From Left to right, the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. Images: Google

Earlier this week, Google announced its latest Pixel phone lineup, unveiling the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. With any new lineup, there are likely questions about how the devices stack up against each other or how they compare to the old models. While we covered the basics of the Pixel 10 series at the time of launch, here we'll be diving into a more detailed look at what makes the devices stand apart regarding cameras, video features and special shooting modes.

Camera differences

Image: Google

The two 10 Pro phones and the 10 Pro Fold kept all of the same camera specs as the 9 Pro devices, so there's nothing terribly exciting there. The Pixel 10, on the other hand, has some notable changes. It added a telephoto camera to a line of devices that traditionally had only two (the wide, main camera and ultrawide). Unfortunately, the addition of that third camera resulted in downgrades (on paper) in the other two.

The primary camera on the Pixel 10 isn't a substantial change resolution wise, but that's not the story with sensor size. The Pixel 9 featured a Type 1/1.3 (72mm²) sensor, while the Pixel 10 uses a Type 1/2 (30.7mm²). That's quite a notable downgrade, and it is now the same as the primary camera in the Pixel 9a, Google's budget device (which also used a smaller sensor than its predecessor). We'll have to do some additional testing on the cameras to see what the impact is in the real world, but it certainly doesn't look good on paper.

The ultrawide camera is also significantly impacted, going from 48MP to 13MP. It also features a smaller sensor and a smaller aperture. The newly added telephoto camera on the Pixel 10 is a little lackluster compared to the non-folding Pro models.

We asked Google Gemini why Google says the Pixel 9 can take 50MP photos, but we can't find a setting to use that resolution (the same thing the Pixel 10 does), and this was its response. Screenshot: Dale Baskin

It's also worth noting that, while Google's spec sheet says the Pixel 10's main camera uses a 48MP sensor, users will only be able to get binned 12MP images from it. This was also the case with the Pixel 9. The Pro model, meanwhile, offers a setting that allows users to select between 12MP and 50MP outputs, but this option isn't available for the standard Pixel.

The downgrades might make a little more sense when you consider that the telephoto camera used to be the main differentiator between the base and pro model cameras. After all, the Pixel 9 shared the same wide and ultrawide camera specs as the Pixel 9 Pro. If that stayed consistent with the addition of the telephoto camera, Google would have three devices that were essentially the same in terms of rear cameras.

The other difference between the Pixel 10 and 10 Pro cameras comes from the selfie camera. The 10 Pro and 10 Pro XL feature a higher-resolution selfie camera than the Pixel 10, so if you want really sharp selfies, you'll be better off with the Pro models.

The 10 Pro Fold uses the same main and telephoto cameras as the Pixel 10. The ultrawide camera, though, features a slightly lower resolution and smaller sensor than the Pixel 10.

Video features

On the video side of things, there aren't any substantial changes from the previous generation. Most of the settings and modes remain the same. Google promises some improvements, however. For example, it says it enhanced the optical and AI-based stabilization in the Pro models, even going so far as to say it's the best of any smartphone (unsurprisingly). Google also says it improved Night Sight (the video mode for recording at night) performance.

Naturally, the Pro models promise better video capabilities than the base Pixel 10. It's important to note, however, that the 8K video isn't native 8K. It relies on Google's Video Boost setting that uses cloud-based AI processing to upscale 4K footage to 8K. It also promises to improve lighting, color, dynamic range and stabilization while reducing noise and grain.

* - 4K footage upscaled to 8K via post-processing

Shooting modes and settings

The camera hardware in phones is just part of the equation. What modes and settings they offer also make a difference in usability and quality. The Pixel 10 only gains a few settings over the Pixel 9. Naturally, the Pixel 10 provides more optical zoom options, since there is a telephoto lens.

Beyond updated camera array are some software changes, including Auto Best Take and Auto Unblur. The 9 offered Best Take and Unblur settings, but both were accessed during the editing process. Now, Google can handle those tasks automatically using Gemini AI. Auto Best Take is able to automatically find and combine group photos, selecting the best version of each person for the combined photo. Auto Unblur uses AI to detect and sharpen blurry photos, whether the subject is a face or not.

The Pixel 10 Pro. Image: Google

There are a few differences between the Pro and base models as well. The Pro devices offer Pro Controls, or the ability to adjust settings like ISO, shutter speed, white balance and focus in photo and video settings. The base models do not provide Pro Controls, so if you want to manually set your exposure, you'll need a third-party app.

As already discussed, the Pro models offer High-Res modes (standard images and Portrait Mode) for producing images up to 50MP, whereas the Pixel 9 and 10 do not and top out at binned 12MP images as a result. Finally, the 10 Pro and 10 Pro XL offer extra reach from the Super Res Zoom, which uses a combination of cropping and generative AI to, in theory, maintain image quality even when zooming up to 100x. The Pro Fold and Pixel 10 only support Super Res Zoom up to 20x, while the Pixel 9 topped out at 8x.

In terms of video settings, there are a few notable differences as well. The Pixel 9 and 10 lack Google's Video Boost mode, while all the Pro models provide access to the AI tool. The Pro models also offer manual controls, just as in photo mode. Finally, only the Pro models offer Night Sight video, Google's low-light video mode that uses AI and multi-frame computational photography techniques. The mode promises less noise, increased brightness and more shadow detail while maintaining natural colors and contrast.

Choose your device

From left to right: Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold Images: Google

For most people, there are plenty of other considerations when choosing a phone beyond the cameras alone. However, if that's a deciding factor for you, the information above should help clarify what the differences are between the Pixel 10 series and what is different from the Pixel 9 series.

To summarize, there are very minimal camera updates when comparing the three devices in the Pixel 9 Pro lineup to the Pixel 10 Pro lineup. Some processor upgrades promise to improve various photography and videography features, but camera-specific specs remain the same. The Pixel 10 does have substantial camera changes, but they may not be to everyone's liking.

The differences between the base model and Pro devices, at least in terms of cameras, primarily come down to higher image and video quality and more control on the Pro devices.

World Photography Day mini-challenge

For World Photography Day on August 19, we gave our readers a simple mission: go out and photograph the world around you, wherever you happen to be, all on the same day. Mission accomplished.

The DPReview community is filled with incredibly talented photographers, as we've learned from our Editors' Photo Challenges. This time was no different; you all delivered some truly stunning work. While we can't feature every entry here, we encourage you to check out the forum thread to see all the great photos your fellow readers submitted.

You'll find our editors' favorite photos on the following pages, presented in no particular order. And if your photo wasn't chosen, don't be discouraged. We'll be holding more spontaneous mini challenges in the future, so keep an eye out!

Birds and blossoms

Using a Nikon D7100, Larry Khan captured this image of a juvenile Ruby Topaz hummingbird as it fed from a Chaconia flower in Trinidad and Tobago.

Ominous clouds

When Ryan Schwartz saw our call for photos, he went outside to shoot the first thing he came across, gravitating toward the clouds as he likes to shoot skyskapes, thunderstorms and aurora. To make World Photography Day even more fun, he decided to use his first DSLR, a Nikon D5000, that's still going after 15 years.

Yellow infrared

After two years of research, JeanPierre Martel developed a new style of infrared photography called "Yellow 3629 infrared." Its unique feature is that it reveals the secondary pigments of the plant kingdom responsible for the vivid colors that deciduous trees adopt in autumn, resulting in a unique vegetal polychromatism in infrared photography. This photo was taken using a full-spectrum infrared Olympus OM-D E-M5.

Everton

ian_harris had spent the entire day shooting headshots of his colleagues for a company website. At the end of the day, the company cleaner, Everton, came in and asked what he was doing. When Everton told Harris, "I haven't had my photo taken in 20 years," Harris put him in front of the camera and captured this powerful photo using a Nikon Z7 II.

Lilly macro

HemingJ108 wanted to shoot a landscape or a seascape, but got off work late and couldn't go far. The lily in the front yard was at its peak, providing a perfect subject. To capture this stunning beauty, the photographer took 15 frames using focus stacking with a Nikon Z7 II.

A gray day

Stuck at home on a gray World Photography Day, Eduard began goofing around on the patio, capturing this colorful leaf with a Fujifilm X-E5 and a Viltrox 15mm lens.

Abbey Road

Photographer Bob Janes used World Photography Day to channel The Beatles. Friends visited on the anniversary of the last day of recording the Beatles' Abbey Road album, and three of them recreated the album cover.

Stunning still life

Frenchfx recently took a still life master class and captured this painterly image on World Photography Day using a Canon R6 Mark II.

Sensual harvest

Farmers' markets are full of amazing fresh produce, including this interesting specimen above, but as User7201588310 explains, big ugly tomatoes don't have to be ugly; if one looks carefully, they can be quite sensual, as evidenced by this image inspired by the works of Group f/64, captured on a Sony a7 IV.

Complimentary

DPReview Editor Abby Ferguson belongs to a local photography group that celebrated World Photography Day with an evening photo walk. The orange glow of these lights, contrasted with the blue hour light and water, caught her attention and became the perfect target for her Sony a7 III.

A beautiful day!

Par Mims Books captured this impromptu selfie using a Samsung AG13 smartphone to celebrate World Photography Day. We can't argue with the title.

Haunted

Despite rumors of being haunted, DixonLau felt picturesque vibes upon entering this old abandoned building called Crag Hotel in Penang Hill in Malaysia, and captured this perfect morning sunlight filtering through this room using a Sony a7R III.

Fifteen-love

DPReview Managing Editor Dale Baskin was inspired by other photographers who shared photos captured with older digital cameras, so he grabbed his trusty Panasonic LX7 for an evening walk around his neighborhood. Determined to get a picture on World Photography Day, and with light fading quickly, he framed the shapes and colors on this tennis court to create an abstract shot.

Green lizard

DrummerJim caught this small lizard peaking its head out from the undergrowth and captured it with an Olympus OM-1.

Alps view

This World Photography Day image of the Alps was captured by Serieux on a flight from Paris to Milan using an iPhone 15.

Owl in flight

CheeYong took this photo during an evening walk using a Sony a1 to capture this great horned owl leaving a barn.

Simple street

Thirdmort didn't even know about our World Photography Day challenge when taking this photo, where clear lines in the sidewalk and street to draw the eye. We love the colors and the evenly spaced trees, which create a sense of rhythm and order. Captured with a Fujifilm X100V using a Kodak Portra 160 film recipe.

Aerial arts

World Photography Day came at just the right time for hschnee, the official volunteer photographer for Upside Aerial Arts & Fitness in Burlington, NC. Unsatisfied with photos captured using basic lights in the studio, the photographer brought in a recently acquired pair of monolights and softboxes to try out. If this photo is any indication, those lights passed the test with flying colors.

Right side of the tracks

DPReview Editor Mitchell Clark headed for the Spokane River in Spokane, Washington, searching for inspiration but found nothing special. Thinking he had run out of time, he packed up his camera, climbed back up the embankment and got on his bike just in time to notice a train about to cross this bridge. He pulled the OM System OM-5 II back out of his bag just in time to catch the train cross.

It's a dog's world

Having the time of its life while hunting in beach grass, a dog named Blue became the central character of this photo by sbruni, creating an image of subtle light and story.

This Film Friday, we're taking a look at film in the cinema world. The Tested Team YouTube channel has produced two videos touring the American Society of Cinematographers museum. Emmy Award-winning cinematographer, director and producer Steve Gainer is the curator of the museum, and takes the host of the show through the museum, discussing some of the cameras that are on display.

Gainer has an incredible wealth of information about the cameras, sharing in-depth information on how the cameras work, how and when they were used and more. He starts the first video, above, with a 1890 Lumière camera, which was essentially an all-in-one camera system that Gainer says still works today.

The video also tells stories of the problems with the original wood cinema cameras and how bugs loved the glue used to hold them together. Gainer says that cinematographers would wake up a day after arriving at a shoot in the jungle to discover their camera in pieces because the bugs ate all the glue. The Bell Howell 2709 camera was a big step forward since it was a metal body. The model that the museum has on display was purchased in 1918 by Harry Warner and was used to shoot Warner Bros.' first motion picture.

If the above video isn't enough fun information for you, there's also a second episode looking at even more cameras, this time large-format ones.

The museum has the large-format Todd-AO cinema camera that was used to shoot The Sound of Music and Cleopatra. Gainer walks through how it works and why large-format film came about. He explains that it was an answer to people staying home to watch TV since they were only seeing small, square pictures. The wide format provided something new that viewers couldn't get at home.

Both episodes are absolutely fascinating, with an incredible amount of information and history shared. It's clear how knowledgeable and passionate Gainer is, and the museum has quite the collection of items from cinema history. If you're interested in old cameras, history or cinema (and especially all three), they are well worth a watch.

Image: Nikon

Nikon is updating one of the Z-mount's core lenses, just six-and-a-half years after the release of the current version. The Nikon Nikkor Z 24-70mm F2.8 S II will replace the company's flagship standard zoom and promises improved image quality and autofocus speed over the already impressive Mark I.

The 24-70mm F2.8 S II features an internal zoom design, allowing it to be better weather-sealed than the current version. The unchanging length of the new lens also allows its use on gimbals or video rigs without the need for rebalancing or reconfiguration. The new lens is 142mm long: 16mm longer than the existing lens it its retracted state, but 14mm shorter when compared at their fully zoomed-in positions.

The lens is 136g lighter than its predecessor

It uses a completely new optical design made up of 14 elements in 10 groups and including 3 aspherical elements and 2 ED elements. This compares with 17 elements in 15 groups, with 2 aspherics and 4 ED elements in the older lens. This simplification helps make the lens lighter, overall: at 675g, it's 130g (16%) lighter than its predecessor. The new lens features 11 aperture blades, rather than 9, for more consistently circular bokeh.

Minimum focus distance drops to 0.24m at wide-angle and 0.33m at full zoom, an improvement on the 0.38m of its predecessor. This sees the maximum reproduction ratio increase from 0.22x to 0.32x, achieved at the long end of the lens.

The Mark II accepts the same 77mm filter thread as the Z 70-200mm F2.8, rather than the larger 82mm filters used by the existing 24-70mm.

Nikon also says the "Silky Swift" voice-coil autofocus motor is around 5x faster than the previous version, with scan time reduced by 40% and tracking while zooming improving by 60%.

Image: Nikon

Other changes include a duplicate lens function button, so that there's one within reach for portrait, as well as landscape shooting, and a switch to de-click the lens control ring. The Mark II loses the display screen on the top of the lens, so there's no longer any depth of field or distance indication on the lens.

The Nikkor Z 24-70mm F2.8 S II will be available starting in mid-September, and will retail for a recommended price of $2799, excluding tax, $500 more than the original lens launched for in 2019. Though it's worth considering that, taking overall inflation into account, the Mark 1's launch price would be equivalent to over $2900 in today's money.

Nikon Nikkor Z 24-70mm F2.8 S II specifications

Blurry photos are often disappointing. Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/5 sec | ISO 2500 Photo: Mitchell Clark

We've all been there: you're excited about an image you took, only to pull it up on your camera or computer and realize it's blurry. If you're new to photography, though, you may not know the cause of that blur, making it hard to prevent such problems in the future. Your photo may be blurry for multiple reasons, with different solutions for each.

Before diving into the details, it's important to know that there are primarily two types of blur you'll encounter: blur from movement and blur from focus issues. Movement blur appears as streaks, trails or ghosted outlines with a clear sense of directionality. Blur related to focus, on the other hand, is a more even, uniform softness with no directionality.

Slow shutter speeds

One of the most common causes of blurry images is related to shutter speed and movement. Shutter speed (which you can learn more about here) determines how long your camera's shutter is open, allowing light to hit the sensor. Slow shutter speeds mean the shutter is open for a longer period, which can result in blur caused by either movement of the camera or of the subject. Moving the camera with a slower shutter speed will typically result in complete image blur, while motion blur related to subject movement only causes specific portions of an image to be blurry.

Camera movement

If your photo looks streaky all over, like this image, that's because your shutter speed was too slow to hand-hold the camera. Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/20 sec | ISO 2500 Photo: Mitchell Clark

If your entire image is blurry, that's likely a result of camera movement while using a slow shutter speed. This type of blur is also called camera shake. Camera shake can be subtle with small streaks that are only noticeable when zoomed in, or dramatic, with everything in the image streaking together. The key is that it is blurry across the entire image, not select portions of it. That's because, as steady as you may try to hold your camera, your body will always have some movement, which will transfer to your camera, producing blur.

There isn't a hard and fast rule of what shutter speed is necessary to avoid blur, though the long-standing rule of thumb is to use a shutter speed that is at least the same as your focal length (or the full-frame equivalent focal length for crop sensor cameras). So, for example, if you're using a 50mm lens, you should use a shutter speed of at least 1/50 sec to keep your image sharp.

"The shutter speed that is necessary depends on your camera, lens and how steady your hands are."

However, the shutter speed that is actually necessary depends on your camera, lens and how steady your hands are. Some modern cameras and lenses feature built-in stabilization that can help prevent camera shake at slightly slower shutter speeds. Turning on your stabilization settings while using slow shutter speeds can help you prevent camera shake.

However, stabilization can only do so much, and many cameras don't offer it. Blur may simply be unavoidable if you're trying to hand-hold your camera at a shutter speed that is too slow. In those situations, an easy way to prevent blur is to use a tripod (or another solid surface). The key is to use a sturdy tripod, as shutter shock (movement from the shutter), or mirror slap in the case of a DSLR, can cause vibrations that result in camera shake. Fimsy tripods can even introduce movement on their own. Using the self-timer on your camera is also useful so that the action of pressing the shutter button doesn't result in blur.

Subject movement

If only your subject is blurry, your shutter speed is too slow for their movement. In this case, the cat rolling around was too fast for the shutter speed, so he's completely blurred. OM System OM-5 II | OM System 20mm F1.4 Pro | F5.6 | 1/2.5 sec | ISO 500 Photo: Mitchell Clark

Sometimes, only some elements in the frame, such as people, animals or cars, will be blurry, while the rest of the image is sharp. If that's the case, the blur is caused by a shutter speed that's too slow for the subject's movement. Slow shutter speeds, even if you're using a tripod, will blur any movement in the image, so moving subjects will end up blurry. Additionally, photographing fast-moving subjects will require especially fast shutter speeds to ensure they are clear and sharp.

There is no silver bullet shutter speed that will freeze (or purposefully blur) movement. Multiple factors are involved, including the speed and direction of the movement and how close it is to the camera. For example, a Formula 1 car will require a much different shutter speed than a child playing. If you notice that your subject is blurry and you are in a situation where you can retake the image, use a faster shutter speed to freeze that movement.

Focus issues

Another very common type of blur isn't caused by shutter speed but by focus issues. This type of image issue is often referred to as 'out of focus' instead of blur, as it helps to differentiate between the two problems. Unlike motion blur, out-of-focus images are soft without blur in a defined direction. However, like shutter speed, multiple problems can arise to cause out-of-focus images that either impact the entire image or only select areas.

Completely missed focus

This image is completely out of focus, which is different than blur from motion. Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/160 sec | ISO 160 Photo: Mitchell Clark

If your entire photo is soft-looking but not streaky (caused by motion blur), it's out of focus. This can happen because your camera (or lens) was set to manual focus and you didn't realize it, or because your camera was substantially off in finding a focus point.

To remedy this, double-check your autofocus settings. Ensure that autofocus is on (if you want it to be), and that you know which autofocus setting is appropriate for your situation. An entirely out-of-focus image could also be caused by being too close to your subject. Every lens has a minimum focus distance, or a limit to how close it can focus. If your lens won't autofocus correctly, try backing up to see if that helps.

Missed focus point or too shallow a depth of field

I accidentally focused on the brick wall in this image, leaving the cityscape, my desired subject, out of focus. Sigma BF | Sigma 35mm F2 DG DN Contemporary | F5.6 | 1/1000 sec | ISO 125 Photo: Abby Ferguson

If only a portion of your image is out of focus, such as the foreground or background, that's a result of either missing the focus point or using too shallow a depth of field. For example, if you're taking a portrait, and the person is out of focus but the background is sharp, that's caused by the focus point not being on top of your subject. To remedy that, you simply need to change where your camera is focusing by manually focusing or changing the placement of the focus point.

Only a small part of the cat's cheek is in focus, while its eye and nose are blurry. Using a slower aperture would sharpen them up. Sony a7R V | Sony FE 50-150mm F2 GM | F2 | 1/250 sec | ISO 1600 Photo: Mitchell Clark

Sometimes, you may have the focus point in the right spot, but some of your subject is out of focus, and you may not want that. When that's the case, it's because your depth of field is too shallow. Depth of field – the amount that's in focus in a scene – is controlled by multiple factors, one of which is aperture (which you can learn more about here). If you want a deeper depth of field so that more of your subject is in focus, use a smaller aperture (larger aperture number). Just be sure to adjust your shutter speed to maintain a correct exposure.

Lens issues

A fogged-up lens will make your images very blurry. Photo: Abby Ferguson

Finally, sometimes blurry photos are caused by lens issues. Some lenses don't provide sharpness all the way to the edge of the frame, so your images may have blurry-looking corners.

Another potential issue is that you may have a smudge, water spots or condensation on your lens, creating blurry areas in your images. It's smart to keep a microfiber lens cloth or other lens cleaning items on hand to keep your lens clean for sharp photos.

Parting thoughts

As you now know, blurry photos can result from many issues. Unfortunately, blurry or out-of-focus images can't usually be fully corrected after the fact, so it's important to pay attention and address what's causing the blur while out photographing. Alternatively, some of the above items can be used intentionally to create creative, meaningful images. Blur doesn't always have to be a bad thing.

The Insta360 Go Ultra, like the rest of the Go series of cameras, features a standalone camera that slots into a base, called the Action Pod. Image: Insta360

Insta360 has announced the Go Ultra, its latest miniature action camera. The device keeps the Go lineup's modular design, consisting of a standalone, display-free camera that can be used with or without the Action Pod. It's aimed at being an even more flexible and approachable action camera for casual users. The camera gains quite a list of upgrades, including a larger sensor, increased still photo resolution, slightly wider lens, more flexible storage and more.

The Action Pod features a flip-up display, making the device more like a traditional action camera. Image: Insta360

The most noticeable change is the updated shape of the standalone camera. It ditches the pill-shaped design of its predecessor, the Go 3S, in favor of a square. Measuring 46 x 45.7 x 18.3mm (1.8 x 1.8 x 0.7"), the standalone camera is still noticeably smaller than a GoPro Hero 13 and GoPro's mini offering, the Hero. In the Action Pod, it's nearly identical in size to the GoPro Hero 13 camera.

Along with the slightly larger device size, Insta360 also increased the size of the sensor in the Go Ultra. It uses a Type 1/1.28 (9.6 x 7.2mm) sensor, which is larger than the GoPro Hero13, despite being in a much more compact body. An integrated AI chip supports the company's PureVideo feature, which uses AI algorithms to reduce noise and improve brightness in low-light conditions. Combined with the larger sensor, it should provide better image and video quality even in lower light. The camera also features a new ambient light sensor to reduce flickering and calibrate colors in real-time.

The standalone camera can be worn or mounted in a wide variety of ways. Image: Insta360

The Go Ultra can record up to 4K60p video or 1080p at 240fps for slow-motion captures. That's slightly higher than the GO 3S, which topped out at 4K30p and 1080p at 200fps. Still photo resolution sees a more substantial improvement, with the Go Ultra capable of up to 50MP photos. On paper, that's a significant increase from the 12MP max resolution in the Go 3S, but it remains to be seen how much it will matter in the real world.

Another significant change comes in the form of battery life. The new device's battery life is nearly double that of the previous model. Insta360 promises a run time of 70 minutes from the standalone camera and up to 200 minutes with the Action Pod. It also supports fast charging for up to 80% battery in only 12 minutes. Additionally, Insta360 opted to ditch the Go 3S's integrated storage in favor of a microSD slot compatible with cards up to 2TB.

The back of the standalone camera is magnetic. Image: Insta360

The standalone camera portion of the Go Ultra features a built-in magnetic base, allowing you to attach the camera to any metallic surface. It uses a Bluetooth connection to broadcast footage in real time to the Action Pod, so you can see what is being recorded remotely. It's also compatible with a vast number of accessories, as is the Action Pod for when you want longer battery life.

Image: Insta360

As an action camera, it's made to be durable. The standalone camera offers an IPX8 rating and is waterproof down to 10m (33') without a case. The Action Pod, however, is not waterproof, so you'll need the dive case if you want to use the full setup underwater.

The Insta360 Go Ultra is available for purchase today. The standard bundle, which costs $450, includes the Go Ultra, Quick Release Safety Cord, Magnetic Easy Clip, Magnet Pendant, USB-C cable and a Lens Guard.

The Nikon Z5 II has been a great value since it launched, but can it stay that way? Image: Nikon

Nikon has announced that it will carry out another "price adjustment" in the US, set to take effect on September 1st. This follows the company previously raising prices across its lineup on June 23rd in response to tariffs.

In a statement to DPReview, Nikon said:

"At Nikon, we remain committed to providing the highest quality imaging products and value to our customers. As we continue to navigate the impact of tariffs, a further price adjustment will take effect September 1, 2025. We are closely monitoring tariff developments and the evolving market conditions and are taking every possible step to minimize the impact on our community. We wish to thank our customers for their understanding. Customers with order inquiries should contact their authorized retailer for support."

The company has not said which of its products will be impacted, and what pricing will look like next month. However, its previous adjustment saw lens and camera body prices go up by an average of around 10%. We'll be sure to keep you updated on the pricing changes once they go into effect.

"We are closely monitoring tariff developments and the evolving market conditions"

Nikon isn't the first company to make this kind of announcement. Earlier this week, Fujifilm announced that it, too, would be raising its US prices at the end of the month; its second time doing so in August. Canon has warned that it may need to do the same at some point, and GoPro told investors it was raising prices on its action cameras to help recoup some of its tariff costs, according to Digital Camera World.

The US's policies around tariffs have essentially been in flux since they were announced, likely making it hard for companies to plan their pricing. Currently, imports from China face a minimum 30% tax, but they were set to balloon to 145% earlier this month before a last-minute executive order moved the deadline to November. And while those tariffs have been on the table for a while, the administration has all but admitted that it's willing to change them in response to other countries' actions, whether or not they're related to trade with the US.

The Ricoh GR IV is a photographer's compact built around a 26MP APS-C sensor with a fixed 28mm equiv. F2.8 lens. It's the fourth entry in the GR series (though that was preceded by the long-running GR Digital series and film models prior to that), and includes elements from previous GR cameras that had been dropped by its predecessor.

Key Specs:

• 25.74MP APS-C sensor
• 18.3mm F2.8 lens (28mm equiv)
• Magnesium alloy body
• Built-in 2EV ND
• 5-axis image stabilization
• 53GB internal storage and UHS-I Micro SD slot
• 3.0" 1.04M dot LCD (720 x 480 px)
• FullHD (1080) video up to 60p
• 262g with memory card and battery

The GR IV will be available from mid-September 2025 at an MSRP of $1499. This price represents a substantial increase from the GR III's $899 2018 launch price, though is less of a jump from the current market rate for the special editions of that camera, which go for around $1100 (when you can find them in stock).

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Index:

• What's new
• How does it compare?
• Body and handling
• Initial Impressions
• Specifications
• Press Release

What's New

Updated sensor

The GR IV uses a 25.74MP backside-illuminated sensor, compared to the 24MP frontside-illuminated one found in the GR III. The bump in resolution will be essentially irrelevant, and we'll have to test it more to see if it provides any noticeable improvements in areas like noise performance, dynamic range or readout speed. It seems likely that it's the same sensor Sony uses for its a6700 and Pentax in the K-3 III, which would mean Ricoh is continuing its tradition of using tried-and-true imaging tech in the GR series.

In large sensors, the benefits of BSI tend to have more to do with getting even illumination at the corners of the sensor, rather than having much impact on overall noise.

Redesigned lens

Also getting an update is the 18.3mm (28mm equiv) F2.8 lens. Ricoh has refreshed the formula, adding another aspherical element, which it says should provide better detail and sharpness in the corners. More importantly, the lens barrel is thinner, which means it can extend faster, improving the camera's startup time by 0.2 seconds. This may not sound like much, but it's a 25% improvement.

The company also says it focused on making the lens suck in less dust when it retracts and extends. While it's still not making any claims about weather or dust resistance, it clearly saw users' complaints about their previous GR cameras getting dust on the sensor, as it's also added a new anti-fouling and anti-static coating to the UV/IR cut filter. That should make it easier for the sensor's cleaning routine to shake off any dust that makes it into the body.

New old control layout

Left: GR IV. Right: GR III

The GR IV's control scheme reverses several changes made with the GR III, and so more closely resembles the layout of the original GR and GR II. Most notably, it replaces the rear-plate control dial with a multi-directional controller, and regains the "+ / –" rocker switch the III dropped.

It isn't just a complete remake of the GR II, though. The rear jog lever that's been on all of the GR cameras up to this point has been replaced with a clickable command dial. The company has also added a position for the Snap Distance Priority mode, introduced via a firmware update to the GR III, onto the camera's mode dial. It makes the camera's zone focusing system a little more approachable, letting you control your focus distance with one dial, and the depth of field with the other, with the camera setting your other exposure settings accordingly.

The Program auto mode has also received a substantial rework, adopting Pentax's Hyper Program mode in all but name. You can now use the dials to override it to either prioritize aperture or shutter speed, using the command dials, and can reset back to auto with a press of the mode dial's lock button.

Upgraded internals and battery

The GR IV has a new image processor, which the company says can provide more sophisticated noise reduction and more accurate color reproduction in the out-of-camera JPEGs. It's also paired with new autofocus algorithms, which should improve its focusing speed and accuracy, especially in more difficult scenarios, according to Ricoh.

The sensor stabilization system has also been upgraded, moving from a three-axis design to a five-axis one, providing a bump from a 4EV rating of stabilization to 6EV.

Additionally, Ricoh has massively increased the amount of internal storage; while the GR III had around 2GB built-in, the GR IV has 53GB, which, for many users, may be enough to obviate a separate memory card. Which may be a relief, given that Ricoh has chosen to go with a Micro SD card slot, rather than a full-size one, this time around, to make way for other changes.

A flashy accessory

The GF-2 is sold separately, but provides a reasonably-priced, compact option for those who miss the original GR's built-in flash.

Alongside the GR IV, Ricoh is launching the GF-2, a sold-separately external flash designed to be compact and to fit the camera's design. It has a guide number of 3 at ISO 100, and has its own battery and charges via USB-C, so using it won't wear down the camera's battery. And while it's not a TTL flash, it is aware of the camera's exposure settings and focus distance, allowing for an automatic mode, though it can also be used manually.

Ricoh says that its customers are split on whether they care about the GR having an internal flash, but that they universally care about it being compact and pocketable. According to the company, the external flash lets the camera be as small as possible while making it so those who don't care about having it don't have to pay for its inclusion.

The flash doesn't power on with the camera, as you may not wish to use it every time, but it is clever enough to power down when you switch the camera off.

The GF-2 will cost $119.

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How does it compare?

Specs-wise, the GR IV is a mild update to the GR III, but there are enough differences to its core specs that we felt it was worth a direct comparison. We've also included Fujifilm's fixed-lens X100 VI; while its 35mm equiv. focal length will likely appeal to a different set of shooters, it's arguably the most famous of the photographer's fixed-lens cameras out there today. And while the RX100 VII's zoom lens and smaller sensor make for a very different shooting experience than the fixed lens APS-C cameras on this list, its size may make it attractive to the same photographers considering a GR.

While it's certainly not large, the X100 VI is substantially bulkier and heavier than the GR III/IV. However, there are reasons why: you get better battery life, a faster lens and a viewfinder experience that can be very engaging to shoot with. It's not the best option if you're looking for the most pocketable option, but it's still a portable and engaging fixed-lens camera, with features like a built-in flash and weather resistance that some fans of the Ricoh GR series have been asking for.

The RX100 VII is the oldest camera on this list, and that manifests in several ways; while its older autofocus system was once top-of-the-pack (and is still mostly competitive today), Sony's latest versions are even better. The menu system hasn't aged as gracefully, as it arguably wasn't very good to begin with, and the Micro USB port means that most people will have to carry a separate charger for it. However, its zoom lens and stacked sensor make it a more versatile pick for those looking for a camera that can also handle sports and action.

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Body and Handling

The GR IV retains the same utilitarian styling that the GR series has always been known for, though it is now slightly slimmer and shorter. The difference is subtle on the spec sheet, but is noticeable in the hand and the pocket.

The heart of the camera is its controls, which can be operated entirely with one hand. The two top-plate command dials are placed near where your thumb and forefinger naturally rest, giving you quick control over your exposure settings.

Pressing the rear dial brings up the 'ADJ' quick settings menu, which is entirely customizable. You can choose up to five categories of settings accessible from the menu, with 17 options such as color mode, drive mode, ISO settings, focus mode and so on. One dial switches between the categories, while the other lets you make your selection from them.

You can pare the Adjust menu down to contain just your essentials.

By default, the menu will pop back up until you confirm your selection, though you can set the camera to do so with a half-press of the shutter. This customizability carries over to the rest of the camera, too, with over thirty settings for the function button and granular control over what a half-press of the shutter button does.

The menu system is also entirely navigable by touch if you prefer a more direct form of interaction. While it can be set to take a photo when you tap the screen, the menu doesn't live on the live view display, making it all too easy to accidentally toggle between touch-to-focus and touch-shutter modes.

In short, the GR IV gives you plenty of room to set it up in a way that suits your shooting style. It's extremely quick to operate once you have it dialed in, letting you change your most-accessed settings on the fly while staying in the moment, and making it easy to focus on the essentials of photography, rather than your camera.

Display

The 3.0" rear LCD's resolution is unchanged from the previous model, and while it's not particularly high-resolution, it's sufficient for composing and checking focus after the fact (as long as you punch in to 1:1). It now has an auto-brightness setting, which monitors the ambient light through the lens and makes adjustments accordingly. Even when shooting on very sunny days, we found it relatively visible given its fixed placement on the back of the camera.

While the camera doesn't have a viewfinder, it is still compatible with the add-on optical viewfinders released for the GR III. The company says it plans on releasing new models more suited to the new camera's reduced depth, but that the older models should still fit reasonably well.

Ports and connectivity

The GR IV has a USB-C port hidden under a flap, which you can use to charge the camera even while in use and to offload images from its internal memory and Micro SD card.

It also gains 5Ghz Wi-Fi in regions where the standard is allowed, making offloading images to your phone via the GR World app even faster.

Battery

The GR IV uses a 6.9Wh DB-120 battery, which has around 40% greater capacity than the 4.9Wh DB-110 used by the GR III. The CIPA battery life rating receives a more modest bump; the GR IV is rated for 250 shots versus the GR III's 200, a 25% improvement. It's a physically larger battery, which is almost certainly why the GR IV has had to adopt a Micro SD slot.

CIPA ratings tend to be lower than what you'll actually get in real-world conditions, and are more useful as a common point of comparison between cameras than a literal number of shots that you can expect to get. With that said, it wasn't uncommon for the GR III to run out of power well before hitting 200 shots, so it's possible the GR IV will provide greater gains than its rating suggests. We'll be sure to check back in once we've spent more time with a production model.

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Initial Impressions

By Mitchell Clark

There's a reason the GR series is so beloved by its devotees: they fill a niche that very few other cameras even aim for. That's more true than ever in 2025; point and shoots may be making a comeback, but none are as focused on pocketability and giving you direct control over the photographic process.

The GR IV carries on that legacy as the smallest APS-C camera on the market today, with controls optimized for one-handed use. It lets you put the settings you find most important right at your fingertips, making it easier to get shots of moments you may have otherwise missed with a less responsive camera, or one that was too big to bother carrying around.

While its spec sheet and design look very similar to those of its predecessor, those don't tell the whole story. It's clear that Ricoh put a lot of work into generally making the camera even better at its job, and that it also specifically focused on some of the biggest complaints people had with the GR III.

If you understand the GR IV's controls, you understand the GR IV.

Perhaps the most exciting upgrade is the higher-capacity battery, though we'll have to see if it offers substantially longer life than the III's in our real-world testing. The + / – toggle, brought back from the original GR and GR II, is also a welcome addition, giving you yet another easy-to-reach control point. And while we'll have to see how the new lens performs, it's nice to hear that Ricoh specifically considered reducing dust ingestion when designing it.

Those changes may seem small, but there are a lot of small tweaks and refinements that add up to some big differences. The improved processing power for autofocus, faster start-up time, more usable Program mode, bigger internal storage and better stabilization probably wouldn't be huge news on their own, but together they make the IV feel that bit more modern and responsive when you're actually using it.

The story is familiar from that of the Sony RX1R III

If this all sounds familiar, it may be because it's a very similar story to Sony's recently released RX1R III, a large-sensor compact that also gained much-needed battery and autofocus upgrades. Like that camera, the GR IV has become more expensive (though what hasn't?), and the flash being brought back as an add-on accessory rather than an integrated component won't make that pill any easier to swallow. Unlike the Sony, though, it's still priced within reach of mere mortals.

Ultimately, we'll have to do more testing to see how big a difference the updated autofocus algorithms and new lens make. But it's nice to see Ricoh building on top of the solid foundation provided by the previous GR cameras, and listening to users to make sure it's keeping what worked and tweaking the things that need improvement.

We weren't able to use the photos we took with a prototype GR IV for a sample gallery, but stay tuned...

Image: Google

Google has announced its latest lineup of Pixel phones, the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. The four new devices feature some camera updates, upgraded Qi charging and, as should be expected, plenty of AI-related features.

Pixel 10 series cameras

The Pixel 10 Pro. Image: Google

The most notable change to the Pixel lineup's cameras is the addition of a telephoto camera on the Pixel 10. The base model Pixel has traditionally only offered two cameras (wide and ultrawide), so this is a bump for that device. It also gives it an edge over the base iPhone, which only features a wide and ultrawide camera, and puts it on par with the Samsung Galaxy.

However, to fit that third camera, Google made some substantial sacrifices. First, the main camera was downgraded. The Pixel 9 used a 50MP 72mm² main camera, but the 10 uses a 48MP 30.7mm² sensor. The main camera on the Pixel 10 is also the same as that used in the budget-focused Pixel 9a.

The ultrawide camera on the Pixel 10 also gets a significant downgrade. The Pixel 9 features a 50MP ultrawide camera with an F1.68 aperture and 24mm² sensor, but the Pixel 10 only offers a 13MP ultrawide camera with an F2.2 aperture and 16.1mm² sensor. The newly added telephoto camera also isn't anything spectacular with its 15.5mm² sensor.

The other Pixel models all keep the same specs as the previous generation. However, Google says it made improvements to color, focus, detail, noise, zoom, portrait mode and more across all devices, promising better image processing across the board.

Another noteworthy addition is compatibility with the Coalition for Content Provenance and Authenticity (C2PA). Google says it is the first phone with C2PA Content Credentials built in, allowing for secure on-device metadata. It will record if AI is used at the time of image creation or during the editing process, and also specify if non-AI tools were used.

The Google Pixel 10. Image: Google

On the video front, the Pro models are both capable of 8K 24/30p video or up to 60p at 4K. That isn't native 8K video, though. Instead, it's a result of Google's Video Boost mode, which uses cloud-based AI processing to upscale to 8K and improve lighting, color, dynamic range and stabilization while reducing noise and grain. Google does say, however, that it improved the optical stabilization on the main camera with the Pro models, so you should get smoother video even without AI. The Pixel 10 tops out at 4K 60p video and does not get the benefit of Video Boost.

Additionally, the Pro models offer "Pro Res Zoom" up to 100x (the Pixel 10 maxes out at 20x). Google says it relies on a combination of cropping and generative AI using the phone's Tensor G5 chip to refine details. Google also specified that it's best used on landscapes and landmarks, but special tuning is applied when people are in the frame to avoid any odd results. The Pro models also provide a High-Res and High-Res Portrait Mode for images up to 50MP.

The Google Pixel 10 Pro Fold. Image: Google

Unsurprisingly, there are many additional AI-related features for the cameras on all four devices. That includes the Camera Coach, which is powered by Gemini models built into the camera. The coach will help guide your framing and composition and suggest changes like getting your friend's attention. There's also a "Get Inspired" option that will suggest completely new shots and guide you through how to create them.

The Auto Best Take feature can automatically find and combine group photos to make sure everyone looks their best in one shot. That builds on the previously released 'Best Take' tool, which required some manual selection of which shots you wanted to combine. Google improved the Add Me feature for adding the photographer to group shots, promising better results with bigger groups. There's also a Guided Frame tool that describes what's on the screen to help blind and low vision individuals take photos more confidently.

Pixel 10 series hardware and build

The Pixel 10 series sees an upgrade to the Tensor G5 processor, which Google says is the "biggest leap in performance yet." It also says that Tensor G5 benefits from a Tensor Processing Unit (TPU) that is up to 60% more powerful for on-device AI-reliant tasks. Additionally, Google claims the CPU is, on average, 34% faster.

All of the new devices feature Corning Gorilla Glass Victus 2, with the exception of the interior display on the Pixel 10 Pro Fold, which uses Ultra Thin Glass. They also all offer an IP68 rating for dust and water resistance, including the 10 Pro Fold, which is a first for a foldable phone. The Galaxy Z Fold 7 offers an IP48 rating, but that's the closest to what the Pixel 10 Pro Fold provides. Additionally, all models include seven years of OS, security and feature updates.

All of the Pixel 10 lineup offers IP68 ratings. Image: Google

Google says each device in the Pixel 10 series offers up to 30-plus hours of battery life. Additionally, in Extreme Battery Saver mode, Google promises up to 84 hours from the Pixel 10 Pro Fold and 100 hours from the other phones in the lineup. They all support fast charging, though the Pro XL gives the most substantial boost on that front with a promised 70% in 30 minutes with support for 45W chargers. All of the new models are compatible with wireless charging and gain support for Qi2 (and Qi2.2 for the Pro XL), allowing for magnetic alignment similar to Apple's MagSafe. That's an upgrade from the previous generation's Qi1 support.

The other notable change is that Google upgraded the speakers in the Pro XL. It says the new speakers are the loudest and most powerful of any Pixel phone.

The Pixel 10 comes in more vibrant colors than the Pro models. From left to right: Indigo, Obsidian, Lemongrass and Frost. Images: Google

Less substantial, but still exciting, is that there are new color options. The Pixel 10 comes in Frost (pale blue), Indigo (blue), Lemongrass (yellow-green) and Obsidian (dark gray). Those hoping for a vibrant color on their Pro model may be let down. The three Pro models are all available in Porcelain (off-white), Obsidian, Moonstone (bluish-gray) and Jade (pale green).

Availability

The Pixel 10 series phones will be available for pre-order on August 20. The Pixel 10 starts at $799, the Pixel 10 Pro starts at $999 and the Pixel 10 Pro XL starts at $1199.

Image: C2PA

Google announced its Pixel 10 series of phones today, and part of that announcement marked a big step for content authenticity. During the Pixel 10 launch, the tech giant also announced that it is introducing support for the Coalition for Content Provenance and Authenticity (C2PA) Content Credentials on its phones.

Google says photos taken with any Pixel 10 series phone using the Pixel Camera app will have "secure metadata" attached to them that "documents the full journey of that photo from creation to edits." The Content Credentials will be applied to unedited, and "AI modified images" alike.

People can view that metadata in tools that support the C2PA standard, such as Google Photos, to get a cryptographically-signed breakdown of how the image was created and changed after it was taken. The process of verifying images is still in its early days, but it's a big step forward to have a consumer-grade device that attaches Content Credentials to every image it takes, for free.

"It's a big step forward to have a consumer-grade device that attaches Content Credentials to every image it takes, for free."

For those unfamiliar, C2PA is a joint industry initiative founded in 2021 to tackle challenges related to digital misinformation. With the rise of advanced AI-created and edited imagery, it is becoming more difficult to understand the reliability and authenticity of images. C2PA aims to promote a standard that allows publishers, creators and consumers to verify the origin and history (including any edits) of digital content via secure metadata automatically attached to images at various stages.

Thus far, adoption has been trickling out to professional-grade cameras, though only for newsrooms. Some Leica models come with support for Content Credentials unlocked out of the box, but Nikon and Sony have only made their authenticity features available for news agencies. Most recently, Sony announced the PXW-Z300, which it said will be the first video camera to record C2PA content credentials. But again, it is meant for news organizations.

Content Credentials will be available on the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. Image: Google

Another sticking point for the broader adoption of C2PA standards is that most of the cameras with content authenticity features built in require a separate upgrade license. Users will have to take extra steps to implement Content Credentials and, even more significantly, they will have to pay for it. For most general consumers, that's not going to happen.

C2PA on a phone is a substantial step for content authenticity, especially as mobile photography adopts an increasing number of AI-powered features, some of which are applied automatically when you take the photo. Phones also come with a litany of accessible, easy-to-use AI editing tools. Google was already adding a metadata flag if you used AI on your photos, but now it will add that information from when the image is created. That makes it easy to show that your photo doesn't use AI, with an auditable path back to when it was taken, which is just as important.

International Photography Awards 2025 Category Winners

The 2025 International Photography Awards (IPA) has announced the winners of its Category Awards. The annual competition is open to professionals and non-professionals across the globe. There are 11 categories, including advertising, analog, architecture, book, editorial, event, fine art and more.

A panel of judges comprised of gallerists, photo editors, directors, art collectors and other photography luminaries selected this year's category winners. Each category winner receives a cash prize, travel support and international exposure through exhibitions, screenings and publication. Two grand prize winners, the International Photographer of the Year (Professional) and Discovery of the Year (Non-Professional), will be announced at the IPA gallery on October 5 at the Benaki Museum in Athens.

Most of the winners below submitted multiple images as part of a series. You can see the full bodies of work and learn more about the contest at the IPA website.

Architecture Photographer of the Year (Professional)

Photographer: Romain Thiery

Title: Requiem pour Pianos

Technical info: 1/6 sec, F9.0, ISO 320; Fujifilm GFX100S with GF 23mm F4 R LM WR lens

See the full series

Details: Romain Thiery (Bergerac,1988), is a photographic artist and amateur pianist. Romain has combined these two arts in his Requiem pour Pianos series, which explores abandoned pianos around the world. For him, the piano is "deeply rooted in the depths of our culture" and never ceases to retain its nobility. Since 2014, he has discovered more than a hundred abandoned pianos, leaving the place as it is. The Requiem pour Pianos series has become the core of his artistic work, symbolizing both decadence and resilience and transforming pianos into silent witnesses to their era.

Book Photographer of the Year (Professional)

Photographer: Autori Multipli

Company/Studio: Percorso Perbellini

Title: Fragili Equilibri

See the full series

Details: Our photography project chronicles the particularities of a country through the everyday experiences of ordinary people, often ignored and seen as “the last ones.” For us, they are authentic and fundamental voices, symbols of resilience and hope. The images reveal faces, smiles and intense expressions, showing their humanity and their crucial role for a more just and inclusive future.

Editorial / Press Photographer of the Year (Professional)

Photographer: Abdelrahman Alkahlout

Title: Echoes of Genocide: Gaza’s Civilian Suffering

Technical info: 1/80 sec, F2.8, ISO 2500; Canon EOS 5D Mark IV with EF 16-35mm F2.8L III USM lens

See the full series

Details: Since October 2023, Gaza has become a bloody scene of genocide: brutal airstrikes tearing apart peaceful neighborhoods; children’s bodies pulled from rubble into overcrowded hospitals overwhelmed by agony. Heartbreaking scenes of mothers losing their children instantly, families displaced by relentless bombings into hunger and fragile tents. Mosques reduced to rubble, yet worshippers uphold their faith amid destruction. Homes emptied of life, childhoods stolen—children deprived of limbs but not hope, their eyes defiantly resilient, challenging the world.

Event Photographer of the Year (Professional)

Photographer: Savadmon Avalachamveettil

Title: MahaKumbh - World's Largest Gathering

Technical info: 1/200 sec, F2.8, ISO 100

See the full series

Details: A once-in-144 years phenomenon. Ash-smeared Hindu holy men (Naga Sadhus) charged into India's most sacred river Ganges at dawn on the first most significant bathing day of the Kumbh Mela festival. An extraordinary display of human unity, spiritual energy, and collective consciousness.

Fine Art Photographer of the Year (Professional)

Photographer: Julia Fullerton-Batten

Title: Frida - A Singular Vision of Beauty & Pain

Technical info: 1/160 sec, F13, ISO 200; Hasselblad H6D-100c with HCD 35-90mm F4 lens

See the full series

Details: I came to Mexico City in 2022 and fell in love with everything Mexican. The people, colours, and the rhythm of life; and so much of what I fell in love with came from Frida Kahlo, her influence is everywhere, she seems to pulse through the veins of Mexico. Frida Kahlo's art transcends the confines of the canvas and becomes a testament to female unity & empowerment. By embracing her own vulnerabilities and sharing her painful human experience with unabashed honesty, she shattered the boundaries of what art could be and became an icon of hope and inspiration for generations of women artists.

Nature Photographer of the Year (Professional)

Photographer: Sho Otani

Title: The Beautiful of Floating Babies

Technical info: 1/160 sec, F22, ISO 64; NIkon Z9 with Nikkor Z MC 50mm F2.8 lens

See the full series

Details: This portfolio consists of beautiful sea babies about 5mm~10cm. Many of the underwater creatures have glass-like bodies, bright colors, and mysterious shapes that are only found when they are babies. Because they float in the ocean, they can be photographed from a variety of angles. Floating in the background of the sea at night, they are as beautiful as stardust floating in space. In the cover photo, the reflection of the subject on the surface of the water makes it look as if there are two of these beautiful deep-sea fish. I hope many people will see this beautiful underwater story.

People Photographer of the Year (Professional)

Photographer: Natasha Pszenicki

Title: Family In Vitro

Technical info: 1/200 sec, F13, ISO 400; Nikon D850 with AF-S Micro Nikkor 60mm F2.8G ED lens

See the full series

Details: Historical boundaries have often dictated belonging. Jade & Grace’s story offers a quiet subversion, presenting family as a boundless, evolving art form. As a queer interracial married couple, they reclaim spaces shaped by exclusion and assert their right to be seen and celebrated as women with equal rights to parenthood. Each portrait in this series not only reimagines the traditional family tableau but also evokes a sense of timelessness. Through this lens, Jade & Grace illuminate the transformative power of love, inviting viewers to reflect on their own definitions of family & embrace a broader vision.

Special Photographer of the Year (Professional)

Photographer: Pedro Luis Ajuriaguerra Saiz

Title: Damselfies from Another Planet

Technical info: Sony a7R V

See the full series

Details: There are worlds we don't see, not because they're far away, but because they're too small. Damselflies From Another Planet is an invitation to immerse ourselves in that hidden universe, where insects—silent inhabitants of our environment—reveal themselves as creatures of a beauty as disturbing as it is fascinating. Through extreme macro photography, this series transforms the everyday into the extraordinary. Each faceted eye, each antenna, each tiny hair is exalted until it becomes a work of art in itself. The objective isn't scientific, it's aesthetic. It's not about classifying.

Sports Photographer of the Year (Professional)

Photographer: Todd Antony

Title: Buzkashi

Technical info: 1/1250 sec, F8.0, ISO 100; Phase One IQ3 100MP with Schneider Kreuznach 55mm LS F2.8 lens

See the full series

Details: Buzkashi, meaning “goat pulling” in Persian, is the wild sport of Tajikistan and its neighboring ‘Stans.’ Think polo - but with a headless, eviscerated goat instead of a ball, hundreds of riders, and no formal teams. Rooted in the nomadic cultures of Central Asia and played for hundreds of years, riders battle for control of the goat while dodging rivals (and the occasional whip or elbow) in scenes reminiscent of a Napoleonic battle painting. The rule book is a mere couple of sentences, with the match often overflowing into the fleeing crowd. Games can last for hours.

Advertising Photographer of the Year (Professional)

Photographer: Jonathan Knowles

Title: Colour Has A New Chapter

Technical info: 3 sec, ISO 64; Hasselblad H6D-100c

See the full series

Details: We were commissioned to shoot a series of images for the covers of a curated collection of classic novels produced by paint company Dulux Heritage. Each was painted using the Heritage hue that it evokes to deliver the campaign line: Let the feelings of your favourite books become the colours of your favourite rooms. The images are intended as transient paint patterns that may emerge during the decorating process, each characterising the book on which it features.

Analog / Film Photographer of the Year (Professional)

Photographer: Piotr Zbierski

Title: Solid Maze of All That's Left Untold

Technical info: Mixed: Black and white negative and polaroids

See the full series

Details: Based on an intuitive, surreal narration the photographic series of Piotr Zbierski are constantly asking questions on relationships between nature and culture as well as between memory and narration. What happens between experience and the act of telling a story about it? Where does memory end and diary begins? His photography also connects the material reality with the wider spiritual understanding of the world. The works, very poetic and full of pure emotions,the depths of the human soul and the mysteries of life and death. Time feels like a place a house in constant renovation and expension.

Advertising Photographer of the Year (Non-Professional)

Photographer: Natalie Vorontsoff

Title: Porcelain Petals

See the full details

Details: "Porcelain Petals" explores the resilience of the human spirit through the art of mending. Inspired by the Chinese and Japanese technique of repairing broken porcelain with gold, this fine art photography series captures the beauty in imperfection, symbolizing strength, healing, and grace. Each image weaves delicate fragility with luminous resilience, transforming past wounds into gilded scars of wisdom. This project is a visual meditation on pain, renewal, and the quiet power of embracing one’s history with compassion.

Analog / Film Photographer of the Year (Non-Professional)

Photographer: Yehor Lemzyakoff

Title: Misplaced Childhood

Technical info: Large format photography; Sinar P2 (8X10" format); Kodak TXP 320, Ilford HP5, FP4

See the full series

Details: "Misplaced Childhood" explores the theme of early maturity among children growing up in rural Poland. This documentary series captures the moments where innocence intertwines with responsibility, freedom with constraints, and childhood with the inevitability of growing up too soon. Through a series of black-and-white portraits, the project reflects on the lived realities of children who, while still engaged in play, are already confronting the structures of adulthood—be it through the responsibilities imposed by their environment, economic circumstances, or cultural expectations.

Architecture Photographer of the Year (Non-Professional)

Photographer: Mohammad Awadh

Title: Icon of Architectural

Technical info: 1/200 sec, F10, ISO 100; Sony a1 with FE 12-24mm F2.8 GM lens

See the full series

Details: Heydar Alive Center in Baku in Azerbaijan one of the unique and beautiful building in the world.

Book Photographer of the Year (Non-Professional)

Photographer: Markus Naarttijarvi

Title: A Surrender

See the full series

Details: The haunting stillness of Swedish winter serves as the inspiration and backdrop for Markus Naarttijärvi’s debut monograph A Surrender. Shot over 1,000 consecutive days, Naarttijärvi navigates spaces stuck in a liminal twilight — somewhere between death and rebirth, where human industry dissolves into nature’s embrace. Each photograph is a step in a journey of appreciation between growth and decay, society and wilderness, resistance and surrender. With patience and persistence, Naarttijärvi transforms collapse and new growth into a meditation on impermanence.

Editorial / Press Photographer of the Year (Non-Professional)

Photographer: Sebastian Piorek

Title: The overflowing earth

See the full series

Details: I have documented Poland’s expanding landfills, capturing images that reveal waste piling up at an alarming rate. These views expose the unsettling reality of a world consumed by trash. What once seemed like isolated dumps now spread endlessly, forming landscapes where refuse dominates. The abstract beauty of patterns contrasts with the grim truth they hold. As the project progresses, the images become increasingly claustrophobic, mirroring a future where nothing remains but waste. This series is a call to rethink consumption and sustainability before our world is buried under its own excess.

Event Photographer of the Year (Non-Professional)

Photographer: Yu Ling Ho

Title: South Island Group Wedding

Technical info: 1/400 sec, F8 , ISO 200; Nikon D5 with 70-200mm F2.8 lens

See the full series

Details: This photo series documents the vibrant and deeply meaningful aboriginal collective wedding held annually in Pingtung. From the formal engagement and betrothal gift ceremonies to the final wedding day, every step is rich with ancestral customs passed down through generations. The couples are dressed in stunning traditional attire, each design reflecting tribal identity, family heritage, and cultural pride. Elders bless the unions, families gather in celebration, and the air is filled with music, dance, and heartfelt joy.

Fine Art Photographer of the Year (Non-Professional)

Photographer: Marie Sueur

Title: Murmures de l'âme

Technical info: 1/15 sec, F11, ISO 800; Canon EOS 5D Mark II with EF 50mm F1.4 USM lens

See the full series

Details: In a world that monitors, analyzes, and controls everything, I am drawn to the shadows, to those pockets of mystery that even the most advanced technologies have yet to colonize. Among these untamed territories lies the unconscious: a vast continent of ambiguity and vertigo, whispering its truths through the language of symbols and dreams. I set out to explore this mental space where reason gives way to instinct. A realm where words falter and images take over. An invitation, not to understand, but to feel. A descent into what we are, in the most secret part of ourselves.

Nature Photographer of the Year (Non-Professional)

Photographer: Ilene Meyers

Title: Iowa Storm Cell

Technical info: 1/15 sec, F10, ISO 80; OM Digital Solutions OM-1 with Olympus M.7-14mm F2.8 lens

See the full details

Details: This was a wild and crazy day searching for just such a storm cell. Quite the adventure!

People Photographer of the Year (Non-Professional)

Photographer: Ilona Schong

Title: Inside Romania

Technical info: 1/160 sec, F2.8 ISO 800; Nikon Z8 with Nikkor Z 24-70mm F2.8 lens

See the full series

Details: This series contains images of life in the still traditional, authentic Romanian homes where I was so warmly welcomed by each of the residents during my travels through Romania. The encounter behind each photograph is still vivid in my mind, and I often left moved and overwhelmed with prayers for myself and my family. It was a truly emotional journey for me and a life worth documenting, because it will soon disappear.

Special Photographer of the Year (Non-Professional)

Photographer: Monia Marchionni

Title: Emotive Snapshots

Technical info: 1/1250 sec, F2.0, ISO 32; Samsung Galaxy A51

See the full series

Details: Italy, Summer 2023 "Emotive snapshots" is a body of work born suddenly on an early summer day, while I was observing my daughter relating to the sea and the bathers. All summer I captured moments of "magical realism" with my smartphone because I felt particularly inspired, transforming every day into a little fantastic story with soft colors and a retro atmosphere. Poetic visions that show how summer is not just a season but a feeling.

Sports Photographer of the Year (Non-Professional)

Photographer: Kohei Kawashima

Title: Piercing the Rainbow

Technical info: 1/4 sec, F9.0, ISO 200; Canon EOS R1 with RF 100-500mm F4.5-7.1 L IS USM lens

See the full details

Details: This image was captured at the first hairpin of Tsukuba Circuit. As the rider accelerated through the corner, his silhouette cut sharply across a swirl of colors, like a comet streaking through a rainbow. I created this photograph in the spirit of "Suisei Nagashi", a technique that expresses not only motion, but the tension, energy, and fleeting beauty found within it. I hope this moment of speed and color speaks to the viewer as strongly as it did to me.

Sony a7R V | Sigma 200mm F2 DG OS Sports | F2 | 1/250 sec | ISO 320 Photo: Mitchell Clark

This week, Sigma announced the 200mm F2 DG OS Sports, a fast telephoto lens that the company says is the first of its kind for full-frame mirrorless cameras. We were able to test it out in a variety of conditions to see how it performs, especially when it comes to portraiture. (Though, sadly, we didn't have the chance to take it to one of the indoor sports games it was made to capture.)

You can see our samples down below, and download the Raws if you want to take a closer look.

See the 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; we do so in good faith, so please don't abuse it.

Image: ngupakarti / iStock / Getty Images Plus via Getty Images

Attention photographers: Tuesday, August 19th, is World Photography Day!

World Photography Day is a global celebration that honors Louis Daguerre's invention of the daguerreotype. After presenting his invention to the French Academy of Sciences in 1839, Daguerre arranged to transfer the rights to the process to the French government in exchange for a lifetime pension for himself and Isidore Niépce, son of Nicéphore Niépce, with whom he had collaborated in earlier years. On August 19, 1839, the government of France presented the invention as a gift "free to the world."

We've decided to celebrate World Photography Day by taking pictures, and we're challenging you to do the same. What's more, we want to see the photos you take so we can share them on our homepage. Think of this as a mini photo challenge.

How to participate

• Take a photo today*
• Post your photo to this forum thread. Tell us something about it (at least 25 words), along with what camera you used.
• Post your photo by 12pm Pacific Time on Thursday, August 21st, to be considered for inclusion in our honorary slideshow.

That's it! We'll pick our favorites and publish them in a slideshow on the DPReview homepage later this week, along with similar photos taken by DPReview's staff.

You can use any camera or technique, but if you manage to shoot a daguerreotype between now and then, we can pretty much guarantee your photo will be selected.

Bring on the photos!

*Or later this week. As long as you take the photo any time after this article is published, we'll accept it.

Post your photo in our World Photography Day forum thread

Image: ngupakarti / iStock / Getty Images Plus via Getty Images

Attention photographers: Tuesday, August 19th, is World Photography Day!

World Photography Day is a global celebration that honors Louis Daguerre's invention of the daguerreotype. After presenting his invention to the French Academy of Sciences in 1839, Daguerre arranged to transfer the rights to the process to the French government in exchange for a lifetime pension for himself and Isidore Niépce, son of Nicéphore Niépce, with whom he had collaborated in earlier years. On August 19, 1839, the government of France presented the invention as a gift "free to the world."

We've decided to celebrate World Photography Day by taking pictures, and we're challenging you to do the same. What's more, we want to see the photos you take so we can share them on our homepage. Think of this as a mini photo challenge.

How to participate

• Take a photo today*
• Post your photo to this forum thread. Tell us something about it (at least 25 words), along with what camera you used.
• Post your photo by 12pm Pacific Time on Thursday, August 21st, to be considered for inclusion in our honorary slideshow.

That's it! We'll pick our favorites and publish them in a slideshow on the DPReview homepage later this week, along with similar photos taken by DPReview's staff.

You can use any camera or technique, but if you manage to shoot a daguerreotype between now and then, we can pretty much guarantee your photo will be selected.

Bring on the photos!

*Or later this week. As long as you take the photo any time after this article is published, we'll accept it.

Post your photo in our World Photography Day forum thread

Image: Sigma

Sigma has announced the 200mm F2 DG OS Sports, a fast telephoto prime aimed at sports and portrait photographers, available for L mount and Sony E mount. The company says it's the first of its kind for full-frame mirrorless cameras, though it harkens back to some classic pieces of glass that are still sought after today.

The lens is made from 19 elements in 14 groups, with two FLD and two SLD elements. It has an 11-blade aperture and a minimum focusing distance of 1.7m (5'6"). It can accept 105mm filters. The lens is dust and splash-resistant, and has a water and oil-repelling coating on the front element.

Autofocus duties are handled by a linear motor, and the lens has optical stabilization that the company says can provide 6.5EV of improvement. There are two optical stabilization modes, one for general use and one for panning shots, and it can also be turned off.

The lens gives you plenty of control. Image: Sigma

As with many professional-grade lenses, the 200mm F2 DG OS Sports has plenty of buttons and switches for controlling it. There are three AF-L buttons, which should make them easy to reach no matter what orientation you're using the lens in, and two focus limiter settings. It also has two custom modes, which can be configured to control the lens' AF speed, focus limiter settings and OS mode using the optional Sigma USB dock.

The lens' aperture ring can also be locked, and toggled between clicked and declicked modes. The tripod foot is a new design too; it can be mounted directly to Arca-Swiss tripod heads, and has clicks at 90° increments. Sigma says it's also slightly longer than its other tripod feet, making it nicer to use as a carrying handle.

Sigma says the white paint on the lens is meant to minimize how much sunlight it absorbs, making it so the lens doesn't get hot, causing slight thermal expansion that could affect image quality.

This is currently the only full-frame 200mm F2 prime made by a major manufacturer

It's currently the only 200mm F2 prime lens being made by a major manufacturer for full-frame mounts, but we wouldn't be surprised if it becomes relatively popular among its target audience. Canon and Nikon both made 200mm F2 lenses for their respective DSLR mounts, which are still loved by certain types of shooters and fetch high prices on the used market to this day.

The Sigma 200mm F2 DG OS Sports will be available in early September, just in time for basketball season in the US. It will cost $3299.

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; we do so in good faith, so please don't abuse it.

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Sigma 200m F2 DG OS Sports Specifications:

Image: Sigma

Sigma has announced the 12mm F1.4 DC, an APS-C prime for Sony E, Fujifilm X and Canon RF mount. Its 18mm equiv. (19mm equiv on Canon) focal length makes it the widest APS-C prime the company offers, and it not only features the company's sharp new branding, but a few other features that are new to its lineup of APS-C primes.

The lens is made up of 14 elements in 12 groups, with two SLD elements and three aspherical elements. It has nine aperture blades and a minimum focusing distance of 0.17m (6.8").

It can accept 62mm filters, and the Sony version weighs 225g (7.9oz). Sigma says that makes it the lightest lens in its Contemporary prime lens lineup, and also says it was able to make it even shorter than its 16mm DC prime, despite its wider focal length.

It's the first dust and moisture resistant prime in Sigma's DC series

It's also the first prime in the series to gain dust and moisture resistance. Perhaps more excitingly, it's the first of Sigma's APS-C primes to have an aperture ring on the E and X mount versions, which is replaced by a multi-function control ring on the RF version.

These improvements make us wonder if there's room for Sigma to make second-generation versions of the rest of the primes in its APS-C lineup. The 16, 23, 30 and 56mm F1.4s are still quite good lenses, but it's hard not to wish for lighter, more compact versions with aperture rings and weather sealing now that we know it's possible.

The Sigma 12mm F1.4 DC will be available in early September at an MSRP of $629.

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; we do so in good faith, so please don't abuse it.

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Sigma 12mm F1.4 DC specifications:

Image: MirageC / Moment via Getty Images

Last week, we kicked off a new series in the DPReview forums to spark conversation and get people thinking. The Question of the week series will ask a new question in the Open Talk forum most Wednesdays, covering a wide range of photography-related topics.

Our inaugural query asked what five questions you should ask yourself when buying a new camera. We were excited to see how many of you responded, providing lots of responses and things to think about when purchasing your next camera. In fact, we initially planned on highlighting five responses from the community, but decided to showcase 10 because of all the great responses.

There were some general trends, with most of you highlighting the importance of knowing your budget, what genre(s) you would like to photograph and what size you'd prefer. Here are some of the other questions that popped up.

Does it work with the lenses you need?

Many of you pointed out the importance of lens selection. Whether you're choosing a first camera or an upgrade, knowing what lenses you'll be able to use is important. For example, NiVoak said, "Should my new camera be compatible with my current lenses, or will I need to upgrade my lenses too?" Needing to upgrade lenses can add a significant cost, so that's a great reminder to folks.

Do you actually need a new camera?

Most of you also suggested asking yourself whether you truly need the new camera or if you are suffering from Gear Acquisition Syndrome (GAS). For example, user danijel973 suggested, "Is something really wrong with my current camera, or am I just having gear acquisition syndrome?" In that same vein, many of you pointed out that it's essential to ask yourself if a new camera would address issues with your current one or offer anything new. Gato Amarillo asked, "What specific advantage(s) do I gain? Stress on 'specific' - list it or them."

Is it for fun or for business?

Some of you differentiated between professionals and enthusiasts, which is a worthwhile consideration. For pros, Bobapingu suggested that there needs to be a "cost/benefit analysis (by numbers) to ensure the investment will benefit the business and pay for itself." Others pointed out that enjoyment is also an important thing to consider. For example, hampshirejohn only had one question: "Will it increase my enjoyment of photography, either in the process of taking photos or in improved images, to an extent that justifies the cost?"

What else could you do with the money?

We also enjoyed that some of you considered what else the money could be spent on instead of that new camera. TXforester suggested asking yourself, "What could I do if I spent that money another way? Such as take a trip to photograph something on my bucket list." If your current camera is largely meeting your needs, spending that money on a trip or a new lens may be the better move.

Less common questions

We also appreciated the less common responses. For example, motormatic had the unique suggestion to consider support after your purchase: "How well is the new camera supported by local dealers and repair shops?" Some of you also pointed out that there will likely be more than five questions to ask. Maoby listed five questions with instructions to answer without lying and followed up with this advice: "If you honestly answered these five questions, you are ready for the next five."

Of course, there were some entertaining responses, too. Horshack asked, "Do I have any kidneys left to sell?" We all feel the high prices of cameras, so this one made us chuckle. There is also BobsYourUncle's single question: "Does this camera look almost the same as my 25 others so my wife won't notice?" Lastly, Myles Baker had a very important consideration: "Will I get torched in the DPR comments sections for buying the 'wrong' camera?"

The thread is still open if you haven't had a chance to share your questions yet but would still like to participate. Thank you to everyone who chimed in, and we can't wait to hear your responses to this week's question come Wednesday.

Click here to answer the Question of the week

Image: Fujifilm

Just over two weeks after retailers announced price increases for many of Fujifilm's products in the US, it's happening again. The news comes directly from the company itself this time, which put out a statement saying it will "further adjust prices" in light of "volatile market conditions."

The new pricing will go into effect on August 30th. Fujifilm hasn't said how many products will be impacted, though it tells DPReview that it will affect most of its lineup, with two notable exceptions. The recently released X half and X-E5 will keep their respective launch prices, with the rest of the company's lineup moving around them.

The company set the X half and X-E5 prices to avoid nasty surprises

While those cameras may have appeared relatively expensive at launch, it seems like Fujifilm left room for precisely this kind of situation. Victor Ha, the Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, explained that the company set the prices of those two cameras to ensure there wouldn't be any nasty surprises for customers who had pre-ordered them. "New camera day is awesome, we get that. It can be such a rare and exciting occasion, we don't want anything to spoil that enjoyment, so that their first thought is to run outside and take a picture."

Those with the infamously difficult-to-get X100 VI on backorder may not be as lucky. That camera will be affected by the price changes, so retailers will have to decide how they handle people who placed their order prior to the price increases but haven't received it yet.

X-100 VI hopefuls may not be so lucky

As with the increases we saw earlier this month, the changes likely won't be the same for each camera, though we're told its general pricing scheme should stay the same. That makes sense, given the ever-changing nature of the current US tariffs and Fujifilm's recent tactic of moving manufacturing for some of its US-bound cameras back to Japan.

The company doesn't directly lay blame on those tariffs, though, and we were told the current round of increases factored in other manufacturing circumstances and is meant to be a long-term solution to various uncertainties. Hopefully, this will avoid another scenario where the company has to make two pricing increases in quick succession.

We'll be sure to keep you updated when we get the new pricing details, and we'll keep an eye out for any other companies following suit in the coming weeks and months.

Image: Lensrentals

If you've been around the online world of cameras for any appreciable time, you've undoubtedly run across one of our favorite things on the web: a Lensrentals camera teardown on the Lensrentals Blog.

And recently, we got a happy surprise. To celebrate Lensrentals' 19th birthday, company founder Roger Cicala came out of retirement to do another one. Were we excited? To quote Lewis Carroll, "O frabjous day! Callooh! Callay!” He chortled in his joy."

He's joined in the teardown by his partner in crime, Lensrentals' Aaron Closz; together, the two have torn apart many a camera and lens. But before jumping into the teardown, Roger gives us a quick update on his retirement, acknowledging that, "While not working much was frustrating at first, well, with some practice, I've gotten really good at it."

This particular teardown dives into the guts of a Sony PTZ camera, which, according to Roger, breaks fairly often. While maybe a little different than the cameras we cover here on DPReview, it's still a fascinating tour inside a camera, especially for those of you who would tear one apart yourself out of sheer curiosity if you had the luxury of potentially bricking a $6000 piece of hardware. (You know who you are.)

"By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it."

The teardown is every bit as detailed and entertaining as we would expect from Roger. You'll get to see things like an internal counterweight that weighs more than the rest of the camera combined, shims under the sensor assembly to properly align it with the lens mount, gearing for internal neutral density filters and the "Cable of Immense Cost."

By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it.

In conclusion, he observes that he had forgotten how much fun these teardowns are, and that he might do "another one or two." Here's hoping he sticks to that prediction.

If you love a good camera teardown, we recommend heading over to the Lensrentals blog to give it a read.

See Roger Cicala's latest camera teardown

Nikon Z5II | Nikkor Z 24-70mm F2.8 S | 70mm | 1/80 sec | F5 | ISO 500 | Raw reprocessed in-camera: WB warmed, D-lighting Normal Photo: Richard Butler

This week, we published our full review of the Nikon Z5II, naming it one of the best value cameras available for under $2000. As always, our review process involved getting out with a production sample of the camera and taking a bunch of pictures to see how it performs in a variety of settings.

The Z5II uses a familiar sensor, so there aren't many surprises when it comes to image quality, though that's frankly part of the appeal. It produces remarkably good results for a fully-featured camera at this price point.

You can see the sample gallery below, and download the Raws to see how they fare with your editing workflow.

See the 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; we do so in good faith, so please don't abuse it.

If you're somehow feeling nostalgic for rainy winter days, you can also check out the samples we took during our time with a pre-production copy of the Z5II.