Google's newest Pixel 10 smartphone (right) gained a dedicated telephoto camera module, similar to Google's Pixel Pro models. Image: Google

When Google announced its new Pixel 10 smartphone with a new telephoto camera, giving it a triple-camera array similar to the Pixel 10 Pro, it positioned it as an upgrade over the dual-camera systems of its predecessors. However, as we reported at launch, Google made some cost compromises to squeeze that third camera into the phone: the main and ultrawide cameras were downgraded compared to previous Pixel models.

In a world where new phones generally arrive with better cameras than their predecessors, this raises a key question for owners of models like the Pixel 7, 8 or 9: is upgrading to the Pixel 10 for its telephoto camera worth the compromise?

To find out, we conducted side-by-side photo comparisons of the Pixel 9 and Pixel 10 across various lighting conditions.

Pixel camera hardware

Comparing the camera specs of the last four Pixel models reveals a significant shift by Google with the Pixel 10. Moving left to right in the table below, we've marked any camera modules that notably improved upon earlier generations in green. Camera models downgraded relative to previous generations are marked in red.

Editor's note: To make comparisons more straightforward, all focal lengths in this article are listed as full-frame equivalents.

Main camera: The Pixel 7, 8 and 9 used a Type 1/1.31 (72mm²) sensor like the ones used on Google's Pixel Pro models and similar to those on recent iPhone Pro models. In contrast, the Pixel 10 uses a Type 1/2 (31mm²) sensor, which has less than half the surface area of the earlier models. A smaller sensor captures less light, creating a disadvantage in low-light conditions that even advanced image processing can't overcome.

Ultrawide camera: The Pixel 10's ultrawide camera is also smaller than its recent predecessors, and 30% smaller than the ultrawide sensor in the Pixel 9. It's also a 13MP sensor, similar to the Pixel 7 and 8's 12MP sensor, but falls behind the Pixel 9's 48MP Quad Bayer sensor that facilitates additional computational processing to improve image quality.

Telephoto camera: The Pixel 10 is the only model in this group with a dedicated 5x telephoto camera module. But don't get confused; it's not the same telephoto camera module found on the Pixel Pro models, which use a larger sensor.

However, it's worth noting that modern smartphones are based on computational photography: a larger sensor (if it's combined with a bright lens) should yield better results, but a smaller sensor might be able to keep up if newer algorithms can combine more images. All things being equal, a larger sensor should be better, but since the computational component of smartphone cameras is somewhat opaque, all things may not be equal. So, we'll need to look at photographic tests to see how the cameras compare.

Photographic tests

We took matched photos using the Pixel 9 and Pixel 10 across a variety of lighting conditions to find out how the Pixel 10's new triple-camera array stacks up to its predecessor's dual-camera configuration. A sample gallery with all of these side-by-side photos, and more, is included at the end of the article.

Daylight: main camera

In bright light, the main cameras on both phones deliver broadly similar results, at least when viewed on a small screen. At 100% view, however, it's clear the Pixel 9 retains more detail than the Pixel 10. Whether that's a function of the smaller sensor, the lens, or a combination of the two is hard to tell, though in some photos the Pixel 10's lens exhibited slightly more chromatic aberration than the Pixel 9.

Winner: Pixel 9

A close-up view from the main cameras on the Pixel 9 (left) and Pixel 10 (right). The Pixel 9 manages to capture more detail. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: ultrawide camera

The difference between the ultrawide cameras is more dramatic. Even in bright sunlight, the Pixel 9's ultrawide camera is sharper and retains noticeably more detail than the Pixel 10. The differences can become even more apparent when you get close to the corners.

Winner: Pixel 9

A close-up view from the ultrawide cameras on the Pixel 9 (left) and 10 (right). The Pixel 9 retains noticeably more detail even in bright sunlight. Click to view the full-sized images: Pixel 9, Pixel 10

Daylight: telephoto camera

Things get interesting when we look at the Pixel 10's headline feature: the new 5x telephoto camera module, a feature missing on the Pixel 9. Instead, the Pixel 9 simulates a 5x camera using a crop of the main camera's sensor. Google markets this as "optical quality zoom," but take that claim with a serious grain of salt.

(Note that while Google describes both models' telephoto settings as "5x," the 110mm equivalent camera on the Pixel 10 is actually 4.6x longer than the main camera, which explains the wider field of view in the comparison shots below.)

A close-up view from the 5x "zoom" on the Pixel 9 (left) and the 5x telephoto camera on the Pixel 10 (right). Look closely at the text on the signs, and you can see that AI upscaling techniques used on the Pixel 9's 5x mode don't quite live up to Google's claims of "optical quality" zoom. Click to view the full-sized images: Pixel 9, Pixel 10

As we've explained previously, cropping is not "optical quality zoom," and while the linked article is about iPhones, Google employs the same basic approach, using AI and computational techniques to maintain image resolution.

A look at the close-up images above quickly reveals the limits of this approach, particularly on the text of the signs in the window. In the Pixel 9 image, much of the text morphs into quasi-hieroglyphics. In contrast, the Pixel 10's dedicated 5x telephoto camera retains perfectly legible text. You'll see similar effects on other subjects, but it's particularly noticeable whenever there's text in a scene.

Winner: Pixel 10

High dynamic range

Both models handle HDR (high dynamic range) scenes well, allowing photos to appear more realistic when viewed on HDR displays, such as those found on smartphones. The Pixel 9 retains a bit more detail, but the most noticeable difference is in the processing, where the Pixel 10 tends to lift shadows a bit more aggressively.

On a smartphone screen, HDR images from both models look good. Note that the versions you see here have been flattened to fit an SDR display, so while they do look a little different, it's not the best way to compare photos intended to be viewed using an HDR screen. To really see this difference, you'll need to download the original, full-sized images to a device with an HDR display to compare them.

Winner: Pixel 9 (by a hair)

HDR images from the Pixel 9 (left) and 10 (right) differ in processing, with photos from the Pixel 10 generally having a flatter, more HDR "look" to them. Click to view the full-sized images: Pixel 9, Pixel 10

Night Sight: main camera

Google's Night Sight feature is designed to help smartphone photographers get better results in low light. The Pixel 9's sensor, which has more than twice as much surface area as the Pixel 10's, can make a big difference, and Night Sight photos from the Pixel 9 consistently outperform those from the Pixel 10.

The photo I chose to illustrate this point pushes both cameras to their limits. Upon closer inspection, both images look like watercolor paintings, but the Pixel 9 exhibits less noise and retains more information in the shadows rather than crushing them to black, and the Pixel 10 essentially obliterates all but the most prominent stars. Both cameras can deliver better Night Sight photos in less challenging situations, but the relative performance remains the same.

Winner: Pixel 9

A close-up of Night Sight photos from the main cameras on the Pixel 9 (left) and 10 (right). Neither camera exhibits stellar results in this challenging scene, but the Pixel 9 exhibits less noise and holds onto information in the shadows rather than crushing them to black. Click to view the full-sized images: Pixel 9, Pixel 10

Night sight: ultrawide camera

Night Sight, using the ultrawide cameras with their much smaller sensors, pushes the limits of computational photography even further. The Pixel 10 is particularly challenged because it has a smaller sensor and a slower aperture, giving it about 40% of the light-gathering ability of its predecessor. That difference is clearly visible in Night Sight photos, with the Pixel 9 easily outperforming the Pixel 10 in almost all scenarios.

Note that the Pixel 7 and 8 ultrawide sensors are closer in size to the Pixel 10 (though still about 20% larger), so the difference in performance won't be quite as dramatic.

Winner: Pixel 9

A crop of Night Sight photos from the ultrawide cameras on the Pixel 9 (left) and 10 (right). Both cameras struggle here, but the Pixel 9's 50% larger, Quad Bayer sensor handily outperforms the Pixel 10. Click to view the full-sized images: Pixel 9, Pixel 10

Low light portrait

People photos and portraits represent one of the most common uses for any smartphone camera. We love to take photos of each other, and it frequently happens indoors and in low light.

The Pixel 9's larger sensor wins out here, producing more natural, less pixelated-looking textures and skin. Whether that's important depends on how you plan to use the pictures. If you're sharing photos with people who will primarily look at them on smartphones, it might not. If you want to make a print, it will.

Winner: Pixel 9

A close-up of a low-light photo taken in portrait mode on the Pixel 9 (left) and 10 (right). The Pixel 9's larger sensor allows it to retain more natural-looking details. Click to view the full-sized images: Pixel 9, Pixel 10

Conclusion

While the Pixel 9 came out on top in all but one of the head-to-head comparisons, the choice between the newest Pixel and its recent predecessors is nuanced, and the best option depends on your priorities.

The Pixel 10's dedicated telephoto lens makes the camera more versatile for social media use, and could be a key factor for anyone who uses the telephoto feature a lot, handily outperforming the virtual 5x camera on earlier models. If flexibility outweighs absolute image quality, it could be a good option.

But physics matters, and you're more concerned about absolute image quality, the larger sensors and faster ultrawide lens on the Pixel 9 give it a clear edge. The Pixel 7 and 8 retain that advantage on the main camera, but the difference in ultrawide modules is less pronounced.

What's clear is that Google made a strategic decision to further differentiate the base model Pixel from the Pixel Pro models. Rather than giving Pixel owners the same cameras as the Pixel Pro, but fewer of them, it's setting up the Pixel Pro as the go-to choice for serious photographers while giving Pixel owners a more versatile solution, but at some cost to image quality.

Image: Apple

Adobe's Project Indigo, a powerful camera app for iPhone, is finally available for the iPhone 17. Despite Apple releasing the iPhone 17 over a month ago, Project Indigo wasn't previously compatible with the new phone, reportedly due to the front-facing camera.

A post on Adobe's forum on October 16, as reported by The Verge, shared that the company had issues when developing support for the new iPhone 17 series of phones. "We have run into some issues, especially with the front camera," the post from product manager Boris Ajdin said. "Some of them we flagged to Apple, who have made a fix and will ship it with iOS 26.1. Sadly, that means we need to consider disabling the front camera in Indigo until that version of iOS is shipped."

A screenshot of the App Store update on the Project Indigo page.

For context, the iPhone 17's front camera uses a square multi-aspect ratio sensor, which isn't typical for smartphone cameras. The square sensor allows users to capture landscape or portrait photos and videos without rotating the phone. However, it also apparently complicates things for camera app developers, at least in the case of Adobe's app.

It appears that Adobe has now solved some of those issues. Over the weekend, Adobe's Chris Welch shared on Threads that Project Indigo is now ready for the iPhone 17. Welch shared a screenshot of the App Store listing, which says it required lots of "grinding, sanding, welding and polishing."

While the app is functional on iPhone 17s now, the selfie camera is currently disabled. The App Store description for Project Indigo says that front camera support for 17-series devices will be added in the next version of the app, which will come after Apple publicly releases iOS 26.1.

Fujinon 13-33mm F3.5-6.3 OIS @ 33mm | 1/125 sec | F6.3 | ISO 160

The Fujifilm X-T30 III is a gentle refresh of the Mark II, bringing it into line with the other models in the lineup.

We shot a sample gallery in a Seattle autumn, to show how its images look. Although the camera itself is a fairly known quantity, its new, ultra-wide XC 13-33mm F3.5-6.3 OIS kit lens is a different story. We focused on this lens when putting the gallery together, to show how it performs.

The September Editors' photo challenge

The theme for our October Editors' photo challenge was "Fall Follies."

With the last wisps of summer in the air and days getting shorter, we challenged you to show us what makes fall special. From vibrant leaves to fall harvests and annual traditions, we asked you to show us what Fall Follies looks like through your lens.

Our community of DPReview photographers didn't disappoint, capturing nature's grand finale in a blaze of color. As usual, we were overwhelmed with great pictures – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

Thanks to everyone who participated in this photo challenge. If you want to participate in other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Fall in upstate New York

Photographer: mxzrevman

Photographer's statement: I was very lucky with the timing. The leaves were just perfect, and the weather was perfect with the sun at a nice height above the horizon. This was at Thatcher State Park outside of Albany, New York.

Equipment: Nikon Z5 + Nikon Nikkor Z 20mm F1.8 S

Day of the Dead

Photographer: JeffryzPhoto

Photographer's statement: In Mexico, this time of year means preparations for Day of the Dead, or Día de Los Muertos: the time when departed souls can return to visit loved ones left behind. Marigolds feature prominently, their color and scent helping to guide them.

Equipment: Fujifilm X-T4 + Fujifilm XF 8-16mm F2.8 R LM WR

Hidden gem

Photographer: JC-W

Photographer's statement: The Moselle, a river between Luxembourg and Germany, is a famous wine region. In October each year, you can find these beautiful grapes on the hillsides separating both countries.

Acer

Photographer: TheDispossessed

Photographer's statement: An acer, photographed in Durham Botanic Gardens, England. Capturing these leaves involves being there at the right time on the right day to get the light just right.

Equipment: Canon EOS 80D + Canon EF 70-300mm f/4-5.6 IS USM

Foggy fall in Norway

Photographer: hach

Photographer's statement: This photo was taken from the roadside overlooking a small farm. Underneath is the Tyrifjorden lake, covered by fog. The location is at Sollihøgda (Sunny heights), just north of Oslo.

Equipment: OM System OM-1 + OM System 40-150mm F4.0 PRO

Follow the colors

Photographer: RacingManiac

Photographer's statement: Early fall colors at the Kiyomizu Dera in Kyoto. I like the treeline, and the roof of the shops all lead to the pagoda on the opposite side of the footpath

Equipment: Sony a7 IV + Sony FE 70-200mm F4 G OSS II

Fall Sunset at Graveyard Fields

Photographer: Sam Bennett

Photographer's statement: Pink echoes in the valley of Graveyard Fields in Western North Carolina as the forest slowly heals itself year over year after the ravages of Hurricane Helene.

Equipment: OM System OM-3 + Olympus M.Zuiko Digital ED 12-45mm F4 Pro

Cypress trees

Photographer: Gman58

Photographer's statement: We were taking a fall road trip to visit friends in the mountains of Tennessee when I noticed these beautiful cypress trees, living in the water of the lake, at the terminus of the Ocoee River Gorge.

Equipment: Pentax KP + HD Pentax-DA 20-40mm F2.8-4 ED Limited DC WR

Joe Lay Reservoir, Grand Staircase, Utah

Photographer: MtnBikerCalif

Photographer's statement: I was fortunate enough to be in the Grand Staircase-Escalante National Monument in Utah with four friends, mountain biking the Great Western Trail. My OM-1 is too heavy and inconvenient while biking through tough terrain, but my new iPhone was great for photography and helped with navigation. I wasn't expecting the incredible fall colors of the aspens. They were the highlight of the trip. I'd never seen such expanses of golden leaves.

Equipment: iPhone 17 Pro

Autumn leaves

Photographer: SergeAP

Photographer's statement: Autumn is beautiful with its dramatic blend of vibrant, lush colors and the deep lyricism and silence of evening city parks, the already cold and damp air with the amazing taste of fallen leaves, and the warmth of melancholy memories of the past summer.

Equipment: Nikon D800

Fish and fog on the Rogue River

Photographer: Eric Hensel

Photographer's statement: I rarely arise before dawn, these days, with two exceptions: salmon fishing or a photography expedition. I managed to combine both pursuits on this particular morning, as I tried out a lens I had purchased from a local shop for twenty dollars. I couldn't believe my luck when I rested the lens on the handrail of the Depot St. Bridge in Rogue River, Oregon, just as a drift-boat was heading toward me in the fog.

Equipment: Sony a7 + Vivitar series-1 70-210mm f/3.5

Fall in Silverton

Photographer: Tough Gritz

Photographer's statement: When the Aspens bring out their fall display, they make for exceptional landscapes like this one on Highway 550 facing north from Silverton, Colorado, toward the town of Ouray, Colorado, on the Western Slopes of the Rocky Mountains.

Equipment: OM System OM-5 II + OMS 8-25 f/4 PRO

Short lens, long shot

Photographer: decentred

Photographer's statement: Shot way back when, on Kodachrome. The light was low, the ISO was 64, I was crouched down, elbows tucked in, holding my breath, dialing in some self-timer to get the mirror slap out of the way early, and shooting at maximum aperture.

Equipment: Nikon FE + Nikkor AI 35mm

Autumn view of the valley

Photographer: cbf_si

Photographer's statement: The creeping morning mists herald the arrival of winter. But first, nature delights us with an explosion of autumn colors. Photographed from Mount St. James (Sv. Jakob) in Slovenia.

Equipment: Sony Alpha a99 + Minolta AF 35-70mm F4

Happy family

Photographer: wim

Photographer's statement: I'm always amazed by the shapes of leaves. They're all different, just like people. I found these personalities and happily placed them side by side.

Equipment: Fujifilm X-T1 + Fujifilm XF 35mm F1.4 R

Autumn

Photographer: Robert_Schild

Photographer's statement: On a walk through the woods, I came across these branches climbing up trees with a display of beautiful autumn colors. It was still early autumn, and most trees were still green, but these leaves stood out.

Equipment: Pentax K-1

Fall color, Eastern Sierra

Photographer: REHS

Photographer's statement: When you hear the words "near peak," you need to make your reservations, cancel pending appointments, and activate your back-up coverage. Charge your batteries, pack the essentials, and pray for good weather. And then, get there early!!! It all fell into place this year, but the only show seemed to be in the area just west of Bishop, California. I'm so grateful that I didn't miss this event!!! Yaahoo!!!

Equipment: Nikon D850 + Nikon AF-S Nikkor 24-70mm f/2.8G ED

In the spotlight

Photographer: more cow bell

Photographer's statement: After some morning rain showers, a shaft of sunlight spotlights a fallen leaf whose journey from treetop to earth was interrupted by a tangle of branches.

Equipment: Fujifilm X-T2 + Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR

Yoshino colours

Photographer: gnohz

Photographer's statement: Many photos taken here depict a snowy night scene with street and building lights leading to the main Zao Hall building of the Kinpusen-ji Temple (at top right), so I opted for a different take to show the splendid autumn colors instead.

Equipment: Nikon D850 + Nikon AF-S Nikkor 85mm F1.4G

Equipment: Nikon D610

Old tree

Photographer: brian505

Photographer's statement: I captured this photo in a forest back in 2015, showing a giant beech tree that, I was told, might be around a 100 years old. Its trunk was so wide that it would take about four people holding hands to circle it completely.

Equipment: Nikon D7000

The M EV1 is, perhaps, the exception that proves the rule, in the sense that by not conforming the existing pattern it helps clarify the pattern that otherwise exists. Photo: Richard Butler

The very nature of hubris is, perhaps, that you can't recognize it in the moment.

When the Leica M11 was launched, I mused that the increased versatility and precision offered by its live view system might risk making the optical viewfinder and rangefinder design look irrelevant. Having now used a camera shorn of those features, I appreciate their value more than ever.

But there was another, unexpected, prompt for self-reflection when it came to working out how to describe the M-EV1. Namely: is it a Mirrorless camera?

What is a Mirrorless camera?

It's generally been our position that rangefinder cameras aren't Mirrorless. Somewhat facetiously, I've sometimes pointed out that the rangefinder optics themselves typically contain a mirror, but, more seriously, the point is that rangefinders existed for many decades before we ever had need to describe a camera as Mirrorless. And, given the way they are primarily used is radically different (manual focus via an optical viewfinder, rather than via a liveview feed from the sensor), it seemed unnecessary to retroactively include them in the class of cameras we were trying to give a name to.

The M EV1 throws a spanner in the works, though (or perhaps removes one). In every respect it operates like a Mirrorless camera being used in manual focus mode, so surely it's Mirrorless, in both the small and big 'M' senses. And, if it is, then, by extension, all Leica Ms are.

"When I use a word, it means just what I choose it to mean" - Lewis Carroll's Humpty Dumpty

And yet, that's not really how these things work. Mirrorless is an especially awkward example, in that it's become a noun but its origin is descriptive. But most people will recognize that it doesn't apply to literally any camera without a mirror, because that would include all compacts, smartphones and most cameras ever made. At which point we could probably just say 'camera.'

Having helped propose, promote and popularize the term 'mirrorless' in the first place, we're aware of it being an imperfect choice, but it's the one that's stuck. So while I look forward to the accusations of Humpty-Dumptyism, I think it's fair to say enough people recognize what's meant by it, and hence that it's legitimate to use it to mean what we intend, rather than what the word itself seems to imply.

Why do you call it full-frame?

This isn't the only instance of what sounds like an adjective being taken up as a noun in a way that shouldn't be taken too literally. The term full-frame came about because there was a period during which early DSLR users were pairing film-era lenses on cameras with sensors smaller than "35mm" film. Full-frame was a reference to the size of sensor that mimicked the dimensions of that film, using the full imaging circle for which those lenses were designed.

Yes, the German name for the "35mm" format translates as "small image." Award yourself 10 DPR points for trivia knowledge. Then deduct 20 if you think it's a useful contribution to a discussion about digital photography. Photo: Carey Rose

We only adopted the term because it avoids using milimeters to refer both to focal length and as a descriptor of a format, often in the same sentence. Somewhat ironically, the term "35mm" sensor itself also sounds adjectival, but in reality no part of a "35mm" sensor measures 35mm.

Again, there's little sense arguing over what the words might appear to mean: the majority of people using the term and hearing the term agree what it means. And that's the way language works. It doesn't matter if logically all systems are full-frame, because that's almost certainly not the meaning that's someone's attempting to convey, and it's not the meaning most people would take from it.

What constitutes medium format?

Apparently, there's still room to argue, even when the terminology doesn't appear to describe something specific. For example, the use of 'medium format' to describe formats larger than 35mm.

It's a definition that was already in widespread use, but that some photographers seem determined now to retroactively restrict it solely to formats used in the film era. This ignores the facts that the economies of scaling semiconductors are radically different (and are unlikely to ever make film-mimicking medium and large formats affordable), and that digital significantly outperforms film, so you don't need the same expanses of sensor to achieve excellent tonal quality and resolution.

Full-frame only directly mimics a film format because there were so many people with significant numbers of then-modern film lenses to prompt its continuation. Photo: Phil Askey

In my opinion, it's senseless to bind a new technology to the specifics of a dead one and insist on the creation of a new term, when 'medium format' serves perfectly well. Especially given that, as we've seen, the resultant neologisms such as full-frame and Mirrorless might prove even more objectionable.

Does it actually matter?

So what of the M EV1? Is it a Mirrorless camera? Sort of. Probably. Why not? You could see it as the exception that proves the rule, or recognize that it's a question to which the answer doesn't matter.

Rangefinders sell in such small numbers that it really doesn't matter whether the person speaking is including them, when they say Mirrorless, or whether the person hearing them assumes they are or aren't. Either way both probably know, from context, what was meant, so the distinction becomes irrelevant.

It's not just photographers who have this problem. The name for modern pedals that cyclists clip their shoes into? 'Clipless.' Photo: Richard Butler

The remaining ambiguity will leave room in the margins for someone to say "but what about the M EV1?" or "medium format only refers to 645 and larger."

But that brings us back to the issue of self-reflection. It's worth asking yourself: do you really believe the language is unclear, or that anyone's being misled? Or do you just want to beat someone over the head with a piece of arcane, esoteric knowledge that you happen to have acquired?

Earlier this week, Fujifilm released the X-T30 III, its latest entry-level, SLR-shaped mirrorless camera. It is a subtle update over its predecessor, adding a film simulation dial, more film simulations, updated video specs, a new processor and updated autofocus. The company also released a new kit lens, the XC 13-33mm F3.5-6.3 OIS. It offers a wider perspective than most kit lenses and will be familiar to those used to the ultrawide lens on their smartphones.

Editors Dale Baskin, Richard Butler, Mitchell Clark and Abby Ferguson sat down to talk about the new camera and lens. You listen to our discussion in the video above.

If you're looking for more information on the X-T30 III, check out our first look video and initial review. You can learn more about the lens in our separate article covering the announcement.

Image: Just_Super / E+ via Getty Images

For over a quarter of a century, DPReview's forums have been home to some of the most insightful discussions about digital cameras and photography anywhere online. They serve not only as a living conversation but also as an invaluable historical archive for photographers around the world.

To ensure we can continue supporting this community for years to come, we'll soon be making some important updates to our forums.

What's happening

Since their inception, DPReview's forums have run on a proprietary, custom-built platform. While that system has served us well, it has become increasingly complex and expensive to maintain. To keep the forums vibrant and accessible, we're migrating to a modern software platform built for today's web.

This update will deliver significant performance improvements and introduce new features, including a mobile-responsive design, enhanced photo galleries, and an all-new direct messaging system that supports group conversations. We've even prepared a short video to give you a preview of what the updated forums will look like.

When it begins

We plan to begin the migration on October 31. During this transition, the forums will enter read-only mode for approximately five days. You'll still be able to browse and search existing discussions, but posting and uploading new content will be temporarily paused while we move all data to the new system.

We've worked hard to ensure no content is lost. When you log back in, all your discussions, posting history, photo albums, private messages, and other data will still be there – you'll simply be joining the same community in a more modern home.

Get more info

We know there will be a lot of questions. To help, we've created a detailed forum thread that provides additional background on this update and what to expect, along with a comprehensive FAQ addressing many common questions. If something isn't covered, please post your questions in that thread and we'll do our best to provide answers.

DPReview's forums are a cornerstone of the online photography community. Updating to a modern platform ensures we can continue to support and nurture that community well into the future.

To all of you who have participated over the years – the experts, the beginners, and even the trolls – thank you for being part of DPReview. We look forward to many more discussions, debates, and shared discoveries in the years ahead.

Thank you for your continued support,
The entire DPReview Team

Read our detailed forum post about this update and what to expect

Read our FAQ about the forum update

The Nikon ZR uses the same sensor as the Z6III but becomes Nikon's first camera to be co-branded 'Red' Photo: Mitchell Clark

Nikon's video division, Red, has put out a statement giving a few more clues about the distinction between the R3D NE Raw codec that makes it debut in the Nikon ZR, and the existing N-Raw system.

Red appears to confirm that R3D NE ('Nikon Expeed') uses the same TicoRaw compression system as N-Raw, which helps explain why N-Raw files could be opened in software that supported R3D NE, by simply changing the filename extension. However, it says the differences go deeper.

What we already knew

We already knew that the R3D codec locks the camera to one of its sensor's two base steps (ie: one of the two effective gain steps within the pixel) with no additional analogue gain added when you change ISO. By contrast, N-Raw works the same way as most cameras do in stills mode: applying increasing gain as you raise the ISO.

This means N-Raw sacrifices a stop of highlight information each time you raise ISO by a stop, in return for some improvement in shadow noise, but means that you can't mimic other ISO settings after the fact. The R3D method retains these highlights irrespective of ISO setting at the point of shooting, meaning you can apply different tone curves to adjust "ISO" as part of post processing.*

What has been discovered

Video testing site CineD has conducted some tests on the ZR and found some interesting details. The first is that the R3D codec appears to decode its Raw data such that it doesn't expand to use the full scale. This is presumably to allow its use with LUTs and alongside cameras that capture a wider dynamic range (either now, or in the future), which would make use of the higher data values. This is analogous to what Panasonic does with its V-Log / V-Log L system. This is not the standard workflow for N-Raw, which typically goes via an N-Log curve.

In addition to various flavors of Raw capture, the Nikon ZR is the first consumer camera we've come across that can natively capture super-wide dynamic range '32-bit float' audio.

Interestingly, CineD also says that it found R3D NE clips a stop earlier than the ZR's ProRes Raw or N-Raw modes, with Nikon responding that there is a "difference of highlight clipping points between N-Log and R3D NE." CineD points out that the Red processing includes a highlight recovery algorithm that recovers detail (but not necessarily color) information around clipping, which is worth being aware of.

Combine all this information and read between the lines of Red's statement and it appears to suggest that R3D NE uses the same basic codec as N-Raw but with a different gain strategy and a different assumed workflow (via Red's Log3G10/RWG gamma and gamut), that requires it to be exposed differently to get optimal results.

So how does it perform?

CineD also found the camera's rolling shutter was a match for the 9.44ms we measured from the Nikon Z6III and that its dynamic range was okay, rather than great, which is again consistent with what we were expecting, given the Z6III's performance.

Sadly, Nikon USA says it will not have any testable cameras available for review until mid November, so we're not yet in a position to check or further investigate any of these findings further.

*Technically, ISO is an sRGB JPEG-based standard, so it's best not to take it too literally when being used as a post-processing parameter in Raw video software. (See also the 'exposure' slider in a lot of photographic Raw software, which changes image lightness but cannot change exposure)

Photo: SilverBridges GmbH

SilverBridges, a company co-founded by Oscar-winning actor Jeff Bridges, recently unveiled the first prototype of the WideluxX panoramic film camera. The team showed off the WideluxX Prototype 0001 in a video released at the International Association of Panoramic Photographers' annual convention in Minneapolis, Minnesota.

The SilverBridges team, which consists of Jeff Bridges and his wife, Susan Bridges, Silvergrain Classics author Charys Schuler, and the magazine’s editor-in-chief, Marwan El Mozayen, also shared news of the prototype on Silvergrain Classics and its Instagram account. "Holding a one-of-a-kind camera prototype in your hand is always going to be exciting," wrote Schuler at Silvergrain Classics about the prototype. "But when some of the blood, sweat, and tears that went into it are your own, it feels nothing short of extraordinary."

Photo: SilverBridges GmbH

Bridges first announced the project to redevelop the Widelux film camera roughly a year ago, and the WideluxX Prototype 0001 marks an exciting step. On his website, Bridges says that most of the images he creates use a Widelux camera, and over the years, he's captured some incredible behind-the-scenes photographs with the camera. The actor has been very vocal about his love for the camera and his desire to bring it back.

The original Widelux, a fully mechanical panoramic film camera, was originally developed in Japan in 1958. Instead of a traditional shutter, the camera uses a swinging lens that rotates horizontally behind a narrow slit to expose the film plane. Unfortunately, a major fire at the factory in 2005 severely disrupted operations. Because of that fire and other factors, production of the Widelux ended in 2000. Today, original Widelux cameras are highly sought-after collector items and go for anywhere from $1200 to $2300, depending on the model.

"We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations."

"20 years ago, the Widelux factory burned down, so we decided that rather than letting our favorite camera die, we’d bring her back to life," Jeff and Susan Bridges say. "We’re keeping it old school; it’s a film camera handmade in Germany, built to last generations." The team also explained that original Widelux models are temperamental and promised that the new manufacturing would offer greater reliability and consistency standards. The company also says it plans to provide dedicated service and maintenance.

Photo: SilverBridges GmbH

The WideluxX is based on the Widelux F8 model. Unfortunately, there are no original mechanical drawings of the camera available, so the team had to reverse engineer the camera and recreate each part. Japan Camera Hunter spoke to Schuler and El Mozayen about the project and shared that everything is being created from scratch, since there are no spare parts to work with.

"There will be many small improvements, but its DNA is still the [Panon Widelux] F8," says Schuler. "We see ourselves as a bridge between the history and the future of analog photography—it’s about the art and craft of camera manufacturing, and about giving a new generation of film photographers the tools to create with."

The prototype video isn't yet widely available, but according to Schuler, it will soon be uploaded to the WideluxX website. Interested users can sign up for updates via the newsletter at WideluxX.com.

Photo: Pomma Partiew / Fujifilm

While all brands tend to put quite a few letters in lens names, Fujifilm is among the worst offenders (though still not as bad as Tamron). Its Fujinon lenses tend to read a bit like alphabet soup, with letters coming before and after the focal length and aperture information. While they are straightforward once you know what they mean, it can be headache-inducing to decipher at first. In this article, we'll break down the different acronyms found in Fujifilm lens names so you can feel like a pro when shopping for or discussing Fujifilm's lenses.

Lens mount and series: XF, XC, MKX and GF

Image: Fujifilm

The first part of Fujifilm lens names, falling right before the focal length, tells us what mount or series the lens is part of. Fujifilm has four different designators for this category: XF, XC, MKX and GF.

The XF designation means the lens is part of the company's X Series and uses the X mount. That means the lens is compatible with any X mount camera. XC lenses are also X mount offerings, though these are part of Fujifilm's compact lineup of lenses. They are more affordable and more lightweight than XF lenses and typically lack an aperture ring. MKX lenses are also part of the X mount, though these are the company's cinema lenses meant for video applications.

Finally, outside of the X mount are Fujifilm's GF lenses. These are G mount lenses that are compatible with the medium-format GFX cameras.

Lens features

After the focal length and aperture information, you'll find letters and acronyms that tell you what lens features are part of the lens. Fujifilm lenses may include a combination of up to five different terms in the lens name. If you don't see one or any of these, that means that the lens lacks that feature.

Build features: R and WR

The XF23mmF2.8 R WR lens features an aperture ring (R) and weather resistance (WR). Image: Fujifilm

When applicable, the first letter used is R. The R in Fujifilm lens names means the lens offers a designated aperture dial so that you don't have to use buttons, dials or menus on the camera body to set aperture.

Some of the Fujifilm lenses feature WR in the name, which stands for Weather Resistant. That means the lens is sealed against dust and moisture to help protect it against the elements. WR typically comes at the end of Fujifilm lens names, so you can quickly see if the lens offers weather sealing.

Focus, stabilization and zoom features: LM, OIS and PZ

The GF32-90mmT3.5 PZ OIS WR lens is a power zoom lens for the GFX system. Image: Fujifilm

The other lens features that make it into Fujifilm lens names relate to focus. LM stands for linear motor. This means that the lens uses a linear-style motor to drive autofocus, which is very fast and relatively quiet.

OIS is Fujifilm's designation for Optical Image Stabilization. Lenses with OIS in the name offer built-in image stabilization that uses gyroscopic sensors and motors to counteract lens movement and reduce blur caused by camera shake. These lenses can help you get sharp images even when working with slower shutter speeds.

PZ stands for Power Zoom. It isn't a Fujifilm-specific term, and it means that the lens offers an electronic zoom mechanism instead of a zoom ring. Power zoom lenses make achieving smooth and consistent zoom easier, making them ideal for video applications.

Specialty features: Macro, T/S and APD

The GF110mmF5.6 T/S Macro lens is both a macro and tilt shift lens (T/S). Image: Fujifilm

Fujifilm may also include some terms for specialty lenses on its lenses. Macro is the easier to decipher, since it's spelled out for us. Lenses with Macro in the name are Macro lenses, meaning they can focus closer than regular lenses and enable detailed close-up photography.

At the time of writing, the T/S designation is only used for two lenses, both of which are in the medium-format G mount lineup. T/S stands for tilt-shift, which means that the lens allows you to adjust the focal plane (tilt) and perspective (shift). Tilt-shift lenses are commonly used for architectural photography.

The APD designation tells us that the lens features a built-in apodization filter. This filter aims to produce smoother bokeh and enhance subject separation, which is ideal for portraiture.

Additional Fujifilm lens terms: Super EBC, Nano-GI and TC

The XF16-55mmF2.8 R LM WR II features Fujifilm's Super EBC coating, as you can see printed on the lens. Image: Fujifilm

Like other companies, Fujifilm also has some specialty terms that aren't in the lens name, but are referenced in lens descriptions. That includes general terms for optical design, such as aspherical lens, but also a few proprietary terms.

Super EBC, which stands for Super Electron Beam Coating, is Fujifilm's proprietary multi-layer lens coating. It's meant to minimize flare and ghosting to improve image quality. Similarly, Nano-GI is a lens coating for the refractive index of the lens that promises to increase clarity.

Lastly, TC is a designation for teleconverters, which are lens accessories and not lenses. These can be attached between the lens and camera and allow you to increase focal length to provide additional magnification without purchasing a longer lens.

The Leica M EV1 is a full-frame manual focus mirrorless camera with a 60MP BSI sensor. It's shaped like the company's other M-series models but has no optical viewfinder or rangefinder mechanism, relying instead on an electronic viewfinder.

Key specifications

• 60MP BSI CMOS full-frame sensor
• 60, 36 or 18MP output, Raw or JPEG
• 5.76M dot OLED EVF with 0.76x magnification
• Two-way Fn switch on front
• 2.33M dot LCD rear touchscreen
• 64GB of internal storage
• 2.4/5Ghz Wi-Fi

The Leica M EV1 is available everywhere except the USA, where gaining FCC approval has caused a delay. Once cleared for sale in the US, it will be available at a recommended price of $8995.

Index

• What's new
• How it compares
• Body and handling
• Initial impressions
• Leica M EV1 specifications
• Press release

What's new

The Leica M EV1 features a new, diamond-patterned leatherette coating.

There's not much that's new on the M EV1, other than the concept of removing the rangefinder and optical viewfinder that goes with it, and replacing it with an EVF. Leica points out this isn't the first M-series camera to go without a rangefinder: the M1 made that move, while the MD, MD-a and MD-2 had no viewfinder, either.

Instead the M EV1 uses a variant of the 5.76M dot viewfinder found in the Q3 cameras, with 0.76x magnification. Unlike the conventional Ms, this viewfinder can accurately present the field of view of 21 and 24mm lenses, and show output from 90mm lenses at a decent size.

In addition to adapting better to a wider range of lenses, the magnified live view and focus peaking available in the viewfinder should allow greater precision than the traditional rangefinder mechanism, giving more reliable results with fast aperture lenses and not needing such careful handling or calibration.

How it compares

Leica cameras are luxury goods, as well as being cameras, so it's somewhat hard to compare them. When the brand name and cost (and the exclusivity it implies) are part of the allure, conventional spec comparisons fall apart.

At the most basic level, you can get essentially the same sensor in the Sony a7CR for considerable less money, and get a similar shooting experience by adapting your M-mount lenses to fit. It won't be as small, be as nicely built or say Leica on the front, but in purely pragmatic terms, it'll be comparable.

We could also have compared the Leicas to the company's own SL3 model or Sony's higher-specced a7R V, but we thought choosing the smaller Sony was the closest in size and format.

Of course we don't think anyone will actually be choosing between the Leicas and the Sony, but it gives some perspective on what you do and don't get for your money. But, while it's impossible to objectively say whether autofocus is inherently better than using a rangefinder (and hence haven't assigned red or green highlighting), our experience has been that both the M11-P and a7CR offer a lot that the M EV1 doesn't.

Body and handling

The M EV1 essentially has the same body as the M11-P but with no viewfinder window at the front. The ISO dial is also absent from the shoulder of the camera, presumably as the EVF extends further into the space it would usually occupy.

The rest of the layout is very similar. The body has a nice, solid-feeling weight to it, and it has the same minimalist design that fits in the hand nicely and gives off a sense of solidity when you hold it.

The move to an EVF allows you to adjust the diopter, using the little pop-out dial. It can be adjusted from -4 up to +2 correction.

The camera uses a menu system similar to the one we liked on the Q3 43, but unfortunately with the addition of a 'Leica Content Credentials' option that means it takes an extra step before you can get into the menu proper. It's an odd decision, given Content Credentials doesn't seem like a setting you're likely to want to change regularly.

Battery

The M EV1 uses the same BP-SCL7 battery as the rest of the M11 family of cameras. It's a fairly substantial 13.3Wh unit that Leica says will power the camera to a rating of 244 shots per charge if you use the rear screen and 237 if you use the viewfinder. These numbers use the CIPA testing standard, which tends to significantly under-represent the battery life, but sub 300 ratings usually mean having to carry a spare battery or external USB power pack if you're a prolific photographer.

Initial impressions

by Richard Butler

I remember the first time I got to use a Leica rangefinder. Within a few hours I'd taken two photos that I can still picture in my head, nearly two decades later. They weren't necessarily in perfect focus, but I found it so quick to match the overlayed images that I quickly came to see how a technology could be superseded several times over, yet not be rendered obsolete.

"Anyone really interested in photography should rent a rangefinder for a weekend," has been a recurring phrase I've used in the years since.

Sadly, the M EV1 offers none of this experience.

Leica M-Summicron 35mm F2 | F4.8 | 1/250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler

Focus peaking makes it possible to match some of the speed of using a rangefinder, with perhaps somewhat similarly approximate focus. As with all these systems, it's highly dependent on aperture and light level, meaning everything can end up highlighted, at times, or nothing, sometimes. For the sort of precision that 60MP probably deserves, you'll need to use magnified live view.

Unlike some modern mirrorless cameras, the M EV1 doesn't have anything like a subject recognition system, to let you punch-in on potential subjects, so you'll have to tap on the screen or use the four-way controller to very slowly reposition the target point you want to zoom in on, though be careful not to tap the screen with your nose, if you're left-eye dominant, because that'll move your point, too.

Of course you could focus at the center and shift the camera, as you might with a rangefinder, but that would throw away any precision benefit that live view should have.

Leica M-Summicron 35mm F2 | F2.0 | 1/1250 sec | ISO 64 Processed with Adobe Camera Raw Photo: Richard Butler

I wrote, back when the M11 was launched, that the flexibility of live view and the added focusing precision it offered risked making the rangefinder and optical viewfinder seem redundant. My experience with the M EV1 so far suggests I was wrong.

I should make clear, I'm not a fan of shooting with manual focus lenses on modern cameras, full-stop. I find it slow and imprecise, and the focus tools are nothing like as simple and fast (albeit imprecise) as a split prism finder on an SLR or a rangefinder.

This job doesn't allow me the leeway of being 'there or thereabouts' in terms of focus, and I just find the whole thing slow, frustrating and fiddly.

Leica M-Summicron 35mm F2 | F2.8 | 1/1160 sec | ISO 64 Photo: Richard Butler

Based on using the camera for a week, I can't see the point in paying 91% of the cost of a Leica rangefinder, only to get something that isn't a rangefinder and that's no more elegant to shoot with than any other mirrorless camera trying to manual focus. Yes it's beautifully made and it has a red dot, but I'm not sure you gain much over, say, a Sony a7CR, with which it shares a sensor.

After a few minutes of shooting with an M9, I understood why someone might buy a rangefinder. After a few days with the M-EV1, I'm at a loss to why anyone would buy this instead.

The Fujifilm X-T30 III is the company's latest entry-level, SLR-shaped mirrorless camera, with its latest color mode recipes and autofocus.

Key specifications

• 26MP X-Trans APS-C BSI CMOS sensor
• Film simulation dial with recipe positions
• Tilt up/down rear screen
• 2.36M dot EVF
• 4K/60 video with 1.18x crop, 6.2K/30 full-sensor capture
• 315 shot-per-charge battery life, 425 in power saving mode

The X-T30 III will be available from November 2025 at a recommended price of $999. There will also be the option to buy the camera with a new, unusually wide, 13-33mm F3.5-6.3 OIS zoom lens, which will cost around $1150.

Index

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

What's new?

The Film Simulation dial on the camera's shoulder has three custom positions that can be assigned to film simulations or the simulation-and-parameter-tweak combinations known as 'recipes.'

The X-T30 III, as the name implies, is an iterative update of the existing X-T30 II. It gains the latest Fujifilm processor, which brings subject recognition autofocus. This brings it into line with the X-M5 and X-T50.

It also gains a Film Simulation dial, instead of the drive mode dial on the previous X-T30 models. Like the more expensive X-E5, the three custom positions on the dial can be set up to store 'recipes': sets of JPEG processing settings that modify the behavior of an underlying film simulation.

The more powerful processor also brings a boost in the video features, with 60fps 4K video options (with a 1.18x crop) and the option to shoot using the whole sensor in 6.2K resolution at up to 30fps.

Finally, the X-T30 III becomes the first model to be offered with a new 13-33mm F3.5-5.6 stabilized kit zoom. This offers an unusually wide 20-50mm equivalent range, which is likely to be a welcome capability for photographers whose previous experience has mainly been with the wide-angle cameras on smartphones.

What is it?

The X-T30 III maintains the classic-SLR looks of the X-T series.

The X-T30 III plays the same role in the lineup as its predecessor did: the least expensive SLR-shaped camera in the Fujifilm range. Like the Mark II and the X-M5, it's built around an unstabilized 26MP BSI CMOS sensor. It's an APS-C-sized chip with Fujifilm's proprietary X-Trans filter pattern in front of it. This was originally designed to reduce visible errors in images but increasingly just seems to make the files a little more tricky to process.

The X-T30 III offers a decent set of features: it'll shoot moderately quickly, captures good quality video and offers a range of subject-recognition AF modes, making it quick and easy to focus on common subject types. It also has a switch to jump quickly to its Auto mode that tries to select the appropriate scene mode and settings for whatever you point it at. It's also somewhat unusual in still offering a small pop-up flash.

The standout feature of the X-T30 III, in common with the rest of the Fujifilm range, is the provision of its film simulation color modes, giving you a selection of (mostly) well-judged, attractive color responses, for your images. The Mk III puts these at your fingertips by providing a dedicated dial, making it easy to experiment with the different looks it offers.

How it compares

The X-T30 III is one of Fujifilm's entry-level models. The viewfinder means it's a little more expensive than the rangefinder-style X-M5, but it has a list price lower than that of the image-stabilized X-S20. We'll include the X-S20, as the most affordable stabilized APS-C camera.

In terms of rivals, the Nikon Z50II is probably the most like-for-like competitor, with Canon's EOS R10 also offering similar specs for similar money. We're omitting the distinctly elderly Sony a6400 as it only shoots 8-bit video and doesn't have such extensive subject recognition AF. The OM System lineup either offers the OM-D E-M10 IV for less money or the OM-5 II for more, both are built around smaller but stabilized sensors. The OM-5 II is the least expensive mirrorless camera to offer an 'IP' rating for its weather sealing.

In spec terms, there's not much to choose between these models. What the chart can't show is that the Nikon probably has the best autofocus tracking performance here, with the Canon a very close second (it's a little less dependable in video mode). This is still something of a weakness for the Fujifilm, though its subject-recognition modes do well.

Both the Canon and Nikon handle better than the Fujifilm, having fewer, but in our experience, better laid-out controls that are harder to operate accidentally. The Fujifilm's Auto switch will be handy for some users and anyone looking for a camera to grow into is more likely to find the lenses they want in the X mount, but the offerings for Canon and Nikon are (finally) improving, so it's worth investigating whether the lenses you think you might want are available for each system, before picking a camera body.

The X-T30 III is also the smallest camera here and offers a wider array of attractive color modes than its rivals. There's also the option of that slightly pricy but unusually wide kit zoom.

Body and handling

The X-T30 II offers plenty of hands-on control, including two clickable command dials, an exposure comp dial and an AF joystick, but these have all been fitted into a small space.

The body of the X-T30 III is essentially the same as the one from previous X-T30 models, meaning it's slightly smaller than the X-T50 and lighter. A ridge down the front of the camera and a protruding bump on the back means it fits firmly in the hand, and feels secure thanks to the tactile rubber coating, front and rear.

The X-T30 III has a fair degree of external control, including six buttons that can be customized and four swipeable directions on the rear touch screen. It also has two well-positioned clickable command dials, a dedicated exposure comp dial and dedicated shutter speed dial, as well as that film simulation dial.

There's also a joystick for positioning the AF point or navigating the menus and flick switches under two of the dials to activate the flash and to engage full Auto mode.

While we're pretty impressed, overall with this level of direct and customizable control, we find it's perhaps a little overwhelming on a body this small. If you have larger fingers, or don't know what all the controls do, the X-T30 III risks being a bit of a handful.

The X-T30 III only has three ports on its right-hand side, but they offer a lot of functions.

In terms of ports, the X-T30 III has a 2.5mm socket the serves double-duty as a remote control connector or a mic input. Most mics use a 3.5mm plug, so you'll need an adapter to attach one. Below this there's a USB socket that can be used for charging the camera, transferring data or connecting a pair of headphones, with the supplied adapter.

Finally, there's the micro HDMI socket for outputting video or a Raw video data stream that can then be encoded by either a BlackMagic or Atomos external recorder to BRaw or ProRes Raw, respectively. This isn't the obvious model to do that from, especially not given how delicate micro HDMI sockets can be, but it's nice that Fujifilm hasn't omitted a feature this hardware can support.

Battery

The X-T30 III uses the same 8.7 Wh NP-W126S battery as most of Fujifilm's smaller cameras. It powers the camera to a rated value of 315 shots per charge, or 425 in 'Economy' mode. These numbers don't reflect the number of shots you'll get from the camera (getting twice the rated figure isn't unusual, depending on your use of image review, flash or burst shooting), but they're broadly comparable between cameras.

A figure of over 300 shots per charge is good for this class of camera and is likely to mean you can use it for a weekend of casual shooting without having to think about the battery. The battery can be recharged over USB.

Video

The X-T30 III's video specs are competitive but there are other models better suited to video within the range.

The X-T30 III gains all the video modes we've seen appear in this generation of 26MP Fujifilm models. In many respects, it's a sensor better suited to video than the 40MP chip in their more expensive models, because it doesn't have to read out so much data to produce its 4K footage.

The X-T30 II can capture full-sensor, 'open gate' footage at up to 30p in 6.2K resolution, or it can deliver 4K derived from this 6.2K resolution in more common aspect ratios. It can shoot 4K at up to 60p with a slight crop.

However, while the video specs are more than solid for this class of camera, the X-T30 III's lack of image stabilization makes the X-T30 II a harder camera to shoot good footage with. The kit zoom is stabilized, and you can add digital stabilization in the camera, but the X-S20 is probably the better choice if video is a significant interest to you. As well as stabilization, the X-S20 has standard 3.5mm mic and headphone sockets and is compatible with the accessory fan unit to extend recording times.

Initial impressions

by Richard Butler

The X-T30 III is a welcome update to one of Fujifilm's more affordable and popular models. The introduction of the higher-specced, and more expensive X-T50 made it less clear that it'd get another update, but here it is. For existing Fujifilm users, it's not likely to cause much excitement: it's just a familiar, existing model being brought into line with the rest of the range by inheriting familiar, existing features.

But for anyone outside the system, it's perhaps a bit more significant. It brings one of Fujifilm's more affordable cameras up to the same standard as models such as the X-M5 and X-S20. So you can now choose whether you want a rangefinder shaped camera or a DSLR-shaped one, you can choose whether you want to pay for image stabilization or not, and you can choose between the dedicated dials of the X-T series or the command dial approach of the X-S cameras.

Fujifilm's Film Simulation modes are a significant feature of its cameras, not because they mimic filmstocks, particularly, but because they offer a series of subtle and attractive color options. Fujinon XC 13-33mm @ 33mm | F6.3 | 1/120 sec | ISO 160 Photo: Richard Butler

Personally, I've always found the little X-Ts to be somewhat awkward: they offer a lot of direct control on a very small body for both better and worse. I sometimes worry that this risks making them look intimidating to new users, but that's more of a hypothetical concern, in practice I find the controls just a bit too small and fiddly to really use.

My biggest concern is the small, easily pressed clickable front dial, which you'll almost certainly have to use if you want to shoot in aperture priority. I found it extremely difficult to turn without also pressing, which would result in the camera cycling out of Auto ISO to either the highest or lowest ISO setting. As someone who primarily shoots in aperture priority mode, and using the kit lens that lacks an aperture ring, I found I had to customize the front dial to only control aperture, to stop me inadvertently changing ISO constantly.

The unusually wide Fujinon XC 13-33mm F3.5-6.5 OIS lens that you can get in a bundle with the X-T30 III helps set it apart from its predecessor and its peers. Fujinon XC 13-33mm @ 13.3mm | F8.0 | 1/680 sec | ISO 320 Photo: Richard Butler

Likewise, on the day I tried using the camera with gloves, I repeatedly caught the Q button with the edge of my gloves, popping up the quick menu. The good thing is that you can customize the camera to overcome these issues, but I had to make quite drastic changes to make it practical to use the camera in a hands-on manner, which just heightened my concern about the camera's controls not being optimized for either the inexperienced or the experienced user. At least, not out of the box.

The new kit zoom is an excellent addition, though. At F6.3 at the long end, it's a little slow, and not all my shots were quite as sharp as I'd hope, but the ability to just keep going wider and wider really set it apart from other entry-level models I've used.

Pre-production Fujifilm X-T30 III sample gallery

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

Image: Fujifilm

Fujifilm has announced the XC 13-33mm F3.5-6.3 OIS, a 20-50mm equiv. zoom that slots into its lineup of budget lenses for its APS-C cameras. It's the kit lens for the X-T30 III being announced alongside it, and is currently only available if you buy that camera with it, but it's an interesting addition to the company's lineup.

The lens is made of ten elements in nine groups, with four aspherical lenses and three ED elements. It has a minimum focusing distance of 0.2m (7.9"), and a nine-bladed aperture, which should provide more circular bokeh than the seven-bladed one on the XC 15-45mm F3.5-5.6 OIS PZ.

At 125g, Fujifilm says it's the lightest zoom lens for its X mount system; it's also the company's first manually retracting lens for the mount. That means it can get as short as 37.5mm (1.5"), though in use it'll be at least 55.6mm (2.2"). It accepts 49mm filters, and its optical stabilization provides a benefit of 4EV.

Retracted, the lens is absolutely tiny. Image: Fujifilm

Given its XC designation, it's not surprising that the lens doesn't have many external features. You get zoom and focus rings, but that's pretty much it; unlike most of the higher-end XF lenses, there's no aperture control ring.

The lens provides an interesting focal length, going relatively wide for something that's around normal on the long end. Fujifilm's other standard zoom lenses start around 23 or 24mm (though they typically provide a fair bit more reach). It's possible this is to help it, and the camera it's being sold with, appeal to younger people who are used to wide-angle lenses from their smartphones.

Fujifilm says the lens will be available standalone in "late January 2026" at an MSRP of $399.

While we haven't had the chance to shoot a dedicated lens sample gallery with a high-resolution body yet, you can see plenty of images we took with the lens in our sample gallery for the Fujifilm X-T30 III.

Fujifilm XC 13-33mm F3.5-6.3 OIS specifications:

Nikon Comedy Wildlife Awards 2025 Finalists

The Nikon Comedy Wildlife Awards have announced the finalists of the 2025 competition. The shortlist includes 40 standalone images, 3 portfolio entries and 10 videos, each capturing laughable moments with wildlife. This year's contest received just under 10,000 entries, a record number, with submissions coming from 108 countries.

The finalist images will be judged by a panel over the next few weeks, and the Overall Winner, Category Winners, and Highly Commended Winners will be announced on Tuesday, December 9, at an Awards Night in London. The contest highlights work in nine categories: mammals, birds, reptiles and amphibians, aquatic species, insects, young photographers (up to 25 years), juniors (up to 16 years), portfolio and video. The competition offers a grand prize of a one-week safari with Alex Walker's Serian in the Masai Mara. Other prizes for the contest, of which Nikon is a partner, include a Z6III, Z50II and Nikon ZR, plus bags from ThinkTank.

The Comedy Wildlife Awards, co-founded by professional photographers Paul Joynson MBE and Tom Sullam, have been running since 2015. The pair started the contest to fuse wildlife photography and humor to help promote the conservation of wildlife and habitats. Entires are not allowed to use AI or digital manipulation; instead, they must find authentic moments of silliness in the wild.

Each year the competition supports a sustainable conservation organization. This year's organization is the Whitely Fund for Nature (WFN), a UK charity that supports conservationists working in their home countries in the Global South. The organization has provided £24 million to 220 conservation leaders in 80 countries over the past 30 years.

You can see all of the finalist photos and videos and learn more about the contest at the Comedy Wildlife Awards website.

Now which direction is my nest?

Photographer: Alison Tuck. (UK)

Title: Now which direction is my nest?

Location of photo: Bempton Cliffs, Yorkshire, UK

Animal: Gannet

Description: A windy day on Bempton Cliffs during the nesting season.

The Shoulders of Giants

Photographer: Andrew Mortimer (Australia)

Title: The Shoulders of Giants

Location of photo: Leonora, Australia

Animal: Frog

Description: If I have seen further, it is by standing on the shoulders of giant [frog] s. In a bore casing on a minesite tenement around 2 hours drive from Leonora, there lives a colony of frogs. Slightly too short to see over the PVC casing, they make do wherever they can.

Welcome to Zen Lemur Yoga Course!

Photographer: Andrey Giljov (Russian Federation)

Title: Welcome to Zen Lemur Yoga Course!

Location of photo: Anja Community Reserve, Madagascar

Animal: Ring-tailed lemur (Lemur catta)

Description: Instructor Lemur demonstrates perfect enthusiasm, reaching high to embrace the universe. Student Lemur contemplates whether enlightenment is worth this much effort before breakfast. Flexibility? Optional. Dramatic flair? Mandatory.

Go away

Photographer: Annette Kirby. (Australia)

Title: Go away

Location of photo: Hokkaido Japan

Animal: White Tailed Sea Eagle

Description: "In February 2025 I flew from my home in South Australia where the summer temperatures ranged from mid 20’s to mid-40 degrees Celsius to the island of Hokkadia in Japan, where temperatures were minus degrees, the coldest day being minus 18 Celsius.
I experienced a winter wonderland so vastly different from my arid hot home environment. A highlight was visiting Rausa on the Shirenhoka Peninsula and Nemuro Straits, where the Steller’s Sea Eagle gather in the winter to fish from drift ice. With fewer than 5000 left in the world they are listed as vulnerable on the International Union for Conservation of Nature’s Red List of threatened species. The female can weigh up to 9.5kg, making it the heaviest eagle in the world. Their wingspan, up to 2.5 metres is of the largest of any living eagle. In Japan they are protected and classified as a national treasure.
They indeed are a national treasure and so entertaining to watch and photograph as they fight to protect their catch. A favourite place for them to perch is on the sea wall protecting the fishing fleet at Rausa. They wait watching the boats come into the harbour hoping for a free feed of fish. I captured this photo of the Steller’s Sea Eagle as it sat in a deep hole in the snow. It had a fish and had flown on the sea wall and found a hole in the deep fresh snow. Other birds were flying above and as they came closer, I captured the look it gave them. There was no way it was parting with its catch. As it had made its intentions clear to other competitors, it stayed alert but managed to enjoy its catch.

Territorial Defence Operation

Photographer: Antoine Rezer. (France)

Title: Territorial Defence Operation

Location of photo: Iceland

Animal: White tailed eagle and goeland

Description: After five weeks in north-eastern Greenland on a scientific mission, I am slowly getting back in touch with human civilisation by spending a week in Iceland.
Driving along the edge of a fjord in north-western Iceland, I spot some gyrfalcons. I stop and watch them for a long time – there's a whole family! My eye is drawn to a larger bird of prey, a white-tailed eagle. Amazing! It lands after making it clear to the falcons that he's the boss.

I feast my eyes on the scene, as it's not every day that I get to witness something like this! When a seagull arrives, I imagine that the eagle will keep it at bay. I'm wrong! The gull's low-level flights follow one after another but are not enough. So the gull changes strategy and drops its bomb on the eagle! The eagle finally flies away, leaving the site to the gull. Motivation can be stronger than size!

I Just Can't Wait To Be King

Photographer: Bret Saalwaechter. (USA)

Title: I Just Can't Wait To Be King

Location of photo: Serengeti National Park, Tanzania

Animal: Lion

Description: I’ve always been fascinated by the complex social lives of lions, and there’s no better place to observe them than Tanzania’s Serengeti National Park. I captured this image in September 2024, during the dry season, when dwindling food and water can heighten family tensions. One morning near the Semetu Kopjes, we found a pride locked in a lively standoff - hungry cubs clamoring for milk, mothers giving in briefly before retreating in exhaustion. Life in the dry season is no picnic—lions are anxiously waiting for the Great Migration and the feast it promises—but it makes for some incredible wildlife behavior and these cubs were the stars of the show. For over an hour, they followed their mother around a famous Serengeti kopje—those iconic rocky outcrops that dot the landscape—alternating between trying to suckle and play. Each time the mother, already in a foul mood from the sweltering heat, would give a quick roar of disapproval and escape the circus. But the cubs, like any persistent little ones, would chase her down, nipping at her and yelping for more attention. This back-and-forth drama played out again and again Roaring in protest, the lionesses leapt onto the kopje for a moment’s peace, only to be followed by their relentless offspring. As the chaos peaked, the entire pride erupted in a chorus of roars and wails, giving me the perfect instant to press the shutter.

Bad Hair Day!

Photographer: Christy Grinton. (Canada)

Title: Bad Hair Day!

Location of photo: Beacon Hill Park, Victoria, British Columbia

Animal: Grey Squirrel

Description: For my image "Bad Hair Day" I was in a local park in downtown Victoria when I saw a grey blur run by. When I looked closer I saw a mother grey squirrel was relocating her babies to a new nest. The grass was dewy that morning so she was getting a wet tail as she ran through the grass. As she entered her new nest her tail was sticking out so when she turned around to leave, for a short second her head was covered by her wet tail. When I saw her it made me smile thinking I know that moment where you have just washed your hair and the doorbell goes! I also loved the textures and colours of the bark of the arbutus tree surrounding her and her "bad hair"

OMG he's at it again!

Photographer: David Rice. (USA)

Title: OMG he's at it again!

Location of photo: Kushiro Shitsugen National Park in East Hokkaido, Japan

Animal: Red-Crowned Crane

Description: Crazy morning antics of the Red-Crowned Cranes

Landing Gears Down

Photographer: Erkko Badermann. (Finland)

Title: Landing Gears Down

Location of photo: Finland

Animal: Red-throated Loon

Description: "This photograph came about as a hard-won victory of patience. I have been photographing Red-throated Loons for several years. I lie on the edge of a bond under a camouflage net and photograph their spring courtship displays from my hide. The ground is wet and cold. That morning, an unseasonable early-spring snowfall caught me by surprise, making photography almost impossible. Lying there on the cold shore of the bond, I found myself thinking there was no sense in being there. I was already about to leave. However, I decided to stay, and the snowfall faded into quiet, beautiful drifting flakes, and a thin mist rose from the surface of the lake.

Another Red-throated Loon on the lake had turned white from the snowfall. From its behaviour I noticed that its mate was arriving at the lake, and I managed to get it in my camera’s focus against the grey sky. I lost it for a moment, but caught it again just before it landed on the water.

The Red-throated Loon is quite a “poor” flier, and its landing is usually very wobbly: it seeks balance with its legs stretched backwards and then belly-lands to glide. I like to say they use the water as their runway. This time the bird came straight towards me and was so steady you might imagine it had taken flying lessons.
The photograph has travelled with me in my exhibitions, and it always elicits a chuckle from viewers. There is something funny about it. I thought it would be perfect for this competition to bring joy to its viewers."

Hornbill In A Hurry

Photographer: Geoff Martin. (UK)

Title: Hornbill In A Hurry

Location of photo: Kwazulu-Natal, South Africa

Animal: Southern Yellow-Billed Hornbill

Description: I was in a hide in Zimanga, South Africa photographing white backed vultures or rather hoping to, when this southern yellow billed hornbill appeared and proceeded to position itself immediately in front of the hide obscuring any clear shots of the vultures. After several frustrating minutes a harris hawk came in rather quickly from the right coinciding with the hornbills departure. However, the hornbills expression appears to be one of sheer panic suggesting the hawk is eyeing the hornbill up for breakfast. Having both birds in the photo helps sell the story and increase the sense of urgency of the hornbill. Don’t worry, the hornbill departed unscathed!

Baptism Of The Unwilling Convert

Photographer: Grayson Bell. (USA)

Title: Baptism Of The Unwilling Convert

Location of photo: Biddeford, Maine USA

Animal: Green Frog

Description: One morning I was hanging out with my camera along the edge of a pond near our home. I noticed 2 frogs fighting and took a bunch of shots of them. This photo captures two male Green frogs, which are native to Maine. They usually have greenish-brown on their backs, with dusky bars on their hind legs and a lighter underside. Males may have a yellow throat, while females' are white. They make a throaty sound like a ‘boink’. In this photo, these two male frogs are jockeying for territory. They will engage in physical confrontations like wrestling to defend valuable habit that will attract females. I took several shots of them, but this one in particular amused me because it looked like one was trying to baptize the other against his will.

Peek a Boo

Photographer: Henry Szwinto. (UK)

Title: Peek a Boo

Location of photo: Sri Lanka

Animal: Asian Elephant

Description: A Sri Lankan Elephant playing peek a boo with his ears

Outdoor smoking zone

Photographer: Lars Beygang. (Germany)

Title: Outdoor smoking zone

Location of photo: Neumarkt, Bavaria, Germany

Animal: Mallard duck

Description: During the spring months, I was commissioned to photograph the urban wildlife of a city near my hometown in Bavaria. After several early mornings by the pond, I decided to return once more to the same spot. It was a very cold morning, with temperatures low enough to make the breath visible. As the first rays of sunlight broke through from behind, I noticed a mallard perched on a fence, calling out into the air. I quickly pressed the shutter, hoping to capture the visible breath streaming from its beak. The scene made me smile - it looked as if the duck had just stepped outside for a quick smoke in the cold morning light.

Fonzies advertising

Photographer: Liliana Luca. (Italy)

Title: Fonzies advertising

Location of photo: Madagascar

Animal: Propithecus coronatus (Lemure)

Description: This moment happened after the tourists had left Nosy Komba (Madagascar). I stopped, letting the silence fall around me, and turned my attention to a group of crowned sifakas (Propithecus deckenii). It was then that he appeared, staring at me with wide, curious eyes, as if questioning my presence... or perhaps my clothing choices.

Then, with the grace of a stage actor and the timing of a comedian, he raised his hand, licked it thoughtfully, and then paused mid-gesture, as if he knew exactly what he was doing.

The photo immediately reminded me of that old snack commercial: "If you don't lick your fingers... you're only half enjoying it!" Ultimately, this is why I love nature photography so much: sometimes nature's sense of humor is better than our own; you just have to be ready to catch it.

High Five

Photographer: Mark Meth-Cohn. (UK)

Title: High Five

Location of photo: Rwanda

Animal: Gorilla

Description: This photograph was taken during a trip to Rwanda earlier this year, where we spent four unforgettable days trekking through the misty Virunga Mountains in search of the gorilla families that call them home. On this particular day, we came across a large family group gathered in a forest clearing, the adults were calmly foraging while the youngsters were enthusiastically playing. One young male was especially keen to show off his acrobatic flair; pirouetting, tumbling, and high kicking. Watching his performance was pure joy, and I’m thrilled to have captured his playful spirit in this image.

Darling, please stop!

Photographer: Massimo Felici. (Italy)

Title: Darling, please stop!

Location of photo: Tanzania, Serengeti.

Animal: Lions

Description: During a photo safari in Serengeti National Park in Tanzania, we were following this pair of lions in love. Unfortunately, they were disturbed by a violent thunderstorm, which dampened their enthusiasm!

It created a cute scene with both of them shaking off the rain, but the male always prevailed due to his impressive mane!

The Choir

Photographer: Meline Ellwanger. (USA)

Title: The Choir

Location of photo: Masai Mara

Animal: African Lion

Description: A hilariously lucky moment I caught of these three lions yawning at the same time.

Flamingone

Photographer: Miles Astray. (Canada)

Title: Flamingone

Location of photo: Aruba

Animal: Flamingo

Description: We’ve all seen a flamingo, but have you ever seen a flamingone? Only an AI could make that up. Or did I just make that up? With AI-generated content remodelling the digital landscape rapidly while sparking an ever-fiercer debate about its implications for the future of content, its creators, and its consumers, I entered F L A M I N G O N E into the AI category of the 1839 Awards. That oddball took home two awards, which were revoked when I revealed that the emphasis of this surreal creature is on real, as in real animal, real photograph. The idea was to prove that Mother Nature and her human interpreters can still beat the machine, and that creativity and emotion are more than just a string of digits. The picture shows a flamingo whose head is apparently missing, but I promise it’s there somewhere. In fact, the bird is just going about its morning routine at a Caribbean beach, head tucked beneath the torso to give the plumage a good cleaning. What seems like a headless flamingo, is really just this awkward yet iconic hero-creature scratching its belly, head tucked beneath the torso—a candid, lucky shot.

Hit the dance floor!

Photographer: Paula Rustemeier. (Germany)

Title: Hit the dance floor!

Location of photo: Netherlands

Animal: Red foxes (vulpes vulpes)

Description: This shot was taken quite at the beginning of my wildlife photography "journey". I always enjoyed nature, but usually only photographed my dog, until I observed foxes for an essay I wrote for biology lessons in school and decided I want to try to photograph and learn even more about foxes.

The photo was taken in a nature reserve. They don't get hunted there and therefore are seen during the day as well. Something I found true with all areas with low hunting pressure that I've been to so far.

I'm not the biggest fan of camouflaging. While I do use it occasionally, the best way I have found to photograph them, especially young ones, is just being present. If you put in the time, I found that the foxes usually get either curious or see you as something natural, not dangerous. Either way, they come close eventually. I had several foxes nipping at my shoes already like this, as well as foxes catching mice just a couple meters away from me!

This was my tactic with these foxes too. Like this, I could follow and document them for several months while they grew up. Their den lied in a sandy valley. Sometimes I found one or two sleeping in that area during the day, but when dawn set, they met up at this spot, got really active and often played a lot together, just like in the image.

The time with them taught me a lot about their social behavior. I saw them fight, hunt, sleep, groom - and of course play, which is always my favorite to watch! You really have to giggle a lot watching foxes play with their quirky personalities.

Since then, I had been photographing and following fox cubs every spring/summer and had much more amazing encounters with foxes and also other wildlife. :)

Squirrel airborne: surrender mode

Photographer: Stefan Cruysberghs. (Belgium)

Title: Squirrel airborne: surrender mode

Location of photo: Belgium - Diest

Animal: Red squirrel

Description: A few years ago, a simple wooden hide was available for rent in a forest near my home, known for its lively red squirrel population. I had visited the spot several times before, and eventually began experimenting with capturing squirrels mid-jump. This resulted in countless blurry shots, but also a few fun and quirky moments—including the one I submitted. Sadly, the forest has since been cut down due to an infestation of bark beetles, but I still cherish the images I captured of these agile and comical little acrobats. I thought this flying squirrel looks like it’s throwing in the towel mid-air—arms wide, total surrender!

Smile, you're being photographed

Photographer: Valtteri Mulkahainen. (Finland)

Title: Smile, you're being photographed

Location of photo: Martinselkonen village, Suomussalmi district. Finland

Animal: Brown bear

Description: When I was photographing bears, this one year old bear cub saw it and started smiling at me. Apparently he had already had to pose in front of photographers.

Headlock

Photographer: Warren Price. (UK)

Title: Headlock

Location of photo: Hornøya, Norway

Animal: Bridled Guillemots

Description: These guillemots were nesting on a small rocky cliff ledge where space was at a premium. The nests all crammed in close together which isn’t a good recipe for being good neighbours, as guillemots are fiercely territorial. Aggression and battles are frequent over nesting space and I captured this image of this bemused looking bridled guillemot, its head firmly clamped in his/her neighbours beak. I liked the way the guillemot was looking directly into my lens, its white eye-liner eyes highlighting its predicament! Sometimes you just want to bite your neighbours head off..literally !

Updated Oct 22, 2025

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

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

Our picks:

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

Best affordable kit: Sony a6100

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

Photo: Richard Butler

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

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

Read our Sony a6100 review

See the Sony a6100 studio scene

Best value around $1000 - Nikon Z50II

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

Photo: Richard Butler

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

Read our full Nikon Z50II review

See the Nikon Z50II studio scene

Best APS-C mirrorless camera: Fujifilm X-T5

Photo: Richard Butler

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

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

Read our full Fujifilm X-T5 review

See the Fujifilm X-T5 studio scene

What are my other APS-C options?

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

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

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

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

Full-frame mirrorless

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

Best value full-frame mirrorless: Nikon Z5II

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

Photo: Mitchell Clark

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

Read our full review of the Nikon Z5II

See the Nikon Z5II studio scene

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

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

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

Best mid-priced full-frame mirrorless: Nikon Z6III

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

Photo: Richard Butler

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

Read our full review of the Nikon Z6III

See the Nikon Z6III studio scene

The mid-priced rivals

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

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

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

Best high-end mirrorless camera: Canon EOS R5 II

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

Photo: Richard Butler

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

Read our Canon EOS R5 II review

See the Canon EOS R5 II studio scene

A worthy competitor

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

Compact high-resolution: Sony a7CR

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

Photo: Richard Butler

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

Read our Sony a7CR initial review

IQ above all else: Fujifilm GFX 100S II

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

Photo: Mitchell Clark

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

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

What are the other high-end options?

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

Why you should trust us

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

Image: MirageC / Moment via Getty Images

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

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

How do you deal with bad copies of lenses?

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

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

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

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

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

Click here to answer the Question of the week

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

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

How to avoid noise

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

Maximize exposure

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

Avoid underexposing

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

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

Shoot in Raw

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

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

Use in-camera long exposure noise reduction

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

When possible, increase light

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

Reducing noise in editing

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

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

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

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

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

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

Photo: Peak Design

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

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

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

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

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

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Image: Realme

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

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

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

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

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

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

Images: Realme

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

Image: Realme

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

Image: Realme

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

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

Image: Aura

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

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

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

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

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

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

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

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

The testing process. Photo: Aura

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

The Aura Ink is now available for $499.

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