2025 by the numbers

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

Cameras released: 26

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

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

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

Zoom lenses released: 21

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

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

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

Prime lenses released: 37

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

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

Interviews with major manufacturers: 11

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

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

Images in sample galleries: 5016

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

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

Episodes of the DPReview discussions show: 16

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

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

Number of photos submitted to Editors' photo challenges: 2939

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

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

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

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

Number of sustainable, modern forum systems transitioned to: 1

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

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

Issues of our newsletter: 48

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

Sign up for the DPReview Newsletter

The previously reported Meike AF 23mm f/1.4 APS-C lens (E/X/Z) is now available for order at the official online store.

Additional information on the new lens:

• 13-element in 11-group
• minimum focusing distance of 0.25 meters
• 58mm filter thread,
• Weight: 298 grams
• STM stepping AF motor
• Available for Sony E, Fujifilm X, and Nikon Z mounts

Here is an updated list of photo gear promo codes you can use during this holiday shopping season

The post Meike AF 23mm f/1.4 APS-C lens now available for order (E/X/Z) appeared first on Photo Rumors.

Here are some of the new Laowa lenses Venus Optics will announce next year (2026):

• Laowa FF 45mm f/2.8 ultra macro full-frame 1-5X APO (11 elements in 9 groups)
• Laowa FF 17.5mm f/1.7 ultra macro full-frame 5-10X APO (17 elements in 12 groups)

Specifications:

• Full-range parfocal design throughout zooming (means the focus will not change as you increase magnification)
• Coaxial illumination (means light goes through the lens, hits the surface, and comes back; the lens acts as a condenser and an objective – suitable for inspection)
• Covers high magnification zoom from 1:1 to 10:1, filling the gap between a traditional macro lens and a microscope
• Longer working distance (40.35mm/22.5mm) facilitates lighting setup
• Adopts apochromatic (APO) optical design to effectively eliminate chromatic aberration, resulting in sharp images and accurate colors
• Full-frame lenses compatible with multiple mounts (E/Z/L/F/RF/EF)
• Meets the image needs of scientific research and commercial applications

Laowa FF 14-60mm T3.6 stereo zoom lens:

The post Here are some of the new Laowa lenses Venus Optics will announce next year (2026) appeared first on Photo Rumors.

7Artisans is teasing a new line of APS-C LITE autofocus lenses. Three different focal lengths are expected. The weight of each lens will be around 180g.

The latest lens releases from 7Artisans can be found here.

The post 7Artisans is teasing a new line of LITE APS-C autofocus lenses appeared first on Photo Rumors.

Here is what else is new:

Reminder: there is no new Nikon Z90 APS-C camera coming next month

Coming next: Leica Noctilux M 35mm f/1.2 lens (in January)

Canon EOS C400, C80, C70, R5 C, and XF605 Cinema Camera Firmware Updates Released

Viltrox Released Firmware Updates Adding Sony a7V Support

The last batch of Komaru Black Paint and Black Paint Patina soft-release buttons

PentaxRumors Turns 10 Years Old Today

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

Meike is rumored to announce a new AF 85mm f/1.8 SE II lens for the Canon EF mount. This is a strange move when third-party lens manufacturers are trying really hard to get approval to produce mirrorless lenses for the Canon RF mount:

Viltrox is rumored to release new lenses for Canon RF mount

The post Weird: Meike to announce a new AF 85mm f/1.8 SE II lens for Canon EF mount appeared first on Photo Rumors.

As previously reported, today the U.S. Federal Communications Commission (FCC) has implemented a rule adding foreign-made drones and critical components to its “Covered List” due to national security concerns. This effectively prevents the import and sale of new DJI drone models (and those from other foreign manufacturers like Autel) that require new FCC authorization. However, the rule is forward-looking and does not ban or ground existing drones: all previously FCC-authorized DJI drone models remain fully legal to own, fly, buy (from existing stock), sell, and use in the United States.
There are no recalls, remote disables, or restrictions on operating drones you already own or purchase from current inventory. Retailers can continue selling stock of previously approved models until it’s depleted.

Essentially, all current and past DJI consumer and enterprise drone models are not affected by this rule regarding ownership or use. Popular examples include – as you can see, most of these models are no longer available for sale (check also B&H Photo DJI store):

• Mini series – DJI Mini 4 Pro, Mini 3 Pro, Mini 3, Mini 2, etc.
• Air series – DJI Air 3, Air 2S, etc.
• Mavic series – DJI Mavic 3 Pro, Mavic 3 Classic, Mavic 3, etc.
• Avata series – DJI Avata 2, Avata
• Phantom series – Older models like Phantom 4 Pro
• Inspire series – Inspire 3, Inspire 2
• Matrice series – Enterprise models like Matrice 350 RTK, Matrice 300, etc.
• FPV drones and others like DJI Neo, Flip, etc.

Future unreleased or newly designed DJI models (or major new components) will not receive FCC approval for U.S. sale unless explicitly exempted by agencies such as the Department of Defense or Homeland Security.

The post DJI drone ban now in effect in the US: here is the list of DJI drones that can still be legally purchased in the US appeared first on Photo Rumors.

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

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

January

Photo: Richard Butler

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

Read our Nikon Z50II Review

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

February

Photo: Mitchell Clark

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

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

Read the OM-3 review

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

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

Read the GH7 review

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

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

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

Phew!

* - 26-480mm equiv. on Canon

March

Photo: Richard Butler

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

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

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

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

April

Photo: Mitchell Clark

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

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

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

May

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

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

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

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

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

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

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

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

June

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

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

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

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

* - 27-64mm equiv. on Canon

July

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

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

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

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

August

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

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

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

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

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

* - 19mm equiv. on Canon

September

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

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

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

October

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

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

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

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

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

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

November

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

... the Canon EOS R6 III, which was November's first big release, alongside the company's $470 43mm F1.2 lens (no, the price isn't a typo). Leica was also back this month, with the Q3 Monochrome, a – you guessed it – black and white version of its full frame compact with a 28mm F1.7 lens.

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

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

December

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Updated: December 22, 2025

These days, midrange cameras go for around $2500-3000, though in the US tariffs have made great deals in this price range a little harder to come by. For that money, you get something that's incredibly capable; our picks are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of your preferred kit. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to consider that during your lens research.

Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly outperform their older DSLR counterparts. If you have any lenses already, you may want to think about whether it's worth adapting them, or if you'd be better off selling them to help you buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.

Our Recommendations

• Best camera under $2,500: Canon EOS R6 III
• The compact option: Sony a7C II
• The wildlife option with reach: OM System OM-1 II
• Best for vlogging: Nikon ZR

Best camera under $3000: Canon EOS R6 III

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

Photo: Mitchell Clark

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

Read our full review of the Canon EOS R6 III

A tight race

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

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

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

The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

Read our full review of the Sony a7C II

Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is tough to recommend in 2025, especially at its post-tariff MSRP in the US. Its viewfinder, ergonomics, and full mechanical shutter are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization. If you're you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd strongly recommend saving up for one of the newer models.

What about APS-C?

We make most of our APS-C recommendations in our best cameras under $2000 buying guide, which covers cameras like the Fujifilm X-T5, Canon EOS R7 and Sony a6700. The latter two are the highest-end crop sensor cameras from their respective brands, but Fujifilm makes the X-H2S, which is historically one of the better video cameras on the market. However, cameras like the Z6III have arguably caught up in capabilities and framerate options, and while the X-H2S' global price is eligible for its list, in the US it's closer to $3000.

The wildlife option with reach: OM System OM-1 II

20MP Four Thirds Stacked sensor | 50fps continuous shooting w/AF, 120fps AF/AE locked | IBIS rated to 8.5EV

Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor.

It's well-suited to wildlife photography, as the Micro Four Thirds system has several lenses that give you plenty of reach without being back (or pack) breakingly large, and its Stacked sensor gives it fast autofocus and incredible burst rates for shooting even the fastest subjects. It also has several computational modes that let it adapt to a wide variety of situations, and sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

The body is quite rugged-feeling (while still being smaller than full-frame counterparts), with dials designed to be used with or without gloves, and has plenty of customizable control points. The viewfinder is relatively large and bright.

While we haven't put the OM-1 II through our full review process, we do have extensive experience with it and with the OM-3, that uses the same processor and sensor. We've found the autofocus to be reliable, though not class-leading, and it's a bit of a shame that continuous autofocus in its 50fps is limited to certain lenses. There's an image quality price to be paid for the smaller sensor, but, for Four Thirds, the OM-1 II's sensor provides good amounts of detail and the multi-shot modes can compensate for this in some circumstances.

While there are more all-round capable cameras at this price point, the OM-1 II fits into its niche quite well and is still quite solid for other kinds of photography. Its video capabilities aren't at the level that other companies provide, but if you simply want to record something, it's certainly up to the task.

Read our initial review of the OM System OM-1 II

Other Four Thirds cameras

The OM-1 II shares most of its DNA with the OM System OM-3, a smaller, more stylish and less expensive option that uses a smaller viewfinder to achieve its classic styling. Both are similar to the Panasonic G9II, though that's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which offers smaller camera/lens combinations at the cost of ultimate image quality. However, they can well worth considering if your photography requires the most compact kit available.

Best for vlogging: Nikon ZR

24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec

Photo: Mitchell Clark

The Nikon ZR is a video-focused mirrorless camera with a 24.5MP full-frame 'partially Stacked' sensor.

While its Red co-branding and three flavors of Raw shooting show its ambitions as a video production camera, the ZR has a lot of features that make it a great tool for vlogging, too. It has IBIS, Nikon's fairly effective autofocus system, and a 4", 3.07M dot display that can go up to 1000 nits, which should make previewing your image relatively easy, even if the camera is a bit far away from you.

It's also the first mirrorless camera with support for 32-bit float audio recording built-in, even on the 3.5mm input, which means you won't have to worry nearly as much about your audio gain levels when trying to capture the moment.

It can shoot compressed video at up to 5.4K/60, and is capable of 4K/120 for proper slow-motion, though going above 4K/60 will come with a 1.5x crop. In Raw, the ZR can record full-width 6K/60.

We'll be putting the ZR through its paces more in the coming weeks, but it's essentially a Z6III at heart, with a few more video features that should make it a very capable option if you want to go from vlogging to full-on production.

Why you should trust us

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In a recent interview with Nikkei, Canon’s Chief Financial Officer stated that the company is considering outsourcing the production of lower-end (entry-level) product models to external partners. Cameras and printers could be among the products affected. This is part of a broader review of manufacturing and sales structures aimed at improving efficiency and profitability. The ultimate goal is to raise the company’s Return on Equity (ROE) to 12%. This represents a notable shift from Canon’s traditional emphasis on in-house production in Japan. As of late 2025, it’s still in the consideration phase, with no specific partners, timelines, or affected models announced.

Further reports, primarily stemming from a January 2025 Nikkei Asia interview with Canon Chairman and CEO Fujio Mitarai, provide more context and confirm this strategic shift:

• Scope of Outsourcing – Canon is considering a “fabless” model (design in-house, manufacturing outsourced) specifically for lower-end digital cameras (e.g., compact/point-and-shoot models) and printers produced in Asia. This includes potentially outsourcing assembly processes to third-party manufacturers in other Asian countries.
• Reasons:
  • Become more “asset-light” by avoiding fixed costs of maintaining own factories.
  • Better respond to fluctuating demand (e.g., recent rebound in compact camera popularity driven by social media trends and younger users).
  • Reduce geopolitical risks and supply chain disruptions.
  • Cut overall costs amid declining demand for traditional office equipment and entry-level cameras, impacted by smartphones.
• Background – Canon closed its Zhuhai, China factory in 2022, which produced compact cameras, limiting its ability to ramp up production for the recent compact camera surge quickly. Outsourcing would allow flexibility without reopening or building new facilities.
• What Remains In-House – High-end/flagship products, key components, design, development, and core technologies will stay in Japan (using Japanese factories as “mother factories”). Lenses and advanced sensors are unlikely to be outsourced.
• Potential Impact – This could enable Canon to increase production/sales of compact cameras (e.g., PowerShot series) and possibly introduce new affordable models. It aligns with industry trends where competitors already outsource more extensively.
• Financial Tie-In – The strategy supports broader goals of improving profitability and ROE, building on the CFO’s comments.

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The United States is just days away from a DJI drone ban, driven by a provision in the Fiscal Year 2025 National Defense Authorization Act (NDAA). Section 1709 mandates that the US National Security Agency conduct a formal risk assessment of DJI (and Autel Robotics) by December 23, 2025. Despite DJI’s repeated requests for the audit, including formal letters to multiple agencies since early 2025, no agency has initiated or completed the review. If the deadline passes without action, DJI will automatically be added to the FCC’s “Covered List,” effectively blocking FCC authorization for new DJI products and halting their import and sale in the U.S.

⇒ This could be your last chance to get a DJI drone in the US:  check Amazon and B&H Photo for their current availability and pricing.

Existing DJI drones already in the U.S. will remain legal to own, fly, and use, with no immediate grounding. However, future access to new models, official parts, repairs, and firmware updates could become limited or unavailable.

This outcome stems from national security concerns over DJI’s Chinese origins, including fears of data transmission risks or ties to the Chinese government, allegations DJI has long denied, pointing to independent audits showing no backdoors and features like offline data modes. DJI dominates over 70% of the U.S. drone market, powering critical operations for public safety agencies (over 80% of law enforcement drone programs), farmers, filmmakers, and hobbyists. Critics warn that an automatic ban, driven by legislative inaction rather than evidence, could disrupt these users without affordable American alternatives ready to fill the gap.

DJI drones will be banned in the US next month – here is your last chance to get one (DJI Black Friday deals)

The latest DJI rumors

The post Getting closer to the DJI drone ban in the US appeared first on Photo Rumors.

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

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

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

Image: Just_Super / E+ via Getty Images

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

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

Supporting the community

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

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

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

Updating the forum system

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

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

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

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

Community initiatives in 2025

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

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

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

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

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

Exciting plans for 2026

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

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

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

Photo: Mitchell Clark

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

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

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

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

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

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

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

TTAr­ti­san released a new silver version of their AF 40mm f/2 full-frame lens for E/Z/L Mount:

• TTArtisan online store
• B&H Photo
• Amazon

Additional information:

Additional information on the TTAr­ti­san AF 40mm f/2 lens can be found here:

New $168 TTartisan AF 40mm f/2 lens announced (E/Z)

TTartisan AF 40mm f/2 full-frame lens now available also for L-mount

The post TTAr­ti­san released a new silver version of their AF 40mm f/2 lens (E/Z/L) appeared first on Photo Rumors.

Viltrox is rumored to release new lenses for Canon RF mount. I contacted Viltrox directly, and they responded that they recently officially launched new 1.33x anamorphic lenses for Canon RF-mount with an authorized approval. However, licensing for other RF-mount lenses has not yet been officially approved, but they are still working on it. Stay tuned for updates.

Here is an updated list of photo gear promo codes you can use during this holiday shopping season

What’s coming next from Viltrox?

Via CanonAddict

The post Viltrox is rumored to release new lenses for Canon RF mount appeared first on Photo Rumors.

Here is what else is new:

Announced: Viltrox 35mm f/1.2 LAB lens for Nikon Z-mount

Nikon NX Studio version 1.10.1 released (+ new Nikon Webcam Utility for Mac version 1.2.0)

Recap: the latest third-party Leica M-mount lenses you might have missed (with promo codes)

Major firmware updates version 4.0 for Leica SL3 and Leica Q3 cameras released

The latest Ricoh GR IV camera accessories

Panasonic Lumix G7 camera + 14-42mm lens + accessories kit now under $500 (lowest price ever)

GFX100RF 35mm f/4 Lens and a Mysterious 28mm f/4 Formula

Fujifilm X-T30 III Firmware 1.01 Released

PATENT: Sigma’s Triple Threat! 28-105mm, 28-85mm, and 35-150mm F2.8 Found in P2025182227

Sony a7V Teardown and Comparison to a7IV

Sony Recognized Again as a Climate Change Leader

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