Updated Oct 22, 2025

Well over a decade after Panasonic introduced the first mirrorless camera, they now dominate the interchangeable lens camera market. They include cameras designed for a wide range of photo and video pursuits and models at everything from budget to professional price points.

We've used and tested just about every current mirrorless camera on the market and picked out what we think are the stand-out models. We'll start with the most affordable models, then work our way up from there. In general terms, as you move up the price ladder, you'll see larger sensors with better image quality, higher resolution, faster burst rates, and more capable video specs. We'll explain why we've chosen each camera and try to explain the advantages and disadvantages of each choice.

Our picks:

• Best affordable kit: Sony a6100
• Best value around $1000: Nikon Z50II
• Best APS-C mirrorless camera: Fujifilm X-T5
• Best value full-frame: Nikon Z5II
• Best mid-priced mirrorless camera: Nikon Z6III
• Best high-end mirrorless camera: Canon R5 II
• Compact high-resolution: Sony a7CR
• IQ above all else: GFX 100S II

Best affordable kit: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

Photo: Richard Butler

The Sony a6100 is an entry-level APS-C mirrorless camera. While it's one of the older camera still available, its 24MP sensor, touchscreen for easy focus placement and Sony's excellent autofocus tracking, which especially excels at focusing on people and pets, still make it excellent value for its price.

It's happiest if you prefer to point-and-shoot in an auto mode. The wide range of lenses available for it give you somewhere to grow if you find yourself catching the photography bug and, if you shop smart, you can get the body and a lens for around $1000 (though we'd recommend staying away from Sony's default 16-50mm F3.5-5.6 II kit option).

Read our Sony a6100 review

See the Sony a6100 studio scene

Best value around $1000 - Nikon Z50II

20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p

Photo: Richard Butler

It represents a step up over the a6100, offering similarly powerful autofocus (though with more autofocus subject recognition types) and much more welcoming controls for when you want to be more involved in the photo-taking process. Nikon places some restrictions on what lenses third parties can make, but there are increasingly more sensible options; if the ones you want are available for it, the Z50II is the best option at this price point.

Read our full Nikon Z50II review

See the Nikon Z50II studio scene

Best APS-C mirrorless camera: Fujifilm X-T5

Photo: Richard Butler

The Fujifilm X-T5 is an enthusiast-level APS-C mirrorless camera built around a stabilized, 40MP BSI CMOS sensor with the company's X-Trans color filter array. It has plenty of features for both photo and video shooters.

What really lands it on this list, though, is how lovely it is to use. There are physical controls for all your exposure settings alongside configurable top-plate command dials, a big, bright EVF, and its JPEG colors are especially pleasing with a wide range of sensible (and more out-there) "Film Simulation" color modes. There are more technically capable APS-C cameras on the market, for a lot of photography we'd give up a bit of AF tracking performance and speed for the X-T5's user experience.

Read our full Fujifilm X-T5 review

See the Fujifilm X-T5 studio scene

What are my other APS-C options?

The Sony a6700 is the most capable APS-C camera on the market, with extremely strong autofocus performance, image quality and video capabilities. Sony's E-mount also has the most complete array of APS-C lenses after Fujifilm's, largely thanks to support from third parties. However, we don't find it as pleasurable to use as the X-T5 – its viewfinder is smaller and lower-res, and the lack of an AF joystick making picking a focus point a bit more of a chore – but if technical prowess is what you seek, the a6700 is your best bet.

Canon also builds some decent APS-C competitors that rival Sony's performance, but while you can now get some several decent third-party fast zooms for them, the company still restricts what lenses can exist on RF-mount.

Fujifilm's X-T50 is also worth considering if you're looking at APS-C cameras Photo: Richard Butler

Finally, if you were enticed by the X-T5 but are on a budget, we'd suggest considering the Fujifilm X-T50. It packs the same sensor and processor into a smaller, lighter design. While the viewfinder isn't as nice, and the controls are a little more fiddly, in return you get the film simulation dial, which encourages you to play with different looks. It can also be kitted with the excellent 16-50mm F2.8-4.8 OIS zoom, which is significantly better than the lenses bundled with other companies' APS-C offerings

Full-frame mirrorless

Full-frame cameras (those with image sensors the same size as traditional "35mm" film) offer the potential for better image quality than smaller formats, simply because they have a larger area on which to capture light. However, you don't get something for nothing: even if you can find an affordable, compact full-frame camera at a good price, the lenses needed to make the most of it will be larger and will typically cost more than those for APS-C or Four Thirds sensors. Broadly speaking, there's a balance to be struck between image quality, size and price, which is worth contemplating before you make the assumption that full-frame is the best (or even 'better') format.

Best value full-frame mirrorless: Nikon Z5II

24MP BSI full-frame sensor | In-body image stabilization | Dual UHS-II card slots

Photo: Mitchell Clark

Don't be scared by the "value" part of this pick; the Z5II doesn't feel cheap, and there aren't obvious features cut for cost. In fact, we suspect most photographers would struggle to push its limits, and unless you must absolutely have faster or higher-resolution shooting or top-end video, it's hard to argue that most people truly need anything better.

Read our full review of the Nikon Z5II

See the Nikon Z5II studio scene

What are the other entry-level full-frame options?

We also think the Canon EOS R8 is worth considering if you're looking for a comparatively affordable full-frame camera. Like Nikon's Z-mount system, Canon's RF lens ecosystem is also somewhat short on affordable lenses to pair with an entry-level camera.

Its usability it what keeps it from topping this guide; it has shorter battery life and smaller viewfinder than the Z5II, and lacks in-body image stabilization, a second SD card slot and an AF joystick. However, it can shoot 4K60 video without a crop, which could be interesting to videographers, though, unlike the Z5II, it doesn't offer any Raw options.

Best mid-priced full-frame mirrorless: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

The Nikon Z6III is a significant step up for the Z6 series, and is a very capable camera for both stills and video. Its main benefit over less expensive models are its sensor readout speeds – and, therefore, rolling shutter performance in video – which are among the best in its category.

Read our full review of the Nikon Z6III

See the Nikon Z6III studio scene

The mid-priced rivals

There are plenty of other cameras worth considering, in the around $2000 price category. Canon's EOS R6 II is probably the strongest competitor to the Z6III. It has a slightly smaller viewfinder, and its video specs aren't as good, but if you're just looking to shoot stills, your choice between the two should be dictated purely by which system has the lenses you want at prices you're happy with.

If you shoot outside a lot and need a compact system with excellent weather sealing, the OM System OM-1 II is worth considering; outside of that use case, it's probably worth considering other options unless you're heavily invested in Micro Four Thirds lenses.

Sony's a7C II is also a reasonable choice, as its high-resolution sensor is good for stills, though its slow readout speeds limit its video capabilities. Its autofocus is Sony's latest (unlike with the full-size Sony a7 IV), and it's appreciably smaller than its rivals. The viewfinder is small, and there's no AF joystick, though, which are the main reasons it's not one of our main picks: it's better on paper than in the hand.

Best high-end mirrorless camera: Canon EOS R5 II

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

Photo: Richard Butler

The Canon EOS R5 II is one of the most capable cameras we've ever tested and will almost certainly be up to any task that most photographers can throw at it. It shoots at high resolution, has an excellent autofocus system and sports plenty of video features.

Read our Canon EOS R5 II review

See the Canon EOS R5 II studio scene

A worthy competitor

The strongest competitor to the EOS R5 II besides the original EOS R5 is Nikon's Z8. And, frankly, there's very little to choose between them. Canon's high-end model has some features that could be useful to certain photographers, like Action Priority AF and Eye Control, but outside of that your choice should again be dictated by lens selection, as they're both supremely capable cameras.

Compact high-resolution: Sony a7CR

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

Photo: Richard Butler

The Sony a7CR takes most of the features of the more expensive a7R V and provides them in a smaller package. The viewfinder is disappointing for such an expensive camera, but nothing gives you so much image quality in such a small, capable package.

Read our Sony a7CR initial review

IQ above all else: Fujifilm GFX 100S II

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

Photo: Mitchell Clark

The Fujifilm GFX 100S II is a 100MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

This camera is perhaps the most specialized pick on this list: it's not especially fast or versatile but in terms of image quality, it essentially offers the best levels of detail we've ever seen. It's a true step up over even the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good).

What are the other high-end options?

Just about all the cameras that cost $2500 and up are, unsurprisingly, rather good. We go into a little more detail about their relative merits in our 'High-end camera buying guide.' As at any price, the key things to consider are what types of photography you plan to do (and hence, which features and capabilities are most important to you), and whether the lenses you need are available at a price you're willing to pay.

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.

Image: MirageC / Moment via Getty Images

Welcome back to our Question of the Week series! If you're new here, this series aims to get our passionate community to share thoughts on all sorts of photography-related topics in our forum. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we're leaning into the problem-solving side of things.

How do you deal with bad copies of lenses?

Unfortunately, defective lenses, often called "bad copies," are a fact of life for photographers. One copy of a lens could be excellent, and another could have frustratingly noticeable defects. Bad copies can happen even with a model that has a good reputation for optical quality. The defects can be subtle or dramatic, and may take the form of uneven sharpness, obvious blurring or asymmetrical performance.

It's important to note that, for this week's question, we aren't asking about lens defects found across all versions of the lens. Issues like aberrations and distortion are a subject for another day. This time, we want to know how you deal specifically with problems related to defective lenses.

Everyone has their own thought process or method for dealing with bad copies. It could be returning the lens, sending it off for repairs or simply living with it. Or maybe you have a more unique approach that we haven't even thought of.

This week, we want to know what you do when you come across a defective lens. Share your experiences, or, if you haven't dealt with one, share what you might do if it does happen to you. Mention whether you're referring to a DSLR, mirrorless, or other type of camera. If you have a photo of a physical issue that resulted in a bad lens, we'd love to see it. Next Wednesday, we will select a handful of your stories and publish them in a new article.

For a future Question of the week, we'll discuss chromatic aberrations separately and how you handle those.

Click here to answer the Question of the week

This photo has been brightened in Adobe Camera Raw. Sony a7 III | Sony Vario-Tessar T* FE 24-70 mm F4 ZA OSS | F4 | 1/50 sec | ISO 10,000 Photo: Abby Ferguson

Noise is a common frustration among photographers, especially beginners. Showing up as speckles or tiny color dots in your photographs, noise can spoil what might otherwise be a great photograph by reducing sharpness and adding artifacts that distract from the subject. While the best course of action is to avoid noise to begin with, there are tools to reduce it in your photographs after the fact. In this article, we'll touch on how to prevent noise and what to do if it's unavoidable.

How to avoid noise

First and foremost, let's address a common misconception: high ISOs aren't the cause of noise in photographs. Noise is much more complicated than that, and is caused by multiple factors. There's so much going on there, that it's a topic worthy of a separate article (or two). We won't be getting into the nitty gritty of what causes noise here, but will touch on ways to reduce its impact.

Maximize exposure

The most effective way to get clean images is to capture as much light as you can. The easiest way to think of this is to use as low an ISO as possible: not because the ISO setting reduces noise but because it means you've captured as much light as possible with the aperture and shutter speed, and, as a result, don't need to bump up the ISO. So think about how long an exposure your subject's movement and your hand shake will tolerate, and open up your aperture as much as you can. Letting in more light is key to minimizing noise.

Avoid underexposing

I underexposed this image of a dark grocery store substantially. Sigma BF | Sigma 35mm F2 DG Contemporary | F4.0 | 1/2000 sec | ISO 12,800 Photo: Abby Ferguson	Brightening the dark image (from the Raw file in Adobe Camera Raw) emphasized the noise caused by not letting in enough light due to a too-fast shutter speed.

Sometimes the noise you see in edited photos is a result of brightening an image that was underexposed. Brightening overly dark images emphasizes noise that's already present from a lack of exposure, so it's best to get your exposure close to correct in-camera. Understanding how to use your light meter and histogram will help you dial in your exposure more accurately in-camera, which will then allow you to optimize image quality with less noise even when editing.

Shoot in Raw

This example is a brightened version of the JPEG file shown above, which reveals even greater noise, loss of detail and dynamic range when brightened.

If you've dabbled in photography for much time at all, you've likely come across content that tells you to shoot in Raw. That's because Raw files contain all the data from the sensor. They provide multiple benefits, including greater dynamic range, which provides more flexibility when editing. Both of those help in keeping noise levels in check. The extra data in Raw files also makes it possible to remove more noise in post-processing without losing as much detail as JPEGs.

Use in-camera long exposure noise reduction

Long exposures can also be a culprit for noise because of heat generated by the sensor when it remains active for long periods, resulting in thermal noise and hot pixels. To combat this, many modern cameras offer long exposure noise reduction. This setting captures two photos, one right after the other. The first is the image of the scene, while the second is what's called a dark frame. It's taken with the shutter closed, meaning it contains only noise and hot pixel data. Having both allows the camera to subtract information in the dark frame from the first frame, thus reducing noise.

When possible, increase light

One of the main causes of noise is simply not having enough light in a scene. Adding light isn't always an option, of course, but if you're in a situation where you can add artificial light or change to a brighter location, you'll be able to better manage noise in your images. This could be by using a flash (or a constant light source like a lamp), or, if possible, moving your subject towards the light.

Reducing noise in editing

Adobe offers an AI-based "denoise" tool in Camera Raw and Lightroom, along with manual noise reduction tools in both programs and Photoshop.

If you've already taken the photo and are seeing higher levels of noise than you'd like, you're not necessarily out of luck. Traditionally, noise reduction meant loss of sharpness and detail in images, so it was a tradeoff. Now, though, many editing programs offer quite effective noise reduction tools that also preserve detail, and some use AI to maintain sharpness during noise reduction by creating apparent detail. Certain platforms even allow you to selectively reduce noise using masks or brushes, keeping the noise reduction only to areas where it's needed and keeping sharpness where it's not.

The new ON1 Photo RAW 2026 is now available with smarter AI tools, faster workflows, and powerful new features (see pricing). Here is what’s new:

• Smarter, faster AI masking and selection tools
• Enhanced raw processing for breathtaking image quality
• Powerful new effects and workflow optimizations
• A beautifully refined interface that makes editing intuitive and fun
• The brand-new Double Exposure filter makes it easier than ever to craft stunning, layered looks in just seconds
• Stunning Effects & Portrait AI
• Built-in Resize AI 2026 for razor-sharp enlargements
• Works standalone or as a plug-in for Lightroom & Photoshop
• Masking overhaul: Mask Layers, one‑click Subject/Background masks, cleaner AI edges
• Effects upgrades: Favorites & search in Add Filter, Starting Point presets, + four new creative filters
• Extras: Negative Mode for film scans, grayscale support, improved perspective tools, flexible UI

The post ON1 Photo RAW 2026 now available appeared first on Photo Rumors.

Here is what else is new:

Nikon released firmware update for the Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR lens

The latest Z-mount lenses now listed at B&H Photo

Leica M EV1 camera announcement confirmed for tomorrow

Leica M EV1 events cancelled in the US “due to unforeseen circumstances”

Additional information on the limited edition Leica M11 Monochrom camera marble sculpture by Casper Braat x Leica Store Lisse (now available for purchase for €50,000)

Leica M EV1 camera not coming to the US this week?

Panasonic released new firmware updates for the Lumix S5II, S5IIX, S9, G9 and GH7 cameras

Ricoh/Pentax will not take part in the 2026 CP+ show

Boryoza GF-NZ Auto Focus Lens Adapter Fujifilm to Nikon and Fujifilm GFX to Hasselblad CFV 100C

Canon Speedlite EL-1, EL-5, and ST-E10 Firmware Updates Released

Introducing Alpha Camera Academy: Your New Home For Learning Photography (For FREE!)

The post What else is new? appeared first on Photo Rumors.

The new Field Plate doesn't require a hex tool to install. Photo: Peak Design

Peak Design has revealed a new version of its camera tripod plate that doesn't require any tools, fixing a common complaint its users had with a part used with many of its accessories. Additionally, the company has unveiled a new line of minimalist camera straps and wrist straps.

Peak Design's original Standard Plate is compatible with many of the company's accessories, including the Capture camera clip, Travel Tripod and Clutch camera strap. It makes it easy to swap between different Peak Design products, but previous versions of the plate required a hex tool for installation, which was a common point of frustration.

The newly designed Field Plate offers the same flexibility in terms of compatibility, but doesn't require a tool for installation or removal. Instead, it features a "first-of-its-kind connection screw mechanism that pops up with the press of a button" and "ergonomic thumb-drive handle." That means no more digging for a hex tool to remove or tighten the plate and no frustration when you realize it fell off your tripod while you were out in the field.

Photo: Peak Design

The Field Plate is CNC-machined from anodized aluminum. It secures with a 1/4-20" thread and is compatible with all Peak Design tripods, the Capture Camera Clip V3 and most Arca-compatible Tripod heads. It comes with four Anchor loops for use with the company's straps, though Peak Design also now makes colorful Anchors (orange, purple, green and blue), that are available separately.

In addition to the tool-free Field Plate, Peak Design also rolled out new camera straps dubbed the Form straps. They are available in leather (in black, orange and tan) and rope (in blue, green and black) varieties. Peak Design said it wanted more minimalist straps, so it focused on less stitching and no heavy-duty hardware. It also says it custom-designed its materials and hardware to slim things down. The rope version is a nylon/poly blend, while the leather is a full-grain bovine leather.

The new Form straps come in rope and leather varieties. Each material is available in three colors and five lengths. Photos: Peak Design

Like the company's existing straps, the Form lineup uses its Anchor quick-connection system, though the straps come with color-matched ones now, rather than the previously standard red or black ones. Both varieties feature an anodized aluminum accessory loop that allows you to attach a spare Anchor for stowing the strap when it's not on the camera. Depending on your chosen color, you can select between four lengths: long, standard, short and neck (some lengths aren't available for certain colors). The rope and leather versions are also available in the company's wrist-strap style Cuff product.

All of the new products are available for purchase today through Peak Design's website. The Field Plate is priced at $40, which is double the price of the Standard Plate. The Form Rope strap is $40 for the wrist strap, $45 for the Neck length and $50 for the three longer sizes. The Form Leather Strap starts at $60 for the Cuff version, $70 for the Neck length and $80 for the other three lengths.

Buy now:

Image: Realme

Realme has announced the GT 8 Pro, a smartphone that the company says was made in collaboration with Ricoh GR, with the goal of bringing some of the compact camera's street photography prowess to mobile photography. The phone also features an interchangeable camera housing, allowing more customization.

In a blog post announcing the brands' "strategic partnership," Realme says the goal is to bring "GR Heritage to Young People’s Pocket[s]," which largely seems centered around the idea of taking snapshots with the phone, rather than perfectly-composed images.

The phone's camera app also has a Ricoh GR mode made to resemble the physical cameras' control scheme. Image: Realme

It's not just about "vibes," as Realme vice president Chase Xu calls them in a video made with Ricoh's Kazunobu Saiki. The GT 8 Pro will include five color mode presets meant to mimic the standard, positive film, negative film, black and white, and high-contrast black and white color modes from the GR-series cameras. It also adopts shooting modes that emulate the 28mm and 40mm equiv. lenses on the GR cameras and their "x" variants.

These are, however, 'faux-al' lengths; digital crops taken from the 22mm lens, which is paired with a Type 1/1.56 (47.6mm²) sensor. The GT 8 Pro features three standard smartphone cameras: the 50MP main camera, a 200MP periscope telephoto and a 50MP ultrawide. Realme says the telephoto camera supports 3x optical, up to 12x "lossless zoom" (again, from a center crop of the sensor) and dual-axis OIS stabilization. On the video side of things, the phone is capable of 4K120 with support for Dolby Vision or up to 8K30.

Ricoh is the latest company we've seen lending its branding to a smartphone manufacturer. Leica has famously worked with Xiaomi in recent years, while Oppo (Realme's parent company) has tied up with Hasselblad. It's easy to see why the tactic has become increasingly popular; the phone makers get to borrow some of the prestige (and, potentially, expertise) from heritage camera brands, and the camera makers get their names in front of budding photographers who may one day look to buy a dedicated camera.

Images: Realme

In addition to the Ricoh branding, the GT 8 Pro is Realme's first phone with an interchangeable camera bump frame. The camera module uses two screws on the side to securely hold the replaceable component in place. It doesn't change the specs or functionality of the cameras (this isn't the concept phone with an interchangeable lens mount the company unveiled in March), but it does allow users to customize the look of the phone.

Image: Realme

Realme says it will offer different designs, including square, round and "robot styles." The phone ships with a round module, but reportedly, the first models shipped in China will also include the square option. The company also shared the 3D model file and invited users to create their own takes. It's even holding a competition for the most creative designs with MakerWorld.

Image: Realme

The GT 8 Pro uses the flagship Snapdragon Elite Gen 5 Extreme Edition chipset with up to 16GB RAM and 1TB UFS 4.1 storage. It also features Realme's custom R1 graphics chip. The display also gets flagship features, using an AMOLED with QHD+ resolution and 144Hz refresh rate. It promises 2000 nits brightness in typical conditions, but it can boost up to 4000 nits in peak areas. It offers 120W wired charging and 50W wireless. The phone also offers IP66, IP68 and IP69 ratings.

The Realme GT 8 Pro is only available in China for now and comes in white, green and blue. Pre-orders start today for a base price of CNY 3999 ($562).

Image: Aura

Digital picture frame brand Aura has announced a new take on its frames with the Aura Ink. The new digital frame opts for a low-power e-paper display, enabling a cord-free design that isn't stuck to locations near outlets. Aura says the Ink will look more like a print and less like a screen and claims this is the thinnest e-paper frame available.

Those familiar with e-readers or tablets that use e-paper may be scratching their heads and questioning the display's quality for photographs. The Aura Ink, though, differs from e-readers in that it uses E Ink Spectra 6, which is not currently found in any e-readers. It is, however, found in other digital photo (and poster) frames, such as the InkPoster, so Aura isn't the only company using the tech to show off more detailed imagery.

The Aura Ink can be mounted to the wall or placed on a tabletop. Image: Aura

E Ink Spectra 6 uses six ink colors (white, black, red, yellow, green and blue). Aura says it added a proprietary dithering algorithm that expands the appearance of its six-color system into millions of tones. As a result, Aura claims it gives the illusion of a full-color photograph. "We hold color accuracy, brightness, and overall photo reproduction to a higher standard—even while working within the unique characteristics of e-paper, such as its narrower palette, more muted tones, refresh process, and pixel structure," explained Eric Jensen, Aura’s Chief Technology Officer and co-founder.

The 13.3-inch Aura Ink display also features a built-in, automatically adjusting front light to boost contrast and vibrancy without glowing like a traditional screen. Like Aura's other frames, it uses paper-textured matting and a glossy finish to look like a traditionally framed print.

A zoomed-in crop of the display. Images: Aura

Aura says the frame refreshes overnight to show a different photo each day, using a gradual, 30-second imprinting process that reconfigures each pixel's physical color. You can change the schedule to show more pictures throughout the day, but the single photo per day provides a more traditional print experience.

One of the benefits of the e-paper design is lower power usage compared to an LCD. "A top request has been a truly wireless frame with minimal charging, and e-paper is the only technology today that can deliver that," said Jensen. Aura says it provides up to three months of battery life on a single charge, meaning users can place the frame anywhere without considering outlet location. The cordless design also makes it more attractive when hanging on the wall and more feasible to integrate into traditional gallery walls.

The testing process. Photo: Aura

The Aura Ink is also quite slim, even for traditional picture frames, measuring just 15.24mm (0.6"). Like Aura's LCDs, it offers unlimited photo sharing without a subscription and allows friends and family to contribute photos from anywhere. The frame features hidden buttons to allow for manual changes, or users can control what's on display via the Aura app.

The Aura Ink is now available for $499.

Buy now:

The previoulsy reported Tamron 25-200mm f/2.8-5.6 Di III VXD G2 lens for Sony E-mount is now officially announced:

• Pre-order: B&H Photo | WEX Photo | Foto Erhardt
• Additional information
• Press release
• Product page
• Development announcement:

Tamron 25-200mm f/2.8-5.6 G2 8x zoom full-frame lens development announced

The post Tamron 25-200mm f/2.8-5.6 Di III VXD G2 lens for Sony E-mount officially announced appeared first on Photo Rumors.

Image: Tamron

Tamron has announced the 25-200mm F2.8-5.6 Di III VXD G2 full-frame lens for Sony mirrorless cameras. The G2 is a successor to the existing 28-200mm F2.8-5.6, updated to go significantly wider at the wide end of its zoom.

The 8x range means that, even with the expansion at the wide end, it doesn't count as a superzoom, but combined with a relatively bright F2.8-5.6 maximum aperture range it gives a very flexible lens.

The extra coverage at the wide end of things should boost its usefulness by more than the modest 3mm reduction might imply, especially as it comes with approximately half macro (1:1.9) magnification at the 25mm position.

It moves to using a VXD voice-coil linear motor, rather than the rotary stepper motor used in the previous version. The company says this makes it "perfect for captuing sports and action, such as children and pets in motion."

Its 76mm (3") diameter is a fraction wider than the previous version and its 122mm (4.78" ) length is 5mm longer, but the G2 version is 1g lighter, at 575g (20.3oz). Both versions feature 18 elements arranged in 14 groups. It maintains the same 67mm filter thread.

The new, wider version of what Tamron calls its "all-in-one" zoom, will retail for around $899, around 23% more in money terms than the original launched in June 2020.

Tamron 25-200m F2.8-5.6 Di III VXD G2 specifications

Several of the previously reported Chinese lenses are now officially announced:

• Viltrox AF 85mm f/2 EVO FE
• Venus Optics Laowa AF 200mm f/2 AF FF
• Viltrox AF 50mm f/1.4 Pro
• 7Artisans AF 35mm f/1.8
• TTartisan AF 75mm f/2 (silver)
• Brightin Star 35mm f/0.95

Here is an updated list of the latest/upcoming/rumored Chinese lenses:

New AstrHori AF lens coming on October 22nd (check the official website for updates).

Light Lens Lab will soon release a new LLL 35mm f/1.4 Aspherical “11873” lens for M-mount.

Light Lens Lab is working on a new 300mm f/1.9 lens with an APO design.

New Yongnuo YN 33mm f/1.4 R DA DSM lens with a lock button.

New Yongnuo 18mm f/2.8 full-frame autofocus lens.

New Yongnuo YN 56mm f/1.4 R DA DSM lens.

New Lee Works 28mm/2.8 lens for Leica M mount is coming (minimum focusing distance less than 0.4m).

ZY Optics is expected to announce a new autofocus full-frame lens in the second half of the year.

New Dulens lens coming soon.

The post New AstrHori AF lens to be announced on October 22nd appeared first on Photo Rumors.

Ricoh announced the development of two new Ricoh GR IV camera models:

Ricoh GR IV HDF camera

• Technical specifications
• Expected to be release in late 2025 or ealry 2026
• 25.7 MP sensor
• 18mm f/2.8 (28mm equivalent)
• HDF (Highlight Diffusion Filter)
• ISO: 100 to 204800

Ricoh GR IV HDF camera development announced

Ricoh GR IV Monochrome camera

• Technical specifications
• Expected to be release in late 2025 or ealry 2026
• 25.7 MP sensor
• 18mm f/2.8 (28mm equivalent)
• Monochrome sensor
• ISO: 160 to 409600

Ricoh GR IV Monochrome camera development announced

The post Ricoh announced the development of two new GR camera models: Ricoh GR IV HDF & Ricoh GR IV Monochrome appeared first on Photo Rumors.

The new 2025 5DayDeal photography bundle sale is ending today. As with previous years, you will get a package of different photography tools drastically reduced ($1,000+ worth of pro-level courses, tools, resources, and creative assets for as little as $98). Several different bundles are available, and a portion of the proceeds will be donated to charities:

The post The 2025 5DayDeal Photography Bundle sale is ending today appeared first on Photo Rumors.

The Ricoh GR IV Monochrome appears to have a white light ring around the power button, rather than the green one found on standard GR IV – that's attention to detail. Image: Ricoh

Ricoh has announced that it's developing two new variants of its GR IV photographer's compact: a monochrome edition that's a first for the series and a version that swaps the original's built-in ND filter for a highlight diffusion filter (HDF).

The two editions will be based on the original GR IV; that means they'll be in the same pocketable body with great controls and use a 18.3mm F2.8 (28mm, F4 equiv) lens*. The HDF version will use the same 26MP APS-C sensor with a bayer color filter, and the monochrome one has the same resolution and size, but drops the color filter.

From the front, the GR IV HDF is indistinguishable from the original GR IV and the Monochrome. Image: Ricoh

We enjoyed the original GR IV, which launched last month, so it's exciting to see Ricoh following it up so quickly. Neither version is especially surprising – Ricoh hinted at a monochrome GR when we interviewed its executives at CP+ last year, and there was an HDF model of the GR III – but both are interesting additions. There are a lot of fans of the soft, diffuse look that an HDF filter provides, and monochrome sensors have typically come with a 1EV noise improvement compared to their color counterparts.

Ricoh says the monochrome GR IV will have "Image Control options specialized for black and white photography," likely building on the already popular black and white modes on the original GR IV.

Sadly the GR mono doesn't share the beautiful 'Monochrome' lettering from the Pentax K-3 III Monochrome, Ricoh's first mono camera. Image: Ricoh

The company didn't provide exact release dates for either model, and says pricing is to be determined. However, its press releases say we can expect the HDF model in "winter 2025 or later," with the Monochrome one coming in "spring 2026."

* Those hoping for an 'x' variant with a 40mm equiv. lens will have to keep waiting, it seems.

Ricoh GR IV Monochrome press release

Ricoh GR IV HDF press release

Read our Ricoh GR IV review

The previously reported Viltrox AF 85mm f/2 EVO FE full-frame lens is now officially announced:

• B&H Photo
• Viltrox store

Additional information:

• 10 Elements in 8 Groups (2 ED & 2 HRI)
• 0.74m Minimum Object Distance
• 0.13× Maximum Magnification
• 340g Lightweight
• 69mm x 76mm Compact Size
• Accurate AF with STM Motor
• Customizable Fn Button, Click/De-Click Aperture Ring & AF/MF Switch
• Bright F2.0 Aperture
• Fast, Accurate STM Autofocus for Photo and Video
• Durable Build with Dust and Moisture Protection
• 58 mm Filter Thread and USB-C Firmware Upgrade Port

The post Viltrox AF 85mm f/2 EVO FE full-frame lens officially announced appeared first on Photo Rumors.

Photo: Viltrox

Viltrox has announced the first offering in a new lens lineup, the AF 85mm F2.0 Evo FE. The third-party lens maker is promising edge-to-edge clarity, fast autofocus, and a compact design from its latest prime lens for Sony full-frame cameras. All of that comes at a very budget-friendly price, too.

The AF 85mm F2.0 Evo features 10 elements in 8 groups. The lens design includes two HR and two ED lenses, which Viltrox says results in sharp edges and minimal chromatic aberration. It also says the lens will be sharp even wide open, but the best clarity is at F4 and F5.6. It offers a nine-blade aperture diaphragm.

Viltrox's latest lens can focus as close as 0.74m (2.43'). The autofocus system is powered by an STM motor, which Viltrox says is smooth and silent enough for video applications. It also supports eye and face detection.

Photo: Viltrox

There are useful on-body controls, including an aperture ring, AF/MF switch and customizable Fn button. The aperture ring can be clicked or de-clicked. Viltrox says it is its lightest 85mm lens yet, weighing 340g (11.99oz) and measuring 76mm long (2.99") with a diameter of 69mm (2.71"). It uses a 58mm filter thread. The company also built the lens with a rubber-sealed lens mount for added durability, and a USB-C port allows users to update firmware.

The company says the Evo Series is focused on the "Evolution of Essentials" and offers "finely tuned control, exceptional image quality, and effortless portability for professional use." It sits between the Air and Lab series, with upgraded optics and build compared to the Air lenses, though at a more affordable price than the Lab series.

The Viltrox AF 85mm F2.0 Evo FE is available as of today for $275.

Here is the first leaked picture of the rumored/upcoming Leica M EV1 camera:

The Leica M EV1 camera will be announced on October 23rd:

Leica M EV1 camera announcement next week (October 23)

⇒ Join the new Leica M EV1 Facebook Group ⇐

Additional information on the Leica M EV1 camera can be found here:

What’s next for Leica? (updated rumors recap: SL3 Reporter, Q3 Monochrom, M EV1, and more)

Leica M EV1 camera updates: 45g lighter, customizable FN button (frame selection lever)

The post First leaked picture of the rumored Leica M EV1 camera appeared first on Photo Rumors.

The previously reported Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens will be officially announced on October 23rd.

The official teaser is already out:

 

View this post on Instagram

 

A post shared by FUJIFILM UK and Ireland (@fujifilmuk)

Fujifilm X-T30 III and Fujinon XC 13-33mm f/3.5-6.3 Teaser – Coming October 23 at 1AM EST

Here is what to expect:

The latest Fuji rumors: Fujifilm X-T30 III & Fujinon XC 13-33mm f/3.5-6.3 coming In October

Fujifilm rumored to announce a new XC 13-33mm f/3.5-6.3 lens

Yes, the Fujifilm X-T30 II camera is discontinued and it will be replaced in October with a new X-T30 III model

The Fujifilm X-T30II camera is rumored to be replaced in 2025

The post The Fujifilm X-T30 III camera and Fujinon XC 13-33mm f/3.5-6.3 lens will be officially announced on October 23rd appeared first on Photo Rumors.

LightPix Labs announced a new FlashQ FM2 retro-inspired wireless TTL / manual camera flash. Pre-orders are now open at B&H Photo and Amazon.

Additional informataion:

• Available in black and silver
• Distinct boxy form factor of FM2 is inspired by the classic Contax TLA200.
• Housed in a premium aluminum alloy enclosure.
• Two different models are available:
  • FlashQ FM2 Manual Flash
  • FlashQ FM2 TTL Flash for Fujifilm
• FM2 Technical Specifications
• Guide Number 20m (at ISO 100)
• Focal length coverage: 32mm (on 35mm format)
• Manual flash power ratio control from 1/1 to 1/64
• (further supports 1/3 EV steps setting from 1/1 to 1/16)
• 2.4GHz low-power digital radio, 10 meters wireless operating range
• Other functions: S1 / S2 optical slave
• Two AA-size alkaline / rechargeable Ni-MH batteries
• Recycling time (1/1 full power output) : 4 sec. by Ni-MH batteries /
• 5 sec. by fresh alkaline batteries
• Number of flashes : 100 – 2000 flashes
• Flash color temperature : 5600K±200K (same as daylight)
• Dimensions : 60(W) x 52(H) x 50.5(D) mm
• Weight : 101g (without battery)
• Price: $79-$99

New LightPix Labs FlashQ FM2 TTL

The post LightPix Labs released a new FlashQ FM2 retro-inspired wireless TTL / manual camera flash appeared first on Photo Rumors.

Here is the latest Nikon news:

New Nikon rebates started in the US

Nikon now has eight DX (APS-C) Nikkor Z mirrorless lenses

Nikon products receive the 2025 Good Design Award

The Nikon ZR camera is now shipping, currently in stock in Canada

Interview with Nikon at the 2025 Salon de la Photo show in Paris

Nikon NX Tether version 2.4.0 released

New versions of NX Studio and Wireless Transmitter Utility released

Weekly Nikon news flash #857

2025 Nikon Small World competition winners announced

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