Updated: October 13, 2025

These days, you can get a lot of camera for around $2500, though in the US tariffs have made great deals in this price range a little harder to come by. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

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

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

Our Recommendations

• Best camera under $2,500: Nikon Z6III
• A close second: Canon EOS R6 II
• The compact option: Sony a7C II
• The wildlife option with reach: OM System OM-1 II
• Best for vlogging: Nikon ZR

Best camera under $2,500: Nikon Z6III

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

Photo: Richard Butler

It earns top place on this list because it's such a complete package (which has only improved with software updates). Its high burst rates and excellent autofocus mean you can tackle pretty much any subject, and its complete suite of video features make it very capable for recording motion pictures, too. The biggest caveat is price: in the US its MSRP is over $2500, though it appears to routinely go on sale for well below that.

Read our full review of the Nikon Z6III

A close second: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beats the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by your budget (the EOS R6 II has been around longer, so is often available for less) and the two companies' lens lineups and how they match your preferences... with the knowledge that they both control which lenses third parties like Sigma and Tamron can produce for their systems.

Read our full review of the Canon EOS R6 II

The compact option: Sony a7C II

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

Photo: Richard Butler

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

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

Read our full review of the Sony a7C II

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

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

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

What about APS-C?

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

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

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

Photo: Shaminder Dulai

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

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

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

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

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

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

Other Four Thirds cameras

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

Best for vlogging: Nikon ZR

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

Photo: Mitchell Clark

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

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

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

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

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

Why you should trust us

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

The iPhone 17 Pro Max has Apple's newest technology, but is it worth upgrading from your current iPhone Pro? Photo: Dale Baskin

Each year, Apple's iPhone launch event devotes considerable time to its newest flagship, the iPhone Pro, which always features the company's most advanced cameras. For photography and video enthusiasts who want Apple's latest imaging technology, the iPhone Pro is the clear choice.

And every year, Apple tries to convince us that its cameras are better than ever, and that this is the year to upgrade to make your photos more magical than ever before.

But is it worth it? Most people upgrade their smartphones only every few years, and it can be hard to know when an upgrade will truly make a difference to your photos. We're here to help sort the noise from the facts. In this photography-focused comparison, we'll examine every iPhone Pro model from the last five years – back to 2020's iPhone 12 Pro – to help you decide if an upgrade makes sense.

Before we dive into older models, let's review what's new with the iPhone 17 Pro.

Or, you can jump directly to a comparison with your current model:

• iPhone 16 Pro and Pro Max
• iPhone 15 Pro and Pro Max
• iPhone 14 Pro and Pro Max
• iPhone 13 Pro and Pro Max
• iPhone 12 Pro and Pro Max

The iPhone 17 Pro and Pro Max

The iPhone 17 Pro's headline feature is that, for the first time, all three of the iPhone cameras use 48MP "Fusion" imaging sensors. Image: Apple

Like its predecessors, the iPhone 17 Pro and Pro Max feature a triple-camera system with main, ultrawide, and telephoto modules. The headline feature is that, for the first time, all three camera modules use 48MP imaging sensors.

Apple brands these as "Fusion" sensors, but they are essentially a Quad Bayer design. This design allows the smartphone to computationally combine data from a four-pixel group (pixel binning) with individual pixel data to create a more detailed image. This technology also enables virtual lenses like the 2x and 8x "zoom," which use cropped regions of one of the camera's sensors. Apple calls these virtual lenses "optical quality," but they're essentially a digital zoom enhanced with machine learning-based upsampling.

The only truly new camera on the iPhone 17 Pro is the telephoto, which was upgraded to a larger 48MP sensor. It's 56% larger than the 12MP telephoto sensor in the iPhone 16 Pro, and even larger compared to earlier models, and can deliver better photo quality, particularly in low light.

The iPhone 17 Pro is the first iPhone to capture video using Apple's ProRes RAW, a Raw video format used by professional and advanced videographers. Image: Apple

The iPhone 17 Pro also adds two advanced video features: ProRes RAW recording for greater editing flexibility, and Genlock, a professional feature for frame-perfect multi-camera synchronization via a hardware accessory.

Finally, the iPhone 17 Pro introduces a new 18MP front camera with a square multi-aspect sensor, replacing the 4:3 sensors on all previous models. Dubbed the Center Stage camera, it allows you to capture horizontal or vertical video without reorienting the phone and provides improved video stabilization.

To learn about these features in more detail, see our article iPhone 17 Pro cameras: What's new, what's unchanged.

Buy boxes

The big picture

Before diving into individual comparisons, let's look at how the iPhone Pro's camera system has evolved. In the table below, green boxes represent significant upgrades from previous models. At a high level, this is what to look for:

• Sensor size: All other factors being equal, a larger sensor captures more light for higher quality photos, especially in low light.
• Resolution: More megapixels mean higher-resolution images and the ability to maintain resolution with 'virtual' zoom lenses.
• Focal lengths: While the main and ultrawide cameras have been pretty consistent, telephoto cameras have had more varied configurations.
• Video features: Know which features you need – and which ones you don't – when deciding whether to upgrade.

Editor's note: All focal lengths in this article are full-frame equivalents.

*All focal lengths are full-frame equivalents

Historically, the main camera received notable upgrades on the iPhone 13 Pro and 14 Pro, but has been largely unchanged since the 48MP sensor was introduced on the 14 Pro.

The ultrawide camera was upgraded on the 13 Pro and 14 Pro, and again on the iPhone 16 Pro, which also gained a 48MP sensor.

The telephoto camera has seen more variability, with focal lengths between 52mm (2x zoom) to 120mm (5x zoom), with the most significant upgrade being the iPhone 17 Pro, which gained a 48MP sensor that's substantially larger than in previous models.

Apple has continued to add video features, but all models in the table can capture photos using Apple's ProRaw mode.

If you have an iPhone 16 Pro or Pro Max

The iPhone 16 Pro was the first iPhone Pro to add a 48MP ultrawide camera, complementing the 48MP main camera. Image: Apple

For current iPhone 16 Pro or Pro Max owners, the year-over-year upgrade is difficult to recommend unless you are a heavy telephoto user or require the advanced video features exclusive to the iPhone 17 Pro.

The iPhone 16 Pro has the same main and ultrawide cameras as the 17 Pro. While Apple claims an improved image processing pipeline, which is almost certainly true, it's unlikely to be noticeable in day-to-day use.

The major camera upgrade is the telephoto module. The iPhone 17 Pro gets a 48MP sensor that's over 50% larger than the one in the 16 Pro, giving it significantly more light-gathering capability. The telephoto focal length has also changed, decreasing from 120mm (5x zoom) on the 16 Pro to 100mm (4x zoom) on the 17 Pro.

That may sound like a downgrade, but a common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras. This forced mid-range zoom shots to rely heavily on computationally-enhanced crops from the main sensor. The 17 Pro's 4x telephoto narrows that gap, allowing the phone to switch to the dedicated telephoto lens, and its full sensor area, sooner.

"A common complaint on the iPhone 16 Pro was the large gap between its main and telephoto cameras."

Additionally, the iPhone 16 Pro and all older models used Apple's previous 4:3 front-facing selfie camera. The new Center Stage camera could be a reason to upgrade if you take many selfies or shoot video on the move.

The only new video features are ProRes RAW and Genlock, both aimed at advanced videographers. Unless you have a specific need for them, these features alone don't justify an upgrade.

If you have an iPhone 15 Pro or Pro Max

The iPhone 15 Pro series bifurcated the telephoto camera, with the smaller iPhone 15 Pro featuring a 3x telephoto lens while the iPhone 15 Pro Max featured a 5x lens and a slightly larger sensor. Image: Apple

For iPhone 15 Pro or Pro Max users, there are some additional considerations. The main camera on the 15 Pro series uses the same lens and sensor as the iPhone 17, effectively delivering the same image quality. However, the 16 Pro introduced a 'second-generation' version of this sensor with 2x faster readout, enabling "zero shutter lag" even when shooting Raw photos. If you've been bothered by this lag on your 15 Pro, it could be a reason to upgrade.

The telephoto cameras are another story. The iPhone 15 Pro and Pro Max use different modules, with 77mm (3x) and 120mm (5x) lenses, respectively. This means upgrading to the 17 Pro's 100mm (4x) telephoto could result in either more or less reach than you're used to. In either case, the upgrade will get you the 17 Pro's new 48MP sensor, which is over 50% larger than the 15 Pro Max's and almost double the size of the 15 Pro's.

Image stabilization is another factor to consider, particularly for low-light situations requiring slower shutter speeds. The iPhone 15 Pro Max's telephoto module uses sensor-shift image stabilization. In contrast, the smaller iPhone 15 Pro's telephoto uses Apple's older, less effective optical image stabilization system. Sensor-shift stabilization didn't come to the smaller iPhone Pro's telephoto module until the iPhone 16 series. Therefore, iPhone 15 Pro users should experience improved telephoto stabilization after upgrading.

The iPhone 15 Pro and earlier models don't include Apple's Camera Control button (seen on the iPhone 17 Pro Max, above). It allows you to launch the camera from anywhere, change key settings with a slide of the finger, and works as a shutter button. Photo: Dale Baskin

Ultrawide and macro photographers may be drawn to the iPhone 17 Pro's 48MP ultrawide camera. Like Apple's other 48MP sensors, it's a Quad Bayer design, so the resolution gain isn't as large as the numbers suggest. Still, it captures more detail and provides more latitude for cropping macro shots. The sensor size remains unchanged, however, so don't expect low-light improvements.

The 17 Pro includes other features not on the 15 Pro, like the Camera Control button and an updated Photographic Styles system that lets you change a look after the photo is taken. Video upgrades include 4K/120p capture (up from 4K/60p) for more dramatic slow-motion, along with ProRes RAW and Genlock support.

If you have an iPhone 14 Pro or Pro Max

The iPhone 14 Pro was the first iPhone Pro to feature a 48MP sensor on the main camera. Image: Apple

The camera modules in the iPhone 14 Pro and Pro Max are broadly similar to those in the 15 Pro, except for the 15 Pro Max's 5x telephoto. As a result, much of the same upgrade logic applies.

The iPhone 14 Pro was the first model with the higher resolution 48MP main camera sensor still used today, though 17 Pro will benefit from the faster readout speed that first arrived on the iPhone 16 Pro. Additionally, the 14 Pro defaults to 12MP photos binned from its 48MP sensor, compared to the 24MP default on more recent models. (Full 48MP resolution is still available via a settings change, however.)

Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor. Neither iPhone 14 Pro model includes sensor-shift image stabilization on the telephoto camera, relying instead on the older, less effective optical image stabilization system. Upgrading to the 17 Pro will provide superior sensor-shift stabilization on the telephoto camera, where it's needed most, and which is especially helpful in low light.

"Upgrading to the 17 Pro will get you the newer 48MP sensors on the ultrawide and telephoto modules, including the 50% larger telephoto sensor."

Newer iPhones like the 17 Pro also feature lens coatings not found on the 14 Pro, which can reduce lens flare when shooting into bright light. (Though models with updated coatings still have the green flare balls that have almost become a calling card of iPhone photos.) Newer models can also capture 3D spatial images, a feature the iPhone 14 Pro lacks.

The iPhone 14 Pro and older models don't include the almost universal USB-C plug (seen on the iPhone Pro Max, above), relying instead on Apple's older Lightning connector. Photo: Dale Baskin

Video capabilities may be the most compelling reason to upgrade. The iPhone 14 Pro captures ProRes video, but not the ProRes Log format desired by videographers for its color grading flexibility. Furthermore, its ProRes recording is limited to 4K/30p or 1080/60p, restricting 4K slow-motion options.

The 14 Pro was also the last model with a Lightning connector. Newer models use the more universal USB-C, which offers data transfer speeds up to 10Gbit per second – 20 times faster than the Lightning port's USB 2.0 speeds.

If you primarily use the main camera, upgrading to the 17 Pro is a toss-up, as it's mostly unchanged from the 14 Pro. However, for frequent users of the ultrawide and telephoto cameras, or for videographers who want Log video, the upgrade becomes a compelling, no-brainer decision.

If you have an iPhone 13 Pro or Pro Max

The iPhone 13 Pro was the last iPhone Pro with 12MP imaging sensors on all three camera modules. Image: Apple

With older models, the differences in technology become more stark, and for iPhone 13 Pro or Pro Max owners, upgrading to the 17 Pro will improve the camera experience in nearly every way.

The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor that became standard, and the 17 Pro's sensor is 63% larger. The 13 Pro has a faster F1.5 aperture versus the F1.78 lens on newer models. However, when factoring in both sensor size and aperture, the 13 Pro has about a fifth of a stop less light-gathering ability than the 17 Pro. The 13 Pro also lacks the benefits of the 48MP sensor, which uses pixel binning for extra detail and enables the '2x' zoom option found on newer models.

The situation is similar for the ultrawide camera. Its 12MP sensor is roughly half the size of the 17 Pro's. While its F1.8 aperture is faster than the 17 Pro's F2.2, the 13 Pro's ultrawide is still about a third of a stop behind in total light gathering and lacks the benefits of the 48MP sensor.

"The iPhone 13 Pro was the last to use a smaller, 12MP main camera sensor before Apple's switch to the 48MP sensor."

The telephoto camera is where you'll see the most dramatic difference. The iPhone 17 Pro's larger, higher-resolution sensor captures almost a full stop more light than the 13 Pro, and allows for more zooming. The 17 Pro also uses more effective sensor-shift stabilization on its telephoto module, compared to the older optical stabilization on the 13 Pro models.

As with the 14 Pro, video features could be a deciding factor, especially if you want ProRes Log for color grading latitude. With all three of the 13 Pro's cameras still at 12MP, lower light-gathering capacity, and a shorter video feature list, this is an easy upgrade to recommend.

If you have an iPhone 12 Pro or Pro Max

The iPhone 12 Pro's triple-camera array. Image: Apple

Five years feels like an eternity in technology, and the cameras on the iPhone 12 Pro and Pro Max are showing their age.

The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger. Despite a slightly faster aperture on the 12 Pro, the iPhone 17 Pro's main camera captures about 1.25 stops – roughly 2.5 time – more light than the iPhone 12 Pro. That's a dramatic difference.

Similarly, the ultrawide sensor on the iPhone 17 Pro is almost twice as large as the 12 Pro's, which also has a slower aperture. The net result is that the 17 Pro's ultrawide camera captures nearly 1.25 stops more light than the 12 Pro's. Again, a dramatic difference.

"The iPhone 12 Pro's main camera sensor is even smaller than the 13 Pro's; in fact, the 17 Pro's main sensor is 200% larger."

The situation is more complexe for the telephoto modules. Although the 12 Pro models have smaller telephoto sensors, their much faster apertures allow them to keep pace with the iPhone 17 Pro's newer module in terms of exposure. The catch is their focal length. At 2x (52mm) on the 12 Pro and 2.5x (65mm) on the Pro Max, they are much shorter than the 17 Pro's 4x (100mm) telephoto, making them less useful for distant subjects.

Also, because the 17 Pro's main sensor is so much larger, its '2x zoom' (which uses a cropped area of the sensor) can capture a full stop more light than the 12 Pro's telephoto camera, and its '2.5x zoom' captures a half stop more than the 12 Pro Max's. In effect, the iPhone 17 Pro's main camera can outperform the 12 Pro's dedicated telephoto cameras while also offering a superior 4x optical zoom.

The iPhone 12 Pro's doesn't include camera features like Apple's newer Photographic Styles, which let you change styles on a photo after it's taken, or most of the video features available on the iPhone 17 Pro. Image: Apple

Image stabilization is another key difference. The iPhone 12 Pro Max was the first to introduce sensor-shift stabilization on its main camera, but the smaller 12 Pro used older, less effective optical stabilization. Upgrading from the smaller 12 Pro will provide a noticeable improvement, as all Pro models since the 13 series have featured sensor-shift on their main cameras.

The 12 Pro models also show their age in video. While they capture Dolby Vision HDR and 4K/60p, they lack all the other video features Apple has introduced in the last five years.

If improving photo quality is your goal, this upgrade makes absolute sense. With 12MP sensors across the board, lower light sensitivity, and telephoto lenses that the 17 Pro's main camera can effectively replace, you will see an across-the-board improvement in image quality.

Conclusion

Apple's slick presentations make it easy to feel like you need the newest iPhone cameras, and I give Apple credit for being very good at that. The reality, however, is that most annual updates are incremental. Major improvements are the exception, not the rule.

Also, when considering an upgrade, keep in mind that it may not be necessary to buy Apple's newest iPhone Pro, depending on the features you need or want. If an older model meets your requirements, you might save a chunk of change by buying a recent used phone, or even a refurbished phone from Apple, that's still newer than your current phone and gives you the features you want.

A woman and her dog frolic in the autumn leaves in Almirante González Fernández Park in Buenos Aires, Argentina. Canon PowerShot G7 | F4.8 | 1/200 sec. | ISO 400 Photo: Dale Baskin

Our October Editors' photo challenge, "Fall Follies," is now open for submissions.

Autumn has arrived in the northern hemisphere! The days are getting shorter, the air a little cooler, and the world around us is changing fast. For our October photo challenge, we’re celebrating everything that makes fall special, including vibrant leaves, fall harvests, annual traditions and seasonal celebrations. Show us what "Fall Follies" looks like through your lens.

Photos can be submitted between Sunday, October 12, and Saturday, October 18 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to enter your photos for a chance to be featured on the DPReview homepage later this month.

Enter your photo in the challenge

Alice doesn't live here anymore: Camera Intelligence's second-gen camera will be called Caira. Image: Camera Intelligence

Camera Intelligence, the UK startup previously responsible for the Alice camera, has announced its second-generation product, a camera and app utilizing Google's 'Nano Banana' image generation model.

Like the original model, Caira is a Micro Four Thirds camera that connects to an smartphone over Wi-Fi and is controlled from an app on the phone. The new model uses the "MagSafe" magnetic connector on the back of recent iPhones to provide a physical attachment to the phone. Unlike the original model, there will be no version for Android.

The move to magnetic connection to secure the camera to the phone allows the new version to be 25% lighter, and thinner than the original.

Nano Banana uses natural language input to make edits to the image, letting you amend and add to your image in the camera's app. This generative model comes in addition to the camera's AI-based image processing, which was one of the defining features of the original camera.

AI AF

The company's CEO, Vishal Kumar says the camera uses "a new type of autofocus technique we have developed in house entirely from scratch." It dosen't "use contrast-based or phase-detect autofocus," he says: "We have built a deep neural network (AI) algorithm that can determine if the subject is in or out of focus. If the subject is out of focus, the AI algorithm then predicts how far it is out of focus in terms of distance, and sends a signal to the lens to move precisely into focus."

The Caira camera will be offered via a Kickstarter campaign, starting at the end of October. Kumar says the company has "secured a partnership with a reputable contract manufacturer who has a proven track record in producing cameras for us," and has already built around 50 prototype cameras, ahead of the Kickstarter program.

Camera Intelligence's CEO, Vishal Kumar with the iPhone-attached Caira camera. Image: Camera Intelligence

He says the company has placed preliminary orders for key components and is using Kickstarter to judge how many cameras it ultimately needs to make. "During the first couple of weeks of the Kickstarter campaign, we will gain a better understanding of demand, but we will likely green-light production before the Kickstarter ends," he says.

"Our production timeline already includes a buffer for unforeseen adjustments. We are aiming for Q1 2026 delivery for the Kickstarter units, possibly earlier for some countries."

He says the company is "partnering with a professional, experienced fulfilment company to manage all shipping," having found this challenging with its original product.

Still waiting for Alice

We spoke Kumar about concerns expressed on the DPReview forums that not all backers of the original product have received their cameras. "When we launched our Indiegogo campaign in 2021, we offered worldwide shipping without fully anticipating the distinct logistical and compliance hurdles in each region. Each region essentially has a different customs duties process and also a consumer electronics testing process, especially for Wi-Fi-enabled electronic devices with built-in lithium-powered batteries."

It subsequently restricted sales to Europe, USA and Japan, where it had cleared these hurdles, and cameras have been shipping in these regions. The company faced a different issue in the UK, where it found itself embroiled in a trademark dispute over the name Alice.

Original customers in other counties will receive their cameras, Kumar says: "We are actively working through the final logistical steps to deliver these cameras without incurring unforeseen costs or legal complications that could affect our operations. Shipping the entire backlog of version 1 cameras is our highest priority, and we have ~20% left to fulfill."

Having learned from these experiences, the Caira will initially only be available in UK, EU and USA. Other regions will be announced "in dur course" he says.

There are no current plans to develop an Android version of Caira, Kumar says, but there will be an online form for users to express interest in creating another batch of the first-gen camera.

Image: Sirui

Sirui has announced the Aurora 35mm F1.4, a full-frame, autofocus lens that won't break the bank and is available in a variety of mounts: Sony E, Nikon Z, L mount and Fujifilm X (where it's a 52.5mm equiv.).

The lens's optical formula uses 16 elements in 11 groups, with three aspherical lenses, two ED elements and one SED element and HRI element, each. It has a 13-blade aperture and a minimum focusing distance of 0.35m (13.8").

Speaking of focusing, it has a stepper design and a physical switch for going between auto and manual focus modes. It also has an iris lock switch to keep it in auto mode, as well as a customizable function button and a switch to change the aperture ring between clicked and clickless delineations. As with many Sirui lenses, there's a USB-C port for firmware updates.

Image: Sirui

The lens weighs around 490g (1.1lb), with a bit of variation depending on which version you get. It's around 103mm (4.1") long, and takes 62mm filters. Sirui says the lens is dust and weather-sealed, and has a fluorine coating on the front element to repel oil and fingerprints.

The lens seems like a good option for anyone looking for a fast, wide-angle lens they can carry around with them day-to-day, and it's priced like one, too. It retails for $549 and is available to order now.

Sirui Aurora 35mm F1.4 specifications:

Canon EOS R7 | Tamron 18-300mm F3.5-6.3 | 18mm | F3.5 | 1/1600 | ISO 320 Photo: Abby Ferguson

In August, Tamron announced that its 18-300mm F3.5-6.3 Di III-A VC VXD APS-C lens was available for Canon RF and Nikon Z mounts. While the lens and optical formula aren't new (it already existed for Sony E and Fujifilm X), we took the opportunity to try out the new mount and took the lens around on a Canon EOS R7 body.

Tamron describes the lens as an "all-in-one" option thanks to its extensive zoom range. At the wide end, it provides a 27mm equiv. on Nikon cameras and 29mm equiv. on Canons, and zooms in to 450mm equiv. on Nikon and 480mm equiv. on Canon. Given the range, we aimed to put it to the test in a variety of situations, which you can see in the sample gallery below.

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.

Pure Street Photography Awards 2025

The winners of the Pure Street Photography Awards 2025 have been announced. David Campany, Creative Director at the International Center of Photography, New York, and Dimpy Bhalotia, founder of Pure Street Photography, award-winning photographer and Creative Director, co-judged this year's contest. The contest organizers said this year was special, explaining it was "a celebration of truth, timing, and the human eye in an age of fast production and artificial imagery."

The 2025 edition of the contest attracted 1,160 submissions across 34 countries, with 147 winning and finalist images selected. The awards will culminate in an exhibition at Jhangir Art Gallery in Mumbai from January 22-27, 2026, which is a first for the competition.

You can learn more about the contest and see additional finalist images at the Pure Street Photography website.

Grand Winner

Photographer: Stefanie Waiblinger

Country of residence: Germany

Image title: Who is Next

About the photograph: The Galata Bridge in Istanbul – a place full of life, tradition and spectacular scenery – became the stage for a very special moment. Against the backdrop of the Istanbul skyline, between mosques and minarets, the bride throws her bouquet into the air – a spontaneous, lively moment full of joy and symbolism.

Photographer biography: My journey into street photography began a few years ago. What initially started as a welcome balance to my profession as an architect quickly became an inexhaustible source of inspiration that has greatly expanded and enriched my awareness and my way of seeing.It beautifully complements my love for traveling and allows me to take an intimate look into worlds that would otherwise remain hidden from me. By capturing the timeless charm of everyday life, I aim to create a special atmosphere and evoke emotion. Since the world is full of colours, I love bringing them to life in my photos, which focus on clear and minimalist composition.

First Place Winner

Photographer: Cazerella Tavs

Country of residence: UK

Image title: Meeting in the Middle

About the photograph: There is always an element of surprise to photography and a thrill in capturing a candid moment that can never be replicated. This was one of those moments. An unexpected standoff in the middle of a quiet rural road, where two cows pause as if negotiating the right of way. It emphasises form, symmetry, and contrast what might otherwise be a fleeting roadside encounter transforms into a playful reflection on standstills, stubbornness, and the gentle comedy of rural life – a reminder that even traffic jams can be charming when left to cows!!

Photographer biography: Born in Ireland, now living in the beautiful New Forest UK. I have always been so passionate about photography, it’s my go to, my escape, my therapy. I very seldom leave the house without my camera (my mum totally inspired me from a v young age to capture the world as I see it). I have a keen eye for different perspectives, unscripted moments that can reflect the beauty, bold, emotional rhythm of everyday life. I see the streets as an ever evolving stage with no script, full of character, spontaneity, candid moments/chaotic moments and pure stillness and I am always inspired to capture a snippet of those moments in time. Photography is a form of art, expression and a pure joy.

Second Place Winner

Photographer: Chris Yan

Country of residence: China

Image title: Mirror

About the photograph: his photo was taken in a market in Beijing. Two girls passed by me on an electric bike. One of the girls was holding a large mirror, and her figure was reflected in the mirror. The figure in the mirror merged with the girl in front, which looked very interesting.

Photographer biography: Chris Yan, photographer, Creative Director, was born in Beijing, China in 1981. After graduating from Communication University of China with a degree in art and design, he began to work in international advertising agencies. In 2013 he founded his own company, focusing on commercial design and art creation, and began photography. He mainly explores human stories and street photography, photographing across different countries for the past ten years. He currently lives and works in Beijing.

Third Place Winner

Photographer: Nicole Prüm

Country of residence: Germany

Image title: Phantom of the Past

About the photograph: This shot was taken spontaneously during a walk through New York City 2023. It captures a figure whose profile and attire–fedora and suit–immediately call to mind the appearance of Al Capone. The actual humour lies in the pure chance of the moment: the classic, historical allusion stands directly in front of a modern NYPD Police SUV in the background. The irony of this scene–the unprompted confrontation between the spirit of Prohibition and today’s street police–is what defines the image. It is a quiet, humorous moment of street photography that transports a historical jest into the present day.

Photographer biography: My name is Nicole Prüm. Since 2017, I have been dedicating myself intensively to my passion for photography and have pursued it professionally alongside my main occupation. I work part-time as a physiotherapist. My artistic work focuses on black-and-white photography, with the human figure always at the center in various environments. I am particularly fascinated by photographic compositions that can be read metaphorically and tell visual stories. The main themes of my work are "people in geometry" and "classic street photography.

Finalist

Photographer: Adriana Palermo

Country of residence: Switzerland

Image title: Team work

About the photograph: I took this photo during a trip to Kerala, on an early morning in February 2025. The fishermen were getting ready to pull in their nets – a task that requires both strength and coordination, and one that left a strong impression on me. Over the course of two hours, I took more than 800 shots, trying to capture the complexity and beauty of that moment. This image is the one I feel works best: it conveys the balance between order and chaos, between collective effort and individual strain. The details – the ropes, the waves, the crow, the flamingos in the background – reflect the visual and symbolic richness of a daily scene, turning it into a story. I have a deep connection to this photo: it reminds me of the power of simple gestures, and how working together always leads to meaningful results.

Finalist

Photographer: Anjali Bist

Country of residence: India

Image title: Burning in light

About the photograph: Captured during Dussehra in Dehradun, 2018 – the moment I realized photography was the path I wanted to walk. This image quietly rested in my archives for eight years, waiting to remind me where it all began.

Finalist

Photographer: Anna Marzia Soria

Country of residence: Italy

Image title: Beyond the wall

About the photograph: Beyond the wall, the gaze opens to the balance of new horizons. The mind seeks the beauty of the other that appears on our path. The heart goes beyond boundaries in search of fragile humanity, towards shades of blue in a meeting of peace.

Finalist

Photographer: Bjoern Maletz

Country of residence: Germany

Image title: Rabbits don’t eat bananas

About the photograph: This photo I took in May this year during the Lightleaks Photo Festival in Luxembourg City. As I am always on the lookout for unusual things or little stories in cities, I was initially interested in the funny rabbit backpack, then I saw the bananas and, luckily for me, the arm that didn’t match the rest appeared. That was reason enough for me to press the shutter button for a funny street photo. By the way, rabbits should only be given small amounts of bananas because they don’t tolerate them very well due to their high sugar and starch content.

Finalist

Photographer: Cristiano Bartoli

Country of residence: Italy

Image title: Kite Attack

About the photograph: This photo was taken this years at the Kite Festival in Cervia, Italy. I found the child’s expression funny because it resembles that of the kite. They are very similar.

Finalist

Photographer: Eric Davidove

Country of residence: USA

Image title: The Good, The Bad, The Ugly

About the photograph: I visited the Flea Market for the first time about 14 years ago and did not return again until the end of 2024. That was when I learned about its uncertain fate and decided to attend more regularly to take photos. This photograph is part of a series called The Last Bargain, which contains candid moments that risk being lost in the name of progress.

Finalist

Photographer: France Leclerc

Country of residence: USA

Image title: Head Ball

About the photograph: In a lively neighborhood of Lalitpur, Nepal, children play football with boundless joy. Nearby, an older woman watches them, taking in the scene’s energy. I join her in quiet observation, camera in hand, keeping my distance. Suddenly, the ball veers off course–hurtling straight toward her. The kids freeze, gasping in horror. Ouch! But luckily, no harm was done despite the hit, except perhaps to pride.

Finalist

Photographer: Gavin Libotte

Country of residence: Australia

Image title: Desdemona

About the photograph: I noticed a person posing to have their photo taken and they were lit up by a beam of sunlight. I immediately ran over to the scene and framed the subject in the opera house sail. There was a group of three people in the background which gave a new perspective to the layering. They started dancing around which really helped build drama. I took a few shots for about 30 seconds. When people are engaged in an activity they don’t notice you. This technique of focusing on the audience has been developed by Martin Parr and provides a wonderful insight into a world that we usually don’t notice. When I shoot street, I prefer the 28mm. I am constantly developing my technique to get closer to subjects and still remain unnoticed, trying not to disturb people or the scene. The 28mm lets me fit more elements into the frame. I did a workshop with Julia Coddington on this technique. She is one of the best Australian Street photographers currently practicing.

Finalist

Photographer: Gerd Bonse

Country of residence: Germany

Image title: Benchresting

About the photograph: The photo was taken in Cologne, Germany. I was captivated by the contrast between the two couples. On one side, the colorful McDonald's commercial with the relaxed and fun couple. Close by, the contrast of the dark-clad, serious-looking couple, who are expressionless and don't communicate with each other.

Finalist

Photographer: Gongbu Han

Country of residence: Netherlands

Image title: Haha Nice Shot

About the photograph: It was in Heldenplatz, a monumental, photogenic location in Vienna. Every visitor there would not hesitate to ‘generate a photo’, mostly with their phones. This lady’s shiny reflective phone took place of her eyes, which were fully shadowed by the phone.

Finalist

Photographer: Irina Ebralidze

Country of residence: Finland

Image title: Friends

About the photograph: I photographed these women and their dog in the park. I like capturing moments that hold a story behind them. Everyday life is full of seemingly simple situations that, when you look closer, can feel a bit surreal or even absurd. These are brief moments when reality quietly shifts – through an unexpected contrast or a chance interaction.

Finalist

Photographer: Jaejoon Ha

Country of residence: South Korea

Image title: Hide and seek

About the photograph: I always try to capture natural moments and the emotions they evoke in my photos! My favorite place to work is Domino Park in Williamsburg, Brooklyn! Whenever I walk along the path, I see the playground from above, the bright smiles of children, and the loving faces of their parents! In fact, a positive perspective is important in my photos. I always try to capture a bright perspective as naturally as possible. My mother always loved and was curious about my photography, and she also supported me. She was the only one who cheered me on when I was going through a hard time. My mother was very ill and passed away in August of this year after nearly 10 years of treatment. I’m so sad, and I’m so grateful for her love! When I heard the news in New York, I immediately returned to Korea to see her one last time and say goodbye. I want to tell her how grateful I am and how much I love her!

Finalist

Photographer: Jepin Krishna

Country of residence: India

Image title: The Sacred Collective

About the photograph: 'Pandharpur Wari', a 21 day annual holy pilgrimage in Maharashtra, India wherein a sea of devotees walk barefoot and move as one along the 250 km route. The collective singing, dancing, and chanting by devotees looked like a timeless painting in colours of devotion and joy. I wanted to share this vibrant celebration, not just as a ritual, but as a breathing story of devotion passed down through generations that serves as a powerful reminder of cultural richness and human connection.

Finalist

Photographer: Jignesh Chavda

Country of residence: India

Image title: Thoughts take flight

About the photograph: Holy smoke! An old man smoking as a flock of birds passes by. I took this picture of old man by the river side where there are many birds come to feed and I was walking at the river side walk. As my habit of observation I saw an old man with cigarette and thought that if I make such frames that inspires me not just a wonderful frame in creative way but as an artist, it's seeing how a common material can be shaped into an unexpected form. This inspires a focus on minimalism and impact.The most striking element is how the smoke transforms into a flock of birds that means it to me in this frame. This suggests a sense of internal thought, longing, or desire for freedom literally taking wing. I like the high-contrast, stark black and white, along with the vast, empty white space, creates a powerful sense of the man being alone against a huge, empty backdrop. The man's rugged look, combined with his solid silhouette against the bright, overwhelming light. Also I like the way, He isn't engaging with the viewer or anything else; he is focused entirely inward, or simply observing the world. I used my Sony a6000 / 55-210 camera for this image

Finalist

Photographer: Liliana Ranalletta

Country of residence: Italy

Image title: A deity of the sea

About the photograph: At dawn on the final day of Kumbh Mela 2025 in Varanasi, during Maha Shivratri–the day when Shiva is said to have performed the Tandava, the cosmic dance of creation and destruction–a sadhu stands in the Ganges, eyes closed, arms lifted in prayer. Behind him, a small boat drifts by, its passengers watching, as if drawn into his invocation. For an instant, he seems to carry their weight too, gathering them into his offering. In that moment, it felt as if the river, the light, and the act of faith were all part of the same breath.

Finalist

Photographer: Mariana Basurto

Country of residence: USA

Image title: A Twin Gaze at the Pas

About the photograph: As the sun began to set over Havana, the streets emptied, leaving behind the echo of laughter and distant music. From a nearby house, joyful sounds drifted out – family and friends celebrating the birthday of a loved one who had passed away, choosing to honor their memory through life and rhythm. In that moment, two young twins, dressed in red, stood in the quiet street – one gazing into the distance, the other connecting with a woman – embodying the bittersweet beauty of remembrance, joy, and continuity that defines Cuba’s soul.

Finalist

Photographer: Marika Poquet

Country of residence: United Arab Emirates

Image title: Harbour of Hustle

About the photograph: I have been to many crowded places in India, but nothing had prepared me for the chaos of Sassoon Docks. It’s one of the craziest places I have ever seen. From the moment you arrive, all your senses are immediately activated. The noise is constant and deafening: fishermen shouting, auctioneers calling out prices, vendors bargaining; birds chirping as they circle above, boats rumbling in the distance. The strong smell of fish hits your nose. I found myself constantly on alert, startled by the Koli fisherwomen weaving swiftly through the crowd, and carts and people rushing past from all directions. It was a real exercise just to avoid stepping into a fishy puddle or slipping on a stray fish. Visually, the place is just as overwhelming. Bright colors are everywhere, from fishing boats to crates to clothes of the Koli fisherwomen. Trying to make sense of this chaos with my camera was a real challenge!

Finalist

Photographer: Mona Singh

Country of residence: India

Image title: Secret lives

About the photograph: At first glance it may seem like a simple moment, children wearing masks as if in play. But there was no festival. They were selling those masks at a busy traffic signal their faces hidden their expressions unseen. The masks weren’t for fun..they were for survival. A silent reminder of a childhood lived in shadows.

Finalist

Photographer: Shreenivas Yenni

Country of residence: India

Image title: Between Light and Motion

About the photograph: I captured this photograph in Hampi as the sun was setting. I was drawn to how the fading light touched the moving silhouettes, creating a quiet sense of peace and timelessness. To me, this moment reflects how beauty often reveals itself in simple movements and fleeting light.

Image: DXO

DxO has announced a new subscription service called Premium Support, designed to give photographers priority access to technical support. The program offers direct contact with DxO experts 24 hours a day, seven days a week, including holidays.

The company says the service was created with working professionals in mind, especially those who often face tight deadlines and unpredictable schedules. DxO's head of customer support, Frédéric Baclet, cites two common examples: wedding photographers who may need to process thousands of images overnight, or photojournalists in the field who are expected to edit and deliver photos on deadline.

Subscribers to Premium Support get priority in the support queue, with faster response times and one-on-one assistance from DxO specialists. The service covers all of DxO’s software, including PhotoLab for RAW processing and noise reduction, ViewPoint for precision geometric correction, and FilmPack for recreating the look of analog film stocks. It also extends to DxO plug-ins for Adobe Photoshop and Lightroom, ensuring help is available across different editing environments.

Beyond troubleshooting, Premium Support also includes guidance for installation, configuration, and advanced use cases. DxO says the offering is not limited to professionals; advanced amateurs who prefer editing outside of standard business hours may also benefit from always-on access to help.

Premium Support could offer an extra layer of assurance for working photographers who depend on uninterrupted workflows. With fast-tracked responses and expert guidance, DxO is positioning the new program as a safety net for those who can’t afford delays in their editing pipeline.

DxO Premium Support is available now through the company's website, with three subscription options available: three months for $34.99 (29.99 € / £24.99), six months for $59.99 (49.99 € / £44.99) and twelve months for $99.99 (89.99 € / £79.99).

Image: MirageC / Moment via Getty Images

Welcome back to our Question of the Week series, where we invite you – our passionate community – to share your thoughts on a photography-related topic in the forum!

So far, we've heard your insights on camera and lens buying advice, your takes on smartphone cameras, and even debated controversial gear choices. This week, we're shifting the focus from gear to the people and places that fuel our photography: local camera and digital photography stores.

What is your favorite local camera or digital photography store?

DPReview Community Manager, Mathew Anderson, visiting his local shop (Houston Camera Exchange) in Houston, TX, USA. Photo: Mathew Anderson

Whether it's a shop packed with vintage gems (share your finds!), a place with knowledgeable staff who steer you right or simply a like-minded hangout spot, tell us about the local camera store that holds a special place in your heart. Maybe you found your dream camera there, built your lens collection or just love the chance to hang out with fellow photographers and tech geeks.

We want to know:

• What makes your favorite store stand out?
• Any memorable experiences? Surprising finds? Unique services?
• Where is it located?
• Overall, what keeps you wanting to go back?

Share your story with the community. Head over to the post in the Open Talk forum to join the conversation. You can also share your experiences on social media using the hashtags #DPReview and #DigitalPhotography. From the forums to social media, we'll select at least five responses by next Monday and share them in an article update.

Let's celebrate and support the local shops that are at the heart of our digital photography journeys!

Click here to answer the Question of the week

Amazon's Big Deal Days, the company's second shopping holiday of the year, is underway. The deals run through October 8, with discounts across any category you could imagine. Some of these discounts just bring things back down to pre-tariff prices for those in the US, but it's still savings that you wouldn't otherwise get right now. Regardless, we won't bombard you with deal-related content over the next two days. Instead, we will just be sharing some of the things we would actually recommend buying right now.

Deals on Sony gear

Image: Sony

Sony is participating in Big Deal Days this year, but the discounts are also available on Sony's website if you don't want to shop at Amazon.

Sony a7R V $3800 (10% off)

Sony a7 IV $2200 (19% off)

Sony a6400 $1000 (9% off)

Sony ZV-E10 II $1100 (8% off)

Sony FX30 $1800 (14% off)

Sony FE 24-70 mm F2.8 G Master $1600 (11% off)

Sony FE 50mm F1.4 GM $1350 (7% off)

Sony FE 24-105mm F4 G OSS $1200 (14% off)

Deals on Canon cameras

Image: Canon

Canon EOS R50 with RF-S18-45mm F4.5-6.3 IS STM Lens $800 (18% off)

Canon EOS R7 $1289 ($19% off)

Nikon camera and lens deals

Image: Nikon

Nikon Z5 II with 24-200mm Lens $2497 (6% off)

Nikon Nikkor Z 35mm F1.4 $578 (15% off)

Nikon Nikkor Z 35mm F1.8 S $747 (17% off)

Nikon Nikkor Z 50mm F1.4 $497 (17% off)

Panasonic camera deals

Image: Panasonic

Panasonic Lumix S5II $1498 (25% off)

Panasonic Lumix S5IIX with 20-60mm F3.5-5.6 + 50mm F1.8 Lenses $2298 (22% off)

Panasonic Lumix 85mm f/1.8 S Series Lens $448 (31% off)

Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power OIS $948 (10% off)

Additional camera brands

Image: GoPro

GoPro Hero13 Black Ultra Wide Edition $330 (31% off)

Polaroid Now 3rd Generation I-Type Instant Camera $136 (15% off)

Miscellaneous accessories

Image: Lexar

There are also some savings to be had beyond cameras and lenses, of course. Below is a small selection of accessories that could be worth picking up when on sale.

Datacolor LightColor Meter $298 (15% off)

Neewer 67mm Variable ND Filter ND2-ND400 (1-9 Stops) $21 (20% off)

Neewer 67mm UV/CPL/ND Lens Filter Kit with Hard Shell Storage Case $20 (15% off)

MagicFiber Microfiber Cleaning Cloth $10 (37% off)

SanDisk 256GB Extreme SDXC UHS-I Memory Card $26 (27% off)

SanDisk 512GB Extreme Pro CFexpress Card Type B $120 (24% off)

Lexar 1TB Professional CFexpress Type B Silver 4.0 Memory Card $250 (23%)

Lexar 128GB (2-PK) Professional Silver Pro SD Card $52 (35% off)

PNY 256GB EliteX-Pro60 UHS-II SDXC Memory Card $38 (40% off)

$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography, especially as photography equipment is steadily getting more expensive. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.

At this price point, your options will be entry-level interchangeable lens cameras or larger-sensor compact cameras with built-in lenses. Compacts offer more control than a phone and a greater zoom range, but likely won't offer a huge jump in image quality compared to the latest flagship phones (despite their typically larger sensors).

Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.

It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.

Our recommendations:

• Best camera under $1000: Canon EOS R10
• The better performer: Nikon Z50II
• The affordable kit: Sony a6100
• Best compact camera under $1000: Canon G7X III
• Best camera for content creators under $1000: Fujifilm X-M5

Best camera under $1000: Canon EOS R10

24MP Dual Pixel APS-C CMOS sensor | 4K/30p video (60p with crop) | 15fps shooting (23fps with e-shutter)

Photo: Shaminder Dulai

There are a few things that earn it the top spot on this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma and Tamron have stepped in to round out the selection of primes and higher-end zoom lenses available for it, so you have several good options for moving beyond the kit lens that came with it, something that isn't necessarily true with Nikon's system.

Overall, the EOS R10 is a very capable camera for its price point, and offers a lot of room to grow for those starting out in photography, especially now that there's a reasonable selection of APS-C lenses for it.

Read our Canon EOS R10 review

See Canon EOS R10 studio scene

The other options

While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and an articulating display, but it's still pretty capable.

We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.

The better performer: Nikon Z50II

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

Photo courtesy Nikon

The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon has not yet allowed any bright zooms, limiting your upgrade options compared with its rivals.

Read our Nikon 50II review

What about the Z fc?

Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.

The affordable kit: Sony a6100

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

The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though. Photo: Richard Butler

It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with the a6100's. However, it's still worth considering if you want to get both a camera body and a decent prime lens for under $1,000.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. It also uses Sony's old menu system, which can be a chore to work with.

Read our Sony a6100 review

See the Sony a6100 studio scene

Best compact camera under $1000: Canon G7X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

The PowerShot G7X III can deliver excellent image quality, backed up by good (though not great) autofocus

The Canon PowerShot G7X III is the last in what used to be a popular style: the pocketable enthusiast photographers' compact, with a relatively large Type 1 20MP sensor and bright zoom lens. Canon has added features to make it more vlogging-friendly, but the clicking control wheel gives a satisfying, hands-on shooting experience.

A note on availability: the PowerShot G7X III has been difficult to get for a while, but Canon has recently stated that it's starting production back up and is working on filling backorders. Still, getting your hands on one may require some patience.

Read our Canon PowerShot G7X III review

See the Canon PowerShot G7X III studio scene

Best camera for content creation: Fujifilm X-M5

26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p

It's aimed at creators taking pictures and video for the web, with a suite of vlogging features that let you shoot video that's ready to upload as soon as you transfer it to your phone. It also has a dial for easily switching between 'Film Simulations,' Fujifilm's much-loved color modes, and the full suite of stills features from larger, more expensive models – minus a viewfinder. Its support for X-mount lenses also gives you access to the most complete range of APS-C lenses, no matter what journey you're on.

Read our Fujifilm X-M5 review

See the Fujifilm X-M5 studio scene

What if I only vlog?

If you plan to shoot more videos than photos, it's worth considering the Canon PowerShot V1. It's a compact camera built for vlogging with its integrated 16-50mm equiv. F2.8-4.5 lens, large (for a compact) Type 1.4 (18.4 x 12.3mm) sensor, complete with optical image stabilization and an ND filter. While we don't think it offers an especially enjoyable photography experience, features like a built-in fan for cooling, headphone and microphone ports, very usable stabilization and the ability to shoot 4K60p with a 1.4x crop make it a quite powerful video camera for its size.

Click here to read the Canon PowerShot V1 review

If you only care about vlogging, and want an even more pocketable option, the DJI Osmo Pocket 3 comes in under $1000 and can't be beat when it comes to stabilization thanks to its built-in gimbal. That, and the ability to sync with DJI's wireless microphones, earn it the top spot in our dedicated vlogging buying guide.

Click here to read our Best Cameras for Vlogging buying guide

Why you should trust us

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

Photo: Reebok/Kodak

Kodak has partnered with Reebok, a shoe manufacturer and clothing brand, to launch a line of shoes and apparel featuring its iconic red logo. It might not be the first time the brands have collaborated, either.

According to a Reebok announcement, the collaboration will introduce the "Reebok x Kodak collection," which reimagines classic Reebok shoe styles, including the Classic Nylon and Club C 85, adorned with the distinctive Kodak red logo. The collection will also feature a range of apparel, such as unisex T-shirts, running gear, and pants.

Kodak claims the collaboration draws from some shoes offered to Kodak staff in the early 90s. This turns out not to be the vague marketing claim it might sound like: the new Reeboks feature a tongue that matches the Kodak Walk shoes, which sneaker heads believe were also made by Reebok.

Photo: Reebok

Kodak has also licensed its name for clothing to a South Korean company and has a history of letting its name be used for a wide array of photo and non-photo related products.

Thanks to Generation Z, Kodak is experiencing a resurgence as young photographers increasingly opt for vintage film cameras and lenses over smartphones and digital cameras. In response, Kodak has begun producing more film products, re-establishing its presence in the photography market.

The company is refocusing on its mission to "make photography as convenient as the pencil" by manufacturing iconic film stocks like Ektachrome and various camera models. While pursuing branding deals, Kodak is, perhaps, taking a more discerning approach to protect its rejuvenated reputation. This is where Reebok comes in.

Photo: Reebok

The new Reebok x Kodak collection will launch on September 30, 2025, through Reebok.com and at select retailers.

Image: Tamron

If you've ever taken a look at Tamron lenses, you've likely noticed a surprisingly long string of numbers and letters in the product name. Reading "Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD" can feel a bit like trying to decipher a secret code. Plus, when you go to read about the lens, you may discover even more acronyms and terms to figure out. In this article, we'll break down that code and clarify what each of the abbreviations refers to. That way, you can more easily decide what's important to you when shopping for a Tamron lens.

Lens type and compatibility

Outside of the focal length and maximum aperture, the first abbreviations on Tamron lenses refer to the lens type and its compatibility. If you don't see one (or more) of these abbreviations, the lens doesn't offer that feature or specification.

Di, Di II, Di III and Di III-A

After the focal length and maximum aperture, you'll find a variation of Di, which is an abbreviation for Digitally Integrated Design. Tamron designed its Di lenses for DSLRs (both APS-C and full-frame), and the Di indicates that the lens is not for a film camera.

These days, you'll most often see the Di followed by II, III or III-A, which gives a little more clarity on the specific type of digital lens.

• Di II lenses are also built for DSLRs, but only those with sensors smaller than full-frame (up to 16 x 24mm).
• Di III is the company's mirrorless identifier, referring to lenses made for mirrorless interchangeable-lens cameras (ILCs).
• Di III-A are mirrorless lenses for APS-C cameras.

SP

The Tamron SP 24-70mm F2.8 Di VC USD G2 is part of the company's SP, or Super Performance, lineup. Image: Tamron

On some DSLR lenses, the very first part of the lens name (even before the focal length) is SP. Tamron hasn't used that designation in its mirrorless lineup, but it stands for Super Performance. It signifies the lens is part of Tamron's high-end professional lens lineup. As a result, it promises better performance and higher optical quality than lenses without that designation, but it also comes at a higher price than the rest.

Stabilization, focusing system and macro

Next in the lens name is a string of letters referring to the type of autofocus motors and, when present, stabilization or macro capabilities.

VC

As you can see on these switches, some Tamron lenses offer multiple settings for Vibration Correction (VC). Image: Tamron

When you see VC in a Tamron lens name, it means the lens offers Tamron's Vibration Compensation, its version of optical stabilization. VC is mostly found on the company's telephoto zoom lenses and aims to reduce blur from camera vibrations while using longer shutter speeds.

VXD, RXD, OSD and USD

Tamron lenses use several different autofocus motors, with an acronym for each. You won't see multiple of these on a single lens, as a lens can only have a single type of autofocus motor.

VXD is one of the more common abbreviations on recent lenses. It stands for Voice-coil eXtreme-torque Drive. The VXD motor is a linear motor focus mechanism, and it is, at the time of writing, the fastest motor in Tamron's lineup. It allows the lens to quickly, quietly and accurately adjust focus. The VXD is ideal for sports, wildlife or video capture where smooth and quiet autofocus is important.

RXD is another frequent term on Tamron lenses. It stands for Rapid eXtra-silent stepping Drive, a type of stepping motor. Though not as fast as the VXD autofocus motor, the RXD motor is relatively fast and quiet. It is suitable for photography and video applications that depend on quiet operation but not utmost speed.

The Tamron 11-20mm F2.8 Di III-A RXD is made for mirrorless APS-C cameras (as the Di III-A tells us) and features a Rapid eXtra-silent stepping Drive (RXD) autofocus motor. Image: Tamron

OSD stands for Optimized Silent Drive, which is also a type of stepping motor. It's less common on new Tamron lenses, and sits below VXD and RXD lenses in terms of autofocus speed and noise.

Older lenses may also feature HLD or PZD acronyms. HLD stands for High/Low Torque-Modulated Drive; it allows users to use manual focus even when in autofocus mode. PZD, which stands for Piezo Electric Drive, is another type of Tamron autofocus motor typically found in its mid-range and travel zoom lenses.

Macro, M1:2 or M1:1

The Tamron 90mm F2.8 Di III Macro VXD is a mirrorless lens (Di III) meant for macro applications and features a VXD autofocus motor. Image: Tamron

Finally, some Tamron lenses, such as the Tamron 20mm F2.8 Di III OSD M1:2, feature an "M1:2" or "M1:1" at the end of the lens name. That means the lens offers a 1:2 or 1:1 maximum magnification ratio for macro photography. Other Tamron lenses, such as the one above, only say Macro in the name.

G2 lens generation

The Tamron 16-30mm F2.8 Di III VXD G2 is the second generation of this lens. Image: Tamron

The last bit of text you'll see on some Tamron lens names refers to the lens generation. If you see G2 at the end of a Tamron lens, that means it is the second generation of that lens. As a result, it likely offers improvements over the original version, including better optical performance, faster and more precise autofocus or improved coatings.

Optical design, build quality and features

ZL refers to Zoom Lock, a switch that locks the lens into a specific position. Image: Tamron

Although not in the lens names, Tamron also uses abbreviations for some of its proprietary technology related to other features on its lenses.

ZL, which stands for Zoom Lock, is a Tamron feature that allows you to lock a zoom lens to prevent unwanted extension of the lens barrel (called zoom creep). It locks the zoom ring at a specific position (typically the shortest focal length), so that when you are wearing the camera on a camera strap or otherwise carrying it pointed down, the lens doesn't extend.

BBAR and BBAR G2 are Tamron's Broad Band Anti Reflection coatings. These coatings aim to reduce ghosting and improve color balance. Tamron also uses an E-BAND (Extended Bandwidth & Angular-Dependency) coating to reduce ghosting and flare even more.

FEC is a feature on some older Tamron lenses. It is a dedicated ring positioned at the front of the lens that allows you to easily rotate a filter, such as a circular polarizer, even when a lens hood is attached.

Terms not specific to Tamron

In addition to the above abbreviations, there are also plenty of terms associated with lenses that aren't specific to Tamron. Most of these come into play with specific lens elements, such as XLD (eXtra Low Dispersion), but that's for another post.

Image: Tamron

Tamron has announced that it's bringing its 70-180mm F2.8 Di III VC VXD G2 zoom lens to Nikon's Z mount, after releasing it for Sony E mount in late 2023. We loved it on that system thanks to its great performance and much smaller and lighter form-factor compared to a traditional 70-200mm F2.8, so it's great to see it coming to this system. It's also a big deal for Nikon users, who haven't always had the greatest access to third-party lenses.

Like the E-mount version, the lens uses a 20-element, 15-group design with one extra low dispersion lens, three low dispersion elements, two glass molded aspherical elements and a hybrid aspherical element. It has a minimum focusing distance of 0.3m (11.8"), and can take 67mm filters, the same as its 16-30mm F/2.8 G2 and 28-75mm F/2.8.

It weighs 865g (30.5oz), which makes it substantially lighter than Nikon's 70-200mm F2.8 VR S, which weighs 1360g (48oz). Giving up the extra 20mm also nets you a substantially smaller lens; the Tamron is 83mm wide and 158.7mm (6.2") long, versus the 88.5mm diameter and 220mm (8.7") Nikon.

It's also substantially cheaper than the Nikon, at an MSRP of $1149 (around $50 more than the Sony version currently retails for). Given that Nikon still seems to keep relatively tight control over what lenses third parties can release for Z-mount, it's nice to see that Tamron is getting to make such a compelling option for the system.

Logo: Affinity

Affinity, a platform of creative apps developed by UK-based Serif, is mixing things up ahead of "big changes" coming on October 30. The website no longer offers a way to purchase its software, and the company's iPad apps are now free.

A message on the Affinity homepage says "Creative Freedom Is Coming" and invites users to sign up to "be the first to know" about changes coming on October 30. After entering an email address, an automated email says, "This isn’t just another update. It’s the beginning of something new. A shift in how creative freedom is defined."

A screenshot of the Affinity website.

The company also posted a similar message to X, formerly Twitter, which has drawn more than 200 replies at the time of writing. In its responses to users, Affinity shared that there will be a keynote with more details. Additionally, it added some important information for current users: "We’re making space for what’s next. This short pause lets us transition cleanly without confusion between versions. Existing customers keep full access to their apps. This only affects new purchases and trials."

We’re making space for what’s next. This short pause lets us transition cleanly without confusion between versions. Existing customers keep full access to their apps. This only affects new purchases and trials.

— Affinity (@Affinity) October 1, 2025

The website no longer offers a way to purchase the desktop versions of Affinity Photo, Designer or Publisher, and the programs have also been pulled from third-party marketplaces, such as the Apple Mac App Store. That's a very unusual move for a company even before a major update. Even more confusing, the iPad apps are still available in the App Store and are listed for free. They used to be $18.49 apiece.

Another layer of concern is that, as of October 6, the website's forums were moved to read-only mode. A post explains that the forum will remain searchable, but a support form is the best way to reach the team now, and Discord is the new community space.

Canva purchased Affinity in March of 2024, and this shift suggests that we may finally be figuring out what Canva's plans for the company's products are. Affinity Photo and its other apps have been the go-to perpetual license option for photographers who want to avoid Adobe's subscription fees. That is not true of Canva, though, which operates on a subscription model.

At the time of writing, no additional information was available. Affinity said on X that it will be teasing information on its social media accounts as October 30 gets closer, so for now, we wait and watch to see what these changes entail.

Dialing in your aperture, shutter speed and ISO doesn't have to be a game of guesswork when using manual mode. If you're consistently getting overly dark or light photos, you may just need to learn how to use your light meter. Luckily, almost every digital camera features a built-in meter that measures the light in a scene, making it easier to get your settings right. It's an integral tool for consistently achieving well-exposed images without lots of trial and error.

What is the light meter?

Your camera's light meter simply measures the available light in a scene. Then, when in manual mode (M), the camera displays the impact on exposure (which you can read about here) on a scale or with positive or negative numbers that you can see through the viewfinder and on the rear screen. The scale tells you whether the camera thinks you need more or less light to have a well-exposed photo.

If you're using P, A or S modes, the camera sets the exposure and ISO based on this light reading and keeps the light meter scale at zero. As a result, you don't need to worry about the light meter in those modes.

How to use the light meter

On this camera, the light meter is a vertical scale on the right side of the display, highlighted with a red box for the purpose of clarity. The positive numbers (overexposure) on top, and negative numbers (underexposure) on the bottom.

It's important to note that each camera manufacturer formats the light meter slightly differently, and many offer different views based on how you have your display set up. As a result, it's important to look carefully or even check your manual. On some cameras, the scale is vertical; on others, it is horizontal. Some don't show a scale at all in certain display modes and instead only use numerical values.

No matter how the light meter is formatted, it will have negative and positive values. Negative numbers represent an image that is too dark (underexposed), and positive numbers represent a too-light (overexposed) photograph. The middle of the scale is zero, which signifies what the camera thinks is a properly exposed photo.

The numbers refer to stops, which are applicable for aperture, shutter speed and ISO.

The numbers refer to stops, which are applicable for aperture, shutter speed and ISO. A full stop is a way of saying half or twice the amount of light, but your camera also lets you change by one-third (or sometimes half) stop steps. That's why you'll see smaller marks in between big ones on the scale (or, for example, -1.7 instead of just -1.0). If you want to change a setting by a full stop, it takes three clicks of your dial.

When your camera measures the amount of light, it displays the exposure level based on your current settings. Some cameras use a white rectangle or triangle under the light meter to display where your exposure falls on the scale. Others will show a line of boxes extending from the center to the current exposure level.

This image is two full stops underexposed, as you can see by the small white box next to the second large tick mark on the light meter.

If you see the marking at a negative number, it means your photograph is darker than the camera calculates as correct. Changing to a slower shutter speed, a wider aperture or, when necessary, a higher ISO will lighten the image. If the marking is all the way at the edge of the scale, you'll need to make a larger adjustment of one (or a combination) of those settings until you get the light meter to reflect zero (or near it). If it's already close to zero, a click or two on your dial should get you in the right spot. For example, if the light meter says -1.0, you can change your shutter speed or aperture by one full stop (three clicks of the dial) to balance exposure.

This image is three stops overexposed, as you can see by the small white square at the top of the scale.

If you see the marking at a positive number, it means your photograph is lighter than the camera thinks is correct. Lowering the ISO or reducing exposure with a fast shutter speed or smaller aperture will darken the image. Again, keep changing one (or a combination) of those settings until the light meter is at zero. For example, if your light meter says +2.0, it means you are two stops overexposed and reducing your ISO by two full stops (so six clicks of a dial) will get the light meter to zero.

Why does the light meter matter?

Sony cameras can also display the full light meter scale, which you can see highlighted in this screenshot with the red box.

Digital photography certainly makes it easy (and affordable) to use trial and error to dial in exposure. However, that process takes time, and many types of photography don't give you a second chance to take the photo. Knowing how to read your light meter can help you get your ideal exposure faster so you don't miss the critical moment.

Additionally, while modern cameras offer quite impressive dynamic range (the difference between the darkest areas of a photo and the lightest), giving you a degree of processing leeway, there is still a limit. If you overexpose a photo too much, you may end up with blown-out highlights, meaning a solid white area with no texture or detail. On the other hand, if your photo is too underexposed, you may notice noise when trying to brighten the image while editing, provided you're even able to bring the detail back.

Getting your exposure closer to correct in-camera will help you preserve critical details.

Getting your exposure closer to correct in-camera will help you preserve critical details and can maximise image quality. It will also make your photographs easier to share as-is if you don't edit them, and faster to edit if you do.

It's also worth mentioning that most mirrorless cameras provide an exposure preview in the electronic viewfinder or on the rear display. That preview will show you a live view of what your photograph will look like as you change aperture, shutter speed or ISO. Screens can help give you an idea of your photograph's exposure, but they aren't very reliable for precise information. They can be hard to see in bright sun, and changing the display's brightness can drastically change your photo's appearance. That's why the light meter (and the histogram) is so important.

Don't forget to use your judgment (and histogram)

A histogram (the chart in the top right of this screenshot) used in combination with the light meter can help prevent overly under- or overexposed images.

While your light meter is a useful tool, it's not the end-all, be-all. After all, your camera doesn't know what you are taking photos of or what type of look you are after, so you still need to use your judgment and other tools at your disposal. That includes using different metering modes and the histogram.

Ultimately, as the photographer, you need to decide what level of exposure is best for what you're trying to convey.

Even with different metering modes, there are times when you need to use the light meter as a rough guide but not a silver bullet. Tricky lighting conditions, such as high-contrast scenes, can throw off your meter, and you will need to decide whether to prioritize highlights or shadows in your exposure. Additionally, there may be times you want to purposefully keep the image darker or lighter to reflect an experience, such as photographing in low light. Ultimately, as the photographer, you need to decide what level of exposure is best for a given scene, what you're trying to convey and your style.

Fall colors are on full display in Canada's Northwest Territories. I captured this photo along the Ingraham Trail several km outside Yellowknife, NTW. Although the primary purpose of my trip was to photograph the aurora borealis, I couldn't pass up the opportunity to capture the colors of the taiga forest in autumn. Nikon D750 + Nikon 70-200mm F2.8 VR | F8 | 1/40 sec. | ISO 200 Photo: Dale Baskin

Our October Editors' photo challenge theme is "Fall Follies."

Autumn has arrived in the northern hemisphere! The days are getting shorter, the air a little cooler, and the world around us is changing fast. For our October photo challenge, we’re celebrating everything that makes fall special, from vibrant leaves and fall harvests to annual traditions and seasonal celebrations. Show us what "Fall Follies" looks like through your lens.

Photos can be submitted between Sunday, October 12, and Saturday, October 18 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

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

Visit the challenge page to see all the rules

Go Tokura, Executive Vice President, Head of Imaging Group, Chief Executive of Imaging Business Operations Photo: Richard Butler

Full disclosure: I've just returned from a trip to Japan paid for by Canon. Our usual policy is that we only attend these trips if a product is being launched, and being present is the only way to get access to those new products.

And, when we accepted this invitation, we hoped that would be the case. But as the trip got closer, we were told the intention of the trip was that the small group of US camera writers and YouTube presenters present would "get to know" Canon, its culture and philosophy. By the time this became clear, the tickets had been booked.

I can see why they felt this was necessary. From the outside, Canon can seem quite staid and corporate, even by comparison with the other large corporations that make up much of the rest of the camera market. I suspect most people see them make sensible, pragmatic products - frequently criticized for their seemingly ruthless market segmentation, and omitting features from one model to 'protect' another - they're not in the habit of issuing community enthusing, feature-adding firmware, and their dominant market position makes them easy to look at them as the 'obvious' option, rather than the cognoscente's considered choice.

But getting to know some of the people behind the name, and hearing the enthusiasm with which they talk about cameras, lenses and photography did change the way I thought about the brand.

I walked away with the impression of a company that operates in a constant tension between conservatism and innovation. A large, formal corporation made up of people fascinated by photography, constantly trying to innovate and improve things. The seed of this impression was planted right from the opening speech by Go Tokura, Executive Vice President at Canon and head of its Imaging Group.

Legacy, T90, Ergonomics

Tokura spoke fondly of the many cameras developed during his time at the company, but drew particular attention to the T90, one of the company's last FD-mount manual focus SLRs. It was the first camera designed using CAD, rather than hand-drawn plans, he said. But, while it was not a success (the autofocus era had arrived and Canon's EOS system would be announced a year later), it set the template for EOS ergonomics, introducing features such as the Main dial, LCD panel, and Quick control dial, and is still used as a reference point today.

The Canon T90, launched in 1986, is still a touchstone for the company Photo: Richard Butler

The same camera was highlighted again during a presentation about handling and ergonomic design. Amazingly, while details have changed, the idea that the shutter button should be right at the front, with a dial mounted behind it, persists in most of Canon's ILCs, some 39 years later.

But this doesn't mean everything stays the same. Haruki Ota, in charge of imaging product design, also highlighted the differing role the camera grip plays for different users, and how the way a user will hold an EOS R1 is very different from the way someone will hold and operate the vlogging-friendly EOS R50 V: both a far cry from the solely through-the-viewfinder handling of the T90, even if the echoes are still there.

Even with a formula to work from, he says a lot of work goes into each new model. We were shown mockup bodies, to which material is added and removed and button positions are adjusted, to find the most comfortable, operable shape.

"It's a process of trial and error. It's a very analog process, but it's essential," he says. "We believe this traditional method provides superb tactile quality."

Three early mockups of the EOS 50C, used to test ergonomics, showing different dial configurations. Photo: Richard Butler

The process starts within the team but is expanded to include hands of all sizes, across all ages and genders. "Even our professional cameras are used by a broad audience, so we have to consider that."

Always forward

This reverence for the past doesn't mean the company is always looking backwards, though. In an interview with senior executives, I asked whether they could imagine Canon ever making a stills-only camera. They made it very clear they feel that the future has to include video.

"In the professional market, there's a clear trend toward downsizing and efficiency. Meanwhile, amateur users increasingly seek higher image quality and creative expression," says Noriyuki Honda, Deputy Unit Executive of the Imaging Business Unit.

"But in both cases, they want both still and video capabilities, because even smartphones can do both. So we expect this pattern of demand to keep going. It makes sense for Canon to keep launching camera products that can do both, as well."

"Even if we made a stills-only camera it wouldn’t address all customers’ requirements. We think there's a bigger market for cameras that have both capabilities."

Left-to-right: Noriyuki Honda, Deputy Unit Executive of the Imaging Business Unit, Tetsushi Hibi, Unit Executive of the Imaging Optical Business Unit, and Yoichi Sato, Senior General Manager of Imaging Products Development Center 1 Photo: Richard Butler

This aggressive focus on what the market wants perhaps explains another common criticism of Canon: that it can seem pretty aggressive in its product segmentation: omitting features from one model to prevent it from competing with another in its lineup. But there's a counter-argument about making products that fit well with their audience.

Tokura highlights the original Digital Rebel (EOS 300D) as the model that helped Canon achieve the number one spot in terms of ILC market share: a position it hasn't relinquished in the intervening 22 years.

From one perspective, it was a stripped-down version of the EOS 10D and 20D series, but it was also the first experience of a large-sensor, interchangeable lens digital camera for a lot of people.

As the EOS 300D was raised, it crossed my mind that several of my friends, when I first got into digital photography, had one. And, for that matter, still do. This hasn't happened by chance. Reliability was another word raised repeatedly throughout the trip.

This was illustrated by the shock, shake and drop testing we were shown being conducted both on cameras and the boxes they're shipped in, but also through something Tokura said at the start of the event: "We're always striving for zero defects, not just minimal defects." He explained, "We might build millions of units, but the customer only buys one. So, for them, any error would represent a defect."

Despite the juggernaut that Canon can seem to be from the outside, the development staff is aware that not everything they do will automatically succeed.

"I say to new staff: you can make new things," says Tokura, but he knows not everything they make will be a success. "You can't control what the market will embrace. But development is fun: you get to make new things. Sometimes we're successful, sometimes we fail."

Although he was talking about a different camera, Tokura's words immediately reminded me of what I've always thought of as Canon's most radical camera of the digital era: the EOS R.

Canon's first RF-mount mirrorless camera diverged significantly from the ergonomics of its DSLRs. More recent models have moved back to something more like the older designs.

"The move to the EOS R was seen as a new approach; we added things like the Multi-function bar." Ota told us. But this wasn't particularly well received, he says. “We paid attention to market research [when developing subsequent modes]. But while it may look like we've reverted to our old approach, the touch control on the R3 and R1 sort of got evolved from this idea."

So how do you balance a drive for modernity with the demands of an audience that's become familiar with your existing designs? Tokura, a keen car enthusiast, draws a parallel with the automotive industry: "cars are a combination of mechanical engineering, electrical engineering and software and, like cameras, they're a very emotional product."

The cites another example of a company balancing innovation with heritage, saying he wants Canon's cameras to be analogous to Porsche's 911 model. “You know it's still a 911,” he suggests: "but the newest one is always the best."

"We're not afraid to leave behind what we have done [before]." says Ota "But we also have an audience with expectations. Their response is not always positive. We're aware of this feedback, and we do listen."

"Conversely, though, some people say we're too traditional."

2025 Analog Sparks International Film Photography Awards

This Film Friday, we are highlighting the Analog Sparks 2025 International Film Photography Awards, showcasing diverse analog work from around the globe. This marks the third edition of the contest, which saw record-breaking participation with more than 1800 submissions from 61 countries.

Réka Kóti, creator of the @analog_sparks Instagram community, founded the competition and its corresponding exhibition series. Hossein Farmani, head of the Lucie Foundation and founder of the international House of Lucie gallery network, supported the project.

The contest is dedicated entirely to analog photography and is open to professional, amateur and student photographers working with traditional techniques. This year, there were eight categories: Architecture, Fine Art, Human, Lifestyle, Nature, Photojournalism, Technique and Zines & Photobooks.

Submissions were judged by an independent international jury. The winners receive cash prizes, and their works will be featured in three exhibitions at House of Luxie galleries in Athens, Greece, Ostuni, Italy and Budapest, Hungary.

We've included a small selection of images here, but you can see the full gallery of winning images on the Analog Sparks website. Additionally, many of the photos below are part of series. You can see the full sets at the link in each.

Photographer of the Year

Photographer: Varsics Péter, Hungary

Prize: Architecture Photographer of the Year / Gold Winner in Architecture/Other

Title: Ghosts of Pannenhuis

Caption: Ghosts of Pannenhuis is a photography series capturing fleeting human presence in the retro-futuristic Pannenhuis metro station in Brussels. Beneath its alienesque, cold concrete geometry, the station becomes a liminal space where everyday commuters appear ghostlike—momentary figures haunting a stark architectural dream. The project explores the eerie beauty of transit and the tension between permanence and passage. All shot on Cinestill 800T.

Discovery of the Year

Photographer: Rachel Jump, United States

Prize: Human Best New Talent / Gold Winner in Human/Generations

Title: Everyone Is Icarus

Caption: This body of work focuses on the aftermath of my father’s genetic test results, which unveiled a hereditary disorder that heightens his, his children’s, susceptibility to cancer. This revelation offered a possible glimpse into our future— a rare, yet ambivalent gift. This project is an exploration of my family and our efforts to provide comfort and resilience for one another during times of hardship. Through this collaboration, we guide each other through the weight of newfound clarity, supporting one another as we confront how our lineage and shared experiences shape our sense of identity.

Non-Professional - Architecture - Buildings

Photographer: Carlos Ruiz Galindo, Mexico

Prize: 2nd Place in Architecture / Gold Winner in Architecture/Buildings

Title: Rammed

Caption: This photographic series captures the contrast between architecture and its environment. Portraid in medium format film, the roughness of a house in Valle de Bravo is highlighted, built with rammed earth walls that stand in the ground. The brutalist geometry, with its heavy and imposing presence, is softened by its integration with nature, achieving a balance between the monumental and the inviting. The images reflect a timeless atmosphere, where the structure seems to emerge organically from the earth.

Lifestyle Photographer of the Year

Photographer: Matteo Gallucci, Italy

Prize: Lifestyle Photographer of the Year / Gold Winner in Lifestyle/Street

Title: If These Streets Could Have Talk

Caption: I’ve been walking these streets of Rome and New York for 3 years with my Rolleiflex around my neck. While I was shooting I was barley know what I was doing, after a year I’ve discovered that I was taking notice of film passing through my lens. My eyes have stumbled upon the homeless, the poor the rich, the crazy. All with sharing and caring for their feeling and emotions.

Lifestyle - Culture

Photographer: Seunggu Kim, Korea, Republic of

Prize: 2nd Place in Lifestyle / Gold Winner in Lifestyle/Culture

Title: Better Days

Caption: Korea has developed rapidly over 40 years, which caused a lot of social consequences. One of which is long working hours with a very short period of break. During holidays, Koreans try their best to enjoy it, but due to lack of time to travel, they spend time mostly around the city. I take a step back and observe various leisure spaces and people, slowly frame them, and wait for complex situations to balance. Koreans “fast pace lifestyle", and "community-based trust", revealed in this work show Koreans adapting to any situation, enjoying themselves together, and striving for “coexistence”.

Life Style Best New Talent

Photographer: Patrick Betthaus, Germany

Prize: Lifestyle Best New Talent / Gold Winner in Lifestyle/Travel

Title: Croatia

Caption: This series was shot in Croatia, in the area around Šibenik, with an Olympus Superzoom 70G on Fomapan 400.

Technique Photographer of the Year

Photographer: Bill Hao, Canada

Prize: Technique Photographer of the Year / Gold Winner in Technique/Wet Collodion

Title: Rocky Mountains On Wetplate Collodion

Caption: Bill Hao made an Extra Large Format Camera(32X48inch) and using Wetplate Collodion Process to captures the breathtaking landscapes. He converted a 50 seats tour bus into an off grid mobile darkroom because this process requires immediate development after exposure. These beautiful natural landscapes are disappearing, The Canadian Rocky Mountains are devastated by wildfires every year, In July 2024, the largest wildfire in a century destroyed half of the town of Jasper and 32,000 hectares of forest, there were 57 wildfires burning in National Parks so far in 2025.

Technique Best New Talent

Photographer: Dmytro Trush, Ukraine

Prize: Technique Best New Talent / Gold Winner in Technique/Wet Collodion

Title: Echoes of Nature: Flora In Ambrotype

Caption: The 'Flora in Ambrotype' project offers a unique perspective on nature. The antique ambrotype technique, known for its depth and texture, captures botanical forms with striking clarity, giving them an almost tangible volume. Each image is a living portrait of a plant, frozen on glass. Flora transforms into sculpture, where details gain significance. Contrasts of light and shadow, silvery tones turn photos into poetic works. The project not only introduces plants in a vintage style but also highlights the fragility of natural beauty, as if suspended in time.

Non-Professional - Technique - Double Exposure

Photographer: Marta Berzina, Latvia

Prize: 2nd Place in Technique / Gold Winner in Technique/Double Exposure

Title: Inside, Out (From The Series)

Caption: This image is part of an ongoing series and film project titled Inside, Out, which explores the dualities embedded in human experience: the visible and the concealed, the internal and the external, stillness and movement, presence and absence. The work moves from introspective fragments to collective echoes, revealing moments where form and feeling blur. Each piece invites the viewer to question what is hidden beneath what is seen, and what truths emerge when opposites meet. Rather than offering clarity, Inside, Out opens a space for ambiguity — where emotion, perception, and transformation.

Nature Photographer of the Year

Photographer: Hengki Koentjoro, Indonesia

Prize: Nature Photographer of the Year / Gold Winner in Nature/Other

Title: Gibbon Falls

Caption: This is my early works using large format camera of 4x5 inches. Yellowstone National Park, Wyoming, USA. Sinar 4x5 large format camera + Fujinon 210mm f/5.6 lens. T-Max 400 film f/64 at 15 seconds.

Non-Professional - Nature - Landscape

Photographer: Pascal Kueng, Switzerland

Prize: 2nd Place in Nature / Gold Winner in Nature/Sunset

Title: Less Is More

Caption: Drawn to warm, soft and washed-out tones, I embrace an aesthetic that enhances the nostalgic feel of film. I prefer cameras like the Contax RTS and Fuji GS645 Wide, often pairing them with Kodak Color Plus, Gold or Portra for their versatility. Whether capturing vast landscapes or intimate, fleeting moments, my approach follows a Less is More philosophy—each image should stand on its own, evoking an entire world of emotion. I also try to explore themes of memory, stillness, and subtle emotion, often focusing on vast landscapes or quiet, intimate scenes.

Photojournalism Photographer of the Year

Photographer: Daria Troitskaia, Italy

Prize: Photojournalism Photographer of the Year / Gold Winner in Photojournalism/Other

Title: Crazy Horse Paris

Caption: This series documents the behind-the-scenes environment of Crazy Horse Paris. Captured in 2024 using a Leica M7 and Ilford HP5 film, the images provide a detailed examination of the preparation and dedication involved in each performance. The photographs focus on the interactions and processes among the performers and production team, highlighting the discipline and creativity that contribute to the overall artistry of the show. This work aims to offer a professional insight into the operational aspects of Crazy Horse Paris.

Photojournalism Best New Talent

Photographer: Kostis Karampinas, Greece

Prize: Photojournalism Best New Talent / Gold Winner in Photojournalism/Photo Essay

Title: Granules

Caption: Embark on a visual odyssey through rural Greece with my collection of 11 photographs. These evocative landscapes and portraits convey “granules’ of solitude, abandonment and curiosity, where time stands still. The haunting beauty of neglected corners unfolds in each image, inviting viewers to reflect on untold narratives of loneliness.

Photojournalism - Environmental

Photographer: Giulia Degasperi, Germany

Prize: Gold Winner in Photojournalism/Environmental / 2nd Place in Photojournalism

Title: The Last Milk

Caption: Set in the mountains above the Blenio Valley in Switzerland, The Last Milk captures the final days of the alpine pasture season, a time steeped in transition. The farmers, weary from months of labor, guide their thinning cows through pastures that have lost their lush summer green. As the cold begins to bite, the feeling of an ending, of a season, a cycle, a rhythm, hangs heavy in the air. These images reflect the quiet resolve of life in the high pastures, shaped by the inevitability of change and the approach of winter.

Non-Professional - Photojournalism - Environmental

Photographer: Benito Drebing, Germany

Prize: 2nd Place in Photojournalism / Gold Winner in Photojournalism/Environmental

Title: There Should Be A Forest Here

Caption: Forests in Germany are increasingly vulnerable. Climate change impacts are becoming more visable every year and could become more severe. Periods of heat and drought weaken trees, aiding pests and making them vulnerable to storms, especially in monocultures. This project documents Taunus forests decline, raising questions about the future of our forests. Natural, diverse forests are best suited to resist climate change, yet economic interests favor profitable monocultures.

Fine Art Photographer of the Year

Photographer: Kyle Hoffman, Australia

Prize: Fine Art Photographer of the Year / Gold Winner in Fine Art/Still life

Title: Waratah

Caption: This image of a Waratah is part of a larger series I have been working on called Fossil, A series of images that explores the human mind's struggle to grasp the vastness of time and our fragility within it. The collection features prehistoric plants that evolved before the existence of bees, serving as tangible reminders of our temporal limitations. They highlight the dual nature of life - its persistent drive to survive alongside its inherent fragility. Waratahs are fascinating in their shape and form and part of a family that is over 300 million years old.

Fine Art Best New Talent

Photographer: Sebastian Siadecki, United States

Prize: Fine Art Best New Talent / Gold Winner in Fine Art/Other

Title: Oasis

Caption: Oasis is a series of photographs based around encounters with strangers at gas stations, truck stops, and highway rest areas in the United States – spaces that are simultaneously on the margins of our built environment, yet central to American society and culture. The project embraces the fleeting connection that often occurs between people passing through these non-places. The work also explores the societal tensions that they represent, as well as the broader themes of the human relationship with motor vehicles and the illusion of freedom on the road.

Fine Art - Conceptual

Photographer: Nuno Serrão, Portugal

Prize: 2nd Place in Fine Art / Gold Winner in Fine Art/Conceptual

Title: Icebergs

Caption: Icebergs are large freshwater bodies that have broken off a glacier and have gone floating in the open sea. Some people are like Icebergs. This is an ongoing photographic series that looks into a parallel world, one that contrasts with the our dopamine-driven society we encounter every day. One that resists the value of novelty, excitement and interaction. One that is not overwhelmed with stimuli, information, and expectations, urging us to engage, speak up, and network. Its inhabitants want to belong without joining in, and explore the world, by travelling inward.

Human Photographer of the Year

Photographer: Toby Binder, Germany

Prize: Human Photographer of the Year / Gold Winner in Human/Youth

Title: Youth of Belfast

Caption: There is hardly any other country in Europe where a past conflict is still as present in daily life as Northern Ireland, especially affecting young people. Not only by physical barriers as walls and fences but also through a ideologically divided society. »If I had been born at the top of my street, behind the corrugated-iron border, I would have been British. Incredible to think. My whole idea of myself, the attachments made to a culture, heritage, religion, nationalism and politics are all an accident of birth. I was one street away from being born my ‘enemy’«. Paul McVeigh

Human - Portrait

Photographer: Jose Girl, United States

Prize: 2nd Place in Human / Gold Winner in Human/Portrait

Title: Them

Caption: Portrait shot in medium format analog camera

Non-Professional - Human - Culture

Photographer: Fabio Bonatti, Italy

Prize: 2nd Place in Human / Gold Winner in Human/Culture

Title: The Beauty of Simple Moments

Caption: My love for photography is tied up with my passion for travels. It all started with landscapes, and the more I grow the more is shifting towards people and little details. I just love photographing people in their environment, the beauty of simple moments in the everyday life.

Zines and Photo Book Photographer of the Year

Photographer: Yu Hsuan Chang, Taiwan

Prize: Zines and Photo Book Photographer of the Year / Gold Winner in Zines And Photo Book/Culture

Title: G-Book 女子冊 — Not Only One Way Beauty

Caption: G-Book is a meaningful photography project launched by photographer Chang Yu Hsuan in 2016. The project aims to capture the daily lives and inner stories of diverse women in Taiwan. By focusing on moments when women are immersed in their own pursuits, it reveals the authentic beauty and diversity of womanhood, giving women from all walks of life the opportunity to take center stage. The images are unedited, highlighting natural beauty and inviting viewers to rethink the definition and value of beauty. www.changyuhsuan.com/g-book

Non-Professional - Zines & Photo Book - Travel

Photographer: Mickael Pouliquen, France

Prize: 2nd Place in Zines and Photo Book / Gold Winner in Zines And Photo Book/Travel

Title: Death Valley

Caption: In Death Valley, Mickael Pouliquen offers an intimate journey through the Valley of Death — a scorching land where time seems suspended and every element — rock, dust, light — becomes a language of its own. Born from three photographic journeys into one of the most hostile yet sublime environments in the United States, this project explores the human trace against the vastness of the desert, questioning what remains when everything fades away. The entire series was shot on film with a Mamiya 6.

Photo: Mitchell Clark

No matter what type(s) of photography you like to pursue, mastering exposure is key to creating successful images. While it can be tempting to use your camera's screen to judge exposure, that display can be quite unreliable for such a task. Instead, one of the most useful tools for evaluating exposure in digital photography is the histogram, a graph that reveals the distribution of brightness levels across the image. Understanding how (and why) to use the histogram can help prevent accidentally losing details in the highlights or shadows, allowing you to get consistent, quality exposures.

What is the histogram?

Histograms help visualize exposure, but can also show the distribution of red, green and blue. Image: Mitchell Clark

Histograms are not specific to photography and are simply graphs that show the distribution of continuous numerical data. They help visualize data by revealing a shape, spread and central tendency in a dataset.

In digital photography, the histogram is an exposure-assessment tool. It graphs how many pixels fall at each brightness value. Pure black (0% brightness) is on the left side, and pure white (100% brightness) is on the right side. The height of each bar tells you how many pixels have that particular brightness value in the image.

Histograms are based on the camera’s JPEG output, even if you are shooting in Raw.

There are also histograms that show the distribution of tones for each color channel (red, green and blue). These help you identify color casts and understand if certain colors are completely overexposed, often called 'clipped,' resulting in a loss of color information.

It's important to note that histograms are based on the camera’s JPEG output (which includes the camera's picture style settings), even if you are shooting in Raw. So while a histogram may show clipping in a specific color or for shadows or highlights, you may still be able to bring that detail back when editing the Raw file, since it has greater dynamic range than the JPEG.

Why does the histogram matter?

Histograms provide an objective assessment of image lightness, which differs from your camera's display, which can be very misleading. For example, looking at the back of your camera in full sun will give you a very different experience than looking at it in a dark room. Likewise, adjusting your display's brightness will impact how your image looks, even though the image’s lightness level hasn’t changed at all.

The histogram doesn't rely on how things look but is based on brightness values. That means that no matter how or where you view your image, the histogram will be the same, making it possible to ensure your photographs are not misexposed.

If you're shooting Raw, you may have slightly more leeway than what the histogram shows, but there's still a limit.

One of the most important things to gather from the histogram is whether you are losing details in the highlights or shadows. You can change the general distribution of tones in editing, but if you are missing detail at either end (called clipping), you won't be able to bring that back. For example, if you're taking a photo of a sky with bright white clouds and you overexpose enough to have clipped highlights, those clouds will be pure white blobs in the photo with no texture. As mentioned above, if you're shooting Raw, you may have slightly more leeway than what the histogram shows, but there's still a limit.

Histograms make it easy to accurately assess exposure at a glance, helping to prevent clipping. Once you understand the common shapes of different types of exposure levels, you can quickly glance at the graph to determine whether your image is over- or underexposed and adjust from there.

How to use a histogram

When looking at the histogram, you want to assess the distribution of pixels by looking at the general shape of the graph. Certain shapes will typically indicate underexposure, while others suggest overexposure. You also want to pay particular attention to the edges. After all, the edges are where you will see if there is clipping. Data bunched up or spiking on either edge means you are losing detail that won't be recoverable.

It's important to know that there is no such thing as a perfectly shaped histogram for all photos, as every photo will have its own ideal histogram based on the tones within that particular scene. Instead, you want to check for abnormalities and dramatic shifts that don't fit a given scene. For example, it's normal for a histogram to be skewed to the left when shooting the night sky, but not when photographing a sunny beach.

If your histogram is skewed to the left

This image is very underexposed, with a histogram that's very shifted to the left, indicating that the JPEG risks having clipped shadows. Photo: Mitchell Clark

If your histogram has most of the data bunched on the left side of the graph, it typically means your image is underexposed. Again, some situations will naturally have a left-skewed histogram, so it might be okay. However, if you see data spiking and touching the left edge of the graph, that means that you have shadow clipping and are losing detail in your shadows.

While you can bring a substantial amount of shadow detail back in Raw files, brightening shadows in editing can emphasize noise that's present from a lack of exposure. Additionally, though it generally isn't recommended to edit JPEG files, if your shadows are too heavy in those, you simply won't get detail back, and it will be a black mass in the photo.

To fix a histogram skewed to the left, you need to lighten your image by, ideally, using a wider aperture or a slower shutter speed. If that's not possible, you can lighten the image by using a higher ISO.

If your histogram is skewed to the right

This image is very overexposed, and the resulting histogram has a large spike on the right side, indicating clipped highlights. Photo: Mitchell Clark

If your histogram is skewed to the right, that typically means your image is overexposed. The important thing to check for is, once again, if you have a spike of data on the right edge of the graph. When that's the case, it means your highlights are clipped (often referred to as 'blown out') and you won't be able to get tonal information back in those areas.

You need to darken your image to correct an image with a histogram skewed to the right. To do so, start by lowering your ISO, if you can, or by reducing exposure with a smaller aperture or faster shutter speed.

Using the histogram when editing

Adobe Photoshop and other editing programs make it easy to keep an eye on the histogram while editing. Image: Abby Ferguson

The histogram isn't just an in-camera feature. Most editing programs also feature a histogram, allowing you to balance the distribution of tones and color to maintain detail while editing. Just like your camera's display, computer screens can all look different, making it hard to judge if your exposure or colors are properly balanced. The histogram takes some of the guesswork out of the editing process, helping you fine-tune your edits and preserve critical image detail.

Check your histogram often

The histogram is an often misunderstood and underutilized tool. However, it can prevent you from realizing only too late that your shadows or highlights are completely clipped and lack detail. Checking often – both when photographing and when editing – can save you from some headaches later on and help you improve your photographs.