revealed to the public. Until that time occurs (which is usually late at night for those of us on the West Coast), nothing can be published. It was my job to ensure we didn't break the embargo.
For a long time, DPReview's content management system used UTC (Coordinated Universal Time), which is 7 or 8 hours ahead of Pacific Time, depending on the time of year. It was easy to forget to change the time zone in the CMS, and bad things could happen if you entered the wrong time. In one instance, I was the guilty party. When the team got up in the morning, websites everywhere had articles about how DPR had broken an embargo on a new product. The manufacturer was not happy – nor was management – and many meetings followed.
We quickly implemented checks to prevent this from happening again. The default time zone was switched to Pacific, and a confirmation dialog now pops up when you save an article with a day/time in the future.
Save every photo
Nikon Z6 III with its SD and CFExpress slots.
Photo: Richard Butler
While testing a camera, DPReview reviewers take thousands of photos. The autofocus 'bike test' everyone knows and loves can account for hundreds of shots since we're shooting multiple runs at high burst speeds. If we just copied over the photos where the camera performed well, then there would be no way to evaluate how often it didn't do well.
The same thing goes for sample photos. We always take pictures in a variety of situations but can only post a modest selection. Having the rest of the images on hand allows DPR staff to notice trends you might not notice by looking at the random set of photos in a gallery. Maybe the bokeh seems a little 'off', or some photos you'd expect to be sharp are back-focused. It may take longer to copy and save gig after gig of photos, but it's invaluable to the review process.
Stuff happens
No cameras were harmed in the creation of this photo
Photo: Jeff Keller
People can get a little cocky when carrying around expensive electronics. Most of the time, there are no problems. But how many times have you had your smartphone's screen replaced? Sometimes, things go wrong.
We use tripods extensively for testing cameras at DPReview, and everything goes smoothly 99% of the time. But my number came up when shooting a gallery with a camera that won't be named here. The camera had an expensive long telephoto lens attached and was on a pretty sturdy tripod. It was breezy – typical for Seattle.
While taking a lens out of my bag, I watched in horror as a gust of wind blew the tripod over, landing lens-first onto the concrete. Amazingly, no glass was cracked, but the filter threads were bent, and the chassis was beaten up (the camera survived, thankfully).
As soon as I returned to my desk, I sent a lengthy apology to our PR contact, explaining what happened and promising to pay the cost of the repair. Thankfully, the agency said that 'stuff happens' and not to worry about it. Phew.
Consistency is key
You've probably seen this before
Photo: DPReview
People want to see how cameras compare on a level playing field. DPReview has relied on the studio comparison scene for decades, which has had two iterations and been moved at least four times. DPReview staffers check lighting and white balance and follow a prescribed set of instructions to ensure that all cameras' settings are consistent. If, upon reviewing the photos, something's off, the test scene will be shot again. Very finicky cameras may require three trips to the studio.
DCResource also had a studio scene, though it wasn't as elaborate as DPReview's, as well as a photo of a well-known mouse.
Some of the standard DCResource sample photos
Photos: Jeff Keller
Something I still take a lot of pride in is the consistency of the sample photos I captured for cameras on DCResource. There were always three groups of photos: Chinatown in San Francisco, Stanford University, which asked me to leave and not come back, and Treasure Island, which faced downtown SF.
Since the weather in San Francisco is very unpredictable, I'd watch the conditions carefully and bring as many compact cameras as I could stuff in my bag. I think my record was ten. I'd work my way through the cameras at every stop and then move on to the next spot. While not a scientific test, I received many e-mails of appreciation for the effort.
Get to know your camera
Six of the buttons seen on this Panasonic G9 II can be customized, as can the functions of both control dials.
Photo: Brendan Nystedt
Modern cameras are loaded with customizable buttons, dials, and menus. My personal Panasonic G9 II has:
17 customizable buttons (five via the touchscreen) for both record and playback mode
A customizable quick menu that is unique to still and video shooting modes
Three custom spots on the mode dial
A three-page 'My Menu' which can be the default when you press the Menu button on the camera
And those are just for quickly accessing functions. You can customize the burst speeds, the type of shutter used (mechanical/electronic), a preferred color profile, or how quickly the focus point moves. For video, one can tweak the speed and sensitivity of the AF system to meet my needs.
Learning every little detail of a camera, right down to the menu items, has sometimes meant that our reviews take a bit longer to publish than what you'll find on some other websites (mine included) or, these days, YouTube. Heck, if you go back several years, our reviews used to list every single menu option, and boy, were those fun to type up. But diving into the details like this allowed us to catch things and reveal subtle differences between cameras, which would otherwise have been missed.
Live and learn
These are just five things I've learned over the last two and a half decades of reviewing cameras. Not all of them were fun, but that was part of the adventure.
What have you learned over the past 25 years of digital photography, and how? Let me know in the comments.
Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4
Photo: Dale Baskin
The December edition of the Editors' Photo Challenge is open for submissions! Our theme this month is 'Happy Holidays'.
Whatever holiday tradition inspires you – Christmas, Hanukkah, Boxing Day, Kwanzaa, Festivus, or something else – show us what the holiday season looks like through your lens. Whether it’s colorful lights, dazzling decorations, festive gatherings, or just a cozy moment, we want to see your best holiday season photos.
This challenge is open to photos taken at any time. Photos must be submitted by Saturday, December 7 (GMT).
Also, don't forget to check out some of the other open and upcoming photo challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.
BCN Rankings reports that Canon has overtaken Sony for the first time in five months in the mirrorless camera market in Japan:
Canon took the top spot in mirrorless camera manufacturer sales volume share in October 2024 with 30.5%. This is the first time the company has topped the list in five months since May 2024. Let's take a look back at the mirrorless camera market in October 2024 from the "BCN Ranking," which compiles actual sales data from electronics retailers and online stores.
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Updated November 29 2024
Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.
We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.
The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.
While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.
Sample gallery
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Best camera for landscapes and more: Sony a7R V
61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF
The a7R V's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.
Very detailed Raw files with excellent dynamic range
Tilt/articulating display suits both photo and video
Very reliable autofocus, especially for human subjects
What we don't:
Pixel shift high res and focus stacking require desktop s/w
Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
While it's one of the highest-resolution full-frame cameras, the a7R V is quite capable for everyday photography as well, with Sony's excellent autofocus system and 10 fps burst rates. It's not the camera you want if you shoot action or video as often as landscapes, but it can do those things if needed.
The a7R V offers excellent image quality in both JPEG and Raw, giving some of the best results we've seen for its sensor size, though using lossless compressed Raw significantly reduces the burst speed. A multi-shot 240MP high-res mode (combined using desktop s/w) gains a motion-correction function, making it much more usable.
The a7R V is an excellent tool for capturing high-resolution images.
The body is solidly-built and features a large grip and well-positioned controls, along with a large, high-res viewfinder. A fully-articulating rear touchscreen is mounted on a tilting cradle, adding flexibility. The menus are much improved over older Sony models.
The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.
Slight reduction in dynamic range in extreme scenarios
Tempermental eye control
Temperature limits in heaviest video modes
Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.
If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.
The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.
The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it.
The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always
The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.
The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.
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Also consider: the Nikon Z8
The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.
Sensor offers some of the best image quality in its class
Lovely ergonomics
4K/60p (with a minor crop)
What we don't:
Autofocus interface a bit clunky
EVF not as high-res as competitors
Customization a bit limited
Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.
The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.
The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files.
To say the Z7 II is a comfortable camera to hold would be an understatement
The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.
\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.
The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.
If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched, and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.
The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size.
The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling
The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting.
Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.
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Also consider: the Canon EOS R7
Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.
Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.
The Olympus E-1 was the first DSLR designed solely for digital. The sensor format choice was independent of any film legacy and the lens design was specifically focused on the way digital sensors accept light. Leica's S series of 45x30mm medium format DSLRs is the only comparable system we can recall.
It's 21 years since we reviewed the Olympus E-1, arguably the only successful attempt to develop a digital SLR system from first principles, rather than trying to adapt what had come before. As part of our 25th Anniversary celebrations, we look back at the E-1 as one of the most significant cameras of the past 25 years.
In the early days of digital photography the large number of photographers already heavily invested in film lenses put pressure on companies to continue their existing systems, even though 'full-frame' sensors that matched the film format they were designed around were prohibitively expensive for most photographers.
The Four Thirds system was an attempt at a clean slate design, with the intention of developing a new set of lenses designed to suit digital sensors, and built around a sensor chosen because it had a good performance-to-price ratio, not to match the arbitrary dimensions of cinema film stock adapted for photography in the early 1900s. It was a decision that would also allow smaller lenses, particularly at longer focal lengths.
The Four Thirds initiative was started by Kodak and Olympus, with the two companies settling on a 5MP Type 4/3 (17.3 x 13mm) CCD sensor. This sensor size and the use of the 4:3 aspect ratio common in most early digital sensors give the system its name.
They also announced it would be an open standard, with other companies welcome to join, a decision that prompted Fujifilm to announce its interest, followed by Sanyo, Sigma and Panasonic, some seventeen months later. For a while it looked like a critical mass might coalesce, finally bringing about the long dreamt-of common mount, allowing complete interoperability between multiple brands.
In the meantime, although later than the initially suggested Feb 2002 launch date, Olympus developed the E-1, a high-end magnesium alloy DSLR with a 100% viewfinder and that 5MP Four Thirds CCD at its heart. Announced alongside five lenses in mid 2003, the original press release highlights the 'Supersonic Wave Filter' sensor shake system that shook dust off the sensor as solving "a problem that has long been an Achilles heel of ... digital SLRs."
Unfortunately, in his review, Phil highlighted that the Olympus couldn't offer either the speed or the resolution that were typically expected of a camera with the E-1's stated professional ambitions. This was made more stark by its $2199 original price tag (albeit with a 'street price' well below that), at a time when Canon's 6MP EOS 10D would set you back nearer $1500.
It took the more affordable E-300 model for the Four Thirds to really find its audience. By the time the E-330 arrived, two years later, Kodak was out of the picture.
It took 2004's 8MP E-300, with its much more attainable price point (around $1000 with kit lens) for Four Thirds to really find its audience.
By 2006 Panasonic and Leica were alongside Olympus spearheading the system, with each brand releasing variations of technologies co-developed by the two Japanese companies, including "Live MOS" sensors from Panasonic, rather than Kodak. The Olympus E-330 and Panasonic L-1/Leica Digilux 3 were some of the first DSLRs to offer live view, with the E-330 including a more sophisticated/complex implementation. You don't have to squint very hard to see the beginnings of the first mirrorless camera, which Panasonic would introduce just two years later.
Despite a broadly sound initial concept, one challenge of the use of a smaller-than-film sensor in a DSLR was that the viewfinders were often quite small and dark (because the sensor size defines the size of the camera's mirror, which in turn puts a limit on how large or bright you can make an optical viewfinder).
This was resolved with the move to a mirrorless design and the creation of the Micro Four Thirds system, built around the same Type 4/3 sensor format and a lot of technology developed during the Four Thirds era. Perhaps fittingly, the final Four Thirds camera was a direct continuation of the original E-1 line, with the system being officially discontinued 18 months later.
With this in mind, it might seem odd to call a system with a span of just over seven years between the launch of its first camera and its last a success, but I'd focus more on the groundwork it laid. Twenty-one years after the launch of the E-1, the Four Thirds sensor format is still very much with us, and you can trace a direct line from the first all-digital DSLR project to the mirrorless cameras that dominate the ILC market today, even if both Kodak and Olympus have now exited the photography market.
The 25 finalists for the People's Choice Award were selected from 59,228 entries from 117 countries and territories. Members of the public can cast their vote for the award until January 29, and the winning image, along with four runners-up, will be announced in February. Here, we present the 25 finalists for this year's award.
If you're a wildlife photographer and want to enter your own images in the 2025 competition, you can find information on the competition's website. However, act quickly: you have until December 5th to submit your images.
Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.
Wolf Pack
Wolf Pack by Arvind Ramamurthy, India
Members of an Indian wolf pack pause briefly as they play in fields in Bhigwan, India.
Indian wolves were once found all across India. Now, their number has dwindled to as few as 3,000. Living so close to humans poses many risks. Farming has fragmented their rolling grassland habitat, and feeding on cattle carcasses puts them at risk of disease. But Indian wolves are hardy animals. With better grassland management and protection, they could make a strong comeback. Arvind was photographing this pack playing in the grassy fields. One of them came and sat down at the edge of the agricultural crop, and one by one, four others joined it. They paused for a few seconds before they ran off again, playing and chasing one another.
Copyright Arvind Ramamurthy / Wildlife Photographer of the Year
Icy Repose
Icy Repose by Sue Flood, UK
A dramatic blue-grey sky highlights the soft greys of a Weddell seal as it rests on an ice floe.
Sue watched this Weddell seal from aboard a rigid inflatable boat in Neko Harbour of the Antarctic Peninsula. So as not to disturb its peaceful slumber, Sue used a long lens to record this serene portrait. Weddell seals’ large bodies are covered in a thick layer of blubber. This keeps them warm above and below the icy waters of the Southern Ocean.
Copyright Sue Flood / Wildlife Photographer of the Year
A Good Scratch
A Good Scratch by Mark Williams, UK/Canada
A beluga whale rubs its underside on a shallow river bottom to exfoliate its skin.
Mark took this image in a remote inlet along the Northwest Passage in the Canadian Arctic. Hundreds of beluga whales come here to socialize and exfoliate in the shallow water. The passage is also a safe haven, away from the predatory orcas. Belugas are extremely sociable mammals. They live, hunt and migrate together in pods that can range from quite small into the hundreds. Nicknamed ‘the canaries of the sea’, they produce a series of chirps, clicks, whistles and squeals that Mark found otherworldly.
Copyright Mark Williams / Wildlife Photographer of the Year
Scanning the Realm
Scanning the Realm by Aaron Baggenstos, USA
A puma stands on a windswept outcrop in the rugged mountain terrain of Torres del Paine National Park, Chile.
It is a symbol of hope. A successful conservation movement led to the creation of the national park and a rise in ecotourism in the region. This has also helped to reduce conflict between pumas and local gauchos (sheep farmers). The gauchos view pumas more positively because they’re attracting tourists, which is good for income. The introduction of sheepdogs has also helped. The dogs confront any approaching pumas and stop them attacking the sheep. In turn, the pumas hunt their natural prey, and the gauchos are less likely to shoot them. The change has been gradual but has gained momentum over the past 20 to 30 years. There is hope that humans and pumas can live alongside one another.
Copyright Aaron Baggenstos / Wildlife Photographer of the Year
Aspen Shadows
Aspen Shadows by Devon Pradhuman, USA
Four grey wolves cross a minimalist landscape of naked aspens and snow in Yellowstone National Park, USA.
It was early spring in the Lamar Valley, and this pack was in search of its next meal. Watching from a distance, Devon saw them heading towards this patch of aspens and thought it would make a compelling image. The wolves walked right past these trees and then continued to follow the tree line, eventually disappearing over the hillside.
Copyright Devon Pradhuman / Wildlife Photographer of the Year
Evening Song
Evening Song by Christian Brinkmann, Germany
A singing Eurasian songbird is silhouetted against a backdrop of colorful fairground lights in Münster, Germany.
During a popular fair in Münster called the Send, an interesting atmosphere arose behind the castle. The evening mood was gentle, and Christian had singing birds on one side and party music on the other. In front of the fairground lights, this Eurasian blackbird posed for its song. Although blackbirds are a common sight, Christian likes to photograph them in distinctive ways. Here, the silhouette of the bird set against a colorful backdrop gives the image an artistic flair.
Copyright Christian Brinkmann / Wildlife Photographer of the Year
Sneak Attack
Sneak Attack by Erlend Haarberg, Norway
A polar bear cub attempts an underwater surprise attack on a northern fulmar.
In the Norwegian archipelago of Svalbard, a walrus carcass had attracted a female polar bear and her two cubs. But one of the cubs was more interested in playing in the water than eating. The cub was having fun diving under the water and resurfacing, playing with the seaweed and kelp. The northern fulmar resting on the surface of the water awakened the cub’s desire to hunt. Erlend watched as it attempted several underwater surprise attacks on the bird, only to fail each time. Play hunting like this is essential learning for a young bear. Eventually, it will have to survive in the Arctic without its mother.
Copyright Erlend Haarberg / Wildlife Photographer of the Year
Slap Shot
Slap Shot by Savannah Rose, USA
A beaver cocks its tail before slapping it down on the water to alert its family to a newcomer.
Savannah enjoys photographing North American beavers in this pond in Jackson, Wyoming, USA. As she approached the shoreline, a beaver cruised cautiously by after emerging from its lodge. It cocked its tail up and brought it down with a resounding crack. Savannah had been trying to document this dramatic beaver behavior for years. Beavers use tail smacks to alert their family group to a newcomer. Despite the theatrics, beavers usually relax quickly after discovering the newcomer doesn’t pose a threat.
Copyright Savannah Rose / Wildlife Photographer of the Year
Togetherness
Togetherness by Ivan Ivanek, Czech Republic
A striking pair of red-shanked douc langurs are seen mating in the forests of the Sơn Trà peninsula in Vietnam.
Known for their bright red ‘stockings’, these primates are found only in Vietnam, Laos and Cambodia. The species is critically endangered because of habitat loss, hunting and the illegal pet trade. After days observing the area, looking for evidence of the monkeys, Ivan managed to find a small group. Late one evening, he saw these two mating. Compared to other species of monkey he’d seen mating, it was an unexpectedly gradual and graceful affair!
Copyright Ivan Ivanek / Wildlife Photographer of the Year
Concert in the Forest
Concert in the Forest by Vincent Premel, France
A Surinam golden-eyed tree frog puffs out its cheeks as it prepares to call for a mate.
The first rains come in French Guiana after a long dry spell. They’re a release for all wildlife, but especially for amphibians. When it rains, the ponds fill with water. Dozens of species descend from the canopy or come out of the ground. They’re here to lay their eggs in the water, in an event called ‘explosive breeding’. The density of individuals is hard to imagine. It made for a special night for Vincent, who is both a herpetologist and a photographer. The call of the Surinam golden-eyed tree frog is so powerful it can be heard hundreds of meters away.
Copyright Vincent Premel / Wildlife Photographer of the Year
Snuffling Sengi
Snuffling Sengi by Piotr Naskrecki, Poland
A rarely seen four-toed sengi forages for food among the leaf litter in Mozambique.
Sengis mainly eat insects and look for their prey at dusk and dawn. They rely on a combination of good vision and excellent sense of smell to find food. Piotr watched this sengi over several weeks in Gorongosa National Park, Mozambique. It followed the same network of trails every day, looking for beetles and other tasty morsels among the leaf litter. Sengis are extremely shy and skittish, so Piotr set up a remote camera to photograph the little creature sniffing for food.
Copyright Piotr Naskrecki / Wildlife Photographer of the Year
Whiteout
Whiteout by Michel d’Oultremont, Belgium
A stoat sits up and observes its territory as it blends perfectly into a snowy landscape in Belgium.
Michel had been looking for stoats in the snow for many years. The magic of snowfall fascinates Michel every winter. He wanted to take a photograph that showed how the stoats blend in with the whiteness of the landscape. He’d seen a few in Switzerland but never in his native Belgium. Then, finally, his dream came true. He lay in the snow with a white camouflage net covering all but his lens. This curious stoat came out of its snowy hole and sat up from time to time, observing its territory just before setting off to hunt.
Copyright Michel d’Oultremont / Wildlife Photographer of the Year
Earth and Sky
Earth and Sky by Francisco Negroni, Chile
A double lenticular cloud is illuminated at nightfall by the lava emitted from the Villarrica volcano, Chile.
Villarica is in the town of Pucón in the south of Chile. It’s one of the country’s most active volcanoes, and last erupted in 2015. Francisco takes regular trips to Villarrica to monitor its activity. On this visit, he stayed nearby for 10 nights. He says every trip is “quite an adventure – never knowing what the volcano might surprise you with”. Some nights are calm, others furious, as in this photograph, where the brightness of the crater illuminates the night sky.
Copyright Francisco Negroni / Wildlife Photographer of the Year
Fallen from the Sky
Fallen from the Sky by Carlo D’Aurizio, Italy
A collage of dead butterflies and moths trapped by the surface tension of the water floats in a stream in Italy.
It was a summer morning in the San Bartolomeo Valley in the Majella National Park, Italy. Carlo had visited this small stream many times. He expected to see the graceful flight of butterflies and dragonflies along it. He never thought he would find such a still life, a sad collage of dead insects calmly floating in the water. It hadn’t been particularly hot, and there hadn’t been any storms in the previous days. To this day, Carlo has no explanation of why the insects died.
Copyright Carlo D’Aurizio/ Wildlife Photographer of the Year
Spiked
Spiked by David Northall, UK
A bloodied yet determined honey badger returns to finish off a Cape porcupine, which earlier had tried to defend itself.
Found throughout Botswana, honey badgers are famously ferocious. They often chase animals many times their own size. This honey badger got an unpleasant surprise when it attacked the normally nocturnal Cape porcupine. The badger grabbed the porcupine’s right leg. In defense, the porcupine repeatedly backed into its attacker, piercing it with many quills. During a lull in the attack, the porcupine managed to shuffle away, its leg badly damaged. After a short retreat, the bloodied badger returned. It finished off the porcupine under a bush close to the original attack, then dragged it into its underground den.
Copyright David Northall / Wildlife Photographer of the Year
Unsold
Unsold by Jose Fragozo, Portugal
A young cheetah cub hisses while waiting to be sold in Ethiopia.
Captured from her home plains in the Somali Region, she was transported for several days on the back of a camel to the northern coast of Somaliland. Illegal wildlife trafficking is a problem in the Somali Region. Farmers catch and sell cheetah cubs to traffickers, claiming that the cheetahs attack their livestock. Sometimes, the farmers and traffickers cannot sell the cubs immediately. The bigger the cheetahs get, the harder it is to find buyers. Some end up being killed and their parts sold, their bones shipped to Yemen and then to other Asian markets. They are then sold as tiger bones and used to make Chinese bone wine. After hissing at the camera, the cub started chirping, calling out for its mother.
Copyright Jose Fragozo / Wildlife Photographer of the Year
Annoying Neighbor
Annoying Neighbour by Bence Máté, Hungary
A European roller defends its territory from a bemused-looking little owl in Kiskunság National Park, Hungary.
The little owl and the European roller are very different birds, but their nests and feeding requirements are similar. This means they sometimes breed near each other. The male roller makes a sport of annoying other birds that stray into its breeding area during the short mating season. It makes a surprise ambush, flying at full speed behind them. To catch such a fleeting scene, Bence spent 27 days watching from a hide. The little owl seemed nonplussed by the spectacle.
Copyright Bence Máté/ Wildlife Photographer of the Year
Curious Connection
Curious Connection by Nora Milligan, USA
A chimpanzee pauses and looks down as its family moves across the forest floor of Loango National Park, Gabon.
On a trek through the forest, Nora’s guide signaled for the group to stop near the bank of a swamp. They heard the call of a chimp first, then the leaves around them started to rustle and a group of chimpanzees appeared. This family is called the Rekambo group. A group of researchers from the Ozouga Chimpanzee Project is studying them. Nora couldn’t believe her luck when they started to climb the nearby trees. As she peered through her viewfinder, a large male paused and looked down at them. The chimp craned its neck forward and its eyes seemed to widen, as if to get a better look.
Copyright Nora Milligan / Wildlife Photographer of the Year
Meeting in the Marsh
Meeting in the Marsh by Michael Forsberg, USA
A disguised biologist approaches an endangered whooping crane in Louisiana, USA.
Michael has been chronicling the lives of endangered whooping cranes since early 2019. The biologist acted with cat-like quickness to check the bird’s health and change a transmitter that was no longer working. The transmitter helps biologists track these non-migratory birds and learn more about them. This experimental population was reintroduced in Bayou Country in 2011. In the 1940s there were roughly 20 whooping cranes in the region. Since then, numbers have climbed to over 800.
Copyright Michael Forsberg / Wildlife Photographer of the Year
The Brave Gecko
The Brave Gecko by Willie Burger van Schalkwyk, South Africa
A giant ground gecko stands fast against a pale chanting goshawk in Kgalagadi Transfrontier Park, South Africa.
One hunting strategy of the southern pale chanting goshawk is to walk or run on the ground in pursuit of prey. Willie watched as the little lizard put up a brave fight against its large attacker. Unfortunately, there was no hope of survival, but Willie was impressed by the gecko’s bravery.
Copyright Willie Burger van Schalkwyk / Wildlife Photographer of the Year
Forest Dreams
Forest of Dreams by Samuel Bloch, France
A northern giant petrel sits on its nest at the edge of a rātā tree forest on Enderby Island, New Zealand.
Northern giant petrels are large seabirds. They’re used to flying above the waves for weeks without encountering land. Samuel was surprised to find this one in such a woody environment. Like many other seabirds, it breeds on islands where there are fewer predators. Samuel took this image from a distance and left quickly to avoid disturbing the bird.
Copyright Samuel Bloch / Wildlife Photographer of the Year
Edge of Night
Edge of Night by Jess Findlay, Canada
A ghostly barn owl exits the hayloft window of a derelict barn to hunt fields outside Vancouver, Canada.
Combining high-speed and long-exposure photography in a single exposure required a technical setup. First, Jess quietly watched the owl for several nights to understand its habits and plan the shot. He then set up an invisible beam that would trigger a flash when the owl flew out of the barn. Simultaneously, a slow shutter speed gathered ambient light cast on the clouds and barn to complete the scene. On the tenth night, all the moving parts came together as the owl left to begin his hunt.
Copyright Jess Findlay / Wildlife Photographer of the Year
No Access
No Access by Ian Wood, UK
An ambling Eurasian badger appears to glance up at badger graffiti on a quiet road in St Leonards-on-Sea, England, UK.
Residents had been leaving food scraps on the pavement for foxes. But Ian noticed that badgers from a nearby sett were also coming to forage. After seeing a badger walking along the pavement by this wall late one night, he decided to photograph it. He set up a small hide on the edge of the road to take his picture. Only the light from a lamppost illuminated the creature as it ambled along, seemingly glancing up at the badger graffiti just in front of it.
Copyright Ian Wood / Wildlife Photographer of the Year
Drifting Dinner
Drifting Dinner by Noam Kortler, Israel
A decorator crab perches on top of a sea squirt to comb the water for drifting plankton.
Noam took this photograph during a night dive off Komodo Island, Indonesia. The sea squirt provided the crab with the perfect stage to feed on drifting plankton. The crab had camouflaged and armed itself with tiny hydroids known as Tubularia. These can sting other animals and so helped protect the crab from predators. Noam watched the crab gracefully search for food, illuminated by the camera flash as if in a spotlight center stage.
Copyright Noam Kortler / Wildlife Photographer of the Year
The Arrival
The Arrival by Brad Leue, Australia
Floodwaters that have traveled for months surge towards an enormous salt lake in South Australia.
Kati Thanda-Lake Eyre is Australia’s largest inland lake and one of the world’s largest salt lakes. Photographing from a helicopter in strong winds was quite a challenge for Brad. As well as the floodwaters, a dust storm was blowing and rain was falling on the horizon. Floodwaters had traveled more than 1,000 kilometers (1,600 miles). They’d surged steadily from Queensland towards South Australia. Timing was imperative to photograph this once-in-a-decade natural event. Brad’s image shows the water channeling steadily down Warburton Groove. This is the final stretch before entering the mighty lake. On their journey, the waters bring new life to this remarkable desert system and its rare and threatened wildlife.
Copyright Brad Leue / Wildlife Photographer of the Year
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Updated Nov 27, 2024
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; we last updated this list in 2023, and since then, there haven't really been any new additions to it. The ones that remain can also be difficult to find in stock, even when the companies that make them say they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
The final niche in which it's difficult for a smarphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.
We've picked three cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Both Sony models have built-in electronic viewfinders, for shooting when it's bright outside, again giving a more pleasant experience than trying to use a smartphone.
Best enthusiast compact: Canon PowerShot G7X III
20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
The Canon PowerShot G7X III is an enthusiast compact built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.
The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's really the clicking control dial around the lens and the dedicated exposure compensation dial that help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This is one of the cameras that's frequently out of stock, but in November 2024 Canon assured us that it's still in production and that the company is "working to meet the consumer demand of the PowerShot G7 X Mark III."
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"
Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive.
Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.
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Also worth considering
The Sony Cyber-shot DSC-RX100 VA is also worth a look, offering a short, bright 24-70mm equivalent zoom. This is a little shorter than the one on the Canon but we've found it to be more consistently sharp, on the units we've tested. It has a pop-up viewfinder, adding to the appeal but also to the price. The Sony's autofocus is faster and more dependable than the Canon's but we prefer the handling of the Canon, thanks to its exposure compensation dial and clicking front control wheel.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII
20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the Mark VA or the Canon G7X III but it provides a lot more reach, still in a compact package.
The RX100 VII is the most capable pocketable camera ever made
The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor.
The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.
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Waterproof cameras
Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.
Best waterproof camera: OM System Tough TG-7
25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)
The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).
The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.
"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"
Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.
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Long zoom cameras
Perhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.
Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that modern smartphones will bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.
Best long-zoom camera: Panasonic FZ1000 II
20MP Type 1 BSI-CMOS sensor | 25-400mm equiv. F2.8-4 lens | 4K/30p video capture
The Panasonic DC-FZ1000 II has a Type 1 sensor and stabilized 25-400mm equiv. F2.8-4 lens.
The FZ1000 II predates Panasonic's switch to phase-detect autofocus, so it tends to hunt for focus. However, it can shoot at burst rates up to 7fps, and its 25-400mm equiv F2.8-4 lens gives you plenty of reach while still offering a fair amount of light-gathering ability.
The FZ1000 II has a comfortable grip and twin control dials, but its all-plastic construction doesn't live up to its price. It's extensively customizable, with an array of physical and on-screen buttons. The OLED EVF is very good.
Its versatile lens, snappy autofocus speeds, large EVF and 4K video capabilities should make it one of the better cameras in its class.
The FZ1000's image quality is good for its class. The camera doesn't capture as much detail as we'd like and, if you're up to it, shooting Raw and post-processing will get the most out of the camera.
The FZ1000 II captures 4K UHD video at 30p and 24p, though there is a substantial crop which narrows your field of view (this is not an issue at 1080). The autofocus system tends to 'hunt' for focus on occasion. The camera has a good set of video controls and a mic input socket.
The FZ1000 was a solid camera and the improvements on its successor make it even better. While not best-in-class, its versatile lens, good image and video quality and reasonable price make the FZ1000 II well worth considering.
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The retired champ
In its day, the Sony Cyber-shot DSC-RX10 IV offered better performance and autofocus than the Panasonic, though at a substantially higher cost. In 2024, however, it's no longer available at retail, and the FZ1000 II is. If you manage to find an RX10 IV somewhere and are interested in a long-zoom compact, it's still worth snapping up – it's possible it'll be the best of its kind that was ever made.
The Nikon Coolpix P1000 is a small sensor camera with a vast zoom lens. The Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv lens is its selling point.
The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.
The P1000 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1000's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well.
"When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1000"
The P1000's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths.
The P1000 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below.
When it comes to zoom power, nothing comes close to Nikon's Coolpix P1000. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.
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Vlogging cameras
Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.
The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter, unless an object is held up to the camera.
A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve.
The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control.
The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.
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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.
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