This week, Nikon announced its latest APS-C camera, the Z50II. It's an update to 2019's Z50, using the same sensor but with an upgraded processor. With it comes Nikon's 3D tracking autofocus system, which can recognize up to nine subjects and automatically switch between them.

During our brief time with the camera, we were able to put it to the test shooting some wildlife around Seattle, as well as a variety of landscapes and other subjects.

You can read our overview of the Z50II and our initial review here.

Click here to see the gallery

Images: Lowepro, Harlowe, DJI

This week there were a ton of accessories released, so we're going to skip any pre-amble and get straight into it. Let's start with the deals:

It's beginning to look a lot like Christmas

Photo: Richard Butler

We're still several weeks away from Thanksgiving, but several brands have already started announcing their holiday sales. First off is Sony, which has put several cameras and lenses on sale. Included on that list is the a7RV, which is available for $400 off MSRP.

If you're looking for a more entry-level model, the a7IV is also on sale for $400 off.

The deals also cover lenses; Sony has reduced the price of several of its G Master lenses by $100.

Photo: Tamron

Tamron has also put many of its lenses on sale. Its 28-75mm F2.8 G2 for E-mount is $200 off, as is its 35-150mm F2-2.8, which is available for Sony E and Nikon Z mount. You can see the full list of lenses on sale on Tamron's website.

SmallRig takes on the Z50II

Image: SmallRig

This week, Nikon announced its new Z50II APS-C camera. If you're on the list to get one, you may also want to check out some of the accessories SmallRig's making for it. There are the usual suspects; a $30 base plate for quickly mounting the camera to a tripod and attaching a few accessories, and a $70 cage if you really want to build a video shooting setup, but there's also a wireless shooting grip.

The grip, which is currently listed as "coming soon" on SmallRig's website, does many things; it's a mini tripod that you can use to prop your Z50II up on a table, as well as a selfie stick. Built into the handle is a detachable remote you can use to wirelessly control your camera. It has a zoom toggle, shutter and record button and a customizable button.

While it's not the type of thing that will likely appeal to seasoned photographers the way the cages and plates will, it is a smart accessory for the younger beginner photographers that the Z50II is mainly aimed at. Currently there's no word on pricing, though SmallRig does make a very similar product for Canon and Sony that runs around $90.

All of the lights

Image: Harlowe

Harlowe, the company formerly known as Hobolite, which makes lighting equipment designed to look like classic film equipment, has some new lights available. First up are two RGB lighting tubes, which Harlowe calls the Blade series. The Blade 5 is 16.4cm (6.46") long, and the Blade ten is 36cm (14.17") long. They can be used to add a splash of color, or as tradition lights, as they also have a traditional bi-color white lighting mode.

Like most of Harlowe's products, there's a heavy emphasis on design; the Blade lights have a leather and metal look, which could be attractive to people who intend on including them in their shots. They're powered by a built-in battery, which charges via USB C, and can be controlled via dials or an app.

You can magnetically attach modifiers to the Blade lights, and they come with a frosted dome diffuser and barn doors, as well as a carrying bag. The Blade 5 is $199 and the Blade 10 is $299; there's also a kit that comes with one of each size for $399.

Blade 5

Blade 10

Folded up, the Sol 5 almost looks like an old lens. Image: Harlowe

For creators that often shoot videos and photos on their phones, Harlowe has also released the Sol 5, a bi-color light that magnetically attaches to the back of an iPhone via MagSafe. By default it points away from the screen, lighting up whatever you're shooting with your phone's rear cameras, but it can also be flipped up to help provide some extra light for selfies. The Sol 5 is $79 by itself, or $159 if you opt for the "Travel Kit," which includes a diffusion panel and a carrying case.

A new series of bags

Photo: Lowepro

Lowepro has announced a ton of new bags in its new Protactic III series, including some classic photographer-focused backpacks, slings, and more. There are a variety of sizes and classes of bags; the "Lite" models can still carry a bunch of gear but aren't as burly as the standard bags. The Lite models have a few of Lowepro's "SlipLock tabs" which can be used to add pouches, pockets, and other accessories onto the bag, but the regular models are absolutely covered with them. The loops are also compatible with standard MOLLE and PALS add-ons.

Compared to older models, Lowepro says its BP 350 and 450 packs have an "adaptive harness" to make carrying heavier loads more comfortable, an improved webbing system that makes it easier to attach large tripods to the bag, an updated divider system, and more exterior pockets. Like the previous Protactic packs, they have four access points, letting you get at your gear from the top, back, or either side of the pack.

Most of the packs in the lineup are made of somewhere between 85 and 87% recycled fabric, which Loewpro says still meets its standards for durability.

The packs and their respective accessories should be available starting later this month.

Taking flight

Photo: DJI

DJI has announced a newer, less expensive pair of FPV drone goggles called the Goggles N3. They're designed to work with the company's Avata 2 and Neo drones, and are built around a 1080p 60Hz LCD display that can put out up to 1350 nits of brightness. While that's definitely a step down from the dual Micro-OLED displays in DJI's more expensive Goggles 3, it does offer a 54° field of view, which is wider than the 44° FOV of the more premium goggles.

The Goggles N3 have a built-in defogging function, which could be useful if you're flying in a humid environment. They can be also used to play back panoramic videos from a microSD card, in case you want to feel like you're flying without actually getting out your drone.

The Goggles N3 will cost $229 when they launch later this month.

Click to see last week's roundup

Updated Nov 8, 2024

Sixteen years after Panasonic introduced the first mirrorless camera, mirrorless cameras 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, or 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 value: Sony a6100
• Best APS-C mirrorless camera: Sony a6700
• Best bargain full-frame: Canon EOS R8
• Best mirrorless camera under $2000: Nikon Zf
• Best mid-priced mirrorless camera: Nikon Z6III
  
• Best high-end mirrorless camera: Canon R5 II
• Compact high-resolution: Sony a7CR

Best value: 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 in 2024 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.

The a6100 is happiest if you prefer to point-and-shoot in an auto mode, supported by its very good autofocus. The wide range of lenses available for it give you somewhere to grow if you find yourself catching the photography bug.

Read our Sony a6100 review

See the Sony a6100 studio scene

Best APS-C mirrorless camera: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.

The a6700 might look a lot like the a6100, but it's a much more advanced model with better build quality, greater capabilities in both stills and video, and more hands-on control points.

Read our full Sony a6700 review

See the Sony a6700 studio scene

What are my other APS-C options?

Although the Sony a6700 is the most capable APS-C camera, if you consider autofocus performance, image quality and video capabilities, there are several other worthy contenders to the title. We appreciate the combination of affordability and likeability of Nikon's Z fc, now that there are a handful of prime lenses to use with it, and we respect the Sony-rivaling capabilities of several of Canon's APS-C RF models, which you can now get some decent third-party fast zooms for. If you're willing to take a chance, Nikon's Z50II also looks to be a very interesting follow-up to the Z fc, but we haven't been able to test it enough to include it on this list.

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

But it's the Fujifilm X-T50 that we'd suggest considering if you don't think the a6700 is for you. We like its design – including the film simulation button that encourages you to play with different looks – and it shoots great video and attractive stills. Touches such as the AF joystick make it that bit more engaging and enjoyable to shoot with, than the Sony.

Its autofocus tracking isn't nearly as reliable as Sony or Canon's latest cameras, but where it really shines is in the selection of lenses available for it. Fujifilm makes a broad selection of prime lenses and the excellent 16-50mm F2.8-4.8 OIS zoom, which is significantly better than the lenses bundled with most of these cameras. Third party support is strong, too, meaning the camera can grow with you as your photography develops.

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 budget full-frame mirrorless: Canon EOS R8

24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting

Photo: Richard Butler

The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.

Read our full review of the Canon EOS R8

See the Canon EOS R8 studio scene

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

We also think the Nikon Z5 is worth considering if you're looking for a comparatively affordable full-frame camera. It's older than the Canon and its autofocus tracking and video capabilities lag significantly behind as a result. Like Canon's RF system, Nikon's Z-mount lens ecosystem is also somewhat short on affordable lenses to pair with an entry-level camera, though Nikon has allowed a couple of other brands to make selected lenses for the system.

Its usability is really what earns it a place in this guide, though. The Z5 has a larger, higher-resolution viewfinder than the EOS R8, much longer battery life, in-body image stabilization and an AF joystick, all of which can make it a rather more enjoyable camera to shoot with. Definitely worth a look.

Best mirrorless camera under $2000: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

There are some exceptionally good cameras in the $2000-$2500 price category, but few of them are as eye-catching as the Nikon Zf. While the styling is distinctly 1981, the performance is much more contemporary, with very competitive autofocus and the strong balance of stills and video capabilities that we've come to expect from a camera at this price.

Read our review of the Nikon Zf

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 represents a significant step up for the Z6 series, and from the Zf, becoming a very capable camera for both stills and video. Its autofocus has caught up to the pack, and its sensor readout speeds – and, therefore, rolling shutter performance in video – 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 a7 IV is also not a bad choice, with capable autofocus and slightly higher resolution capture than its peers, though its video suffers as a consequence. However, we'd strongly recommend the smaller, less expensive a7C II instead. Its autofocus is a generation newer, 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.

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. Canon's high-end entry does have 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

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.

The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.

It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.

Key specifications

• 20.9MP APS-C sensor
• Twin control dials
• Full-width 4K video up to 30p (60p with crop)
• 3D-tracking autofocus and subject recognition for nine subject types
• Up to 11fps mechanical, with up to 1 second pre-release capture
• Fully articulated 3.2" touchscreen
• Single UHS-II SD card slot in battery compartment
• 2.36M dot EVF with brightness up to 1000nits

The Z50II will retail for $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens. The company says it'll be available in "late November."

Index:

• What's new?
• How it compares
• Body and handling
• How it compares
• Initial impressions
• Sample Gallery
• Specifications
• Press release

What's new

The Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.

Flexible Color Picture Control and Picture Control Button

The new Picture Control button is right above the rear control dial.

It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.

The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.

Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.

It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.

Brighter viewfinder

The Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.

Subject recognition / 3D Tracking

One of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.

It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.

C30 and pre-burst

Another Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.

The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though it only records JPEGs.

Nikon Imaging Cloud

The Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.

What's new for video:

Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.

The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.

On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.

How it compares

The Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufactuers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.

It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare is Nikon's own Zfc. It has near identical spec to the original Z50, other than it has a fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.

As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.

This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.

Body and handling

The body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.

The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.

It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.

It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to the full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).

The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.

Viewfinder & screen

The Z50II's viewfinder can now go as bright as 1000 nits: twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.

It remains a relatively low resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.

Ports & slots

The Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.

The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.

Battery

The Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.

CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.

As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.

Initial impressions

By Mitchell Clark

From a certain angle, the Z50II is a minor update to its predecessor. It has the same sensor housed in a similar body and doesn't add anything revolutionary – there are no features that are unheard of for its category or that make us rethink what's possible with photography.

That's not a bad thing. The Z50II's main audience is first-time camera buyers, and when I think back to when I was getting into photography, the Z50II would've been exactly what I was looking for – something that gets the basics right without costing an arm and a leg.

I only got to spend a day shooting with the Z50II, but during that time nothing about it felt budget. The ergonomics and build quality felt just right for its size, and its performance was snappy; I never felt like I was waiting around for the camera or that it couldn't shoot fast enough to capture whatever I pointed it at.

The autofocus, in particular, was a standout. We've praised Nikon's 3D Tracking system and subject recognition before, and it's just as capable in the Z50II. In the past, the autofocus situation on beginner-focused cameras has been awkward: people who aren't experienced need the most help, but the most capable systems are also the most expensive ones, so they don't make it into lower-end cameras. That's not the case with the Z50II.

The Z50II's autofocus system was confidence-inspiring, even in automatic subject detect mode. ISO 100 | 1/400 sec | F4 | Nikon Z 70-200mm f2.8 VR S w/ 1.4x teleconverter Photo: Mitchell Clark

It even features automatic subject detection, giving you one less thing to think about when you're scrambling to get the shot. That'd be great for parents looking to get great shots of their kids playing sports – or pet owners looking to show off their fast-moving dogs and cats – without breaking the bank.

The video features are also robust, to the point where it feels like Nikon's targeting not just content creators but first-year film students, too. Beginner photographers who also want to capture video will be happy with its standard 4K capabilities, but they won't have any use for features like N-Log and waveforms.

Then there's the Picture Control button. I'm not entirely convinced color profiles are the thing to draw new people into photography, but camera manufacturers seem to disagree – this year we saw Panasonic debut its LUT button, and Fujifilm release two cameras with film simulation dials.

Even if the crowds are craving color control, the indirectness of Nikon's system could make it a little tricky for beginners. You don't beam them directly from your phone to your camera; you select which ones you want in Nikon's app, and then your camera downloads them via Wi-Fi. My years in tech support tell me there will be some confusion based on the camera needing to be connected to the internet on its own.

The real elephant in the room is lenses. The company makes five 'DX' lenses for its APS-C systems: a single prime and four zooms with maximum apertures of 3.5 or higher. There are several third-party autofocus primes, including some of the very good Sigma DC DN Contemporaries, but if you want a zoom with a consistent or fast aperture, you'll have to use a heavier, more expensive full-frame option from Nikon.

Sample gallery

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

Image: Hasselblad

Hasselblad has officially announced its XCD 3,4/75P prime lens after teasing the new product on the company's X account earlier this week. It's part of the company's 'P' (for portable) series of more compact lenses. When used with Hasselblad's X, 907X and CFV 100C medium format digital cameras, the 75mm F3.4 lens provides a 59mm equivalent field of view.

Hasselblad suggests the lens should be suitable for a variety of applications, including portraiture with soft, natural bokeh or as a relatively fast, compact lens for street photography.

Optically, the XCD 3,4/75P comprises 10 elements in 10 groups, including one aspherical and three ED (Extra-low Dispersion) elements to help suppress chromatic aberration. It has a minimum focus distance of 55cm (21.6”) and a maximum magnification of 0.17x. It includes a 72mm front filter thread.

A linear stepping motor drives autofocus, and Hasselblad says the focusing lens group is designed to be small, allowing the lens to focus quickly.

The new lens is 75mm (2.9") in diameter, 76mm (2.9”) long and weighs 398g (14oz).

At 75mm, it becomes the longest lens in the P series, joining Hasselblad's existing XCD 4/28P (22mm equiv) and XCD 4/45P (35mm equiv) lenses. It's also considerably smaller and more than 60% lighter than Hasselblad's XCD 80mm F1.9, the lens with the most similar focal length in Hasselblad's current lens lineup.

Like other XCD lenses, the 3,4/75P includes a built-in leaf shutter, supporting shutter speeds up to 1/2000 sec, which makes it a stop slower than Hasselblad's latest XCD V series lenses (which top out at 1/4000 sec), but allows for flash synchronization at all shutter speeds. The leaf shutter design contrasts with lenses for Fujifilm's GFX medium format system, which rely on a focal plane shutter in the camera.

Alongside the new lens, Hasselblad has also announced the X Extension Tube (9mm), designed specifically for Hasselblad’s X system cameras, 907X cameras and XCD series of lenses. It extends the distance between the lens and the sensor to reduce the minimum focus distance and improve close-up photography.

The XCD 3,4/75P is expected to be available immediately for $2229 in the US or €2529 in Europe. The X Extension Tube (9mm) is priced at $299 or €339.

Press release:

The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.

It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.

Key specifications

• 20.9MP APS-C sensor
• Twin control dials
• Full-width 4K video up to 30p (60p with crop)
• 3D-tracking autofocus and subject recognition for nine subject types
• Up to 11fps mechanical, with up to 1 second pre-release capture
• Fully articulated 3.2" touchscreen
• Single UHS-II SD card slot in battery compartment
• 2.36M dot EVF with brightness up to 1000nits

The Z50II will retail for $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens. The company says it'll be available in "late November."

Index:

• What's new?
• How it compares
• Body and handling
• How it compares
• Initial impressions
• Sample Gallery
• Specifications
• Press release

What's new

The Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.

Flexible Color Picture Control and Picture Control Button

The new Picture Control button is right above the rear control dial.

It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.

The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.

Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.

It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.

Brighter viewfinder

The Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.

Subject recognition / 3D Tracking

One of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.

It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.

C30 and pre-burst

Another Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.

The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though it only records JPEGs.

Nikon Imaging Cloud

The Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.

What's new for video:

Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.

The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.

On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.

How it compares

The Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufactuers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.

It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare is Nikon's own Zfc. It has near identical spec to the original Z50, other than it has a fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.

As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.

This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.

Body and handling

The body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.

The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.

It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.

It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to the full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).

The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.

Viewfinder & screen

The Z50II's viewfinder can now go as bright as 1000 nits: twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.

It remains a relatively low resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.

Ports & slots

The Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.

The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.

Battery

The Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.

CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.

As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.

Initial impressions

By Mitchell Clark

From a certain angle, the Z50II is a minor update to its predecessor. It has the same sensor housed in a similar body and doesn't add anything revolutionary – there are no features that are unheard of for its category or that make us rethink what's possible with photography.

That's not a bad thing. The Z50II's main audience is first-time camera buyers, and when I think back to when I was getting into photography, the Z50II would've been exactly what I was looking for – something that gets the basics right without costing an arm and a leg.

I only got to spend a day shooting with the Z50II, but during that time nothing about it felt budget. The ergonomics and build quality felt just right for its size, and its performance was snappy; I never felt like I was waiting around for the camera or that it couldn't shoot fast enough to capture whatever I pointed it at.

The autofocus, in particular, was a standout. We've praised Nikon's 3D Tracking system and subject recognition before, and it's just as capable in the Z50II. In the past, the autofocus situation on beginner-focused cameras has been awkward: people who aren't experienced need the most help, but the most capable systems are also the most expensive ones, so they don't make it into lower-end cameras. That's not the case with the Z50II.

The Z50II's autofocus system was confidence-inspiring, even in automatic subject detect mode. ISO 100 | 1/400 sec | F4 | Nikon Z 70-200mm f2.8 VR S w/ 1.4x teleconverter Photo: Mitchell Clark

It even features automatic subject detection, giving you one less thing to think about when you're scrambling to get the shot. That'd be great for parents looking to get great shots of their kids playing sports – or pet owners looking to show off their fast-moving dogs and cats – without breaking the bank.

The video features are also robust, to the point where it feels like Nikon's targeting not just content creators but first-year film students, too. Beginner photographers who also want to capture video will be happy with its standard 4K capabilities, but they won't have any use for features like N-Log and waveforms.

Then there's the Picture Control button. I'm not entirely convinced color profiles are the thing to draw new people into photography, but camera manufacturers seem to disagree – this year we saw Panasonic debut its LUT button, and Fujifilm release two cameras with film simulation dials.

Even if the crowds are craving color control, the indirectness of Nikon's system could make it a little tricky for beginners. You don't beam them directly from your phone to your camera; you select which ones you want in Nikon's app, and then your camera downloads them via Wi-Fi. My years in tech support tell me there will be some confusion based on the camera needing to be connected to the internet on its own.

The real elephant in the room is lenses. The company makes five 'DX' lenses for its APS-C systems: a single prime and four zooms with maximum apertures of 3.5 or higher. There are several third-party autofocus primes, including some of the very good Sigma DC DN Contemporaries, but if you want a zoom with a consistent or fast aperture, you'll have to use a heavier, more expensive full-frame option from Nikon.

Sample gallery

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

Image: Laowa

Laowa is making its APS-C wide-angle 'zoom shift' lens available outside of China, a few months after it launched it in the country. The 12-24mm F5.6 lens is unusual – the company says it's the "first wide-angle zoom shift lens," giving you control over perspective without being locked into a single focal length.

That versatility does come with a cost. For one, the lens' F5.6 maximum aperture is relatively slow for APS-C cameras. You also only get plus or minus 7mm of shift, while some of Laowa's shift primes can reach up to 11mm of shift in either direction. It also doesn't have any tilting abilities.

Image: Laowa

The lens is mainly marketed at landscape and architectural photographers looking to take images with minimal distortion. However, it does have some features for those who are interested in it for creative purposes; its minimum focusing distance is a relatively close 15 cm (5.9").

It has a 77mm filter thread, weighs 575g, and retails for $699. It's available for APS-C cameras with a wide range of mounts: Sony E, Canon RF, Nikon Z, L-Mount, Fujifilm X mount, and even Canon EF-M.

Photo: Denis Baskin

With experience comes wisdom. And for photographers, few things are as satisfying as sharing that wisdom with those just starting their photographic journey. It's a chance to mentor, guide, and give back to the community that helped us grow.

Recently, a discussion in our forums caught our eye. The question posed was simple: "What have you learned that you would tell beginners?" The responses were insightful, offering a trove of knowledge perfect for sharing. In this article, we've gathered some advice from experienced DPReview forum users and some thoughts from our own editors.

The advice broadly falls into three categories: gear, technique, and the photographic process itself. Read on to discover what your fellow DPReview users said, and make sure to share your own hard-earned wisdom in the comments!

Gear: Don't get distracted by shiny objects

It's easy to get caught up in the allure of new cameras and lenses, but gear is only one piece of the puzzle. As sirhawkeye64, who started the forum thread, wisely points out, "I would have focused more on skill...and less on gear or having the latest gear or buying gear that I really never used, and perhaps instead learning to really use the gear I had."

User yardcoyote echoed this sentiment, advising beginners to trust their instincts and avoid getting swept up in trends: "Almost all my mistakes happened because I didn't trust myself and my photographic instincts. Now I know and trust that I don't want zoom lenses, I don't want wide angle, I don't want burst... I don't want to shoot Raw and do extensive work in post."

It's easy to get caught up in the allure of new cameras and lenses, but gear is only a piece of the puzzle. Learn to use the gear you have, and don't hesitate to buy used or refurbished gear. Photo: Richard Butler

"It used to bother me a lot that I wasn't in the mainstream and that many people think I am not a 'real' photographer, at least partly because of these things. Now, I don't care as much. I'm just gonna go over here and take pictures."

Finding the right lenses can be a journey in itself. Editor Richard Butler suggests careful consideration: "Take some time to work out which other lenses you might need. A lot of people buy wide-angle or telephoto zooms, but you may find something like a portrait lens, a macro, or a bright 35mm prime if you like to capture the world as you see it."

"The key thing is that you don’t need all of these; you may not need many lenses at all. But you need to work out what you enjoy and what you want to photograph before you make an informed decision about what lens to buy next."

"I would have focused more on skill...and less on gear..."

For some, considerations of comfort and practicality are key. User mmartel wishes they had prioritized ergonomics: "I've found that grams and millimeters don't matter to me at all, and big EVFs are great... Just because a camera is larger or heavier doesn't mean it's less comfortable to carry and use."

User Leo_Yai emphasizes the importance of a manageable kit: "Keep the body size reasonable. Too small is too fiddly, too big stays in the garage too often, not taking images. Same for lenses... If you ever think, 'Should I change the lens?' then your carrying system is too cumbersome." Ultimately, the best gear is the gear you actually use.

Many experienced photographers suggest buying used gear. If you don't want to buy from a private party, you can often buy reliable used gear from shops like MPB.com (above). Some manufacturers sell refurbished products through their own websites.

Finally, Editor Dale Baskin offers this reassuring advice: "Don’t obsess about having fancy gear or the newest camera. Buy something used in good condition... Don't hesitate to buy refurbished or used gear."

Technique: Master the fundamentals

While gear is essential, mastering photographic techniques is crucial for creating compelling images. User GreenEyesGTA advocates for learning manual focus: "My biggest leap in photography was when I stopped [using] AF/burst so much and took my time with MF [manual focus]."

User Claus H keeps it concise, suggesting a focus on the basics: f-stop, focal length, shutter speed, ISO, composition, and color vs. black and white, along with skills like focusing on composition and leveling your camera.

Focus on learning the fundamentals – both the fundamentals of photography and of your camera. Photo: Dale Baskin

"React emotionally to your pictures," Claus says. "Make them as good as you can, don't become a technophobe about them. If an image has soul, it has soul, regardless of what it was shot with. Learn the technical, but educate your eyes. Once you have the basics down, carry a camera as often as you can, and shoot, shoot, shoot."

Shooting a lot will help you get to know your camera, but Editor Mitchell Clark highlights the importance of exploring your camera's features. "My photography journey started well into the digital age when even basic cameras had capable auto modes and a litany of complex features. In a lot of ways this was a blessing, but it also let me build some bad habits that took years to undo."

"Once you have the basics down, carry a camera as often as you can, and shoot, shoot, shoot."

"I shot in manual but pretty much ignored everything else. This helped give me a solid understanding of exposure, but it also left huge gaps in my knowledge about how cameras worked and what they were capable of."

"Don't make that mistake," he implores. "While you probably shouldn't read your camera's manual cover to cover, I recommend taking a day to dive through the menus and make sure you have an understanding of what most of the options do. Today's cameras have so many features and capabilities, and it'd be a shame if you didn't use all the ones that fit your shooting style and needs."

The photographic process: Find your voice

Beyond gear and technique, photography is about capturing moments, expressing creativity, sharing your vision with the world, and being true to yourself and your vision.

"Make the images [you] want to make, don't be afraid to experiment, and don't assume that what 'everyone thinks' and 'everyone does' are the right things for you, says yardcoyote.

SeeingSomeThingsMissingMany emphasizes the importance of finding your passion: "[Choose] a subject matter you really like that makes you want to photograph it a lot; [Find] an easy-to-use camera you enjoy that makes you want to use this camera again and again."

Choose a subject matter you really like and photograph it a lot. Finding your own niche in photography allows you to build expertise and shoot something you really enjoy. Photo: Dale Baskin

Finding your voice and vision is about more than just taking great photos, though. Dale Baskin offers this helpful hint: "Find a niche. When you're in learning mode, it's tempting to take pictures of lots of subjects without much creative focus, which is natural because you're learning your craft. As you get better, find one or two things you really love to shoot and get really good at shooting them. It allows you to become an expert and take your experience to the next level."

While feedback is valuable, staying true to your vision is essential. As Mitchell Clark notes, "If the images you're taking make you happy, it doesn't really matter what other people think of them." He also encourages sharing your work freely, reminding us that perfection shouldn't be an obstacle to sharing our creativity.

"Make the images [you] want to make, don't be afraid to experiment..."

With that in mind, user teejaywhy offers a simple but powerful reminder: "When sharing photos to friends or family (or random internet people, for that matter), remember: LESS IS MORE."

Richard Butler agrees: "One of the key skills of photography is to be able to critically assess your own work. This not only lets you focus your efforts on the photos most worthy of processing and editing, but also helps you learn which things work and which things don’t, helping you develop as a photographer."

Which brings us to the other thing he says he wished he’d known earlier: "Don’t judge your efforts too harshly at first: remember that everyone else is only sharing their best work."

Image: Retrospekt

Retrospekt, a company known for refurbishing and reselling classic consumer electronic devices, has announced a limited run of 24-karat gold-plated Rollei 35 film cameras called the Retrospekt 24K Gold Edition.

There's no denying the current fascination with film and digital vintage cameras, and the Rollei 35 is one of the most famous compact film cameras ever made. It was initially launched at Photokina in 1966, and at the time of its introduction, it was the smallest 35mm film camera available; over two million were eventually manufactured.

According to Retrospekt, its limited edition gold-plated cameras are fully-restored vintage Rollei 35 film cameras, with each camera being disassembled and its internal mechanicals refurbished to like-new condition. Each camera's exterior metal parts are electroplated with 24-karat gold.

Original Rollei 35 models usually had 40mm F2.8 or F3.5 Zeiss lenses. Retrospekt's gold-plated cameras include a Zeiss Tessar, Rollei Tessar or Schneider Kreuznach Xenar 40mm F3.5 lens.

Image: Retrospekt

Each camera comes in a presentation box, with a leather case and a wrist strap. The company says the case and strap are made of new materials modeled after the camera's original accessories.

Retrospekt did not disclose how many cameras the limited run would include.

The Rollei 35 is one of the most iconic film cameras in history. Earlier this year, a company called Mint Camera started taking orders on the Rollei 35AF, a modern version of the design that incorporates autofocus.

The Retrospekt 24K Gold Edition sells for $999, including case and accessories, and can be ordered from Retrospect beginning today.

Buy now:

These are just a few of the 100,000 portraits Sami Aziz captured in a single year along Philadephia's iconic South Street. Images ©Sami Aziz

Can a creative project change your life? Photographer Sami Aziz (Instagram: @southstreetsam) discovered that it can. Armed with his camera and a lot of determination, he embarked on a project to shoot portraits every day for an entire year, capturing images of more than 100,000 people along a single iconic street in his hometown of Philadelphia.

It was a journey of exploration and discovery for Aziz. His presence on South Street became a source of positive energy for the city of Philadelphia, strengthened his own ties to the community, and helped him find a path to becoming a full-time photographer.

Shortly after reaching the one-year milestone, Aziz shared his motivations behind the project and its transformative impact on his life.

Forging a path

"I've been doing street photography for a while. I picked it up when I went to college in New York City. While I was living there, Brandon Stanton was doing the Humans of New York project, and it really inspired me."

After college, Aziz traveled across Morocco and the United States, exploring different regions and taking photos.

Image ©Sami Aziz

"Everywhere from Casablanca, Marrakech, and Tangier – to California, Colorado, New Mexico, and Arizona. I had a van and was driving around the country, just taking pictures of people. I like the model of focusing on just one place in a city. It's an effective way of honing your skills and building a sense of community."

Aziz eventually felt drawn back to his hometown of Philadelphia but was faced with the task of creating a sense of belonging. "Although I was born and raised in Philly, I didn't feel at home here for the longest time. I didn't have a sense of community yet," he explains. But he did have a dream he wanted to make real.

Image ©Sami Aziz

"Coming back to Philly at 26 was almost like a coming-of-age journey for me. I was like, 'Alright, I want to make something of my photography career now.'"

Becoming South Street Sam

"Leading up to this project, I spent about a year working as a delivery driver. One day, as I was picking up a lunch delivery on South Street, I thought to myself, 'What if I made an Instagram called South Street Sam?' My parents' first date was on South Street. My father had a store here, and my mom worked at a Greek restaurant, South Street Souvlaki, that's been around for 40 years," he explains.

Image ©Sami Aziz

"I planned to make it a side project and didn't expect it would ever become something big."

Aziz initially used his trusted Canon 5D Mark IV and Zeiss Otus 55mm F1.4 lens. However, he realized he needed more flexibility for his project. "There were limitations to using one focal length. I love 50mm – it's probably my favorite because it was my first ‘big boy’ lens – but sometimes, like in these Philly row homes or on a busy sidewalk, it's harder to take group photos with a 50mm."

"Many people don't realize that all the photos on my page are hand-focused."

He kept working as a delivery driver to fund his gear purchases. "I ended up buying the Zeiss Otus 28mm F1.4 and 100mm F1.4 lenses as well. They're all manual focus, cine-style lenses. But after I bought these great lenses, I realized my 5D Mark IV wasn't cutting it anymore because it didn't have certain focus assist tools, which make shooting with manual focus lenses a lot easier."

Image ©Sami Aziz

"Many people don't realize that all the photos on my page are hand-focused. I was basically eyeballing it the whole time with the Canon 5D IV because it didn’t have focus peaking."

Before I quit my delivery job, I decided to make one more investment in an updated camera body and ended up going with the Canon EOS R3. It was the best Canon had to offer with a vertical grip, articulating screen, and, most importantly, manual focus assist tools."

"It was a game-changer. After getting the Canon R3, I started shooting portraits daily and building a streak. When you start, there’s always talk about starting local, but I started hyper-local. I focused on just one street. I knew early on that I was going to be focusing on this street – no pun intended; I mean, it's in my Instagram handle. I'm South Street Sam."

A Turning Point

Aziz reached a crossroads where he realized he had to choose between his delivery job and his passion for photography. "There came a point where I quit the delivery job. I remember a distinct moment on a busy delivery day. I had my keys and was walking toward my car, but I had already started this new page and thought to myself, 'Am I going to go to work today, or am I going to shoot?'"

Image ©Sami Aziz

"I decided to shoot. I didn't care if I was down to my last dollar. I dreamed of being a working street photographer and of being able to pay my bills with photography. It was almost a Forrest Gump-type moment. I just decided to take pictures daily and see what would happen. I never could have imagined this was where my photography career would take off."

He started taking pictures of people along South Street, capturing the diverse faces of the neighborhood. "It picked up steam pretty quickly. My first 10,000 followers were people I photographed and asked, 'Hey, can you follow my Instagram page?' Then, the second I started posting reels, I think I went from 10,000 to 50,000 followers in about three weeks." He used a DJI Osmo Action 4 camera to provide a behind-the-scenes view into his process.

"I decided to shoot. I didn't care if I was down to my last dollar."

As his Instagram page grew, people started recognizing him on the street. "One night, I went out to shoot around 11 pm. I walked up to a girl and said, 'Hey, I'm a street photographer. Can I take a portrait of you?' She recognized me immediately and was like, 'Oh my God, Sam!'

While I'm doing that, another guy driving by backs up in full reverse, rolls down his window and asks if I'm South Street Sam. I'm thinking to myself, I'm out here at 11 pm on a weeknight, and people recognize me. This is crazy. It demonstrates how important this project became to people in my city."

View this post on Instagram

A post shared by Sami Aziz (@southstreetsam)

"I never could have predicted it would grow the way it did. I’m now approaching 300,000 followers and just surpassed 60 million video views. It's very humbling. At the same time, this is probably one of the hardest things I've ever done. To do something every single day for a year, especially when it's raining or below freezing outside... there were times when I asked myself, ‘What on Earth am I doing?’"

"And for the record, I even picked up a fully weather-sealed Canon RF 85mm F1.2 for days when it was raining or snowing too heavily to use my Otus lenses."

After spending an entire year taking portraits on this iconic street, South Street had become home for Sam. He felt the sense of community he’d always longed for, and it was there to stay.

Living in the moment

"I go out, I shoot, I come home, I upload. The next morning, I edit, I post, and go out to shoot again," Aziz says of his daily routine.

He's so focused on his work that he once didn't recognize a famous actor while taking his photo. "I walked up to him and asked to take his portrait. 'You know I'm an actor, right?' he asked me. And I'm like, 'Great, let's take a photo.' While heading back towards my apartment, I Googled Michael Peña and realized that I'd watched one of his movies, and thought to myself, wow, I just walked up to a Hollywood actor completely clueless."

South Street Sam out during a weekend night taking portraits. Photo courtesy of Sami Aziz

Aziz emphasizes the importance of confidence and positive energy when approaching people for street portraits. "An important lesson I've learned is to approach people with the right energy."

"If you walk up to people expecting them to say no, more likely than not, they're going to say no. If you approach them in a confident way, with good energy, more often than not, they're going to say yes. It takes practice. You can't be discouraged if people say no. Just keep moving, keep rolling, and don't take it personally."

Image ©Sami Aziz

He also believes in giving back to the community by sharing his work. "Everyone gets a copy of their photo. Every night after shooting, I upload an album to Google Drive. All people have to do is follow a link in my story to find their photo in the album and download it. I've never charged anybody for the street portraits. I do, however, give them an option to tip if they’d like to support my creative mission."

Reflecting on the Journey

"I took 100,000 portraits of people, most of which were on five blocks in one city. I can't even wrap my head around the number 100,000. The amount of diversity and human interaction in just five blocks is crazy. That's what I love about portrait photography: just being able to connect with people of different backgrounds and walks of life, particularly in a city like Philadelphia."

Aziz hopes his experience will inspire others to pursue their passions. "If you have a dream, just keep at it. Be consistent. Practice. There are no secrets. It's like in any field; you need to put in the work and pay your dues, and you'll eventually see the result."

"It's so cool to look back at all these years of photography and say I've found my niche."

Early morning flog clings to the autumn landscape in the UK. Photo: Richard Butler

The November edition of the Editors' Photo Challenge is open for submissions! Our theme this month is 'Fog'.

Fog provides endless creative possibilities for photography, from soft, diffused landscapes to ghostly cityscapes. It can add an ethereal quality to a scene, transforming the familiar into something magical. Show us the magic and mystery of mist with your favorite fog photos.

This challenge is open to photos taken at any time, and you may submit up to three photos. Photos must be submitted by Saturday, November 9 (GMT).

Visit the challenge page to read the full rules and to submit your photos for consideration.

Enter your photos here

Images: Sony, Profoto, Sennhesier

After a week without an accessory round – mainly owing to a dearth of accessories – we're back and better than ever. Today, we'll look at a powerful flash, an exciting firmware update, a versatile set of microphones, and more. Before we get to that, though, let's see what's on sale.

Photo: Brendan Nystedt

Panasonic's G9 II is a substantial upgrade from its predecessor, and is now much more capable when it comes to video. It's large for a Micro Four Thirds camera, but that allows for a plethora of controls and a full-size HDMI port. It's currently $200 off MSRP.

Photo: Brendan Nystedt

Canon's EOS R8 is also $200 off, which makes it an even better deal as an entry-level full-frame camera. However, it may be worth spending some of those savings on an extra battery or two, as battery life isn't the EOS R8's strongest suit.

Light, camera, action

Image: Profoto

This week, Profoto announced the D30, a bright monolight flash that's still compact and lightweight. It has a range of 11 F-stops, outputting between 0.5 and 500Ws of light.

It also has a continuous dimmable LED modeling light, with an adjustable color temperature ranging from 2,800 - 7,000K and a >94 CRI. Its recycle time depends on what type of mains electricity you have it hooked up to, but it ranges from 0.1 seconds to a maximum of 0.9 seconds.

The D30 is undeniably a professional tool and has a price tag to match: it comes in at $1,995, and adding a handle is an extra $50. But if you need a lot of lighting power and are making money from your photography, it's certainly an interesting option.

A versatile mic kit

Sennheiser's new Profile wireless microphone system could be an interesting option if you're looking for a plug-and-play audio kit that covers a lot of bases. It includes a few components: two microphone packs, a dual-channel receiver, a charging bar, and a host of accessories, such as wind blockers, a 3.5mm TRS cable, and mounts.

The simplest setup involves clipping the two microphones to your talents' lapels and having them record to their 16GB each of internal memory. Of course, if you're filming those people, you can also have the microphones transmit to the receiver, which can output to a camera's mic jack.

If you'd rather them not be conspicuously in the shot, both packs have locking 3.5mm inputs and can act as transmitters for more traditional lav mics.

Clipping one or both of the microphones into the battery bar lets you use it as a handheld microphone.

Here's where things get exciting though; the microphone capsules and receiver all fit into the charging bar, which makes sure their batteries are topped up. However, that charging bar can also become a handheld wireless microphone if you're doing a piece to camera and want to look official.

It also has a tripod mount, letting you use it as a desktop microphone. You could connect it to your computer via a 3.5mm cable or USB-C... or you could snap on the included USB-C adapter to the receiver and plug it into a phone or computer, letting it work wirelessly in that mode, too. That adapter's also useful if you want to use any of these configurations while recording video with a phone instead of a dedicated camera.

Given just how many roles this setup can fill, it comes at a surprisingly reasonable price of $299. The company also says there's no app required to use it; you can manage all the settings using the receiver's touchscreen.

Focus bracketing comes to the a7 IV

Photo: Richard Butler

If you have a Sony a7 IV and haven't updated it in a while, now might be the time. Sony recently released firmware version 4.0 for the camera, which adds support for focus bracketing, letting you automate the process of taking several images to get an object entirely in focus.

The update includes several more features and fixes, such as the ability to continue taking pictures while your camera transfers images to your phone.

The firmware can be downloaded from Sony's website.

Magical control

Image: Blackmagic

Speaking of updates, the Blackmagic Camera app for iOS recently got support for the iPhone 16 and 16 Pro's new Camera Control button, and the ability to launch the app from the lock screen or control center. The 2.1 update also adds bitrate selection options for when you're recording in H.264 or H.265.

Click to see the previous accessory roundup

Silicon Film's e-film concept has generated a lot of interest over the years, but ultimately came to nothing. Later concepts included a separate processing module attached outside the camera. Photo: Phil Askey / DPReview.com

Early in the digital camera era there were multiple attempts to find a way to convert existing film cameras to work with the new capture technology.

Perhaps the most famous was Silicon Film, whose e-Film EFS-1 digital cartridge got to an advanced state of development before the company collapsed under the weight of development costs, continued engineering challenges, existing patents and insufficient orders. All of which was revealed in the subsequent lawsuit.

Now, around a quarter of a century later, a Swiss team, funded via Kickstarter, looks like it's about to deliver on that dream, despite all the challenges.

I'm Back has partnered with the current owners of the Yashica name to announce that its three crowdfunded projects are now available to order as fully-fledged retail products. The one that really catches our eye is the I'm Back Film, which promises to let you add digital capabilities to a wide range of original SLRs or film rangefinders, by mimicking the Silicon Film concept. Its website lists the unit at 645 Swiss Franks (∼$750).

The Silicon Film dream is back

Like the Silicon Film concept, the I'm Back Film is shaped like a 135 film cassette with a tongue extending from one side, on which a digital sensor is mounted. A ribbon cable extends from here to a box that screws into the tripod socket, containing the processing circuitry, a battery and a small touchscreen to control the unit's settings. A small red button then connects to the processing unit to activate the sensor.

The film module being installed in a camera with the processing module attached below. Yashica branding appears to have been added to this image. Image: I'm Back

To shoot an image, you first press the red button to start the sensor's exposure, safe in the knowledge that the camera's shutter speed and aperture settings will define how much light the sensor actually experiences.

The challenges

I'll admit I've been deeply skeptical about how far I'm Back would get, in part because so many attempts had failed, and how many hurdles these attempts had shown there to be, so I tip my hat to the I'm Back team for overcoming so many of them.

Back in 2017, when I'm Back announced what it now calls the "I'm Back 35," I simplified the challenges, as encountered when large companies such as Nikon looked at the problem, into a list that included:

• Sensor/film plane alignment
• Syncing the SLR shutter and digital exposure
• A means of changing the digital settings
• Compatibility across the dwindling supply of film SLRs
• Keeping the cost reasonable
• Space for batteries and processing hardware
• Sufficient image quality to make the whole ordeal worthwhile

This earlier I'm Back project – including a ground glass that fits in the film plane, photographed by a compact camera sensor mounted in a clumsy plastic periscope attached to the back of the camera – only made the whole idea look less credible. I'm Back 35 only worked for cameras whose film doors could be removed and offered dedicated cases for some cameras, taking us further away from the simple 'drop in a digital cassette' ideal.

The combination of bulk and limited image quality potential made it easy to dismiss as a serious attempt to extend the life of older cameras. At least for anyone who isn't engaged with the Lomography-style 'the imperfections are the appeal' aesthetic. Perhaps the I'm Back 35 will gain traction with the generation embracing wilfully limited early compacts.

I'm Back Film

An image of the I'm Back Film module, with Yashica branding added. Image: I'm Back

The I'm Back Film is a rather different prospect. It's built around a Four Thirds sized sensor (the 20MP IMX269 made by Sony Semiconductor). This use of a smaller-than-full-frame sensor reduces the level of precision needed to align the sensor with the film camera's exposure area, as well as keep costs and power usage under control.

Using a relatively large modern sensor opens up the potential for very good image quality, and the option of Raw capture means you're not solely dependent on the company's JPEG processing expertise (which we've yet to experience). I'm Back has already built-up experience of designing touchscreen interfaces to solve the problem of changing the sensor's settings, addressing another of the original challenges.

The use of a Four Thirds sized sensor, while more impressive than the 2.6x crop chip that Silicon Film originally planned, still confers a significant limitation on anyone trying to use their old film lenses. I'm Back provides a frame that can be stuck into the camera's viewfinder to mask-off the unused area and offers a 0.45x wide-angle converter lens that screws onto the 52mm filter thread used by many film-era 50mm lenses, to help compensate for the crop.

Continuation vs Vinylism

Who doesn't want to breathe some new life into that much-loved film camera currently collecting dust? Image: I'm Back

To me, the significant crop and the rather quirky way around it suggests the aims of the I'm Back Film are quite different to those of Silicon Film's attempt. After 25 years, the goal isn't to let you continue to use your film SLR instead of a dedicated digital camera – the 'accessible' full-frame DSLR arrived long ago, and the move to mirrorless means most legacy lenses can be adapted to a wide range of cameras – but to revive old cameras for the fun of it.

This is perhaps for the best, as most of the film cameras it's designed for are a quarter of a century older than they were when Silicon Film was trying the same thing. Warranties have long-ago elapsed and the ability to repair many film-era cameras continues to diminish.

Now that a quarter of a century has passed, the role that a digital module for film cameras must play has arguably changed. Image: I'm Back

But once you see the aim as being to have some fun with some old, beautifully-engineered cameras that would otherwise be collecting dust or acting as lifestyle signifiers on statement bookshelves, we enter the world of Vinylism: the embrace of an old technology for the sake and the aesthetic of it.

Most people recognize that vinyl isn't a better medium in any measurable sense, and no one claims it's more convenient or practical than digital alternatives. But there's an undeniable charm to the experience, whether it's the large-format sleeves, the ritual of manual intervention or simply the way it looks and feels. As such the way the I'm Back Film should be judged has nothing to do with how it compares with mainstream modern cameras, because, unlike Silicon Film, it's not trying to usurp them.

Even if you disagree with that position or don't subscribe to the Vinylist ethos, to have come this far when so many have failed is truely impressive. I'm Back said it was unable to send us a Film unit in the build-up to this launch, but we'd happily review it, on its own terms, if they ever choose to.

The X-E1 was the first model in Fujilm's X-E camera series. It was originally intended to broaden the X-series’ appeal following the launch of the Flagship X-Pro1.

Just a couple of weeks ago, Fujifilm announced the X-M5, the first new model in its entry-level X-M series in over a decade. The appearance of this long-dormant line sparked renewed interest in Fujifilm’s other compact X-series cameras, and we couldn’t help but wonder if a new X-E camera might be on the horizon.

At a recent event, we posed the question to a Fujifilm executive, asking whether X-E owners should be worried about the product line's future. "We haven't lost focus on any of our existing range," we were told. We expect to see another X-E model, but what might we anticipate from an X-E5?

Over time, there's been some drift in who the X-E series was aimed at as the company's various product lines evolved, and to a degree, it seems like even Fujifilm is still trying to figure out precisely who the series is for. To see where it might be headed, let’s look back at previous X-E models to understand where it's been and how it's trending.

The X-E1: Where it all started

Announced: September 2012

MSRP: $999

Fujifilm’s X-E1 was only the second interchangeable lens camera in the X-series, following the flagship X-Pro1 that launched the X system a few months earlier. When launched, it was intended to broaden the X-series’ appeal and effectively became Fujifilm's enthusiast-oriented camera body.

The X-E1 represented a more affordable option that mimicked the X-Pro1’s design philosophy and control layout. It used the same 16MP sensor and image processor, ensuring it could deliver photo quality on par with the more premium X-Pro.

It didn't include the X-Pro1’s hybrid optical viewfinder, opting instead for a 2.36M-dot OLED EVF – impressive for 2012. However, it added a pop-up flash, which the X-Pro1 lacked.

It became a popular choice for those who wanted Fujifilm's retro styling and manual controls at a more approachable price point. Some users even thought of it as an X100 with interchangeable lenses since the two series followed very similar design cues.

The X-E2: Still the enthusiast's camera

Announced: October 2013

MSRP: $999

When the X-E2 arrived just 13 months after the X-E1, it reinforced the X-E series' position as Fujifilm's enthusiast camera, with X-Pro continuing to occupy the premium bracket and the recently announced X-A1 and X-M1 slotting in at more entry-level positions.

The X-E2 brought relatively few changes in design, many of which were internal improvements in response to user feedback, including face detection autofocus and autoexposure, along with configurable Auto ISO, including maximum and minimum ISO and minimum shutter speed.

Its hardware was nearly identical to the X-E1’s; the Q button was relocated to prevent accidental presses, and separate AE-L and AF-L buttons replaced the X-E1’s combined button, allowing for more customization by advanced users. It was also Fujifilm's first interchangeable lens camera to offer its 'Lens Modulation Optimizer', which used lens correction profiles with variable sharpening to try to compensate for diffraction.

The X-E2s: Change is in the air

Announced: January 2016

MSRP: $699

Something important happened between the X-E2 and X-E2s: in January 2014, just three months after the launch of the X-E2, Fujifilm announced the X-T1, another model aimed at enthusiast photographers. Feature-wise, the X-E2 and X-T1 were very similar, leaving two models vying to be the enthusiast favorite, with the main difference being the camera's shape.

Although the X-T1 arrived with a higher body-only cost of $1299, it proved wildly popular and almost certainly outsold the X-E2. With two models aimed at what was essentially the same audience, it seems likely that Fujifilm went back to the drawing board to reassess the future of the X-E line.

The result was an X-E2s that was essentially a mid-life refresh of an existing model, being all but identical to the X-E2 with the newest firmware installed. It also bought the company time to work out how the X-E and X-T lines should evolve relative to one another.

The X-E2 launched with a substantial $300 price cut. While X-E2s buyers surely appreciated the lower cost, this decision was probably driven, at least in part, by not wanting to tick off distributors who still had the original X-E2 on store shelves rather than signaling a price recalibration.

The X-E3: Finding a new identity

Announced: September 2017

MSRP: $900

The X-E3 was the most significant reimagining of the X-E series' basic design to date and reflects Fujifilm's efforts to differentiate it from the X-T series. How do you do that? Make it smaller, remove a few hardware controls, simplify the camera, and lower the price. Oh, and make it a little sexier in the process.

The upshot is that the X-E3 arrived with a more modern, streamlined look. It shrunk a bit, losing 8mm in width, lost the four-way controller on the back in favor of a joystick and gained a large 3" touchscreen, which allowed users to use finger swipes as a proxy for hardware controls previously found on the four-way controller. Notably, it lost the built-in flash found on all previous X-E models.

The result was still an enthusiast-friendly camera but one that got a little more compact, a bit more sleek, and had a simplified layout with fewer control points to differentiate it from the X-T series. It also saw a $100 price drop compared to the X-E1 and X-E2, further distancing it on price as well.

The X-E4: Settling into a niche

Announced: January 2021

MSRP: $850

The X-E4 continued the series' trend toward a modern-looking design, with more straight edges, flat surfaces and simplified controls. The body became so streamlined that it had neither a grip on the front nor a thumb rest on the back. Another casualty was the 'M-C-S' ('Manual,' 'Continuous' and 'Single') focus mode control on the front of the camera, which provided a quick way to adjust AF settings. (Fujifilm sold an optional grip for those who wanted one.)

Most importantly, the rear command dial found on previous models was omitted, effectively making the X-E4 a single-dial camera, taking it still further from its enthusiast roots. Fujifilm also dropped the price of the X-E4 down to $850.

The camera did gain some enthusiast-friendly features: the 3" touchscreen became a tilting touchscreen, providing a lot more flexibility when using the camera, and upgraded video specs brought DCI 4K video without a crop, including F-Log gamma.

However, signals abounded that the X-E4's role had shifted further relative to the X-T4, its contemporary at launch.

In addition to losing a command dial, it had a lower resolution viewfinder, continued to rely on a single UHS-I card slot instead of the dual UHS-II slots on the X-T4, and it couldn't match the X-T4's ability to capture 4K/60p or 10-bit video despite having the same sensor/processor combination.

In effect, the X-E4 had been shunted downmarket; the X-T line offered everything-including-the-kitchen-sink controls, while the X-E series was distilled into a smaller, simplified camera with enthusiast-oriented features. It still served a broadly similar audience but more likely as a small, convenient secondary camera or a camera for travel rather than the main workhorse.

What might this tell us about a future X-E5?

Over time, the X-E series has gently drifted away from its roots to differentiate it from the X-T line. The design became more sleek and distinct without becoming as plasticky or simplistic as the X-A or X-M series or morphing into an entry-level model. It's still a camera for serious photographers, but photographers who want something smaller or possibly more fashionable.

So, what might we expect from a future X-E camera? We think there's room for an X-E5 that doesn't tread on the X-T5's toes but doesn't need to appeal to entry-level users to be successful, either.

"Over time, the X-E series has gently drifted away from its roots to differentiate it from the X-T line."

We expect an X-E5 will likely be an X-E4 but with Fujiflm's flagship 40MP sensor. Since Fujifilm has developed a small image stabilization unit for the X100VI, we hope to see that as well. However, we doubt if an X-E5 will get the fancy two-way tilt screen found on the X-T5, given the emphasis on size and cost, and we don't anticipate seeing a film simulation dial since those have generally appeared on Fujifilm's more beginner-friendly models.

However, we hope to see the X-E series regain some of its enthusiast street cred. We're not expecting it, but we'd like to see the return of the second command dial, at least, which makes the camera much more enjoyable to use.

The X factor could be price. Several years of inflation have driven up prices across the industry, and a new X-E will almost certainly come in a fair bit higher than the X-E4's $850 launch price. Based on the X-M5 and X-T50 prices, we anticipate it will fall somewhere in the $1300 range, though we're happy to be proven wrong on that.

Let us know what you would like to see in a future X-E5 in the comments.

Updated October 2024

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so you'll be prepared to capture whatever you run into.

We've also tried to select relatively small cameras so they don't interfere with your trip, though it's worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you'll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it's worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you'd like to use and how big the full-frame versions are.

Our recommendations

• Portable full-frame: Sony a7CR
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-T50 with 16-50mm F2.8-4.8
• Truly compact mirrorless: OM System OM-5
• The stylish travel companion: Nikon Zf
• The classic choice: Fujifilm X100VI
• Best pocketable travel camera: Ricoh GR III

Portable full-frame: 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 is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

Read our Sony a7CR initial review

All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

Read our full Sony a6700 review

See the Sony a6700 studio scene

The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.8

40MP APS-C BSI CMOS sensor | In-body image stabilization rated to 7EV | 6.2K 10-bit video recording

Photo: Richard Butler

The X-T50 can be purchased with Fujifilm's excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.

Read our full Fujifilm X-T50 review

See the Fujifilm X-T50 studio scene

The other Fujifilm

We haven't fully reviewed the Fujifilm X-M5 yet, but if you're looking for an APS-C camera that's even smaller than the X-T50, it may be worth considering. It's substantially cheaper, though it's easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn't stabilized, and there's no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.

Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

Another Micro Four Thirds option

The Panasonic Lumix G9 II is more expensive and less compact than the OM-5, though it still uses the same size lenses. For the extra bulk and cost you'll get a modern USB-C charging port, dual card slots and improvements in image quality, autofocus tracking performance and video features. However, the weather sealing likely won't be as good as OM Systems, which has an official IP53 rating.

The stylish travel companion: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you're out and about in an unfamiliar setting.

Read our review of the Nikon Zf

See the Nikon Zf studio scene

Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor. Photo: Barney Britton

Buy now:

The Ricoh GR III HDF is the latest entry in the company's series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. This version is almost identical to the regular GR III, but swaps the built-in ND filter for a highlight diffusion one, which can be activated to give photos a dreamy look.

It's not the most flexible camera, but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with. Unfortunately, most GR III models are currently difficult to buy, as they're out of stock or unavailable almost everywhere.

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

See the Ricoh GR III studio scene

The classic choice: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy. Photo: Richard Butler

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

It's not smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.

Read our Fujifilm X100VI review

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: Apple

Apple has announced its new suite of MacBook Pros, which now come equipped with the M4, M4 Pro and M4 Max chips. The company is also making its 'nano-texture' matte display option available for the first time in its laptop lineup.

Apple says the new laptops also come with an upgraded webcam that supports Center Stage, a feature which crops in on the subject, keeping them in the middle of the frame even if they're moving around.

The display can also now go up to 1,000 nits in SDR mode; previously, you could only attain that brightness while looking at HDR content. That should make it easier to see the monitor, even in harsh lighting conditions. If you consistently work outside or in front of a window, it may also be worth considering the $150 'nano-texture' display option, which Apple says will "reduce glare and reflections in bright spaces."

As with the previous generation, there's one computer that stands a little apart from the others: the 14-inch MacBook Pro with the regular M4. It starts at $1,599 and includes a 10-core CPU and GPU, 16GB of RAM, and a 512GB SSD. While it has most of the features of the other models, it misses out on Thunderbolt 5, which promises up to 120Gbps transfers, instead getting stuck with the previous-generation 40Gbps interface. However, it now has a third Thunderbolt port on the right side of the computer; the previous model only had two, both on the left side.

The M4 Pro was announced yesterday alongside the refreshed Mac Mini, but the M4 Max is new to the lineup. CPU-wise, it starts at the same level as the top-end M4 Pro with 14 cores, but you can add two more. The GPU is also much more powerful; it starts at 32 cores and goes up to 40. This also allows it to support up to four external displays, while the M4 and M4 Pro models can only handle two.

The M4 Pro and Max models are available with both 14- and 16-inch displays; the base M4 is only available in the 14-inch chassis.

One minor disappointment that won't surprise anyone who's been following the iMac and Mac Mini announcements: the new MacBook Pros are still using Wi-Fi 6E instead of the newer Wi-Fi 7. It's an easier flaw to overlook on desktop computers that mostly come equipped with Ethernet ports, but on a mobile-first computer, it's a bit of a strange decision. Otherwise, the MacBook Pros have very similar connectivity to their predecessors: three Thunderbolt ports, a headphone jack, an HDMI port, an SD card reader and MagSafe power adapter.

The new MacBook Pros are available for pre-order today and will ship on November 8th.

Image: Apple

Apple has announced that the M2 and M3 MacBook Air will now come standard with 16GB of RAM, fixing a major flaw on otherwise great computers.

The laptops previously came with a restrictive 8GB of memory, forcing people to decide whether they wanted a computer that could struggle when multitasking or to pay the exorbitant $200 upgrade fee to jump to 16GB. Now, that's no longer a consideration; the MacBook Air now just comes with double the RAM for the same starting price: $999 for the M2 model and $1099 for the M3-equipped version.

If this news has made you consider getting one – they are quite capable laptops for their price and can handle a fair amount of photo editing – you should be a bit cautious. 8GB models will likely still be floating around at various retailers for a while. At the time of writing, Best Buy is currently selling a 13-inch M3 MacBook Air with a lower amount of RAM for $1,099, the same price as the 16GB model now costs from Apple.

Image: Apple

Apple has announced its new suite of MacBook Pros, which now come equipped with the M4, M4 Pro and M4 Max chips. The company is also making its 'nano-texture' matte display option available for the first time in its laptop lineup.

Apple says the new laptops also come with an upgraded webcam that supports Center Stage, a feature that crops in on the subject, keeping them in the middle of the frame even if they're moving around.

The display can also now go up to 1,000 nits in SDR mode; previously, you could only attain that brightness while looking at HDR content. That should make it easier to see the monitor, even in harsh lighting conditions. If you're consistently working outside or in front of a window, it may also be worth considering the $150 'nano-texture' display option, which Apple says will "reduce glare and reflections in bright spaces."

As with the previous generation, there's one computer that stands a little apart from the others: the 14-inch MacBook Pro with the regular M4. It starts at $1,599 and includes a 10-core CPU and GPU, 16GB of RAM, and a 512GB SSD. While it has most of the features of the other models, it does miss out on Thunderbolt 5, instead getting stuck with the previous-generation connector.

The M4 Pro was announced yesterday alongside the refreshed Mac Mini, but the M4 Max is new to the lineup. CPU-wise it starts at the same level as the top-end M4 Pro with 14 cores, but you can add two more. The GPU is also much more powerful; it starts at 32 cores and goes up to 40. That also lets it support up to four external displays, while the M4 and M4 Pro models can only handle two.

The M4 Pro and Max models are available with both 14- and 16-inch displays; the base M4 is only available in the 14-inch chassis.

The new MacBook Pros are available for pre-order today and will ship on November 8th.

Developing... this story will be updated.

Image: Nikon

Nikon has said it is developing a Nikkor Z 28-135mm F4 PZ power zoom long standard lens for full-frame mirrorless cameras.

The power zoom design will make it particularly suited to video work, with the company highlighting documentary work by small or solo video teams as a possible target audience. The company has provided a single rendering of the lens, showing a short but substantial lens with a removable tripod foot, that's unusual for a lens of this range and aperture, but making it easy to mount directly to sticks or a monopod.

No details of price, availability or expected development date have been provided.

Comparing the rendering to other Nikkor lenses, we estimate the lens will be in the region of 173mm long and 105mm wide. The image shows the lens as taking a 95mm filter, though a matte box is likely to be just as common as the use of filters when used for video.

Image: Canon

Canon has announced the RF 70-200mm F2.8 L IS USM Z, a telephoto zoom lens aimed at professional photographers and videographers, and designed to work with both EOS and Cinema EOS cameras.

The lens features a non-extending, internal zoom design, with the big news for many users being that it works with Canon's 1.4x and 2x RF-mount teleconverters, enabling focal lengths up to 400mm. It will be available in two colors.

Canon's original 70-200mm F2.8 lens for RF-mount, the RF 70-200mm F2.8 L IS USM, featured a collapsible design for compact size but didn't include teleconverter compatibility. A Canon representative told us the new lens should appeal to people who haven’t upgraded from their EF lenses because the original RF version didn't meet their needs. We're told both will remain in the lineup.

Optically, the lens features 18 elements in 15 groups, including two Super UD, one UD, and three aspherical elements. It also includes Canon's Air Sphere coating to control ghosting and flare and has a fluorine-coated front element and an 82mm filter thread.

Image: Canon

A focusing lens group and a floating focus lens are each driven by Nano USM motors. This design helps give the lens a minimum focus distance of 0.49m (1.61ft) at 70mm, but its maximum magnification of 0.3x occurs at 200mm.

Optical image stabilization is rated up to 5.5 stops at the center of the image and up to 7.5 stops at the center (7.0 stops at the corners) when used on a camera with in-body image stabilization.

The new lens has the same 89mm (3.5") diameter as the collapsible RF 70-200mm F2.8 L IS USM, but at 199mm (7.8") in length, it's a full 53mm longer. A more apt size comparison is Canon's EF 70-200mm F2.8 L IS III USM, the last such lens it made for EF mount, which shares the same dimensions. However, at 1115 g (2.5 lbs), the new lens is about 25% lighter than the EF version.

Canon's telephoto zooms have historically sported a white paint job, but the RF 70-200mm F2.8 L IS USM Z will be available in both black and white variations, including a matching lens hood, reflecting the differing preferences of video and stills shooters.

Image: Canon

In response to one of the most frequent requests it received from owners of its existing 70-200mm lenses, Canon redesigned the zoom ring to operate more quickly, making it possible to "go from 70 to 200mm with the flick of the wrist."

In a nod to hybrid shooters, the lens uses the exact same housing and internal mechanics as the RF 24-105mm F2.8 L IS USM Z, making it easy for video users to switch between the two lenses on a rig without adjustment. It includes weather-sealed electrical contacts and mounting points for Canon's PZ-E2 power zoom adapter, and a clickless aperture ring (compatible with the EOS R5 II and EOS R1) to allow for stepless iris control when shooting video.

Canon claims the lens exhibits minimal focus breathing, though a representative told us it will exhibit the best performance on a camera body that includes breathing corrections.

Price and availability

The RF 70-200mm F2.8 L IS USM Z is expected to be available in November at a suggested retail price of $2999. That's $200 more than the existing, retractable RF 70-200mm F2.8 L IS USM, which retails for $2799 and will remain in Canon's lineup.

Press release:

RF 70-200mm F2.8 L IS USM Z specifications