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Updated November 29 2024

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Sony a7R V
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

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

Image: Fujifilm

Buy now:

$4999 at Amazon.com$4999 at Adorama$4999 at B&H Photo What we like:

• Excellent detail capture
• Very high tonal quality
• Ready-to-go JPEG or malleable Raws

What we don't:

• Autofocus not especially fast
• Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.

While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for landscapes and more: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

The a7R V's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.

Photo: Richard Butler

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

While it's one of the highest-resolution full-frame cameras, the a7R V is quite capable for everyday photography as well, with Sony's excellent autofocus system and 10 fps burst rates. It's not the camera you want if you shoot action or video as often as landscapes, but it can do those things if needed.

The a7R V offers excellent image quality in both JPEG and Raw, giving some of the best results we've seen for its sensor size, though using lossless compressed Raw significantly reduces the burst speed. A multi-shot 240MP high-res mode (combined using desktop s/w) gains a motion-correction function, making it much more usable. The a7R V is an excellent tool for capturing high-resolution images. The body is solidly-built and features a large grip and well-positioned controls, along with a large, high-res viewfinder. A fully-articulating rear touchscreen is mounted on a tilting cradle, adding flexibility. The menus are much improved over older Sony models. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

Click here to read our review of the Sony a7R V

Click here to see the Sony a7R V studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera that's also good for landscapes: Canon EOS R5 II

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

Photo: Richard Butler

Buy now:

$4299 at Amazon.com$4299 at Adorama$4299 at B&H Photo What we like:

• Excellent image quality
• Fast, dependable autofocus
• Good video support tools

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Sensor offers some of the best image quality in its class
• Lovely ergonomics
• 4K/60p (with a minor crop)

What we don't:

• Autofocus interface a bit clunky
• EVF not as high-res as competitors
• Customization a bit limited

Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files. To say the Z7 II is a comfortable camera to hold would be an understatement The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Fujifilm X-T5 Photo: Richard Butler

Buy now:

$1599 at Amazon.com What we like:

• Dedicated dial interface shows your settings
• Detailed 40MP images
• Photo-centric design and feature set

What we don't:

• Autofocus prone to false-positives
• Significant rolling shutter in e-shutter mode
• Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched, and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size. The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting. Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.comBuy at AdoramaBuy at B&H Photo Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

The Olympus E-1 was the first DSLR designed solely for digital. The sensor format choice was independent of any film legacy and the lens design was specifically focused on the way digital sensors accept light. Leica's S series of 45x30mm medium format DSLRs is the only comparable system we can recall.

It's 21 years since we reviewed the Olympus E-1, arguably the only successful attempt to develop a digital SLR from first principles, rather than trying to adapt what had come before. As part of our 25th Anniversary celebrations, we look back at the E-1 as one of the most significant cameras of the past 25 years.

In the early days of digital photography the large number of photographers already heavily invested in film lenses put pressure on companies to continue their existing systems, even though 'full-frame' sensors that matched the film format they were designed around were prohibitively expensive for most photographers.

The Four Thirds system was an attempt at a clean slate design, with the intention of developing a new set of lenses designed to suit digital sensors, and built around a sensor chosen because it had a good performance-to-price ratio, not to match the arbitrary dimensions of cinema film stock adapted for photography in the early 1900s. It was a decision that would also allow smaller lenses, particularly at longer focal lengths.

The first open system: the Four Thirds timeline

• Feb 2001: Kodak and Olympus enter patent sharing agreement
• May 2001: Olympus confirms DSLR concept with Type 4/3 sensor
• Sep 2001: Kodak and Olympus announce "Four Thirds" system with Fujifilm participation
• Jun 2003: Olympus reveals E-1 5MP Four Thirds DSLR
• Nov 2003: DPReview reviews the first Four Thirds camera
• Feb 2004: Panasonic, Sanyo and Sigma join Four Thirds

The Four Thirds initiative was started by Kodak and Olympus, with the two companies settling on a 5MP Type 4/3 (17.3 x 13mm) CCD sensor. This sensor size and the use of the 4:3 aspect ratio common in most early digital sensors give the system its name.

They also announced it would be an open standard, with other companies welcome to join, a decision that prompted Fujifilm to announce its interest, followed by Sanyo, Sigma and Panasonic, some seventeen months later. For a while it looked like a critical mass might coalesce, finally bringing about the long dreamt-of common mount, allowing complete interoperability between multiple brands.

In the meantime, although later than the initially suggested Feb 2002 launch date, Olympus developed the E-1, a high-end magnesium alloy DSLR with a 100% viewfinder and that 5MP Four Thirds CCD at its heart. Announced alongside five lenses in mid 2003, the original press release highlights the 'Supersonic Wave Filter' sensor shake system that shook dust off the sensor as solving "a problem that has long been an Achilles heel of ... digital SLRs."

Unfortunately, in his review, Phil highlighted that the Olympus couldn't offer either the speed or the resolution that were typically expected of a camera with the E-1's stated professional ambitions. This was made more stark by its $2199 original price tag (albeit with a 'street price' well below that), at a time when Canon's 6MP EOS 10D would set you back nearer $1500.

It took the more affordable E-300 model for the Four Thirds to really find its audience. By the time the E-330 arrived, two years later, Kodak was out of the picture.

It took 2004's 8MP E-300, with its much more attainable price point (around $1000 with kit lens) for Four Thirds to really find its audience.

By 2006 Panasonic and Leica were alongside Olympus spearheading the system, with each brand releasing variations of technologies co-developed by the two Japanese companies, including "Live MOS" sensors from Panasonic, rather than Kodak. The Olympus E-330 and Panasonic L-1/Leica Digilux 3 were some of the first DSLRs to offer live view, with the E-330 including a more sophisticated/complex implementation. You don't have to squint very hard to see the beginnings of the first mirrorless camera, which Panasonic would introduce just two years later.

Despite a broadly sound initial concept, one challenge of the use of a smaller-than-film sensor in a DSLR was that the viewfinders were often quite small and dark (because the sensor size defines the size of the camera's mirror, which in turn puts a limit on how large or bright you can make an optical viewfinder).

This was resolved with the move to a mirrorless design and the creation of the Micro Four Thirds system, built around the same Type 4/3 sensor format and a lot of technology developed during the Four Thirds era. Perhaps fittingly, the final Four Thirds camera was a direct continuation of the original E-1 line, with the system being officially discontinued 18 months later.

With this in mind, it might seem odd to call a system with a span of just over seven years between the launch of its first camera and its last a success, but I'd focus more on the groundwork it laid. Twenty-one years after the launch of the E-1, the Four Thirds sensor format is still very much with us, and you can trace a direct line from the first all-digital DSLR project to the mirrorless cameras that dominate the ILC market today, even if both Kodak and Olympus have now exited the photography market.

Wildlife Photographer of the Year People's Choice Award

A few weeks ago, The Natural History Museum, London, announced the winners of its 2024 Wildlife Photographer of the Year Awards for 2024. Now, it needs your help to select the winner of its 2024 Wildlife Photographer of the Year People's Choice Award.

The 25 finalists for the People's Choice Award were selected from 59,228 entries from 117 countries and territories. Members of the public can cast their vote for the award until January 29, and the winning image, along with four runners-up, will be announced in February. Here, we present the 25 finalists for this year's award.

If you're a wildlife photographer and want to enter your own images in the 2025 competition, you can find information on the competition's website. However, act quickly: you have until December 5th to submit your images.

Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.

Wolf Pack

Wolf Pack by Arvind Ramamurthy, India

Members of an Indian wolf pack pause briefly as they play in fields in Bhigwan, India.

Indian wolves were once found all across India. Now, their number has dwindled to as few as 3,000. Living so close to humans poses many risks. Farming has fragmented their rolling grassland habitat, and feeding on cattle carcasses puts them at risk of disease. But Indian wolves are hardy animals. With better grassland management and protection, they could make a strong comeback. Arvind was photographing this pack playing in the grassy fields. One of them came and sat down at the edge of the agricultural crop, and one by one, four others joined it. They paused for a few seconds before they ran off again, playing and chasing one another.

Copyright Arvind Ramamurthy / Wildlife Photographer of the Year

Icy Repose

Icy Repose by Sue Flood, UK

A dramatic blue-grey sky highlights the soft greys of a Weddell seal as it rests on an ice floe.

Sue watched this Weddell seal from aboard a rigid inflatable boat in Neko Harbour of the Antarctic Peninsula. So as not to disturb its peaceful slumber, Sue used a long lens to record this serene portrait. Weddell seals’ large bodies are covered in a thick layer of blubber. This keeps them warm above and below the icy waters of the Southern Ocean.

Copyright Sue Flood / Wildlife Photographer of the Year

A Good Scratch

A Good Scratch by Mark Williams, UK/Canada

A beluga whale rubs its underside on a shallow river bottom to exfoliate its skin.

Mark took this image in a remote inlet along the Northwest Passage in the Canadian Arctic. Hundreds of beluga whales come here to socialize and exfoliate in the shallow water. The passage is also a safe haven, away from the predatory orcas. Belugas are extremely sociable mammals. They live, hunt and migrate together in pods that can range from quite small into the hundreds. Nicknamed ‘the canaries of the sea’, they produce a series of chirps, clicks, whistles and squeals that Mark found otherworldly.

Copyright Mark Williams / Wildlife Photographer of the Year

Scanning the Realm

Scanning the Realm by Aaron Baggenstos, USA

A puma stands on a windswept outcrop in the rugged mountain terrain of Torres del Paine National Park, Chile.

It is a symbol of hope. A successful conservation movement led to the creation of the national park and a rise in ecotourism in the region. This has also helped to reduce conflict between pumas and local gauchos (sheep farmers). The gauchos view pumas more positively because they’re attracting tourists, which is good for income. The introduction of sheepdogs has also helped. The dogs confront any approaching pumas and stop them attacking the sheep. In turn, the pumas hunt their natural prey, and the gauchos are less likely to shoot them. The change has been gradual but has gained momentum over the past 20 to 30 years. There is hope that humans and pumas can live alongside one another.

Copyright Aaron Baggenstos / Wildlife Photographer of the Year

Aspen Shadows

Aspen Shadows by Devon Pradhuman, USA

Four grey wolves cross a minimalist landscape of naked aspens and snow in Yellowstone National Park, USA.

It was early spring in the Lamar Valley, and this pack was in search of its next meal. Watching from a distance, Devon saw them heading towards this patch of aspens and thought it would make a compelling image. The wolves walked right past these trees and then continued to follow the tree line, eventually disappearing over the hillside.

Copyright Devon Pradhuman / Wildlife Photographer of the Year

Evening Song

Evening Song by Christian Brinkmann, Germany

A singing Eurasian songbird is silhouetted against a backdrop of colorful fairground lights in Münster, Germany.

During a popular fair in Münster called the Send, an interesting atmosphere arose behind the castle. The evening mood was gentle, and Christian had singing birds on one side and party music on the other. In front of the fairground lights, this Eurasian blackbird posed for its song. Although blackbirds are a common sight, Christian likes to photograph them in distinctive ways. Here, the silhouette of the bird set against a colorful backdrop gives the image an artistic flair.

Copyright Christian Brinkmann / Wildlife Photographer of the Year

Sneak Attack

Sneak Attack by Erlend Haarberg, Norway

A polar bear cub attempts an underwater surprise attack on a northern fulmar.

In the Norwegian archipelago of Svalbard, a walrus carcass had attracted a female polar bear and her two cubs. But one of the cubs was more interested in playing in the water than eating. The cub was having fun diving under the water and resurfacing, playing with the seaweed and kelp. The northern fulmar resting on the surface of the water awakened the cub’s desire to hunt. Erlend watched as it attempted several underwater surprise attacks on the bird, only to fail each time. Play hunting like this is essential learning for a young bear. Eventually, it will have to survive in the Arctic without its mother.

Copyright Erlend Haarberg / Wildlife Photographer of the Year

Slap Shot

Slap Shot by Savannah Rose, USA

A beaver cocks its tail before slapping it down on the water to alert its family to a newcomer.

Savannah enjoys photographing North American beavers in this pond in Jackson, Wyoming, USA. As she approached the shoreline, a beaver cruised cautiously by after emerging from its lodge. It cocked its tail up and brought it down with a resounding crack. Savannah had been trying to document this dramatic beaver behavior for years. Beavers use tail smacks to alert their family group to a newcomer. Despite the theatrics, beavers usually relax quickly after discovering the newcomer doesn’t pose a threat.

Copyright Savannah Rose / Wildlife Photographer of the Year

Togetherness

Togetherness by Ivan Ivanek, Czech Republic

A striking pair of red-shanked douc langurs are seen mating in the forests of the Sơn Trà peninsula in Vietnam.

Known for their bright red ‘stockings’, these primates are found only in Vietnam, Laos and Cambodia. The species is critically endangered because of habitat loss, hunting and the illegal pet trade. After days observing the area, looking for evidence of the monkeys, Ivan managed to find a small group. Late one evening, he saw these two mating. Compared to other species of monkey he’d seen mating, it was an unexpectedly gradual and graceful affair!

Copyright Ivan Ivanek / Wildlife Photographer of the Year

Concert in the Forest

Concert in the Forest by Vincent Premel, France

A Surinam golden-eyed tree frog puffs out its cheeks as it prepares to call for a mate.

The first rains come in French Guiana after a long dry spell. They’re a release for all wildlife, but especially for amphibians. When it rains, the ponds fill with water. Dozens of species descend from the canopy or come out of the ground. They’re here to lay their eggs in the water, in an event called ‘explosive breeding’. The density of individuals is hard to imagine. It made for a special night for Vincent, who is both a herpetologist and a photographer. The call of the Surinam golden-eyed tree frog is so powerful it can be heard hundreds of meters away.

Copyright Vincent Premel / Wildlife Photographer of the Year

Snuffling Sengi

Snuffling Sengi by Piotr Naskrecki, Poland

A rarely seen four-toed sengi forages for food among the leaf litter in Mozambique.

Sengis mainly eat insects and look for their prey at dusk and dawn. They rely on a combination of good vision and excellent sense of smell to find food. Piotr watched this sengi over several weeks in Gorongosa National Park, Mozambique. It followed the same network of trails every day, looking for beetles and other tasty morsels among the leaf litter. Sengis are extremely shy and skittish, so Piotr set up a remote camera to photograph the little creature sniffing for food.

Copyright Piotr Naskrecki / Wildlife Photographer of the Year

Whiteout

Whiteout by Michel d’Oultremont, Belgium

A stoat sits up and observes its territory as it blends perfectly into a snowy landscape in Belgium.

Michel had been looking for stoats in the snow for many years. The magic of snowfall fascinates Michel every winter. He wanted to take a photograph that showed how the stoats blend in with the whiteness of the landscape. He’d seen a few in Switzerland but never in his native Belgium. Then, finally, his dream came true. He lay in the snow with a white camouflage net covering all but his lens. This curious stoat came out of its snowy hole and sat up from time to time, observing its territory just before setting off to hunt.

Copyright Michel d’Oultremont / Wildlife Photographer of the Year

Earth and Sky

Earth and Sky by Francisco Negroni, Chile

A double lenticular cloud is illuminated at nightfall by the lava emitted from the Villarrica volcano, Chile.

Villarica is in the town of Pucón in the south of Chile. It’s one of the country’s most active volcanoes, and last erupted in 2015. Francisco takes regular trips to Villarrica to monitor its activity. On this visit, he stayed nearby for 10 nights. He says every trip is “quite an adventure – never knowing what the volcano might surprise you with”. Some nights are calm, others furious, as in this photograph, where the brightness of the crater illuminates the night sky.

Copyright Francisco Negroni / Wildlife Photographer of the Year

Fallen from the Sky

Fallen from the Sky by Carlo D’Aurizio, Italy

A collage of dead butterflies and moths trapped by the surface tension of the water floats in a stream in Italy.

It was a summer morning in the San Bartolomeo Valley in the Majella National Park, Italy. Carlo had visited this small stream many times. He expected to see the graceful flight of butterflies and dragonflies along it. He never thought he would find such a still life, a sad collage of dead insects calmly floating in the water. It hadn’t been particularly hot, and there hadn’t been any storms in the previous days. To this day, Carlo has no explanation of why the insects died.

Copyright Carlo D’Aurizio/ Wildlife Photographer of the Year

Spiked

Spiked by David Northall, UK

A bloodied yet determined honey badger returns to finish off a Cape porcupine, which earlier had tried to defend itself.

Found throughout Botswana, honey badgers are famously ferocious. They often chase animals many times their own size. This honey badger got an unpleasant surprise when it attacked the normally nocturnal Cape porcupine. The badger grabbed the porcupine’s right leg. In defense, the porcupine repeatedly backed into its attacker, piercing it with many quills. During a lull in the attack, the porcupine managed to shuffle away, its leg badly damaged. After a short retreat, the bloodied badger returned. It finished off the porcupine under a bush close to the original attack, then dragged it into its underground den.

Copyright David Northall / Wildlife Photographer of the Year

Unsold

Unsold by Jose Fragozo, Portugal

A young cheetah cub hisses while waiting to be sold in Ethiopia.

Captured from her home plains in the Somali Region, she was transported for several days on the back of a camel to the northern coast of Somaliland. Illegal wildlife trafficking is a problem in the Somali Region. Farmers catch and sell cheetah cubs to traffickers, claiming that the cheetahs attack their livestock. Sometimes, the farmers and traffickers cannot sell the cubs immediately. The bigger the cheetahs get, the harder it is to find buyers. Some end up being killed and their parts sold, their bones shipped to Yemen and then to other Asian markets. They are then sold as tiger bones and used to make Chinese bone wine. After hissing at the camera, the cub started chirping, calling out for its mother.

Copyright Jose Fragozo / Wildlife Photographer of the Year

Annoying Neighbor

Annoying Neighbour by Bence Máté, Hungary

A European roller defends its territory from a bemused-looking little owl in Kiskunság National Park, Hungary.

The little owl and the European roller are very different birds, but their nests and feeding requirements are similar. This means they sometimes breed near each other. The male roller makes a sport of annoying other birds that stray into its breeding area during the short mating season. It makes a surprise ambush, flying at full speed behind them. To catch such a fleeting scene, Bence spent 27 days watching from a hide. The little owl seemed nonplussed by the spectacle.

Copyright Bence Máté/ Wildlife Photographer of the Year

Curious Connection

Curious Connection by Nora Milligan, USA

A chimpanzee pauses and looks down as its family moves across the forest floor of Loango National Park, Gabon.

On a trek through the forest, Nora’s guide signaled for the group to stop near the bank of a swamp. They heard the call of a chimp first, then the leaves around them started to rustle and a group of chimpanzees appeared. This family is called the Rekambo group. A group of researchers from the Ozouga Chimpanzee Project is studying them. Nora couldn’t believe her luck when they started to climb the nearby trees. As she peered through her viewfinder, a large male paused and looked down at them. The chimp craned its neck forward and its eyes seemed to widen, as if to get a better look.

Copyright Nora Milligan / Wildlife Photographer of the Year

Meeting in the Marsh

Meeting in the Marsh by Michael Forsberg, USA

A disguised biologist approaches an endangered whooping crane in Louisiana, USA.

Michael has been chronicling the lives of endangered whooping cranes since early 2019. The biologist acted with cat-like quickness to check the bird’s health and change a transmitter that was no longer working. The transmitter helps biologists track these non-migratory birds and learn more about them. This experimental population was reintroduced in Bayou Country in 2011. In the 1940s there were roughly 20 whooping cranes in the region. Since then, numbers have climbed to over 800.

Copyright Michael Forsberg / Wildlife Photographer of the Year

The Brave Gecko

The Brave Gecko by Willie Burger van Schalkwyk, South Africa

A giant ground gecko stands fast against a pale chanting goshawk in Kgalagadi Transfrontier Park, South Africa.

One hunting strategy of the southern pale chanting goshawk is to walk or run on the ground in pursuit of prey. Willie watched as the little lizard put up a brave fight against its large attacker. Unfortunately, there was no hope of survival, but Willie was impressed by the gecko’s bravery.

Copyright Willie Burger van Schalkwyk / Wildlife Photographer of the Year

Forest Dreams

Forest of Dreams by Samuel Bloch, France

A northern giant petrel sits on its nest at the edge of a rātā tree forest on Enderby Island, New Zealand.

Northern giant petrels are large seabirds. They’re used to flying above the waves for weeks without encountering land. Samuel was surprised to find this one in such a woody environment. Like many other seabirds, it breeds on islands where there are fewer predators. Samuel took this image from a distance and left quickly to avoid disturbing the bird.

Copyright Samuel Bloch / Wildlife Photographer of the Year

Edge of Night

Edge of Night by Jess Findlay, Canada

A ghostly barn owl exits the hayloft window of a derelict barn to hunt fields outside Vancouver, Canada.

Combining high-speed and long-exposure photography in a single exposure required a technical setup. First, Jess quietly watched the owl for several nights to understand its habits and plan the shot. He then set up an invisible beam that would trigger a flash when the owl flew out of the barn. Simultaneously, a slow shutter speed gathered ambient light cast on the clouds and barn to complete the scene. On the tenth night, all the moving parts came together as the owl left to begin his hunt.

Copyright Jess Findlay / Wildlife Photographer of the Year

No Access

No Access by Ian Wood, UK

An ambling Eurasian badger appears to glance up at badger graffiti on a quiet road in St Leonards-on-Sea, England, UK.

Residents had been leaving food scraps on the pavement for foxes. But Ian noticed that badgers from a nearby sett were also coming to forage. After seeing a badger walking along the pavement by this wall late one night, he decided to photograph it. He set up a small hide on the edge of the road to take his picture. Only the light from a lamppost illuminated the creature as it ambled along, seemingly glancing up at the badger graffiti just in front of it.

Copyright Ian Wood / Wildlife Photographer of the Year

Drifting Dinner

Drifting Dinner by Noam Kortler, Israel

A decorator crab perches on top of a sea squirt to comb the water for drifting plankton.

Noam took this photograph during a night dive off Komodo Island, Indonesia. The sea squirt provided the crab with the perfect stage to feed on drifting plankton. The crab had camouflaged and armed itself with tiny hydroids known as Tubularia. These can sting other animals and so helped protect the crab from predators. Noam watched the crab gracefully search for food, illuminated by the camera flash as if in a spotlight center stage.

Copyright Noam Kortler / Wildlife Photographer of the Year

The Arrival

The Arrival by Brad Leue, Australia

Floodwaters that have traveled for months surge towards an enormous salt lake in South Australia.

Kati Thanda-Lake Eyre is Australia’s largest inland lake and one of the world’s largest salt lakes. Photographing from a helicopter in strong winds was quite a challenge for Brad. As well as the floodwaters, a dust storm was blowing and rain was falling on the horizon. Floodwaters had traveled more than 1,000 kilometers (1,600 miles). They’d surged steadily from Queensland towards South Australia. Timing was imperative to photograph this once-in-a-decade natural event. Brad’s image shows the water channeling steadily down Warburton Groove. This is the final stretch before entering the mighty lake. On their journey, the waters bring new life to this remarkable desert system and its rare and threatened wildlife.

Copyright Brad Leue / Wildlife Photographer of the Year

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Updated Nov 27, 2024

It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; we last updated this list in 2023, and since then, there haven't really been any new additions to it. The ones that remain can also be difficult to find in stock, even when the companies that make them say they're still a part of their lineups.

However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.

Our recommendations:

• Enthusiast camera
  • Best enthusiast compact: Canon PowerShot G7X III
  • Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII

• Waterproof cameras
  • Best waterproof compact: OM System Tough TG-7

• Long zoom camera
  • Best long-zoom camera: Panasonic FZ1000 II
  • Best ultra-zoom camera: Nikon Coolpix P1000

• Vlogging cameras
  • Best vlogging compact Sony ZV-1 Mark II

Enthusiast compacts

The final niche in which it's difficult for a smarphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.

We've picked three cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Both Sony models have built-in electronic viewfinders, for shooting when it's bright outside, again giving a more pleasant experience than trying to use a smartphone.

Best enthusiast compact: Canon PowerShot G7X III

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

Photo: Dan Bracaglia

Buy now:

$749 kit at B&H Photo $749 at Adorama $749 at Amazon What we like:

• Nice grip and well-placed controls
• 4K/30p recording with live streaming to YouTube
• Fast burst shooting

What we don't:

• Lens is soft at wide-angle
• Limited battery life
• Contrast-detect only autofocus

The Canon PowerShot G7X III is an enthusiast compact built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.

The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's really the clicking control dial around the lens and the dedicated exposure compensation dial that help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.

This is one of the cameras that's frequently out of stock, but in November 2024 Canon assured us that it's still in production and that the company is "working to meet the consumer demand of the PowerShot G7 X Mark III."

"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look" Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive. Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.

Read our Canon Powershot G7X III review

See the Canon Powershot G7X III studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also worth considering

The Sony Cyber-shot DSC-RX100 VA is also worth a look, offering a short, bright 24-70mm equivalent zoom. This is a little shorter than the one on the Canon but we've found it to be more consistently sharp, on the units we've tested. It has a pop-up viewfinder, adding to the appeal but also to the price. The Sony's autofocus is faster and more dependable than the Canon's but we prefer the handling of the Canon, thanks to its exposure compensation dial and clicking front control wheel.

Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII

20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system

Photo: Dan Bracaglia

Buy now:

$1298 at B&H $1298 at Adorama $1298 at Amazon What we like:

• Industry-leading autofocus
• Excellent image quality
• Oversampled 4K video

What we don't:

• User interface can be overwhelming
• Low light performance limited by slow lens
• Slippery grip
• Expensive

The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the Mark VA or the Canon G7X III but it provides a lot more reach, still in a compact package.

The RX100 VII is the most capable pocketable camera ever made The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor. The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.

Read our Sony RX100 VII review

See the Sony DSC-RX100 VII studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Waterproof cameras

Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.

Best waterproof camera: OM System Tough TG-7

25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)

Buy now:

$550 at B&H $550 at Adorama $532 at Amazon What we like:

• Bright, wideangle lens
• Built-in GPS, compass and manometer
• Raw image capture allowing creating edits
• Range of accessories

What we don't:

• 12MP is fairly low
• Lens isn't very bright at long end
• Limited battery life
• Relatively expensive

The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).

The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.

"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"

Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.

Read our hands-on with the OM System TG-7 article

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Long zoom cameras

Perhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.

Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that modern smartphones will bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.

Best long-zoom camera: Panasonic FZ1000 II

20MP Type 1 BSI-CMOS sensor | 25-400mm equiv. F2.8-4 lens | 4K/30p video capture

Photo: Dan Bracaglia

Buy now:

Buy at B&H Photo What we like:

• Relatively fast lens with versatile focal range
• Fully articulating touchscreen
• Responsive AF performance

What we don't:

• "Flutter" when focusing is distracting
• Substantial crop in 4K
• Body feels too "plasticky" for its price

The Panasonic DC-FZ1000 II has a Type 1 sensor and stabilized 25-400mm equiv. F2.8-4 lens.

The FZ1000 II predates Panasonic's switch to phase-detect autofocus, so it tends to hunt for focus. However, it can shoot at burst rates up to 7fps, and its 25-400mm equiv F2.8-4 lens gives you plenty of reach while still offering a fair amount of light-gathering ability.

The FZ1000 II has a comfortable grip and twin control dials, but its all-plastic construction doesn't live up to its price. It's extensively customizable, with an array of physical and on-screen buttons. The OLED EVF is very good. Its versatile lens, snappy autofocus speeds, large EVF and 4K video capabilities should make it one of the better cameras in its class. The FZ1000's image quality is good for its class. The camera doesn't capture as much detail as we'd like and, if you're up to it, shooting Raw and post-processing will get the most out of the camera. The FZ1000 II captures 4K UHD video at 30p and 24p, though there is a substantial crop which narrows your field of view (this is not an issue at 1080). The autofocus system tends to 'hunt' for focus on occasion. The camera has a good set of video controls and a mic input socket. The FZ1000 was a solid camera and the improvements on its successor make it even better. While not best-in-class, its versatile lens, good image and video quality and reasonable price make the FZ1000 II well worth considering.

Read our Panasonic FZ1000 II review

See the Panasonic FZ1000 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The retired champ

In its day, the Sony Cyber-shot DSC-RX10 IV offered better performance and autofocus than the Panasonic, though at a substantially higher cost. In 2024, however, it's no longer available at retail, and the FZ1000 II is. If you manage to find an RX10 IV somewhere and are interested in a long-zoom compact, it's still worth snapping up – it's possible it'll be the best of its kind that was ever made.

Best ultra-zoom camera: Nikon Coolpix P1000

16MP 1/2.3" BSI-CMOS sensor | 24-3000mm equiv. F2.8-8 lens | 4K video capture

Photo: Barney Britton

Buy now:

$997 at B&H $997 at Adorama What we like:

• Focal range cannot be matched by any camera
• Respectable image quality, given camera's purpose
• Raw support
• Well-built, with logical control layout

What we don't:

• Large and unbalanced when zoom is extended
• Lens is slow at long end, reducing sharpness
• No touchscreen
• Poor battery life

The Nikon Coolpix P1000 is a small sensor camera with a vast zoom lens. The Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv lens is its selling point.

The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.

The P1000 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1000's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well. "When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1000" The P1000's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths. The P1000 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below. When it comes to zoom power, nothing comes close to Nikon's Coolpix P1000. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.

Read our Nikon Coolpix P1000 review

See the Nikon Coolpix P1000 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Vlogging cameras

Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.

Best vlogging camera: Sony ZV-1 Mark II

20MP Stacked CMOS sensor | 24fps burst shooting | 4K/30p, 1080/120p video

Photo: Shaminder Dulai

Buy now:

$898 at B&H $898 at Adorama $898 at Amazon What we like:

• Low rolling shutter
• 3-way mic array
• Touchscreen interface for vlogging

What we don't:

• Limited body buttons/dials
• No stabilization for stills
• 8-bit color not ideal for grading

The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter, unless an object is held up to the camera.

A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve. The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control. The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.

See the Sony ZV-1 Mark II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 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.

Black Friday has gone from being a single-day event to a series of sales spanning over a week. And while there are hundreds of discounted items out there, not all of them are worth your while. We've dug through them to find products that are actually a deal – the items that we know are good, and that are cheaper than their usual prices.

If the deal is only available for a very narrow window of time, we'll be sure to note that.

Shortcuts:

• Camera deals
  • Nikon
  • Canon
  • Sony
  • Panasonic
  • Fujifilm
  • OM System
• Lens deals
  • Nikon
  • Canon
  • Sony
  • Panasonic
  • Fujifilm
  • Sigma
  • Tamron
• Accessory deals
• Software deals

Camera Deals Nikon

Deals will be available starting 11/28

Gold Award Winners

Nikon Z9 - $5,000, $500 off

The Nikon Z9 is Nikon's first truly 'professional' full-frame interchangeable lens camera. Built around a 47MP stacked-CMOS sensor (without a mechanical shutter), the Z9 is a fast and capable all-rounder, built for use in the most demanding environments by both stills photographers and videographers.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama

Nikon Z6III - $2,200, $300 off

Photo: Richard Butler The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama Canon Gold award winners

EOS R5 - $2,799, $600 off

Photo: Dan Bracaglia The Canon EOS R5 is a versatile and capable full-frame mirrorless camera that can shoot 45 megapixel stills at up to 20 frames per second and capture 8K video.

Read the review

Buy now:

$2559 at Amazon.com

EOS R6 II - $1,999, $500 off

Photo: Dale Baskin The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama Silver Award winners

EOS R8 - $1,199, $300 off

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

Read the review

Buy at B&H Buy at Amazon Buy at Adorama

EOS R7 - $1,299, $200 off

The Canon EOS R7 is a 32MP, image-stabilized APS-C mirrorless camera aimed at enthusiast photographers and videographers.

Read the review

Buy now:

$1691 at Amazon.com

EOS RP - $899, $100 off

The EOS RP is an affordable entry-level full-frame mirrorless camera that combines a 26.2MP CMOS sensor and Dual Pixel autofocus with the easy-to-use interface of its EOS-M and Rebel cameras. Buy at B&H Buy at Amazon Buy at Adorama

EOS R10 - $879, $100 off

Photo: Shaminder Dulai The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.

Read the review

Buy now:

$999 at Amazon.com

EOS R50 - $579, $100 off

Photo: Richard Butler The Canon EOS R50 is a compact mirrorless camera aimed at photographers who may want to move up from a smartphone but want to do so at an entry-level price point. It’s built around a 24MP APS-C sensor and uses Canon’s ‘RF’ lens mount.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama Other sales

EOS R3 - $4,499, $500 off

The Canon EOS R3 is the company's first sports shooting mirrorless camera, based around a 24MP stacked CMOS sensor. That sensor allows for 30fps bursts with autofocus, oversampled 4K/60p video and incredible autofocus capabilities.

Read the initial review

Buy at B&H Buy at Amazon Buy at Adorama Sony Gold award winners Sony a1 - $5,500, $1,000 off Photo: Dan Bracaglia The Sony a1 is a 50MP pro-grade full-frame camera that combines high resolution with high speed, and is equally at home shooting detailed landscapes, fast-action sports or pro-level 8K video.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama

Sony a7R V - $3,400, $500 off

Photo: Richard Butler The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

Read the review

Buy now:

$3168 at Amazon.com

Sony a7 IV - $2,100, $400 off

Photo: Richard Butler The a7 IV is an enthusiast-level 33MP full-frame mirrorless camera with strong video and stills features.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama

Sony a7S III - $3,200, $300 off

The Sony a7S III is the most video-focused of the a7 series of full-frame mirrorless cameras. It uses a 4K-optimized, image stabilized 12MP BSI CMOS sensor.

Read the review

Buy at B&H Buy at Amazon Buy at Adorama Panasonic Silver Award winners

Lumix S5II - $1,700, $300 off

Photo: Richard Butler The Panasonic S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

Read the review

$1,697 at B&H $1,697 at Amazon

Lumix G9II - $1,600, $300 off

Photo: Brendan Nystedt

The Lumix G9 II is the company's high-end Micro Four Thirds camera, featuring a 25MP sensor and phase detection autofocus.

Read the review

$1,597 at Amazon $1,597 at Adorama Fujifilm Photo: Richard Butler

Outside of its Instax cameras, Fujifilm currently has only one camera on sale: the Gold Award-winning X-T5, which costs $1,600, $100 off its original price. You can read the full review here.

Buy now:

$1399 at Amazon.com OM System

OM-1 Mark II - $1,899, $500 off

Photo: Shaminder Dulai

Read the initial review

$1,899 at B&H $1,899 at Amazon $1,899 at Adorama

OM-5 with 12-45mm F4 Pro lens - $1,099, $300 off

Photo: Brendan Nystedt The OM System OM-5 is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera.

Read the review

$999 at B&H $1,099 at Amazon w/12-45mm F4 $999 at Adorama Lens Deals Nikon Image: Nikon

NIKKOR Z 70-200mm F2.8 - $500 off (after 11/28)

B&H Adorama Amazon

NIKKOR Z 24-70mm F2.8 - $400 off

$2,000 at B&H $2,000 at Adorama

NIKKOR Z 35mm F1.8 - $250 off (after 11/28)

B&H Amazon

NIKKOR Z 50mm F1.8 - $200 off (after 11/28)

B&H Amazon

NIKKOR Z MC 105mm F2.8 - $200 off

$847 at B&H $847 at Amazon Canon Image: Canon

RF 70-200mm F2.8 - $300 off

$2,500 at B&H $2,500 at Amazon

RF 15-35mm F2.8 - $300 off

$2,100 at B&H $2,100 at Amazon

RF 28-70mm F2 - $300 off

$2,624 at Amazon $2,800 at B&H

RF 100mm F2.8 - $200 off

$999 at B&H $999 at Amazon Sony

Do note: the Sony 24-70mm F2.8 and 70-200mm F2.8 that are on sale are the first-generation ones, which are a fair bit heavier than the second-generation ones.

Image: Sony

24-105mm F4 - $200 off

$1,100 at B&H $1,100 at Amazon

24-70mm F2.8 - $200 off

$1,500 at B&H $1,500 at Amazon

70-200mm F2.8 - $200 off

$1,800 at B&H $1,800 at Amazon

24-70mm F4 - $200 off

$700 at B&H $700 at Amazon Panasonic Micro Four Thirds Image: Panasonic

42.5mm F1.2 - $400 off

$1,079 at Amazon $1,200 at B&H

35-100mm F2.8 - $300 off

$850 at B&H $850 at Amazon

100-400mm F4-6.3 - $300 off

$1,300 at B&H $1,300 at Amazon

10-25mm F1.7 - $300 off

$1,500 at B&H $1,500 at Amazon

25-50mm F1.7 - $300 off

$1,500 at B&H $1,500 at Amazon

50-200mm F2.8-4 - $300 off

$1,400 at B&H $1,400 at Amazon Full Frame Image: Panasonic

16-35mm F4 - $400 off

$1,047 at Amazon $1,100 at B&H

70-200mm F4 - $400 off

$1,100 at B&H

{BuyButton: linkHref="https://www.amazon.com/Panasonic-Full-Frame-Stabilizer-Freeze-Resistant-Mirrorless/dp/B07N844X8Q/", linkTitle="$1,100 at Amazon}

70-200mm F2.8 - $400 off

$1,900 at B&H

{BuyButton: linkHref="https://www.amazon.com/Panasonic-Full-Frame-Stabilizer-Freeze-Resistant-Mirrorless/dp/B07ZZQ3DCC", linkTitle="$1,900 at Amazon}

24-70mm F2.8 - $300 off

$1,700 at B&H $1,700 at Amazon Fujifilm Image: Fujifilm

XF 16-50mm F2.8-4.8 R LM WR - $200 off

$500 at B&H $500 at Amazon Sigma Image: Sigma

150-600mm F5-6.3 DG DN OS - $200 off | L-mount, E-mount

$1,299 at B&H $1,299 at Adorama

500mm F5.6 DG DN OS - $200 off | L-mount, E-mount

Buy at B&H Buy at Amazon

14mm F1.8 DG HSM - $200 off | E-mount

$1,249 at Amazon $1,299 at B&H Tamron Image: Tamron

150-500mm f/5-6.7 - $200 off | E-mount, X-mount

$Buy at B&H Buy at Adorama

35-150mm F2-2.8 - $200 off | E-mount, Z-mount

Buy at Amazon $1,800 at B&H

28-75mm F2.8 - $200 off | E-mount

$700 at B&H $700 at Amazon Accessory Deals DPReview merch

Okay, we'll level with you – our newly-released 25th anniversary merch isn't on sale. But if you're looking for a gift for photography nerds in your life, definitely head over to our pop-up shop and see if any of our shirts, mugs, or hats would fit the bill. They're only available for a limited time, so grab them while they're here.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Products from our 25th Anniversary Pop-up Shop.

Visit the DPReview Pop-up Shop

MacBook Pros

Apple doesn't generally run sales on its laptops, which are well-liked by photographers and other creatives. However, that doesn't stop retailers like Best Buy, B&H, Costco, or Amazon from knocking $200-300 off the price for Black Friday, even for the latest M4-equipped models. The ones with older chips are no slouches either, just make sure you're not getting one of the entry-level ones with a vastly insufficient 8GB of memory.

Peak Design

You can get Peak Design's normally $600 carbon fiber travel tripod for $480.

Photo: Dan Bracaglia

Peak Design makes camera straps, tripods, and camera-focused packs, some of which are popular around the DPReview office. Most of them are currently 20% off, which can be a fair chunk off the price if you're looking at a higher-end item like its carbon fiber travel tripod or camera-ready Everyday Backpack.

NiSi Filters

If you're looking for lens filters, NiSi is having a 20% off sale on most of its offerings. That can add up to some rather substantial savings if you're looking to stock up on different sizes or strengths of ND or black mist filters, or if you're shopping for a pricier piece of glass like a variable ND filter.

Software Deals DXO

DXO has put its photo-focused apps on sale. Its full Raw editing suite, PhotoLab 8, is available for $180 ($50 off its normal price) for first-time buyers, or $90 as an upgrade. Its plugin pack, film emulation pack, geometry correction software, and Raw processing software, are also on sale.

Davinci Resolve Image: Blackmagic

Davinci Resolve Studio, the upgrade to the free Davinci Resolve video editing software, is also on sale for Black Friday; you can pick it up for $235, $60 off its usual price.

B&H Topaz Labs

Topaz Labs is well known for its AI-powered noise reduction and upscaling software. You can get it for 50% off from the company's website. It's also running a deal where you can bundle all its programs – Photo AI 3, Video AI 5, and Gigapixel 8 – together for $399.

Find a deal we missed? Leave it in the comments!

When you use DPReview links to buy products, the site may earn a commission. Image: Tamron

Tamron has announced that it's launching its first lens for Canon's RF mount, the 11-20mm F2.8 Di III-A RXD, next month. The APS-C lens has been available on Sony's E-mount and Fujifilm's X mount for a while, and Tamron announced it'd be coming in April of this year, but now it'll actually be available to buy.

The 11-20mm F2.8 has a moisture-resistant build, and an optical formula consisting of 12 elements in 10 groups. It has two glass molded aspherical elements, one XLD element and two LD elements. It also has Tamron's second-generation anti-reflective coating, as well as a fluorine coating for oil and water resistance on the front element.

When attached to a Canon APS-C body, it should make for a relatively small kit. It weighs 340g (12 oz) and is 84mm (3.3") long. It accepts 67mm filters.

Given Canon APS-C cameras' 1.6x crop compared to full-frame, this lens will be roughly equivalent to 18-32mm.

When it launches on December 12th, it'll be the third zoom lens available for RF mount not made by Canon itself, alongside the Sigma 10-18mm F2.8 and 18-50mm F2.8. It rounds out a selection of lenses for the system that was quite sparse just a year ago, owing to how tightly Canon has controled the license for its mount.

The Tamron 11-20mm F2.8 Di III-A RXD will cost $659.

Press Release:

TAMRON Announces the Launch of Its First CANON RF mount Lens

The compact, lightweight, fast-aperture F2.8 ultra wide-angle zoom 11-20mm F/2.8 Di III-A RXD (Model B060)

Commack, NY, November 26, 2024 – Tamron announces the launch of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A1 RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras at $659 USD / $899 CAD on December 12, 2024.

The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm2, with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for daily use.

Despite its small, lightweight design, the lens delivers high-level imaging power with its uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9in) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end.

The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, letting users easily enjoy the high image quality of this ultra wide-angle fast -aperture F2.8 lens under a range of conditions.

PRODUCT HIGHLIGHTS

1. Fast-aperture ultra wide-angle zoom lens

The 11-20mm F2.8 (full-frame equivalent of 17.6-32mm) allows for the capture of landscapes and architecture with the dynamic perspective unique to ultra wide-angle lenses. It is also well-suited for indoor group portraits and real estate photography by leveraging its wide-angle focal lengths. At the telephoto end, it supports everyday snapshots with its natural field of view close to one’s view, all while delivering soft and beautiful bokeh with its F2.8 aperture.

2. Compact and lightweight

Designed with APS-C mirrorless cameras in mind, the 11-20mm F2.8 provides a compact and lightweight form, measuring just 3.3” (84.2mm) in length and weighing 12 oz. (340g), allowing you to shoot without worrying about weight. When used with a compatible APS-C mirrorless camera body, you’ll enjoy handheld shooting of still images and find it comfortable to shoot video even when using a compact tripod or gimbal.

3. AF/MF Switch and TAMRON Lens Utility Compatibility

The CANON RF mount includes an AF/MF switch. Additionally, the lens features a Connector Port for users to easily update the lens to the latest firmware via TAMRON Lens Utility™ software.

4. Outstanding optical performance

The optical construction uses 12 elements in 10 groups including two GM (Glass Molded Aspherical) lens elements to maintain high resolution across the entire image area. It also incorporates one XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements to effectively suppress aberrations, ensuring clear image quality. Additionally, the BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating minimizes ghosting and flare, faithfully rendering details even in backlit conditions.

5. MOD of 5.9” (0.15m) and maximum magnification ratio of 1:4

With an MOD of 5.9” (0.15m) at 11mm and a maximum magnification ratio of 1:4, the 11-20mm F2.8 surpasses traditional ultra wide-angle zoom lenses in its close-up capabilities. This allows for wide-angle macro photography and creative shallow depth of field effects, enhancing subject prominence against blurred backgrounds.

6. High performance autofocus system for both still and video use

Equipped with TAMRON’s proprietary RXD motor unit, the autofocus system delivers high-speed and high-precision focusing. It accurately captures moving subjects and is suitable for both still photography and video. Its quiet RXD stepping motor is ideal for capturing moments where noise may be a concern, or silence is required.

7. High convenience and protective features

• 67mm filter size, same as most other TAMRON lenses for mirrorless cameras
• Enhanced overall lens design for user-friendly operation
• Moisture-Resistant Construction
• Fluorine Coating

This product is developed, manufactured, and sold under license from Canon Inc.

1: Di III-A: For APS-C format mirrorless interchangeable-lens cameras

2: The full-frame equivalent of 17.6-32mm.

Tamron 11-20mm F2.8 Di III-A RXD specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length11–20 mmImage stabilizationNoLens mountCanon RF, Fujifilm X, Sony FEApertureMaximum apertureF2.8Minimum apertureF16Aperture ringNoNumber of diaphragm blades7OpticsElements12Groups10Special elements / coatings2 aspherical + 1 XLD + 2 LD elements, BBAR-G2 coatingFocusMinimum focus0.15 m (5.91″)Maximum magnification0.25×AutofocusYesMotor typeStepper motorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterNoPhysicalWeight335 g (0.74 lb)Diameter73 mm (2.87″)Length86 mm (3.39″)SealingYesColourBlackFilter thread67 mmHood suppliedYesTripod collarNo

Image: DJI

DJI has announced the Mic Mini, a wireless lavalier microphone kit. The 'Mini' part of the name refers to the omnidirectional microphones themselves, which weigh only 10g and are small enough that they shouldn't be a huge distraction when clipped to someone's shirt or collar.

In addition to the built-in clip, you can use a magnet to mount the microphone transmitter pack to your talent, though that will add a slight bit of weight. The included windscreens will also make the microphone more noticeable but will cut down on wind noise.

The microphone / transmitter pack is really quite small.

Image: DJI

DJI says the microphones have two levels of built-in noise cancelation. The first is meant for "quiet indoor settings" with constant noises like AC or fans. The second level is more aggressive and is meant for noisier outdoor environments. It also has an automatic limiting feature to prevent clipping if there's a sudden loud noise, and you can control microphone gain via a five-step knob on the receiver pack.

According to the company, the microphones can connect to the receiver at a distance of up to 400m (just under 1/4 mile), though that's obviously assuming ideal conditions. The microphone's battery should last up to 11.5 hours on a charge, with the receiver lasting up to 10.5 hours, though popping each in the charging case for five minutes can net you up to an extra hour of use. DJI says the battery in the charging case can fully charge the system around 3.6 times.

There are quite a few options for getting audio out of the system. The receiver has a 3.5mm output jack that you can use to connect to a camera with the included TRS cable. The microphone pack can also directly connect to your phone via Bluetooth, and cameras that support DJI's OsmoAudio system, such as the Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3, without going through the receiver. If you pair the microphone to your phone, you can also use it to record an audio track that'll automatically be synced with the footage from DJI's Neo drone.

The Mic Mini comes in several configurations. You can get two microphones, a receiver, a USB-C phone adapter, and a charging case to hold it all for $170, or a single transmitter and receiver for $89. If you opt for that option, you can add on to it later – the microphones are available a la carte for $59, and the charging case is $49.

The charging case charges each component and stores the phone adapter.

Image: DJI

There are also versions of the kits that come with a Lightning adapter for older iPhones, which cost $19 more than their USB-C counterparts. If you get a bundle without the charging case, they come with a charging dock powered by USB-C for the microphone transmitter packs.

There are a few downsides to the Mic Mini versus DJI's higher-end Mic 2 system. It doesn't support 32-bit float recording, which can pretty much entirely eliminate clipping, and the Mini mic packs don't support external lavalier mics or internal recording. The trade-off, of course, is that they're less than half the weight of the ones for the Mic 2 and are substantially less noticeable when clipped to someone's shirt.

There are other differences as well. The Mic 2 has 'Intelligent' noise cancelation that doesn't require you to pick which level you need manually, and its transmitter lets you change settings without having to be connected to an app. However, the larger system, which costs $219, has substantially less range and shorter battery life. Those trade-offs likely won't be deal breakers if you need the extra capabilities, but they're worth keeping in mind.

The Mic Mini is available today from DJI and other retailers.

$169 at B&H $169 at Amazon $169 at DJI

Press Release:

DJI Expands OsmoAudio™ Offerings with DJI Mic Mini, the New Mini Wireless Microphone

Weighing just 10g, DJI Mic Mini delivers powerful performance in an ultra-light body, allowing content creators to carry less and capture more

DJI, the global leader in civilian drones and creative camera technology, today announced DJI Mic Mini. This ultralight, compact, wireless microphone offers powerful performance for content creators. DJI’s latest microphone offering, DJI Mic Mini is a fantastic starter microphone, boasting an ultra-long battery life and a notably stable transmission of high-quality audio with entry-level pricing.

“DJI Mic Mini packs unbelievable sound into an incredibly compact, extremely light package, bringing the high quality audio expected from DJI in a mini microphone at a modest price of $169,” said Paul Pan, Senior Product Line Manager at DJI. “Content creators can count on capturing remarkably dynamic, crystal-clear sound, no matter the environment, and will enjoy the wearability and utility of DJI Mic Mini. DJI continues to serve the wide audience of creators with the highest level of innovative tools, from providing filmmakers with Emmy-winning Inspire drone technology and the Ronin cinematography ecosystem to today’s launch, bringing premium audio capture to all levels of content creators.”

Light, Portable, and Easy-to-Use with Efficient Operation and Production Features

Weighing only 10g1 - less than half the weight of DJI Mic 2 - DJI Mic Mini is discreet and comfortable, with multiple ways to wear that won’t weigh down collars or stretch-thin T-shirts, ensuring a clean on-camera appearance. Wearers can clip it on a shirt, attach it to clothing with magnets, or wear it on a lanyard.

Quality features are packed into DJI Mic Mini to help content creators make the richest, most detailed sound possible, keeping in mind post-production needs as well. With two-level noise canceling technology1, content creators need not worry about recording in loud environments such as crowded halls or outdoor events. The basic is perfect for quiet indoor settings, reducing fan, air conditioning, and reverb noises while preserving vocal clarity, while the strong level cuts ambient noise and focuses on vocals in noisy settings. DJI Mic Mini’s windscreens also significantly lower wind noise, providing clean sound capture in outdoor venues.

Automatic limiting lowers the volume if the audio input is too high, efficiently preventing clipping that causes distortion1. Creators can also adjust the gain quickly using the dial on the receiver, cycling through five level options to control the input of the captured sound.

The innovative design of the all-in-one charging case conveniently keeps all items together, neatly storing two transmitters, one receiver, mobile phone adapters, and windscreens—making DJI Mic Mini super portable and easy to carry or store.

Capture Detail-Rich, Reliable Audio

Despite its miniature form factor, DJI Mic Mini doesn’t skimp on sound quality1. It features omnidirectional audio recording. The receiver can pair with two transmitters at once, making it possible to record from multiple sources without sacrificing detail. This ensures that the audio captured maintains a consistently high quality.

With dual channel recording (Mono and Stereo), creators can separate the audio from the two transmitters, or combine it into a single track, providing creative flexibility and control. The DJI Mimo App offers a safety track, recording at a volume six dB lower than the main track, providing a fail-safe for audio issues like clipping and distortion and ensuring the audio captured is usable, even if the live performance had fluctuating volumes.

Audio can be transmitted up to 400 meters1, and with DJI Mic Mini's powerful anti-interference capabilities, the recording remains stable and high quality even in bustling outdoor environments like a busy street or crowded event.

For the content creator on the road capturing longer-form content like podcasts or livestreams, a fully charged DJI Mic Mini case provides 48 hours1 of extended use and can provide one hour of use after a quick five-minute charge. The receiver and transmitter are fully charged in approximately 100 and 90 minutes1, respectively, avoiding any lengthy delays between recording sessions.

Also, the transmitter will automatically enter sleep mode when it doesn't detect a signal from the receiver, saving power and alleviating creators of the need to keep powering the mic on and off. Finally, the DJI Mimo app can be used to set an automatic power off after a designated period of time, preventing a drained battery and allowing creators to preserve more power for their creativity.

Premium Wireless Recording Thanks to OsmoAudio™ and Direct Connections with DJI Products and Smartphones

DJI’s OsmoAudio™ ecosystem ensures premium sound capture, and the DJI Mic Mini transmitter can connect directly with the Osmo Action 5 Pro, Osmo Action 4, or Osmo Pocket 3 without a receiver, simplifying the creator workflow.

DJI Mic Mini also conveniently connects directly to smartphones via Bluetooth, no receiver required, so anyone with a smartphone can capture audio recordings with third-party filming apps1.

Creators can connect the DJI Fly app to the DJI Neo drone and DJI Mic Mini via Bluetooth to record audio and overlay it with their aerial footage. The app allows creators to eliminate propeller noise, merge audio tracks with footage, and ensure excellent sound even when shooting low-altitude vlogs.

Use of DJI Mic Mini is extremely versatile, with multi-device compatibility for creators using cameras, smartphones, computers, or tablets to record content1. When connected to a camera via the Camera Audio Cable (3.5mm TRS), it supports synchronized power on/off with the camera. When connected to a smartphone, it allows for external playback without unplugging and can be charged by the smartphone. When the receiver connects to a smartphone and then to a power source via the USB-C port, both devices can be simultaneously charged during use.

Price and Availability

DJI Mic Mini is available to order from store.dji.com and authorized retail partners, with shipping starting today, in the following configurations:

The DJI Mic Mini (2 TX + 1 RX + Charging Case) retails for $169, and includes a DJI Mic Mini Receiver, two DJI Mic Mini Transmitters (Infinity Black), a DJI Mic Mini Charging Case, DJI Mic Mini Camera Audio Cable (3.5mm TRS), a DJI Mic Mini Mobile Phone Adapter (Type-C), a DJI Mic Mini USB-C Charging Cable, four DJI Mic Mini Windscreens, two DJI Mic Mini Clip Magnets, and a DJI Mic Mini Carrying Pouch.

The DJI Mic Mini (1 TX + 1 RX) retails for $89, and includes a DJI Mic Mini Receiver, a DJI Mic Mini Transmitter (Infinity Black), a DJI Mic Mini Camera Audio Cable (3.5mm TRS), a DJI Mic Mini Mobile Phone Adapter (Type-C), two DJI Mic Mini Windscreens, a DJI Mic Mini Clip Magnet, a DJI Mic Mini Compact Carrying Pouch, a DJI Mic Mini Splitter Charging Cable, and a DJI Mic Mini Transmitter Charging Dock.

The DJI Mic Mini Transmitter (Infinity Black) and DJI Mic Mini Transmitter (Arctic White) can also be purchased separately at $59 each. The DJI Mic Mini Charging Case retails at $49.

1. All data was measured using a production model in a controlled environment. For more information, please refer to our official website.

When you use DPReview links to buy products, the site may earn a commission. Image: Tamron

Tamron has announced a firmware update for its 70-180mm F2.8 Di III VC VXD G2 lens, which adds support for the Sony a9 III's 120fps mode. However, unlike many first-party Sony lenses, Tamron only supports shooting at 120fps in the single AF, direct manual focus, or manual focus modes. It does not support doing it in continuous autofocus.

Realistically, this limits its usefulness; there likely aren't many situations where you'd need to capture images at extremely high speed but not need autofocus tracking. However, if you do run into one, this lens can now support it. We've seen this restriction before: it's present on several Sigma lenses.

The firmware update does bring some AF-C improvements. The company says its autofocus while zooming should also be improved.

The update can be downloaded and installed using Tamron's lens utility.

Buy now:

$1199 at Amazon.com

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

The Sigma SD9 was announced in February 2002, just days after Foveon had revealed the X3 technology for which it would become known. Not only was it the first X3 camera, it was also Sigma's first digital camera, following on from a history of making film SLRs.

And, while we've seen alternatives and variations of the Bayer color filter pattern, the SD9 represented one of the most concerted attempts to offer a totally different way of capturing color in digital photography. As part of DPReview.com's 25th anniversary, we look back at one of the most radical cameras we've yet tested.

3.4 x 3 = ? Full-frame Foveon sensor "still at design stage" says Sigma CEO, "but I'm still passionate"

The Foveon X3 works on a completely different principle to most imaging sensors. The majority of digital cameras place color filters in front of each photodiode so that each receives only specific colors of light, letting it measure how much of that color is present. This has two downsides: firstly it means that a lot of light is absorbed by the color filter and is not then available to the camera. More critically, though, it means that different colors are captured at different locations, and the chroma resolution of a sensor is much lower than the pixel count would imply. The colors of light that were lost to filtering need to be interpolated from neighboring pixels, which softens the image by sharing information across pixels and creates more opportunities for aliasing.

The X3 sensor works very differently: it doesn't use any color filters and instead essentially stacks three photodiodes on top of one another. Different colors of light can penetrate silicon to different depths, so color information can be derived based on how many photons reach the different depths within the sensor. There are downsides to this approach, too: the sensors are complex to fabricate and it's hard to match the pixel counts of the much simpler conventional designs. Also, you need a lot of light to ensure that enough penetrates into the lower layers of silicon, to correctly assess the color and keep noise under control.

Read our original Sigma SD9 review

The SD9 had 3.4 million pixels, with three photodiodes at each pixel, giving full color at every location from its approximately APS-C sensor (∼21x14mm). A direct contemporary, Canon's D60, had 6 million pixels, but with more standard Bayer color filter meaning that although they had a higher nominal resolution, in practice they were softer and couldn't match the Sigma's pixel-level performance. In his original review, Phil concluded that the two cameras were capturing comparable levels of detail overall.

The SD9 had two battery systems, one to power the systems you'd find on a film SLR, a second to power the digital side of the camera.

On the physical side of things, Sigma had clearly adapted one of its existing SLR designs, with separate batteries, with one set powering the camera's metering system, autofocus drive and viewfinder displays, while a tray of AA batteries powered the digital side of the camera. 2003's follow-up SD10 used only a single set of batteries, with a dedicated Li-Ion approach being adopted by 2006's SD14.

Despite being Sigma's first attempt at a digital camera it had some thoughtful touches such as an RGB histogram that updated to reflect the zoomed-in area you were reviewing, in playback mode.

The review also includes Foveon's marketing illustrations that suggest the three different layers of silicon capture blue, green and red light at the different layers. This isn't strictly true: only red photons will reach down to the lowest levels, but some get absorbed higher up. The middle layer therefore collects some red and most of the green light, with the upper layer collected some red, some green and all the blue light. This means that the contibution of each color has to derived, with the noisiest 'red' channel factored into all the other color information.

The SD9 wasn't able to do these calculations, so the camera output Raw files that could be processed using the company's Sigma Photo Pro software. And even on its first outing, Phil recognized that lower light levels represented a significant challenge. But he also recognized the level of innovation that had gone into the camera.

Still promising

Twenty two years later, Sigma now owns Foveon and its X3 technology and says it's is working on a full-frame varient of the design. We're hoping that advances in sensor design and fabrication, along with a larger surface area to capture more light will deliver something more of the original promise of the X3 concept.

With pixel counts now far exceeding those required for most applications, the pressure for Sigma to match the latest Bayer sensors pixel-for-pixel is reduced. And if that results in a low-ISO camera that produces pixel-level perfect images, then perhaps there will still be a market for that.

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

The Sigma SD9 was announced in February 2002, just days after Foveon had revealed the X3 technology for which it would become known. Not only was it the first X3 camera, it was also Sigma's first digital camera, following on from a history of making film SLRs.

And, while we've seen alternatives and variations of the Bayer color filter pattern, the SD9 represented one of the most concerted attempts to offer a totally different way of capturing color in digital photography. As part of DPReview.com's 25th anniversary, we look back at one of the most radical cameras we've yet tested.

3.4 x 3 = ? Full-frame Foveon sensor "still at design stage" says Sigma CEO, "but I'm still passionate"

The Foveon X3 works on a completely different principle to most imaging sensors. The majority of digital cameras place color filters in front of each photodiode so that each receives only specific colors of light, letting it measure how much of that color is present. This has two downsides: firstly it means that a lot of light is absorbed by the color filter and is not then available to the camera. More critically, though, it means that different colors are captured at different locations, and the chroma resolution of a sensor is much lower than the pixel count would imply. The colors of light that were lost to filtering need to be interpolated from neighbouring pixels, which softens the image by sharing information across pixels and creates more opportunities for aliasing.

The X3 sensor works very differently: it doesn't use any color filters and instead essentially stacks three photodiodes on top of one another. Different colors of light can penetrate silicon to different depths, so color information can be derived based on how many photons reach the different depths within the sensor. There are downsides to this approach, too: the sensors are complex to fabricate and it's hard to match the pixel counts of the much simpler conventional designs. Also, you need a lot of light to ensure that enough penetrates into the lower layers of silicon, to correctly assess the color and keep noise under control.

Read our original Sigma SD9 review

The SD9 had 3.4 million pixels, with three photodiodes at each pixel, giving full color at every location from its approximately APS-C sensor (∼21x14mm). A direct contemporary, Canon's D60, had 6 million pixels, but with more standard Bayer color filter meaning that although they had a higher nominal resolution, in practice they were softer and couldn't match the Sigma's pixel-level performance. In his original review, Phil concluded that the two cameras were capturing comparable levels of detail overall.

The SD9 had two battery systems, one to power the systems you'd find on a film SLR, a second to power the digital side of the camera.

On the physical side of things, Sigma had clearly adapted one of its existing SLR designs, with separate batteries, with one set powering the camera's metering system, autofocus drive and viewfinder displays, while a tray of AA batteries powered the digital side of the camera. 2003's follow-up SD10 used only a single set of batteries, with a dedicated Li-Ion approach being adopted by 2006's SD14.

Despite being Sigma's first attempt at a digital camera it had some thoughtful touches such as an RGB histogram that updated to reflect the zoomed-in area you were reviewing, in playback mode.

The review also includes Foveon's marketing illustrations that suggest the three different layers of silicon capture blue, green and red light at the different layers. This isn't strictly true: only red photons will reach down to the lowest levels, but some get absorbed higher up. The middle layer therefore collects some red and most of the green light, with the upper layer collected some red, some green and all the blue light. This means that the contibution of each color has to derived, with the noisiest 'red' channel factored into all the other color information.

The SD9 wasn't able to do these calculations, so the camera output Raw files that could be processed using the company's Sigma Photo Pro software. And even on its first outing, Phil recognized that lower light levels represented a significant challenge. But he also recognized the level of innovation that had gone into the camera.

Still promising

Twenty two years later, Sigma now owns Foveon and its X3 technology and says it's is working on a full-frame varient of the design. We're hoping that advances in sensor design and fabrication, along with a larger surface area to capture more light will deliver something more of the original promise of the X3 concept.

With pixel counts now far exceeding those required for most applications, the pressure for Sigma to match the latest Bayer sensors pixel-for-pixel is reduced. And if that results in a low-ISO camera that produces pixel-level perfect images, then perhaps there will still be a market for that.

Just in time for the holidays, we’re excited to announce the launch of our DPReview Pop-up Shop, featuring limited edition items from our 25th Anniversary collection designed to fuel your passion for photography. In addition to goods with the DPReview logo, we’re also featuring items designed to show your love for photography.

What’s in the store? You can choose from the DPReview logo with apparel like t-shirts, sweatshirts and baseball caps. Of course, to honor DPReview’s early history, it's all designed in dark mode with a black background.

Visit the DPReview Pop-up Shop

If you’re a camera nerd – and we include ourselves in that group – head over and take a look.

If you’re not feeling nerdy enough to want DPReview-branded swag, we've also designed products with photo-friendly slogans like ‘Say Cheese’, ‘Photo Department’, and ‘I ♥ Bokeh’.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Products from our 25th Anniversary Pop-up Shop.

The pop-up Shop will be available for a limited time. It will disappear on January 31st, so if you want to order something for yourself or your favorite camera enthusiast, head on over and browse the collection.

Why a Pop-up Shop?

Readers have been asking us about DPReview swag for years, so we decided to do something about it. So, if you’re one of those who’s emailed or messaged us asking where to find things like DPReview shirts, now is your chance.

Of course, when you buy our gear, you’re supporting DPReview and our mission to bring you the best online information and reviews about digital cameras.

Need more info?

If you have specific questions about products or ordering, you can contact store@gearpatrol.com for assistance.

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

Our recent trip to New York to shoot the Sony a1 II at the Colts vs. Jets game included some downtime, giving us a chance to get some samples with the new Sony FE 28-70mm F2 GM.

The High Line is a former elevated railway that runs up Manhattan's west side, now acting as a ribbon park through the city. Its relaxed atmosphere and mixture of New Yorkers and tourists have made it one of editor Richard Butler's favorite places to grab portraits.

Follow us as we hit the High Line with Sony's latest, fastest zoom, to capture the images in our recent sample gallery.

Buy now:

Buy at Adorama$2898 at B&H Photo Sony FE 28-70mm F2 pre-production sample gallery

All images taken with a pre-production lens and processed using Adobe Camera Raw with no distortion or vignetting correction applied.

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

Canon EOS 20D and 17-40mm F4 L lens | ISO 100 | 3.2 sec | F4

Photo: Dale Baskin

The theme for our December Editors' photo challenge is 'Happy Holidays'.

Show us what the holiday season looks like through your lens. Whether it’s colorful lights, dazzling decorations, festive gatherings, or just a cozy moment, we want to see your best holiday-inspired photos.

For this challenge, submit one or more photos that embody this month's theme. Each person can enter up to two photos.

How it works

DPReview editors will review every photo you submit to an Editors' Challenge. We'll publish our favorites in a gallery on the DPReview homepage at the end of the month.

Submissions will open on Sunday, December 1st, and you have until Saturday, December 7 (GMT) to submit entries. User voting will begin once submissions close and will help inform DPReview Editors' picks, but will not select them. They are one factor in our evaluation. Visit the December Editors' Challenge page to see the full details.

While you're at it, don't forget to check out some of the other open and upcoming challenges hosted by members of the DPReview community. Or, see some of the great photos from recently completed photo challenges.

Open challenges:

• Close-up/Macro - Bugs (New Shots Only) (closes Dec. 28)

Upcoming challenges:

• Fortnight 39: My Best Non-bird Photo Shot after 2024-11-11 (opens Nov. 25)
• The Triumph (opens Nov. 28)
• Close-up/Macro - Bugs (2024 Shots Only) (opens Nov. 29)

Click here to see the December challenge details

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�This week, we published our initial review of Sony's latest flagship, the a1 II. As part of the camera's launch event, editor Richard Butler was able to use the camera to shoot part of an American football game. Video director Mykim Dang went along with him to capture the experience, and the result is a very entertaining video that also covers the basic specs and features of the a1 II.

You can see full-resolution versions of some of the images Richard captured, along with a series of portraits he took while in New York City, in our sample gallery.

Images: Angelbird, 3 Legged Thing, Peak Design

Happy weekend, everyone! It's been a busy week here at DPReview, covering the launch of the Sony a1 II, but we've still found some accessories worth taking a look at. But first, as always, let's check out the deals.

It's almost time

Next week, the US is celebrating Thanksgiving, which is shortly followed by the traditional shopping days of Black Friday and Cyber Monday. Many brands have already started their sales, so there's plenty of discounts to be had. Next week we'll be putting out an article rounding up some of the best prices on our favorite gear, so stay tuned for that.

Photo: Richard Butler

In the meantime, Nikon's at it with the sales again. The company's latest full-frame camera, the Z6III, can be had for $200 off. When we reviewed it earlier this year, we were impressed by its versatility and capability for shooting both stills and videos.

$2,296 at B&H $2,296 at Adorama $2,296 at Amazon Photo: Dan Bracaglia

What's that? You're not impressed by a mere $200 off? Fair enough. You can still get the Nikon Z8 for $500 off list, but the real jaw-dropper is the Nikon Z7 II, which is available for a full $1,000 off MSRP. It's a decidedly last-gen camera at this point and doesn't feature the company's latest autofocus tech that impressed us so much in the Z8 and Z6III, but if you're looking for a high-res full-frame camera to shoot landscapes with, it's hard to imagine that you'll find something better for $2,000.

$1,996 at B&H $1,996 at Amazon $1,996 at Adorama Get outdoors Image: Peak Design

A few months ago, Peak Design announced a new lineup of outdoor-focused camera bags, made of durable, weather-resistant materials and designed to be comfortable to wear on long excursions through varied terrain while carrying the gear you need to get the perfect landscape shot.

Previously, the bags – two backpacks and two slings – were available to preorder on Kickstarter, but they're now available to buy via normal retail channels. If you want to learn more about the bags, be sure to check out our full article on them here.

Peak Design Outdoor Pack

25L $250 at Amazon 45L $330 at Amazon Buy at B&H

Peak Design Outdoor Sling

2L $59 at Amazon 7L $89 at Amazon Buy at B&H Beautiful card readers

Red is CFexpress type A, blue is SD, and yellow is CFexpress type B.

Image: Angelbird

Angelbird, a company best known for its SSDs and memory cards, has released a new lineup of card readers called the PKT series. As the "pocket" name implies, they're meant to be carried around; the USB-C port on them is recessed to reduce wear and tear, the card slot has a cover to prevent dust or lint from building up in them and they have a write protection switch that can help prevent accidental data deletion or formating.

There are three models: one for SD cards, which can transfer data at 5 Gbps, and CFexpress type A and B models, which both run at 20Gbps through a USB-C 3.2 Gen 2x2 connection.

The PKT readers certainly aren't cheap – each one costs around $100 – but they sure do look nice. They're made out of aluminum, which you can get engraved with custom text for no extra cost, and each one features a distinctive splash of color so you can tell which reader you're grabbing at a glance. They also include a three-year warranty and a 32 cm (12.6") USB 4 cable.

SD reader $99 at Amazon $99 at B&H CFexpress type A reader $99 at Amazon $99 at B&H CFexpress type B reader $99 at Amazon $99 at B&H Rig out your iPhone 16

PolarPro's iPhone case lets you add accessories without having to use an entire cage

Image: PolarPro

Filter and camera accessory company PolarPro has updated its 'LiteChaser' iPhone case lineup to support Apple's latest phones and add even more attachment options, including a set of effects lenses that can be used with your phone's main camera.

There are a few case options; the base one lets you attach filters and lenses and comes with a removable grip with two 1/4-20 threads and a cover that can flip down to protect your phone's cameras, while the 'ProCase' includes all that plus a cold-shoe mount that you can use to add even more mounting points to your phone. For those who like using their phone without a case, there's an easily removable 'EXO' backplate that attaches via MagSafe and gives you a slot to add filters and lenses.

The company sells a variety of specially made filters for the system, including a 2-5 variable ND, a black mist filter, and a circular polarizer, as well as an adapter that lets you use standard 67mm screw-on filters. The filters it made for the iPhone 15 version of the case are also forward-compatible, so you can still use them if you've upgraded your phone.

3 Legged Microphone Image: 3 Legged Thing

3 Legged Thing's latest product isn't a tripod or other apparatus to mount a camera; instead, it's a set of clip-on lavalier microphones that you can use to record – you guessed it – three people at once. The company pitches the system, called the 'Str3amcase' towards content creators and videographers doing interviews, livestreams, or vlogs.

The kit comes with two transmission modules and one receiver module, which can also pull double-duty as a microphone, though given the lack of onboard recording you'll have to find a way to discretely run a cable off it. If you don't need to record a third person, you can clip it to a camera's shoe mount instead of a collar and use its 3.5mm jack to output audio. You can also connect it to a phone via USB-C.

The transmission modules have their own clips, but can also be magnetically attached to things as well. If you'd rather not use the built-in microphones, you can also attach a lavalier to them via a 3.5mm jack.

The two transmitter modules and receiver module nestle into a charging case that's powered via USB-C.

$130 at 3 Legged Thing

Click to read last week's accessory roundup

When you use DPReview links to buy products, the site may earn a commission. Updated Nov 22, 2024

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

At this price point, your main options will be entry-level interchangeable lens cameras or enthusiast-tier compact cameras with a built-in lens. Compact cameras offer more control than a phone and a greater zoom range, but – despite having sensors that are around 60% larger – likely won't offer a huge jump in image quality compared to the latest flagship phones.

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

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

Our recommendations:

• Best camera under $1000: Canon EOS R10
• The better performer: Nikon Z50II
• The affordable kit: Sony a6100
• Best compact camera under $1000: Sony Cyber-shot DSC-RX100 VA
• Best camera for content creators under $1000: Fujifilm X-M5

Best camera under $1000: Canon EOS R10

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

Photo: Shaminder Dulai

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Capable stills and video camera
• Simple, effective AF in stills
• Relatively easy-to-use

What we don't:

• Video autofocus is less effective than stills
• Mediocre battery life
• Few sensible RF lens choices

The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.

There are a few things that earn it the top place of this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma have stepped in to round-out the selection of primes and higher-end zoom lenses available for it, meaning you've got a lot of good options if you want to move beyond the kit lens that came with it.

The R10 has a powerful AF tracking system with subject recognition that makes it especially good at focusing on people, animals and vehicles. We found it both easy to use and effective. 15fps shooting with the mechanical shutter is good, though the buffer is limited. "The EOS R10 is an approachable, capable option for stills and video" The R10 has a relatively small body but finds room for two command dials. Most key settings can be accessed through the Q menu, making it easy to access the camera's core functions. The R10 can shoot 4K video at up to 60p with a crop, or 30p using its full sensor width. The footage isn't the most detailed but, as in stills mode, there's the option to shoot footage for HDR TVs. Autofocus isn't as dependable as it is in stills mode.

With the EOS R10 Canon has re-created the capability and usability of its popular Rebel series DSLRs in its RF mirrorless lens mount. Now that there's a wider variety of lenses available for it, it's an excellent pick for those looking to get into photography.

Read our Canon EOS R10 review

See Canon EOS R10 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The other options

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

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

The better performer: Nikon Z50II

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

Photo courtesy Nikon

Buy now:

$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo What we like:

• Twin top-plate control dials
• Simple tracking AF w/ subject recognition
• Strong video specs

What we don't:

• No sensor stabilization
• Weak battery life
• Limited zoom lens selection

The Nikon Z50II is an entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. It features Nikon's '3D tracking' autofocus system, and can recognize nine subject types.

The Z50II makes a case for being the best pick for beginners, thanks to a simple and effective AF system with automatic subject detection. However, while plenty of prime lenses are available, Nikon appears to be blocking bright zooms from third-party makers, limiting your upgrade options compared with its rivals.

It has a solid grip, twin top-plate control dials, and a wide variety of customizable buttons, including one that, by default, controls color mode. Focusing is handled using the touchscreen or four-way controller. The Z50II delivers on the basics without breaking the bank. The Z50II can shoot full-width UHD 4K at 30fps, but requires a 1.5x crop to hit 60fps. It has video-focused features like a tally light, waveform monitoring, N-Log, and headphone and microphone jacks. The Z50II looks like a solid camera, with several features from Nikon's higher-end cameras. The lack of a stabilized sensor could be frustrating when shooting video, and the limited lens selection could hurt the camera's ability to grow with you as a photographer.

Read our Nikon 50II Initial Review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What about the Z fc?

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

The affordable kit: Sony a6100

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

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

Photo: Richard Butler

Buy now:

Buy at Amazon.comBuy at Adorama$598 at B&H Photo What we like:

• Excellent autofocus system
• 4K/30p video recording
• Tilting touchscreen LCD

What we don't:

• Less robust build quality
• Rolling shutter 'jello effect' present in 4K video
• Crop when recording 4K/30p video

The Sony a6100 is an entry-level APS-C mirrorless camera. It has a compact body and a 24MP sensor.

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

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

"The a6100's autofocus can effortlessly track whatever you point it at" Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting. The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode. The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.

Read our Sony a6100 review

See the Sony a6100 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best compact camera under $1000: Sony Cyber-shot DSC RX100 Va

20MP 1" Stacked CMOS sensor | 24-70mm equiv. F1.8-2.8 lens | 4K video capture

The RX100 VA can deliver excellent image quality, backed up by good autofocus

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Excellent photo quality
• Very good AF for a compact
• 24 fps burst shooting with deep buffer

What we don't:

• Interface and controls can be overwhelming
• No touchscreen
• Limited battery life

The Sony Cybershot DSC-RX100 VA is an updated RX100 V with the same 20MP Stacked CMOS sensor, fast 24-70mm equiv. lens, hybrid AF system, clever popular viewfinder and excellent 4K video quality. The 'VA' adds a larger buffer, new metering, white balance and AF modes, an improved EVF refresh rate and more.

Sony essentially created this class of cameras with the original RX100 model. A large sensor gives image quality that's still a match for a good smartphone but with the benefit of an actual zoom lens. The Stacked CMOS sensor and a built-in viewfinder add to the cost but also create a very powerful camera.

"Offers the best combination of photo and video quality, autofocus and speed of any compact camera" Handling and ergonomics are the RX100 series' weak point, and they're most enjoyable when used as point-and-shoots in auto modes. But nothing else offers this combination of photo and video quality, speed and compactness, and the viewfinder makes it useable in a wide range of circumstances.

The RX100 VII is also worth a look. It's more expensive, and its lens is slower, taking away some of the low light performance, but it offers a much longer zoom, giving still more benefit over a smartphone.

Read our Sony Cyber-shot RX100 V review

See the Sony Cyber-shot DSC RX100 V studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for content creation: Fujifilm X-M5

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

What we like:

• Great JPEG colors with dedicated dial
• Solid selection of vlogging features and UI
• Good level of direct control

What we don't:

• No viewfinder
• AF tracking performance isn't the strongest
• Unstabilized sensor

The Fujifilm X-M5 is based around an APS-C 26MP X-Trans sensor, and equipped with AI-powered subject detection autofocus.

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

Fujifilm's autofocus can recognize and accurately track several subject types, but overall its autofocus isn't as swift or reliable as its rivals and its general subject tracking isn't as dependable. The X-M5's stills mode is among the most competent in vlogging-focused cameras It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile. The X-M5 can shoot up to 6.2K open-gate footage, which can be cropped for sharing on multiple platforms. Many of its video modes, such as 4K 60p, lighter-weight 4K LP mode, and electronic stabilization modes, come with a substantial crop. Our initial impressions of the X-M5 are that it's a capable camera for its size and price but that its non-stabilized sensor and last-gen autofocus tracking may be an issue for its target audience.

Read our Fujifilm X-M5 initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What if I only vlog?

If you plan to shoot more videos than photos, you may want to consider the Sony ZV-E10 II. Its lack of a mechanical shutter makes it worse for photography, but its autofocus tracking performance in video sets it apart from the X-M5. It also has video-centric features like a front tally light and included wind sock, and it can shoot 4K 60fps without having to crop in too tightly on the frame.

Buy now:

$998 at Amazon.com$1098 w/ 16-50 at Adorama$1098 w/ 16-50 at B&H Photo

Click here to read the ZV-E10 II review

Sony also makes a compact vlogging camera called the ZV-1 II. It gives up a lot compared to the ZV-E10 II: it has a much smaller Type-1 sensor, no 10-bit video, no 4K 60fps, and, obviously, no ability to switch out lenses. In return, you get built-in ND filters, which will help if you're shooting in direct sunlight, and a built-in lens, which means that you're getting a complete package for under $1,000. Still, it's hard to recommend when cameras like the DJI Osmo Pocket 3 exist and when many phones rival it in vlogging capabilities.

Click here to read our Best Cameras for Vlogging buying guide

Why you should trust us

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

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Earlier this week, Sony announced its FE 28-70mm F2 GM lens, its first constant F2 zoom. The company promised "prime levels of performance" and said the lens doesn't rely on software corrections.

Our sample gallery shows how the lens performs in general use as a portrait lens and contains a few samples designed to show how it renders sun stars and its vignetting performance throughout its aperture range. There are also some shots designed to show off how it renders bokeh when wide open at F2.

A note on processing: our standard procedure for lens galleries is to export the JPEGs using Capture One, as it gives us more control over how lens corrections are applied than Adobe Camera Raw. However, we shot this gallery with the just-announced Sony a1 II, which currently isn't supported in Capture One, so we reverted to processing these images using ACR. We've worked to use settings similar to our standard C1 recipe. No correction for vignetting or distortion was applied.

Buy now:

Buy at Adorama$2898 at B&H Photo

Wildlife Photographer of the Year winners

The 11th annual International Landscape Photographer of the Year competition has announced the winners of its 2024 awards, showcasing stunning imagery from around the world. Photographers competed in various categories, including the coveted Landscape Photographer of the Year, requiring a portfolio of at least four images, and Landscape Photograph of the Year, recognizing the power of a single captivating shot.

This year's competition saw Canadian photographer Andrew Mielzynski, an amateur with a deep connection to the natural environment, claim the top prize for his portfolio of stark images with simple color palettes. Ryohei Irie from Japan captured the Landscape Photograph of the Year award with a mesmerizing image of fireflies illuminating a forest.

Beyond the overall winners, the competition presented awards in specific categories, including Black and White, Aerial, Snow and Ice, and Forest, along with at-large winners. In addition to the overall and category winners, we've included several of our favorite photos from the 202 photographs recognized this year. You can visit the competition's website to see all the winning images or to download its 2024 eBook.

Landscape Photographer of the Year: 1st place

Photographer: Andrew Mielzynski, Canada

Subject and location: Cono de Arita in the Salar de Arizaro, Atacama Desert in Argentina

Description: The Cono is a perfectly cone-shaped volcano at 3,690 meters above sea level. It’s very graphic due to the contrast between the dark, perfectly formed cone and the bed of white salt that is found at its base.

Copyright Andrew Mielzynski / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 1st place

Photographer: Andrew Mielzynski, Canada

Subject and location: Winter Cottonwoods, Toronto, Ontario, Canada

Description: During the pandemic, I went out for a walk at a local park during a fierce winter storm. I ran across this scene. It seemed very chaotic, with many layers of trees. I loved how the snow, driven by high winds, was embedded into the bark of the trunks. The snow on the bark created a textural contrast that adds detail and interest to the trees. I took a few frames, trying to simplify the scene in front of me and settled on this one, loving the tones, the depth, the order and the minimalism. Even in a chaotic scene, there seems to be a sense of balance that feels orderly and pleasing.

Copyright Andrew Mielzynski / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 1st place

Photographer: Andrew Mielzynski, Canada

Subject and location: Found in a roadside ditch near Heathcote, Ontario, Canada

Description: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.

Copyright Andrew Mielzynski / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 2nd place

Photographer: Ignacio Palacios, Australia

Subject and location: Pumice Field, La Puna, Argentina

Copyright Ignacio Palacios / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 2nd place

Photographer: Ignacio Palacios, Australia

Subject and location: Seven Colors Mountain, Siloli Desert, Bolivian Altiplano

Copyright Ignacio Palacios / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 2nd place

Photographer: Ignacio Palacios, Australia

Subject and location: Arita Cone, La Puna, Argentina

Copyright Ignacio Palacios / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 3rd place

Photographer: Gheorghe Popa, Romania

Subject and location: Early Autumn, Vânători Neamț Natural Park, Romania

Copyright Gheorghe Popa / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 3rd place

Photographer: Gheorghe Popa, Romania

Subject and location: Poisoned Beauty, Geamăna, Apuseni Mountains, Romania

Copyright Gheorghe Popa / The International Landscape Photographer of the Year

Landscape Photographer of the Year: 3rd place

Photographer: Gheorghe Popa, Romania

Subject and location: Whispers of the Sunken Trees Cuejdel Lake, Romania

Copyright Gheorghe Popa / The International Landscape Photographer of the Year

Landscape Photograph of the Year: 1st place

Photographer: Ryohei Irie, Japan

Subject and location: Traces of Light, Ichinomata, Yamaguchi Prefecture, Japan

Description: The Landscape Photograph of the Year Award went to Ryohei Irie of Japan. He likes the mysterious atmosphere created by the standing dead trees and firefly light. “I have been visiting this Subject and location for several years during the firefly season, and it is an interesting place because the intensity and length of the firefly light and the Subject and location where the fireflies fly vary greatly, depending on the year and time of day, resulting in completely different works, even when photographed in the same way.”

Copyright Ryohei Irie / The International Landscape Photographer of the Year

Landscape Photograph of the Year: 2nd place

Photographer: Justinus Sukotjo, Indonesia

Subject and location: Mother Care Framing, Walakiri Beach, Sumba Island, Indonesia

Copyright Justinus Sukotjo / The International Landscape Photographer of the Year

Landscape Photograph of the Year: 3rd place

Photographer: Himadri Bhuyan, India

Subject and location: The Flow, Sohra, Meghalaya, India

Copyright Himadri Bhuyan / The International Landscape Photographer of the Year

The Black and White Award

Photographer: J. Fritz Rumpf, United States

Award: The Black and White Award 2024

Subject and location: White Tie Affair. Death Valley National Park, California, USA

Copyright J. Fritz Rumpf / The International Landscape Photographer of the Year

The Aerial Award

Photographer: Benjamin Barakat, Switzerland

Award: The Aerial Award 2024

Subject and location: The Final Dune, Namibia

Copyright Benjamin Barakat / The International Landscape Photographer of the Year

The Snow and Ice Award

Photographer: Jeroen van Nieuwenhove, Iceland

Award: The Snow and Ice Award 2024

Subject and location: Isþyrlu – Ice Swirl, Scoresbysund, Greenland

Copyright Jeroen van Nieuwenhove / The International Landscape Photographer of the Year

The Forest Award

Photographer: Shirley Wung, Taiwan

Award: The Forest Award 2024

Subject and location: Fireflies flying in the Misty Mountains, Wufeng Township, Hsinchu, Taiwan

Copyright Shirley Wung / The International Landscape Photographer of the Year

The Exciting Sky Award

Photographer: Federico Delucchi, Italy

Award: The Exciting Sky Award 2024

Subject and location: Aurora, meteor shower and other cool stuff, Rocca la Meja, Italy

Copyright Federico Delucchi / The International Landscape Photographer of the Year

Other top entries

Photographer: Laura Bennet, United States

Subject and location: Sumba Island, Indonesia

Copyright Laura Bennet / The International Landscape Photographer of the Year

Other top entries

Photographer: William Preite, Italy

Subject and location: Pale di San Martino, Falcade, Dolomites, Italy

Copyright William Preite / The International Landscape Photographer of the Year

Other top entries

Photographer: Siegfried Makedanz, Germany

Subject and location: Sandfellsjökull Glacier Lagoon, Southern Iceland

Copyright Siegfried Makedanz / The International Landscape Photographer of the Year

Other top entries

Photographer: Sabine Weise, Germany

Subject and location: Moonscape Overlook, Utah Badlands, USA

Copyright Sabine Weise / The International Landscape Photographer of the Year

Other top entries

Photographer: Yuriy Vantowski, United States

Subject and location: Mount Bromo, East Java, Indonesia

Copyright Yuriy Vantowski / The International Landscape Photographer of the Year

Other top entries

Photographer: Tanay Das, India

Subject and location: Kistwa, Himalaya, Jammu and Kashmir, India

Copyright Tanay Das / The International Landscape Photographer of the Year

Other top entries

Photographer: Rajesh Jyothiswaran, United States

Subject and location: Texas, United States

Copyright Rajesh Jyothiswaran / The International Landscape Photographer of the Year

Images: Canon, Nikon

It wasn't long ago that many of our reviews of APS-C cameras had to come with a warning: no matter how good the body was, you were almost certainly going to be limited by lens selection. This was especially true with Nikon and Canon's mirrorless cameras. Sony has followed its longstanding tradition of letting third parties build out a healthy selection of lenses, and the selection for Fujifilm's APS-C-only X-mount is second to none, but Nikon's Z mount and Canon's RF mount appeared to be almost completely locked down. As a result, you could count the number of APS-C lens options available on your fingers.

But things are changing. Over the past year, we've seen several APS-C lenses announced and released for Canon and Nikon cameras, filling notable gaps in the first-party lens lineups. But while the situation is improving, it's clear that the two companies are still in control.

This week, Sigma released four APS-C primes for Canon's RF mount, making good on its promise to release six licensed lenses for the system – earlier this year, it released the 10-18mm F2.8 and 18-50mm F2.8. Meanwhile, Nikon has allowed Sigma to release select primes for Z-mount – a trio of F1.4 primes at 16, 30, and 56mm. It's worth noting the company's 23mm F1.4 is the only one of its APS-C primes that it hasn't brought to Z-mount; it likely isn't a coincidence that Nikon's only first-party APS-C prime lens is a 24mm F1.7.

Sigma's APS-C prime lens lineup is quite good, and now most of them are available for almost any mirrorless APS-C camera.

Image: Sigma

However, Nikon hasn't stopped companies like Viltrox and Sirui from releasing a slew of Z-mount APS-C prime lenses, complete with autofocus. If you pick up a Nikon Zfc or Z50II, you can get anywhere from a 13mm F1.4 (20mm equiv.) to a 75mm F1.2 (113mm equiv.) to go with it, as well as most of the classic focal lengths in between.

Your choices are no longer limited to a few first-party options, manual-focus only lenses, or glass meant for full-frame bodies

This is an important change for APS-C shooters. Even going back to the DSLR days, it's felt like many manufacturers have viewed the format as a stepping stone to full-frame rather than something enthusiasts and pros might consciously choose. Neither Canon nor Nikon have been particularly prolific when releasing new APS-C glass. But with the gates being slightly opened, you're no longer limited to a few first-party options, manual-focus-only lenses from third parties, or heavier, more expensive full-frame lenses. Now, there's at least some selection of third-party lenses with autofocus to choose from, alongside Canon and Nikon's offerings.

This isn't to say that you can now buy any APS-C camera you want and be assured that all the lenses you want will be available – you are still at the mercy of what Canon and Nikon wish to allow. While plenty of primes are available for Z-mount APS-C cameras, no fast zoom lenses are available; Nikon's all start at F3.5 and end at F5.6 or F6.3.

In fact, there are currently no third-party APS-C zooms available for Nikon Z-mount at all, despite the fact that two have made the jump from E and X-mount to RF – it also goes without saying that there are many others more available on Fujifilm and Sony's systems. That's a bummer for anyone looking to step up from the kit lens or wanting to shoot sports or birds in anything but ideal lighting without having to shell out for and lug around a full-frame 70-200mm.

Tamron has promised to bring its 11-20mm F2.8 APS-C lens to Canon RF mount this year as well – no word on Z-mount, despite Tamron bringing some of its full-frame lenses to Nikon.

Image: Tamron

RF mount at least has the two constant F2.8 zooms thanks to Sigma, with one more on the way from Tamron, though those are all at the wide end. However, there are far fewer autofocus primes available for Canon, as manufacturers like Sirui and Viltrox aren't producing them. That's not surprising; a representative for the latter once said that Canon had told it to stop producing products for RF mount. The 85mm F1.4 lens that Samyang announced for the system in 2020 also disappeared from the market not long after.

In a perfect world, these problems wouldn't exist. Canon and Nikon would make the lenses that their APS-C cameras needed to stand on their own feet as a real alternative to full-frame options, and there would be robust competition from third parties, which would be allowed to make whatever lenses they want.

None of that seems particularly likely. However, at least those who choose to shoot with a smaller sensor in a Canon or Nikon body have gotten a wider choice of lenses, even if they're still bound by the companies' rules.

At the end of the day, that's better for everyone interested in APS-C, because it means that cameras like the EOS R7 and Z50II are competitive with the Sony a6700 and Fujifilm X-T5 in a way that they wouldn't have been with an extremely limited lens selection. With any luck, this trend will continue, and the APS-C landscape will become more competitive – even if Canon and Nikon aren't giving it their full attention.

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Yesterday, Sony announced the a1 II, a new flagship camera aimed squarely at professional photojournalists shooting sports and other high-speed action. The camera uses the same 50MP sensor as its predecessor but features an updated autofocus system that supports more subject recognition types.

While we'll have plenty more testing to do once we get a production model, we were able to get a feel for what the camera is capable of by shooting part of a football game and several portraits in New York City, as well as using it for other general photography in Florida and Washington state. You can see the results in the gallery above.

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