Photo News

The July Editors' photo challenge

For our July Editors photo challenge, we set our sights on "Landscape Photography" and asked you to share your most stunning landscape images.

As always, you delivered! DPReview photographers covered the globe to capture stunning scenes with land, sky and water, including impressive stitched panoramas. We were overwhelmed with many incredible photos – many more than we can present here. Our top picks, 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 some other photo challenges, visit our Challenges page to see currently open or upcoming challenges or to vote in a recently closed challenge.

Alpe di Siusi sunrise

Photographer: dvine photographer

Photographer's statement: One of my favorite shots I took on the first morning of my first trip to the Dolomites. Having had no time to scout (and with the announced weather being marginal), I decided to take the hike to this location that's been on my bucket list for a long time! Following a solitary peaceful hike in the pre-dawn glow, I arrive at the location and start Looking where to set up before sunrise. I found this spot (quite far down the road from a group of (loud) photographers and a forest of tripods), which worked great! The subtle leading line of the orange grass and the patterns in the grass in the foreground lead the eye to the middle and background, where the magic happens. The very well-defined sunbeam created by the shadow of Sassolungo, the faint backlit mist in the valley on the left, with the alpine huts dotting the landscape, create this dramatic and compelling image. The foreground being in shadow draws the viewer's eye into the shot. One of my favorite shots to this day!

Equipment: Sony a7R III +Tamron 28-200mm F2.8-5.6 Di III RXD

The hand of God

Photographer: Juliendelaval

Photographer's statement: I captured this photograph in the heart of the Cirque du Fer à Cheval, in the French Alps. My goal was to find a unique, almost surreal light that would transcend the landscape. That day, after days of observation and perseverance, the clouds and sun rays aligned to create an incredible atmosphere.

Equipment: Sony a7R II + Tamron 35-150mm F2-2.8 Di III VXD

Grand Canyon, South Rim at Desert View

Photographer: PlatinumCharlie

Photographer's statement: This photo was taken just before dawn, so the light was soft (no shadows) but still directional. I am a platinum printer, and this image is perfect for that printing medium -- whites and blacks are never as intense as other printing methods, so there is an emphasis on all the intermediate values in the image's tonal range.

Equipment: Tachihara 8x10 view camera + 300mm Nikkor F9 (view camera lens)

Kilauea

Photographer: fcarucci

Photographer's statement: Kilauea eruption, episode #26, June 2025. A sustained lava fountain erupts from Kilauea’s north vent during episode 26 in June 2025, reaching over 1,000 feet and producing significant volcanic gas and tephra.

Equipment: Hasselblad X2D 100c + Hasselblad XCD 90mm F2.5 V

Whispers beyond the bridge

Photographer: BROWN-AU

Photographer's statement: Hidden deep in Wooroonooran National Park, this moss-covered bridge emerges like a secret invitation. The moment I arrived, the rainforest hushed—birds paused, the stream murmured in riddles, and the air thickened with unseen presence. It felt less like crossing a stream and more like entering a threshold between worlds. I didn’t rush forward. I listened. I waited. In this untouched pocket of Far North Queensland, the landscape doesn’t shout—it whispers. And only those still enough will hear.

Equipment: Sony a7R II + Sony 16mm F2.8 Fisheye

Sunset at Sand Harbor

Photographer: rishabhonnet

Photographer's statement: Stepping onto the sandy shores of Sand Harbor on Memorial Day evening is like entering a living watercolor painting. As the sun lowers toward the Sierra Nevada skyline, its rays dance across Lake Tahoe’s famously blue waters. The sky transforms into a fusion of warm golds, pinks, purples, and molten orange.

Equipment: Sony a7C II + Sony FE 24-50mm F2.8 G

The empire of the midnight sun

Photographer: BasilG

Photographer's statement: Spectacular view of the midnight sun in Senja, Northern Norway. This region, with its mountains rising straight from the sea and the stunning midnight sun, is among my favourites for landscape photography. It took me two attempts to capture this photograph as I had imagined it, as I was caught in a thunderstorm on the first attempt.

Equipment: Nikon Z7 + Nikon Nikkor Z 14-24mm F2.8 S

2023 New Mexico White Sands yucca

Photographer: garyphx

Photographer's statement: Taken late in the day on our way out of White Sands National Monument. I actually stopped to take a different photo. Then saw this lone Soaptree Yucca on top of a large dune. The grain of the "sand" and ripples on top are classic White Sands.

Equipment: Leica Q2 Monochrom

No pink glasses needed

Photographer: supernaut

Photographer's statement: I took this photo during a landscape photo workshop in the beautiful Italian Tuscany. We got up very early just to be in the right place - we wanted some fog in the valleys and a colorful sky during sunset. This shot was taken just before sunset. The sky was darkened a little bit by using the OM-1 II's internal graded ND filter.

Equipment: OM System OM-1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Croda da Lago

Photographer: Lemmj

Photographer's statement: Croda de Lago mountains as seen from Cinque Torri near the town of Cortina d'Ampezzo in the Dolomites, Italy. My two daughters and I were on a photo tour celebrating my 83rd birthday.

Equipment: Nikon D850 + Sigma 24-70mm F2.8 DG DN Art

Purple sunrise

Photographer: NMindel

Photographer's statement: Mirror Lake, New Zealand, South Island. I waited for sunrise and did not know what to expect. I had no idea these colors would pop for a few minutes of absolute magic.

Equipment: Sony a7R V + Tamron 35-150mm F2-2.8 Di III VXD

St. John's light

Photographer: TheDispossessed

Photographer's statement: This photo was taken from near the summit of Clough Head, looking towards St John's in the Vale in the English Lake District. Prior to the pandemic, I used to go to the Lake District every couple of weeks for a long (10 hour+) walk, with some of my best images being taken late in the day during the 'golden hour'

Equipment:Canon EOS 80D + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C

Oulu, 2025

Photographer: Black_and_white_FR

Photographer's statement: Oulu, Swedish: Uleåborg, is a city in Finland and the regional capital of North Ostrobothnia. It is located on the northwestern coast of the country at the mouth of the River Oulu. The population of Oulu is approximately 216,000, while the sub-region has a population of approximately 264,000. It is Finland's 5th most populous municipality, and the country's fourth most populous urban area. Oulu is also the most populous city in Northern Finland. I didn't have the bad weather you'd expect in winter: snowfall, fog and other storms. Even temperatures didn't drop below -6 or -7 degrees Celsius. Still, I was able to take a few pictures, and overall, my trip to Finland and Estonia was quite productive.

Equipment: Panasonic Lumix DC-G90 +Olympus M.Zuiko Digital 25mm F1.8

Falling rays

Photographer: sberkley

Photographer's statement: Fiordland is one of the most dramatic and beautiful parts of New Zealand. Carved by glaciers over 100,000 years, the landscape is one where waterfalls cascade hundreds of metres into deep black fiords; where ancient rainforest clings to mountains and where shimmering lakes and granite peaks look as they did a thousand years ago. Fiordland National Park is a World Heritage Site and includes Milford, Dusky and Doubtful Sounds.

Equipment: Nikon Z9 + Nikon Nikkor Z 24-200mm F4-6.3 VR

Glacier's embrace

Photographer: Fabian from Swizzy Land

Photographer's statement: The best time to be in nature is in the evening and in the morning when everybody is gone and all goes quiet. And one of the nicest times to take photos is 30 minutes after sunset, when it gets dark, but there is still a hint of light on the horizon.

Equipment: Sony Alpha a99 + Minolta AF 28-80mm F3.5-5.6 D

Himalayan fog

Photographer: Mazurekphoto

Photographer's statement: This is an image taken on a suspension bridge over the Dudh Koshi river near the small settlement of Phunke Tenga in the Everest Region of Nepal.

Equipment: Leica M10 Monochrom + Leica Summilux-M 24mm F1.4 ASPH

Mt. McKinley 2019

Photographer: marchark

Photographer's statement: Denali National Park in Alaska is home to Mt McKinley, the highest peak in North America, standing at about 20,000 feet. Most days, the cloud cover is so low that the mountain is not visible. But not on this June morning! Lucky for me and my family to get such a splendid view of this natural wonder.

Equipment: Sony a6400 + Sony E 18-135mm F3.5-5.6 OSS

Deep in the forest

Photographer: Meeces

Photographer's statement: Deep in the redwood forest. It's always a great place to spend quiet time with the camera and your thoughts. I like to think of it as one of the wonders of the world.

Equipment: Fujifilm X-T5 + Fujifilm XF 16-55mm F2.8 R LM WR

Trillium Lake at night

Photographer: mike earussi

Photographer's statement: This is a new experiment for me. This is a 30-minute exposure in an attempt to capture star trails, which seemed to work pretty well. I hope you like it. Trillium Lake is in Oregon, just south of Mt. Hood, which is seen in the background.

Equipment: Panasonic Lumix DC-S1 + Sigma 24mm F2 DG DN | C

An epic flight

Photographer: as9107

Photographer's statement: I love panoramas! But it is quite a challenge in turbulent air from a shaking paraglider. Here, on a beautiful summer day, I was flying with my friend Federico along the Gran Sasso chain in central Italy. High in front of the ridges, the view was so immense that I decided to fly a bit away from my flying buddy and try to take several photos, to be stitched together later, with him in the middle. From right to left, the main summits in the clouds are: Corno Grande 2912m, Pizzo Intermesoli 2635m and Monte Corvo 2623m.

Equipment: Fujifilm X-E2 + Fujifilm XF 18-55mm F2.8-4 R LM OIS

Image: LGR on YouTube

It's no secret that we're big camera nerds here at DPReview, and it probably won't surprise you that this passion doesn't just exist during work hours. Our various social media algorithms have picked up on this fact, and often show us some cool things that other creators have made. Since it's the weekend, we thought it'd be fun to share some of the better videos we've seen with our audience.

A review of I'm Back Film

Late last year, the oddly-named I'm Back announced that it was finally ready to start shipping the Film, a... well, film-shaped canister that it promises will turn traditional 35mm film cameras into digital ones by slotting into the film spool and putting a Four Thirds sensor behind the shutter. The company wasn't able to provide us a review unit for the launch, but apparently, YouTuber Clint Basinger, known as LGR, had backed the Kickstarter for it and received the I'm Back Film kit in January.

While he's most famous for reviewing retro computers and games, he goes fairly in-depth on how it works. The results are... well, you should watch the whole video to get all the nuance, but they're frankly not good. He wasn't able to get it to fit in a wide array of film cameras, and wound up having a pretty serious issue with image quality.

While LGR's review is solid, we'd definitely still be willing to give it a try ourselves. If anyone from I'm Back is reading this, you know where to find us.

Even more details on the unorthodox cinematography for 28 Years Later

We've covered how Danny Boyle's new movie, 28 Years Later, was shot using iPhones a few times on this site, but Sony Pictures Entertainment has just released a new video on the matter that we think is very worthwhile. In it, Boyle and longtime collaborator Anthony Dod Mantle discuss using drones to help make sure the landscapes in the movie actually looked untouched, why they decided to make the movie with a smartphone and some of the increasingly complicated rigs they used to turn the iPhone into a movie camera.

It's the latest example of a trend where movie studios are releasing videos of filmmakers doing deep dives on their craft. We'd very much like to see this continue – maybe we can get one for the next Christopher Nolan movie, which will reportedly be the first feature-length blockbuster shot on IMAX film cameras.

A monster DIY battery

We've all probably wished our cameras' batteries lasted just a bit longer at some point, whether because we were planning a marathon shoot or were left fishing around for a power lead or charger by a dead battery. YouTuber Evan Monsoma apparently also felt this way, but instead of just complaining about it or buying a commercially available video battery, he decided to take the DIY approach, using mostly materials he already had on hand.

For him, this meant getting a 20V battery made for power tools to work with his Sony a6600, and building an enclosure to contain all the circuitry and mount the battery to the camera. The results are impressive: he says he got over 15 hours of video recording with a 5 Amp hour battery, compared to the mere 3 hours with the stock battery.

This should probably go without saying, but don't try this one at home. It's all good fun to watch someone who (seemingly) knows what they're doing take this on as a project, but this is a concept probably best left as a "Evan did it so you don't have to."

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This week, Sony announced the RX1R III out of the blue. Its next-generation full-frame photographer's compact features the same 60.2MP sensor found in cameras like the a7R V and a7CR, with a fixed 35mm F2 lens.

The team sat down to discuss the camera, its eye-watering price in the US and how our readers and the internet as a whole have reacted to the announcement.

If you're looking for more on the RX1R III, check out our everything you need to know article and our comparison between it and Sony's small, high-resolution ILC, the a7CR.

Image: The Last Camera Project

Photography can feel like an isolating activity, so it's exciting when opportunities come around to feel like part of a bigger community. Such is the case with The Last Camera Project (TLCP), a community art project. TLCP was conceived by Lucas Buick and Ryan Dorshorst, the founders of the original retro camera app, Hipstamatic. The project invites people to create a single image, culminating in a show at Art Basil Miami and a book.

TLCP puts a digital spin on the concept of sending around a single disposable film camera, with each person taking one frame. "The idea is simple," says Buick. "If I handed you a disposable camera and said, 'Take One Photo. Then Pass it along to someone else,' what would happen?" Of course, sending a physical camera around wouldn't work very well for many reasons. So Buick and Dorshorst created a camera app that allows participation anywhere in the world.

Screenshots: The Last Camera Project

The app has some guardrails that help recreate the disposable film camera experience. It's styled to look like a disposable camera (minus the simulated display, of course). Like a film camera, participants can't review or edit their photo before submitting it. You get one chance to "Take one photo that represents you, your moment, your story." Your photo will save metadata, including location, timestamp, frame number and personal details that you add.

When you download the app, you can enter an invite code or join the waitlist.

Screenshot: Dale Baskin

The project is invite-only, but you can download the app (if you have an iPhone, as it's iOS only) and join the waitlist if you don't have an invite. Once you take your photo, you can invite up to six people to join the project.

Buick says there are currently 4K people on the waitlist, 10K people inside the project and 1200 photos contributed so far from over 50 different countries. The app displays a timeline with the people whose numbers have been activated and whether they've taken a photo, so you can keep tabs on the progress.

All of the images taken will remain a secret until the big reveal at Art Basel Miami in December 2025. The photographs will also be compiled in a book of the project.

You can download the app and sign up for the waitlist via the App Store, or check out more details about the project at the TLCP website and on Instagram.

Camera image: Canon

It's Friday, so it's time to round up recent firmware updates. This week brings an update from Nikon for the Z8, small improvements for some Panasonic cameras and a healthy list of changes from Canon. In fact, nearly every camera in its lineup has at least a small update, including the R5, R6 II, R8, R3 and R50. The upgrades range from minor (improved network security) to more significant (exposure simulation for flash shooting).

Below, you'll find some of the standout features included in the updates for each camera. There are additional smaller fixes for all, so for full details, be sure to head to the relevant page for each firmware version. Without further ado, let's get into it.

Nikon Image: Nikon Nikon Z8 Firmware Ver 3.01

Nikon's Ver 3.00 update for the Z8 was a dramatic one, unlocking a long list of new features. But it also caused two distinct issues for third-party lens users, rendering some lenses inoperable or limited in functionality. This update addresses at least part of that, though details are scant. The changelog simply states, "Fixed an issue that prevented the camera from operating properly with some lenses."

Nikon still has a warning at the top of the firmware download page that cautions against updating firmware with third-party lenses or mount adapters. Thus, it may not fix issues related to upgrading firmware on the Z8 with anything other than Nikon lenses. If you're updating to Ver 3.01, remove those third-party lenses to be safe.

See details and download the Z8 Ver 3.01 firmware here.

Canon Image: Canon

Canon released firmware for a long list of cameras, but it has since pulled back updates for the EOS R1 and R5 II. However, there are still plenty of other upgrades for other devices in the company's lineup.

Canon EOS R5 Ver 2.2.0

While the R5 II may not have an update ready yet, the R5 does. It's now compatible with CFexpress cards up to 8TB, which is ideal for videographers who need lots of space. It introduces an auto-protect feature when you rate images, a useful tool for those who cull in camera. The update also allows users to check for and download firmware updates when the camera is connected to the internet. That should make keeping cameras up-to-date much easier and faster (no more excuses).

See details and download the EOS R5 Ver 2.2.0 firmware here.

Canon EOS R6 II Ver 1.6.0

The R6 II Ver 1.6.0 update shares some of the items introduced on the R5, including internet-based firmware downloads, auto-protection for rated images and improved security features. It also promises improved AF tracking performance while zooming in still photo shooting with thee RF24-105mm F2.8 L IS USM Z , RF70-200mm F2.8 L IS USM Z and RF100-300mm F2.8 L IS USM. Additionally, Ver 1.6.0 allows users to enable exposure simulates when using flash, so that they can get an accurate preview of lighting.

Additionally, Canon has expanded its Cropping Guide firmware to the R6 II. However, if you want this feature, you'll need to send your camera to a Canon Service Center and it isn't a free standard firmware update. You can also buy the camera with it preloaded now.

See details and download the EOS R6 II Ver 1.6.0 firmware here.

Canon EOS R8 Ver 1.5.0

The Canon EOS R8 Ver 1.5.0 added improved security features and internet-based firmware updates. Plus, the R8 will now allow for exposure simulation while using flash, like the R6 II.

Outside of the standard update, he R8 also now has access to the Cropping Guide feature. Again, you'll either need to pay to send in your camera so that it can be added, or buy a new model with it preloaded.

See details and download the EOS R8 Ver 1.5.0 firmware here.

Canon EOS R3 Ver 1.9.0

Canon EOS R3 Ver 1.9.0 adds improved security features, internet-based firmware updates and auto-protection for rated images. It also makes the R3 compatible with up to 8TB cards and enables exposure simulation with flash. Canon improved AF tracking with the same three lenses as the R6 II.

The one unique update for the R3 is related to transferring images with voice memos via FTP, something sports photographers and journalists may want to be aware of. Now, the voice memo will be sent first, followed by the image.

See details and download the EOS R3 Ver 1.9.0 firmware here.

Canon EOS R50 Ver 1.4.0

Ver 1.4.0 for the EOS R50 is a more subtle update that mostly fixes small issues. However, it does add VR lens support, including the RF-S3.9mm F3.5 STM Dual Fisheye and RF-S7.8mm F4 STM Dual lens. It also fains the convenience of internet firmware updates.

See details and download the EOS R50 Ver 1.4.0 firmware here.

Panasonic Image: Panasonic S9, S5II, S5IIX, G100D, G97 and ZS99

Finally, Panasonic has released small updates for a number of its cameras. The S9, S5II, S5IIX, G100D, G97 and ZS99 (known as the TZ99 in Europe). Panasonic promises improved operational stability for all models and enhanced security for all except the G97.

See details and download the S9 Ver 1.5 here.

See details and download the S5II Ver 3.3 here.

See details and download the S5IIX Ver 3.3 here.

See details and download the G100D Ver 1.3 here.

See details and download the G97 Ver 1.2 here.

See details and download the ZS99/TZ99 Ver 1.2 here.

When you use DPReview links to buy products, the site may earn a commission.What you need to know

Product photos: Sony

As you may have seen, Sony has just refreshed its full-frame compact, the RX1R, with the mark III coming almost a decade after the last. The new version is packed with Sony's latest technologies but also hews so closely to the original concept that a lot risks looking dated, too.

We've already looked at how the RX1R III stacks up against the cheaper, stabilized a7CR, but that doesn't tell the whole story. Sometimes compactness and the focusedness of purpose of a fixed-lens camera is enough to justify a premium over an interchangeable lens camera. But a list price of €4900, £4200 and, in particular, $5100, is quite a premium.

We take a closer look at what the RX1R III is, what it offers and where it sits relative to its predecessors and rivals.

Basic specs

At its core, the RX1R III is exactly the update you'd expect, if you were familiar with Sony's latest internals. It's built around the excellent 60.2MP sensor that, coincidentally, also underpins the more expensive Leica Q3 and Q3 43 models.

It uses the same 35mm F2 Zeiss-branded lens as all the other RX1 models, with the same stepper-motor-driven focus system.

Like Mark II it has a built-in electronic viewfinder but now fixed into the corner of the body, rather than a pop-up design. The need to keep the camera small has limited Sony to a 2.36M dot (1024 x 768px) EVF panel, which is a jarring spec on a camera this expensive.

Like previous RX1 cameras (and the first five iterations of Fujifilm's X100 series), there's no stabilization system. The body has been redesigned, with a sleeker front panel and dials recessed into the top plate, but the fundamentals of the camera are broadly unchanged.

Updated autofocus

Sony's AF system has been massively improved in the decade since the RX1R II's launch, in terms of both performance and operability, and we've become used to reliable subject recognition and very tenacious tracking. Like Sony's other high-end models, the RX1R III includes a dedicated processor for crunching the added complexity of these machine-learning-derived algorithms.

However, the RX1's focus group isn't the fastest mover, which risks blunting the camera's top-end performance. We'll update this article in the coming days, once we have got a sense for how much of its potential it's able to deliver.

It's something of a shock to realize the RX1R II's clunky "Center Lock-on AF" system was as recent as ten years ago, given the huge advances we've seen since.

Price and positioning The original RX1
Photo: DPReview

The price tag on the RX1R III is somewhat eye-watering, if you compare it to anything other than Leica's Q3 twins, but this series has always been a halo product.

The original RX1 felt like Sony was making the statement "we understand photography" as much as putting out a product that was expected to shift units or make a profit. Even back at a much lower price point, we pondered whether it was trying to be a modern Leica (this is before the Q series showed us how much a real Leica full-frame compact would cost).

The first RX1 pre-dated the company's full-frame ILCs, and cost appreciably more than the higher resolution a7R when it was launched a year later. The RX1R II was priced much closer to the cost of the contemporary a7R II model, but they've always been priced at a premium.

That said, if you compare the RX1's UK launch prices to those of the Fujifilm X100 version available at the time, you'll see the first two RX1 models were 2.3x more expensive than the contemporary X100s, and the RX1R II and III are around 2.6x more expensive. Which, given you get a sensor around 2.4x larger, suggests they're not out-of-keeping with the rest of the market.

Price: US and beyond

The price in the US, though, is punchy, for reasons you may have heard about, in the news. Looking at the launch prices of previous Sony models over the past ten years, we found the UK launch price (incl. VAT) is around 20% higher than the US launch price, if you use the then prevailing exchange rate. This is, in part, because prices soften more readily in the UK market: the apparent premium is essentially an early-adopter tax that fades away after a few months.

However, that same calculation would lead you to expect a US launch price of around $4700, if you simply subtract 20% from the UK price and use the current exchange rate. This, and the 3.2x premium over the X100VI (vs 2.6x for the RX1R II over the X100T), helps explain why the US price in particular looks so high.

Higher-res sensor

Sony has made some critical changes, compared with previous models. The biggest of these is the move from a 42MP sensor to a 60.2MP one. It may be a chip that we've seen before, but it remains one of the best sensors, in terms of image quality, that we've ever encountered.

The first RX1R model was a variant of the RX1 with no low-pass (anti-aliasing) filter. The RX1R II had an innovative design that placed an LCD panel in the middle of the low-pass filter. AA filters work by refracting light differently, depending on its orientation. Engaging the LCD layer would polarize the light and determine whether the second layer of filter doubled or cancelled the effect of the first layer.

The RX1R III has no such cleverness, so you lose the ability to engage an AA filtering effect as you could on the Mark II. However, the higher resolution of the RX1R III's sensor means aliasing will only occur with higher frequency patterns, at frequencies even more likely to be inhibited by the lens, anyway.

Larger battery

The new camera also gains a larger battery, the 7.3Wh NP-FW50 battery, compared to its predecessor. This helps address one of the most sustained criticisms of the series, which was known for offering relatively short shooting durations from its compact 4.5Wh NP-BX1 battery.

The new battery is around twice the depth of the one used in previous models (18.5mm, rather than 9.2mm). Despite this, the new camera isn't appreciably deeper than the existing one, with the body itself measuring just 2.5mm more than its predecessor.

The new camera also has a USB-C socket and is compatible with the USB Power Delivery protocol, allowing it to both charge or be powered over the USB socket if you have a sufficiently powerful external charger or battery pack.

Vs Leica Q3

The most obvious direct competitor to the Sony RX1R III are Leica's Q3 cameras, the original Q3 with its 28mm F1.7 lens and the Q3 43 with its 43mm F2 lens. They let you choose whether you want a wider-angle lens or a normal perspective, rather than the RX1R III's 35mm that splits the difference. They also offer stabilization, which the Sony lacks.

Both cameras are based around the same sensor as the Sony but both have larger format 5.98M dot OLED viewfinders (with greater, 0.79x magnification) and tilting rear screens, where the RX1R III's is fixed. They're also both appreciably larger cameras than the Sony, as the diagram above shows. They are also substantially heavier, with the Q3 tipping the scales at 743g, with a battery and memory card: 49% heavier than the RX1R III.

In addition, they're also both more expensive cameras. If you want to see what premium pricing in this type of camera looks like, then feast your eyes and lock up your wallet when you see the $6735 and $7380 price tags dangling from the Leicas.

A rather more pragmatic alternative might be the a7CR and a suitable prime lens. That's a comparison we looked at in more depth, the other day.

EVF and screen

Two of the greatest points of contention, beyond its pricing, are the specifications of its viewfinder and its rear screen. Both have been dictated by Sony's focus on keeping the size of the camera down.

With the body already a fraction deeper, as a result of the adoption of a larger battery, the company has clearly decided that the additional bulk of an articulated screen would compromise its compactness. There have been several successful fixed-lens cameras with fixed screens (not least the first four X100 cameras), but there are times, particularly for waist-level shooting, when a tilting screen comes in handy. If that's the way you prefer to shoot, you'll need to opt for a larger camera.

Leaf shutter and hotshoe

The other factor worth remembering is that, like most fixed lens cameras, the RX1R III features an in-lens 'leaf' shutter. This gives essentially a global shutter effect, allowing flash sync across the whole shutter speed range, but with the disadvantage that its maximum shutter speed drops as you approach the camera's widest aperture setting. A 1/4000 sec maximum at F5.6 drops to 1/3200 sec by F4 and 1/2000 at F2. There's an e-shutter mode that allows shooting at up to 1/8000 at any aperture, but the 100ms (1/10 sec) readout rate means it's better for static subjects.

The camera has a hotshoe, useful both for mounting a flash but also featuring the multi-interface pins that let you connect mics and channel digital audio into the camera. Like the a7CR, the small body of the RX1R III sees video limited to 4K/30 (the sensor can deliver 8K resolution, though with a lot of rolling shutter). It has all the latest Sony video goodies including uploadable LUTs, S-Cinetone and 10-bit Log capture. The RX1R II, by comparison, topped-out at 8-bit 1080.

Summary

The Sony DSC-RX1R III is the update we weren't sure we'd ever see, and it's a pleasant surprise in many respects. The fixed-position viewfinder is more readily accessible than the pop-up unit in the Mark II, the 60.2MP BSI CMOS sensor has proven itself to be excellent and the new model addresses one of our biggest criticisms of the previous models: battery life. The adoption of a host of Sony's latest features and functions is promising, too.

However, the move to a fixed screen feels like a retrograde step and we're disappointed they couldn't find room for an AF joystick, given the complete redesign of the body.

The RX1 series has always been a halo product that commanded a premium for reasons of prestige as well as miniaturization, but its current pricing, particularly in the US, is brought into stark relief by the existence of the still-quite-small a7CR, elsewhere in Sony's own lineup.

If you like a fixed-lens camera and the compactness is a major benefit to you, then it's hard to think of a camera that promises so much image quality from such a small package. But there's a price, both metaphorical and financial, to be paid for that totability.

Image: Harman

Harmon has released a truly new film stock in an era when many other companies are repackaging existing formulations. The latest offering from the company, which is best known for its black-and-white film products, builds on its Phoenix 200 color film.

Harman released Phoenix 200 in December 2023. It was Harman's first color film made entirely from scratch at its Mobberley, UK site. The film was considered an experimental stock with colors noticeably different from most color negative films. Phoenix 200 II is a brand-new formulation, and while it shares a name with the original, the sample images coming out look like a completely new stock.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Image samples provided by Harman.

Harman says that Phoenix 200 II is improved over the original Phoenix 200 in almost every way. "Each layer and component has been redesigned and reengineered: new dyes, couplers and layer construction," Harman said. "The result is noticeably finer grain, better color reproduction, controlled contrast, increased sharpness and a wider dynamic range."

Because of all the improvements, Harman says the film will be easier to shoot, saying that it's "less bold and unpredictable than the original." The original was known to be quite challenging to work with, in part because of its limited dynamic range and high contrast, so this is a welcome change. Harman also says it will be easier to scan, which will be beneficial for home developers and large labs alike.

Harman Phoenix II is available in 35mm (36 exposures) and 120 formats for $14 and $12, respectively.

Buy now: 35mm format 120 format Images: Harman

That's not the only film Harman has announced this summer, either. In June, the company also released a 120 format version of its Red 125 film. It initially unveiled the redscale color negative film in February for 35mm, so while not a new film stock, it was a new format for those who like the red and orange tones of Harman's Red 125.

Buy now: Harman Red 125 (120 roll film)

Images: Canon

Canon has introduced the Speedlite EL-1 V2, though the changes are extremely subtle. The latest flash shares nearly all specs with the original EL-1, with only two minor differences in flash power and battery life.

The EL-1 V2 offers a slightly lower guide number than the EL-1. The original model's guide number is 14.1m (46.3') at ISO 100 for the 14mm position, while the EL-1 V2 is 14m (45.9') with the same settings. At the 200mm position, the EL-1 offers a guide number of 60m (196.9') at ISO 100, while the EL-1 V2 is 2m (6.6") less.

The new model also offers a small increase in battery life. Canon promises 340 full-power flashes per charge with the EL-1 V2, 5 more than the original EL-1. Given that there's slightly less power, that slight bump in battery life makes sense.

Other than those two things, the EL-1 and EL-1 V2 are identical and looks, size and other specs. Both are designed for professional users and offer 24-200mm coverage, a 0.9 second recycle time, an active cooling system, three flash modes and the same wireless radio control technology. Like the original, the EL-1 V2 is also weather-sealed, making it possible to use the flash in poor weather conditions.

Images: Canon

Hopefully, availability will be the most significant change here, though. Canon's EL-1 has had stock issues for a long time. PetaPixel reported last year that some users had been waiting a year for the flash. Even since then, it's consistently been out of stock at B&H and Canon's website, as is the case at the time of writing. Perhaps Canon addressed some of its production process that will enable it to keep the new model in stock.

The EL-1 V2 also comes with a steeper price tag for US customers. It costs $1349, whereas the EL-1 launched at $1099 in 2021 and currently sells for $1199. That's up 12.5% from the current price of the EL-1, which is roughly in line with Canon's pricing increases related to the US tariffs. It does appear that the cost of the EL-1 V2 outside of the US may be consistent with the current price of the EL-1, coming in at £1229.

You can preorder the Canon Speedlite EL-1 V2 as of today through B&H and Canon. Canon has an estimated arrival date of September 25, though, so you'll still have to wait a bit to get your unit.

Buy now: Preorder at Canon Preorder at B&H

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The RX1R III is Sony's latest full-frame, prime lens compact. It's a 61MP update of a series that dates back to the original RX1 in 2012 and that hasn't seen a refresh since 2015's RX1R II.

But a lot has changed in that time. The original RX1 arrived a year before Sony introduced its first full-frame photo-focused mirrorless camera, the a7. Since then we've seen four generations of a7, five of the high resolution a7R series and, more recently the introduction of the more compact a7C models. It's these, and the high-resolution a7CR in particular, that draw the RX1R III's specs into sharp relief.

Especially given the a7CR was launched for $3200/€3700/£3200, whereas the RX1R III has a list price of $5100/€4200/£4200.

Does the cheaper, more flexible camera obviate the need for an updated RX1, or is there more to the story? We dig a little deeper.

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It's entirely fair that people would look at the RX1R III and wonder whether Sony's budget high-res a7CR model can't do more, for (a lot) less, mainly because of the high degree of commonality between the two cameras' spec sheets.

Both cameras have the same 61MP full-frame BSI sensor at their heart, and combine this with Sony's latest Bionz XR processors and "AI processing unit," meaning the two cameras should provide comparable image quality, speed and AF capabilities. The co-processor is dedicated to running the complex algorithms developed by machine learning to recognize and track a range of subjects.

They also share the same viewfinder: a 2.36M dot unit with optics that deliver 0.7x magnification. That resolution is relatively low by modern standards, but is one of the highest available in the 0.39 Type (∼8 x 6mm display) panel format. Most higher resolution displays are 0.5 Type (10.1 x 7.6mm), which take up more space with a larger panel, surrounding case and optics. In both these models, the EVF panels have been chosen to minimize the amount of camera taken up by the viewfinder.

Size

The key difference between the two cameras is probably size. The a7CR is very small for a full-frame ILC, but that's quite a significant qualifier. The RX1R III's body is significantly smaller, in practice, than the a7CR's.

Add in a lens and the difference becomes even greater. The RX1R III's lens pushes back almost to the point of touching the sensor, whereas the a7CR has to leave room for a mechanical shutter and lens mount between the sensor and the rear element.

For some users, the difference isn't going to be meaningful: once a camera isn't pocketable, the degree to which it's not pocketable isn't as important. But as a carry-everywhere camera or a camera you want to be relatively unobtrusive, the difference may well be critical to some.

In terms of weight, at 498g, the RX1R III is 3% lighter than the a7CR even before you add a lens. Attach the Sigma 35mm F2.0 we used in the graphic above and the ILC comes out as 70% heavier.

Stabilization

Other than the ability to switch lenses, perhaps the most obvious difference between the a7CR and the RX1R III is that the CR has image stabilization.

There's certainly an argument to be made that a bright 35mm lens doesn't need stabilization (hence so few primes historically having the feature), and that the a7CR's stabilization is more valuable when you mount longer lenses on it.

But, even though, in principle, more moving elements risk denting absolute image quality, in practice the extra stability a good IS system brings means more shots that deliver the full capability of the 61MP sensor.

The RX1R III uses the same Zeiss-branded lens as the 2012 version and, in the name of size, illuminates the sensor and very little beyond it: it would need to project a larger image circle to allow sensor-shift IS (making both the lens and body bigger), or would need a complete redesign to have optical stabilization incorporated into the lens itself.

Shutters

As alluded to in the previous slide, the a7CR has a physical shutter in front of its sensor. In this case it only has a series of shutter blades to end the exposure: an electronic first curtain shutter approach. In most respects this works as well as a full mechanical exposure plane shutter with the only risk being misshapen bokeh when used with wide apertures and very short exposures. The a7CR's flash sync is limited to 1/160 sec.

By contrast, the RX1R III has an in-lens, 'leaf' shutter, which closes in from several directions, rapidly creating an ever smaller aperture as it does so. This affects the light level to the entire sensor as it closes and opens, meaning it has a whole-sensor, 'global' shutter action. This allows the RX1R III to sync with flashes up to its maximum shutter speed.

However, it's worth noting that the camera's maximum shutter speed varies with aperture, because the shutter has more distance to cover when the aperture diameter is large. Like the previous model, the RX1R III can shoot at up to 1/2000 sec when wide open, 1/3200 sec at F4 and narrower, and 1/4000 sec when stopped down to F5.6 or beyond.

Batteries

The larger body of the a7CR has enough room for Sony's largest NP-FZ100 battery, a honking-great 16.4Wh unit that powers the a7CR to a CIPA battery rating of 530 shots per charge using the rear screen and 470 through the viewfinder.

The RX1R III makes do with the smaller NP-FW50 battery, which has a capacity of 7.3Wh. This helps give the smaller camera ratings of 300 and 270 shots per charge, respectively. Which aren't as impressive but also aren't terrible. This is big improvement over the 4.5Wh BX1 battery used in the previous RX1 models which, despite ratings of 220/200 shots per charge, were limiting enough that the RX1R II invited jokes about giving such a film-like experience that it felt like you were limited to 36 shots at a time.

Screens

The knock-on effect of the move to the larger battery - the NP-FW50 is twice as deep as the one used in the previous model: taking up 18.5mm of a body that's only around 31mm, front to back - is that Sony has decided a moving rear monitor would add too much additional depth. It features a 2.36M dot (1024 x 768px) panel, but one that can't be moved away from the camera for waist-level shooting.

By comparison, the a7CR has a 1.04M dot (720 x 480px) display but one that's mounted on a fully-articulating hinge, making it more useful for waist-level work, video, selfies and tripod-based photos. On which note, the a7CR also has a multi-shot high res mode (arguably best suited to landscape work), which the RX1R III lacks.

It should, perhaps, be noted that the first four generations of X100 sold quite happily with a fixed rear screen, as did the first two generations of Leica Q and all Ricoh GRs to date. However, there is certainly a part of the audience for fixed-lens compacts that finds it useful as both Fujifilm and Leica have adopted tilting screens in their more recent models.

Summary

Perhaps ironically, several of the decisions that have been most criticized: the small, hence low-resolution, EVF and the fixed rear screen of the RX1R II, were made to keep the body as small as possible, and maximize the size difference between the RX1R III and the a7CR. And yet its these same compromises that will, to many photographers, make the a7CR look more attractive.

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We believe a fixed-lens camera is thing unto itself: it isn't just an interchangeable lens camera with restrictions. And, much as we love them, we recognize that the greater flexibility of an ILC will often win out over the size and focus of a fixed-lens camera for the majority of people.

We suspect the respective pricing of the RX1R III and the a7CR will reduce the compact camera's appeal still further. But until we've shot with it more, we're not going to just assume that the more flexible camera is inherently better.