Photo News

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

As usual, one of the first things we did when we received the Sony DSC-RX1R III was take it into our studio, to see how it performs.

The camera's lens has a degree of distortion but correcting it isn't compulsory, so we've matched the way we shot the RX1R II: JPEGs with distorion correction applied, Raw files without. However, it's worth noting that Adobe Camera Raw applies chromatic aberation correction automatically.

Studio scene

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

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

We'll take a closer look at the lens in a separate test, but you can see the RX1R III's sensor performs as you'd expect. It can't quite match the Leica Q3 43 for detail but it's capturing finer detail than the Mark II, with its 42MP sensor, could. Noise is comparable with the two other cameras with which it shares a sensor and with its predecessor, when compared at a common output size.

The JPEG engine does a good job of pulling out fine detail, and retains it to a reasonable degree at high ISO. Color rendition seems to be a match for recent Sony cameras, with perhaps slightly less bluey greens and greenish yellows than the RX1R II had.

A closer look at the lens

Our test scene isn't designed for testing lenses but allows a reasonable working distance, so the results shouldn't be too far removed from those you get from everyday shooting (we'll be publishing a sample gallery in the coming days, to let you compare). It also lets you examine when the lens sharpens up and when vignetting disappears.

The images in this scene have been processed with geometric distortion correction on and off. They have also been processed with a slightly higher level of sharpening than the one we use for out standard test scene, to give a better idea of what you can get out of them.

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

The first thing you see is that the vignetting present at F2.0 has all but gone by F2.8. Whereas sharpness takes longer, still improving when you get to F5.6.

Turning the corrections off reveals a degree of barrel distortion but it's only something you're likely to notice if you're shooting test charts or brick walls. There doesn't seem to be any significant loss of sharpness if you correct the results, so it's really a question of taste whether you choose to apply the corrections.

Overall it's fair to say the high pixel count starts to reveal the limitations of the lens at wider apertures, but still does a good job when stopped down. And, although the two aren't perfectly comparable (the Leica was processed with Capture One, which doesn't support the Sony yet), the performance is well short of the Leica Q3 43's lens at wider apertures.

In practice we found that, while it lacks critical sharpness at the distances and apertures used for portraits, it delivers all you might expect for landscape shots.

A few months ago, a simple question popped up in our community forums: What have you learned as a photographer that you would tell a beginner? The resulting discussion was insightful enough that we turned it into an article.

The reaction to that article was even bigger than the original discussion. The comment section blew up, with over 100 experienced photographers contributing tips and hard-earned wisdom.

We knew we had to share that collective knowledge with new photographers, so we analyzed the entire conversation to find the most common recommendations. Below are the top five pieces of advice for beginner photographers from the DPReview community, ranked by how many photographers commented on each.

Learn technique and composition (25% of feedback)

The most common advice from experienced photographers was to learn good technique and composition.

Photo: Dale Baskin

The most common advice from experienced photographers? Focus on technique and composition. Nailing the fundamentals is crucial, no matter your gear or subject.

Start by learning to see and use light effectively. "Every photo requires light. Understand good light," reader Peak freak told us. "This took me some years and many photographs. A pleasant side effect is that I now see 'good light' all the time. I don't have to be taking photos."

"Every photo requires light. Understand good light."

As you learn to see light, also learn the fundamentals of exposure: "Only aperture and shutter speed affect exposure," points out Jacques Cornell. "ISO is just gain after the fact." That doesn't mean the ISO dial on your camera isn't useful, but it's essential to understand that changing ISO doesn't impact the amount of light you capture. Reader p51d007 also advises: "Take your camera out of the green A mode and experiment!"

Finally, much of the wisdom centered on composition: be aware of the entire frame and experiment with different angles. "Work the scene. That first photo may not turn out well. Change camera positions forward, backward, left, right, higher and lower," suggests TXforester.

Focus on mindset and philosophy (22% of feedback)

It's good to study the work of other photographers, but develop your own vision for your photography.

Photo: Dale Baskin

Photography isn't just a technical skill; for many, it's a journey of personal development where each photographer develops their own philosophy.

We heard a lot about finding your personal vision and shooting for yourself. As reader FotoFailure says, "Be true to you. It sounds selfish, but it's really not. Taking pictures for 'likes' and trying to emulate some YouTuber is a trap." Another reader emphasized this, proclaiming, "If something is your passion or what your heart is burning for, go for it; if not, don't do it for the sake of appearance."

Gear (20% of feedback) One common tip when it comes to gear: the "good enough" philosophy that says you should keep using your current gear until you actually outgrow it or reach its limits.

On a gear-focused website, it's refreshing that equipment only ranks third. The most common advice was to avoid "Gear Acquisition Syndrome" (GAS).

"Don't fall prey to GAS (like I, and many others, have). Really learn the basics of photography with your current camera and kit lens. Then upgrade as needed, but resist the urge to upgrade simply because something is new or has cool features," says sirhawkeye.

"Don't fall prey to GAS."

Many also advised prioritizing lenses, which often impact image quality more than a camera body. "Choose your camera system wisely, perhaps looking at lenses more than cameras. Cameras come and go, but lenses stick around forever," observes grasscatcher.

Finally, many espoused the "good enough" philosophy: you don't need the newest gear for great results. Notes Greg Edwards, "Cheaper, budget gear these days is amazing. Far better than it was 20 years ago."

Learn and practice (18% of feedback)

If you want to improve, practice, and learn to understand your subject. You don't have to share your practice photos with anyone unless you want to.

Photo: Dale Baskin

"Photography is like playing a musical instrument. You have to practice, practice, practice, and never stop learning," says reader mcantsin. But readers also stressed learning from others.

Many recommended studying other photographers and painters, who were often masters of light. "Take time each day to study the images of others. Be analytical about what you do or do not like," says rickpappas. TurvyT adds, "Observe art, especially painting. Have favorite photographers and [view] them often."

Experimenting was another common suggestion for improving your skills. "Learn everything you can about the fundamentals of photography, and then once you've learned all the rules, systematically break every one of them, one at a time, until you find your style," says f1point4andbethere.

Post-processing (6% of feedback)

Post-processing images can enhance your photos, but focus on nailing the fundamentals listed above first.

Screen capture: Mike Tomkins

We were surprised post-processing didn't rank higher, but it suggests that experienced photographers believe it's only valuable after you've started mastering the skills above.

"Editing can improve a good image just like good cooking can improve good base ingredients, but you can't turn sh*t into gold in the editing," lattesweden reminds us.

However, one consistent recommendation was to learn to shoot and process Raw images. Even if you don't use Raw all the time, the ability to process Raw files opens up a world of creative possibilities.

Tell us what you think

And there you have it: five essential pieces of advice crowdsourced from the collective experience of over 100 photographers.

What essential tips would you add to the list? Let us know in the comments.

Editor's note: Some quotes have been lightly edited for clarity and flow.

Photo: Abby Ferguson

Summertime heat makes many of us seek out the nearest body of water for a bit of relief. The beach can also be a place for stunning photographs. Whether you're looking to capture dramatic sunrises or sunsets, moody portraits, epic surfing or simply document your family on vacation, the beach holds a lot of photographic potential. But it also has the potential to wreak havoc on your camera gear thanks to the salt water and sand.

Just because the salt and sand can be hard on your camera doesn't mean you have to leave it at home, though. As long as you take some precautions and know the dangers, you can keep your camera safe while still getting beautiful photos at the beach.

The dangers of the beach for your camera

The beach is a fun place to bring your camera, but the salt water and sand are hard on gear. Here's what you need to watch out for when taking photos at the beach.

Sand is especially prone to getting everywhere when you have kids or pets at the beach with you.

Photo: Abby Ferguson

Sand is the enemy

Sand is a lot like glitter; it gets everywhere, and once it's there, it can be hard to get rid of. When it comes to sand on camera gear, it's far more than just an annoyance; it's also dangerous since sand is extremely abrasive. There's a reason it's used for smoothing and polishing things, after all.

Sand can cause numerous problems with your camera gear. It can scratch the glass on your lenses, clog up zoom or focus rings and jam buttons and dials. If it manages to get inside your camera, it can also damage your sensor. Because of that, it's important to do your best to keep sand away from your camera and lenses.

Waves can be unpredictable, and the resulting salt spray is hard on gear.

Photo: Abby Ferguson

Salt water is also problematic

Ocean-goers have another element to contend with: salt water. At freshwater beaches, it's relatively easy to simply keep your camera away from the lake itself. And if some water does get on it (provided it's not a full bath), your camera likely won't be any worse for wear. Salt water is another story.

Salt water is highly corrosive. It accelerates the degradation of both metal parts and electronic components, potentially causing short circuits. Damage isn't just limited to when it gets wet, either. If unaddressed and left on the camera, salt water can continue to corrode your camera, causing further damage over time.

How to keep your camera safe at the beach

While the sand and salt water pose significant risks for your camera, there are ways to protect your gear. You don't have to skip those beach photos, as long as you take some precautions.

Don't set your camera down

First and foremost, don't ever set your camera down in the sand. Even placing it on a towel spread on the ground is extremely risky. It's a surefire way to get sand where it shouldn't be. If you need to put your camera down, place it inside a sealed bag or container (such as a ziplock, dry bag, or zipped camera bag). You could set it on a raised chair or high cooler if it's only for a brief (supervised) moment, but the key is to keep it away from any place that could get sand kicked or blown onto it.

If you're trying to take extremely low-angle long exposures or other situations when handholding the camera won't work, don't just set your camera on the sand. Instead, use a ground pod or a tripod that allows for low angles. Don't forget to watch your camera closely in such situations, though. You don't want someone to walk by and accidentally kick sand on your camera, or for the tide to come up and splash corrosive salt water all over your gear.

Changing lenses on the beach is risky because of sand and salt spray.

Photo: Mitchell Clark

Don't change lenses on the beach

Changing lenses outside in general can result in debris on your sensor, but you should absolutely avoid changing lenses at the beach. That's especially important if there's any amount of wind that could blow sand or salt spray into your camera. If you absolutely must swap mid-shoot, it's best to do so in your car, a beach changing room or any other sheltered place that can keep sand and salt out of the picture (literally and figuratively).

Choose the right lens

Lens selection is also important. Many zoom lenses have telescoping components, and some lenses extend or retract when focusing. If sand gets trapped in those areas, it can damage or block the gear units. At best, it might result in some crunching when turning the zoom or focusing rings; at worst, it could jam up those parts completely. As a result, it is safer to choose a prime lens with internal focusing or a zoom lens with internal zoom.

Keep your hands clean

Make sure you use clean hands to handle your gear. That can be tough to do, but if you have been playing in the sand or water and then pick up your camera, all that sand will transfer to your gear. Ideally, you should rinse your hands with fresh water so you aren't transferring salt to your camera, but at least make sure your hands are completely sand-free before handling your gear.

Photo: Abby Ferguson Stay away from waves

The most obvious thing to avoid is waves crashing onto your camera. While it can be tempting to put the camera close to waves coming in for dramatic photos, a saltwater bath is not a good idea for your camera. Waves can be unpredictable, and you don't want to get caught by a rogue wave. If you want to get right in the action, an underwater housing would be best.

Likewise, make sure you pay close attention to tide data while at the beach so that you don't accidentally leave your gear in a spot that will eventually be underwater.

A thorough cleaning after the beach is necessary to keep your camera in good condition over time.

Photo: Abby Ferguson

Take time to clean your gear afterwards

Salt water can cause damage even if a wave doesn't wash over your gear. After all, salt spray can travel a few miles from the beach. Even if you keep your camera well away from the waves, it will need some cleaning after a trip to the beach to prevent corrosion and rust.

To clean your camera after your beach trip, start by using a bulb blower to gently remove sand. If there's sand on your lens, do not wipe it off, as that could scratch the glass. Then, dampen a towel with fresh water and wipe down your camera. You may also need to use a lens cleaning solution and a microfiber cloth to clean salt spray off the front element. Finally, as with any moisture, make sure that your camera is fully dry and free of salt residue before storing it.

Image: Nuthawut Somsuk / iStock / Getty Images Plus via Getty Images

President Donald Trump announced on Tuesday evening that the US and Japan have reached a trade deal, CNN reported. The new agreement, which Japanese Prime Minister Shigeru Ishiba confirmed, results in a 15% tariff on Japanese imports. The White House also shared details of a separate agreement with Indonesia that would result in a 19% tariff.

The 15% tariff on Japanese imports is an improvement from the 25% rate threatened earlier this month. While a 10% decrease is better than the alternative for US customers, it doesn't necessarily mean that cameras and lenses will become more affordable.

Most brands, including Nikon, Canon, Sony, Leica and Sigma, have raised prices by roughly 10% in the US because of the increased tariffs. Those price increases occurred during the 90-day pause on full tariffs. During that time, threatened tariff rates were significantly higher than the 10% price increases we saw on camera gear. It appeared that brands were accepting that they would have to take some of the loss instead of passing all of the cost on to consumers.

Given that the new trade agreement doesn't result in tariffs lower than the price increases, it's unlikely that manufacturers will decrease their prices in the US. Instead, those prices are likely here to stay, at least for the foreseeable future. It could, however, mean that there won't be additional jumps in pricing, which was a possibility if the threatened 25% rate became a reality.

Of course, not all (or even most) cameras and lenses are made in Japan or Indonesia. For example, Tamron began operating a factory in Vietnam in February in response to looming tariffs. Earlier this month, President Trump announced a deal with Vietnam that resulted in 20% tariffs on imports from Vietnam, which is substantially lower than the original 46% rate announced in April. Other trade deals are ongoing, so the exact impact of tariffs on photography equipment prices in the US is unclear.

Winners of the 2025 Flow Photo Contest presented by Kodak

The 2025 Flow Photo Contest winners have been announced, highlighting powerful images from around the world. The contest, presented by Kodak, received 16,000 entries from 109 countries. Participants could submit photos in five categories – Water, Human, Travel, Film and Animal – with a total of $50,000 in prizes available.

The photographers ranged in experience from beginners to professionals and could use any type of camera. The panel of judges included Shireen Rahimi, a NatGeo Explorer and underwater storyteller, Shawn Theodore, a visual artist known for his work on Black identity and Alex Stead, a UK-based travel and lifestyle commercial photographer.

"We were blown away by the depth, emotion and technical artistry in the entries. From a single image of a whale mid-breach to portraits that radiate raw humanity, these photographers – many of them amateurs – captured something extraordinary," said Eddie Berrang, Head of Studio at Flow. "This contest reminded us that the most powerful storytelling doesn’t require a big production budget – just vision."

Besides showcasing beautiful imagery, the contest aims to raise awareness and funds for five nonprofit organizations. Re:wild, a group dedicated to protecting and restoring biodiversity, presented the animal category. The Water category highlights the work of Charity: Water, supporting sustainable solutions to bring clean drinking water to communities in need. Hi, How Are You Project, which promotes mental health awareness through art, music and education, sponsored the Human category. The Travel category highlights the work of Surfrider Foundation, which works to protect oceans, waves and beaches. Finally, the Film category is presented by Music Farming to expand access to music education.

The winners and finalists are featured in the 172-page Photo Issue of the Flow Trip magazine, which is only available in print. The magazine also includes judge interviews and a feature on the history of Kodak's Super 8 Camera. You can customize your Photo Issue cover by selecting four different cover images. It's available for purchase for $18 at the Flow website.

Grand Prize Winner: Water

Photographer: Érico Hiller

Instagram: @ericohiller

Category: Water

Photo location: Turmi, Ethiopia

Caption: Climbing up the stairs in this tank holding the gallon is an unimaginable operation that demands balance and strength. Some women do this over and over again, four or five times a day. After leaving the dump area wearing no shoes, the challenge is to avoid scorpions that accumulate around the hole that leads to the ladder one of them showed me a scorpion she had just killed. One small problem leads to another, and the entire chain of water-demand generates challenges these women face every day.

Tell us a little bit more about what led you to capture these humans and their way of life.

As a professional photographer, what has always motivated me is a profound interest in social justice and social impact. I’ve been driven by the desire to connect with others, to understand people’s struggles, and to produce work that might foster awareness and contribute, in some way, to justice. This motivation compels me to leave home, pursue my stories with genuine commitment, and pay true attention to my purpose. It also encourages me to listen carefully and empathetically, striving to be a better listener. Ultimately, I hope this process leads to meaningful photographs that I can share with the world. I believe that one of the essential roles of documentary photography is to make the world a little less unjust — and, in the end, a slightly better place.

How did seeing this way of life alter the way you think about yours?

I believe that through this work I have become a more conscious citizen — more aware of the social structures, the way the world operates, and how, all too often, the digital lens through which we see the world distorts the realities of life as it truly is. Photography allows me to take deeper steps into the lives and real challenges of others. This has given me a greater sense of belonging, while also making me more aware of my role — as a citizen, as a Brazilian, but above all, as a human being. I believe this awareness is reflected in my daily decisions and actions. The world is not an easy place; we live in an era of profound social and human injustices, of unexpected and difficult conflicts. But I believe that by continuing on the path of documentary photography, I am able to find more meaningful answers than if I were to remain a passive observer of the world’s injustices. In this sense, through photography, I strive to improve myself as a person — and in doing so, I hope that I can also contribute, in some small way, to improving my surroundings.

Finalist: Water

Photographer: Jorgito Rivera

Instagram: @jorgitorivera

Image title: Beneath the Lineup

Category: Water

Photo location: Teahupo'o, Tahiti, French Polynesia

Caption: Surfer Kanoa Igarashi slices through the underwater silence with flawless control as a massive wave crashes above him. This shot reveals the raw power of the ocean and the calm precision it takes to master it. 'Beneath the Lineup' is a look into the heart of surfing.

Finalist: Water

Photographer: Mohammed Rimon

Instagram: @mohammedrimon

Image title: Carrying Date Juice

Category: Water

Photo location: Bogura, Rajshahi, Bangladesh

Grand Prize Winner: Human

Photographer: Saurabh Narang

Instagram: @_saurabhnarang

Image title: Ramnath: A Man Who Feeds The Migratory Birds

Category: Human

Photo location: Yamuna Ghat, New Delhi, Delhi, India

Caption: Ramnath Sharma feeds migratory birds at Yamuna Ghat in Delhi, India. Every year between October and March, thousands of seagulls migrate from Siberia to Delhi. Locals come to feed them, believing it is good karma.

Finalist: Human

Photographer: Zay Yar Lin

Instagram: @zayyarlin84

Image title: Golden Moments in the Corn House

Category: Human

Photo location: Mù Cang Chải, Yên Bái, Việt Nam

Caption: Set in the highlands of Mù Cang Chải, this photograph captures a fleeting yet profound moment between a mother and daughter during the corn harvest. The warm shafts of sunlight filtering through rows of drying maize illuminate not only the space but also the joy and intimacy of rural life. This image is a tribute to the enduring strength of family, the quiet poetry of daily labor, and the cultural richness of the country’s ethnic communities. It invites the viewer to pause, reflect, and feel the gentle beauty woven into tradition.

Finalist: Human

Photographer: Pyae Phyo Thet Paing

Instagram: @pyae_phyo_thet_paing

Image title: The Fishing Boys

Category: Human

Photo location: Inle Lake, Shan State, Myanmar

Grand Prize Winner: Travel

Photographer: Evan Wang

Instagram: @evanwongphoto

Image title: Best View in Town

Category: Travel

Photo location: Squamish, British Columbia

Caption: The greatest light show on Earth doesn't usually dance this far south but when it did, we knew exactly how we were going to view it: by climbing under it. Nick Ayers is taking it all in over the Squamish townsite.

How does seeing the northern lights in person, let alone from this perspective, alter your brain chemistry?

The northern lights are such a raw and visceral human experience. They are uniquely special in that they can be appreciated from both your front door or a remote backcountry location. By natural-wonder standards, they’re quite accessible. Seeing them in person rekindles those childlike feelings of wonder that I often find elude us as we grow older. It’s like you’re 5 years old again, gazing up at the sky with all the curiosity in the world, not knowing what to expect next. With this shot, I hoped to evoke those same emotions — no artificial light or image stitching, just the authentic experience exactly as you’d see it with your naked eye.

Finalist: Travel

Photographer: Luba Hristova

Instagram: @lubahristova

Image title: Volcán de Fuego

Category: Travel

Photo location: Volcán de Fuego, Chimaltenango Department, Guatemala

Finalist: Travel

Photographer: Aidan Doyle

Instagram: @fotosaidan

Image title: Fun and Games

Category: Travel

Photo location: Comuna 13, Medellín, Colombia

Caption: At Lake Atitlán, you learn that timing cannot be rushed it is patience, persistence, and being present.

Grand Prize Winner: Film

Photographer: Jacob Paley

Instagram: @jacobpaley

Image title: Eyes on the Palisades Fire

Category: Film

Photo location: Santa Monica, California

Caption: As the flames raged in January, residents of the Pacific Palisades community fled. Some went to the Santa Monica Pier to witness what would later be classified as the most destructive wildfire in the history of Los Angeles.

What were emotions like at the time you captured this image? Explain how you saw this bring the community together.

How do you console the inconsolable? Sometimes, when the chaos is so great, all you can do is sit close by in solidarity. Shock, horror, and perhaps a bit of awe were all palpable feelings that first night. People watched from the safety of the Santa Monica Pier; some came to simply witness the devastation unfold, while others could merely hope their homes were still standing, with those prayers swiftly drifting into the growing plumes of smoke above. As strange as it might be, communities are often most supportive in times of tragedy, when their resilience is tested to the limit and must, in this case quite literally, rise from the ashes. It’s this support from the greater Los Angeles area and beyond that will help those who lost everything to start again.

This image is a powerful one. What do you want viewers to take away from seeing this photo?

Documenting devastation is essential in making sure we never forget our own history. My goal is to provide the audience with an emotional connection to how those who were affected felt, so that we as a society can mourn, support, and reflect on how small we really are in this sometimes unforgiving and unrelenting natural world.

Finalist: Film

Photographer: Ben Dickson

Instagram: @shot.point.blank

Image title: Grind

Category: Film

Photo location: Newcastle, New South Wales, Australia

Finalist: Film

Photographer: L . Chaussée

Instagram: @l.chaussee

Image title: Monument Valley

Category: Film

Photo location: Monument Valley, Oljato-Monument Valley, Utah

Caption: The reflective surface of the windows creates a duality between the landscape and the built environment. And although the image suggests stillness and quiet, in reality, the site was crowded with visitors admiring the view.

Grand Prize Winner: Animal

Photographer: Michele du Plooy

Instagram: @michele.d.p

Image title: Once in a Lifetime

Category: Animal

Photo location: Magdalena Bay, Baja California Sur, Mexico

Caption: This photo was taken in Magdalena Bay during the annual Mexican sardine run. I went on a freediving expedition to see sea lions and marlin feeding on bait balls compact spheres of fish trying to protect themselves and I was absolutely shocked when, on day three, this Bryde’s whale showed up out of nowhere and started feeding on the bait fish right in front of me. Truly the most unexpected, once-in-a-lifetime moment that I will forever cherish and never forget.

How has capturing and witnessing this moment changed your perspective on life above the surface?

Witnessing and capturing this moment with the Bryde’s whale deepened something Iʼve always felt — that so much of what really matters exists quietly, out of sight, and often goes unnoticed by most people. Being in the presence of such a massive, graceful creature reminded me how small we are in the grand scheme of things, and how much wonder still exists beyond the busy surface world we tend to focus on. It reinforced how important it is to slow down, pay attention, and stay connected to the natural world — even when I'm not underwater. It also reinforced my sense of purpose in wanting to share these kinds of moments with people who might never get the chance to experience them firsthand.

What led you to start documenting marine life? What value do you find in showcasing marine life, and what value do you hope your images bring to the lives of others?

I have always been someone who loves capturing memories. Even when I was younger and all I had was a flip phone camera, I was always documenting as much as possible, preserving as many memories as I could. My dad is a scuba diver, so I am very fortunate to have been certified at 13, growing up traveling and doing annual scuba trips with my family. Along with diving, I also grew up with a saltwater tank filled with coral in my childhood home (in landlocked Ottawa), allowing me to really fall in love with the ocean. Upon graduating from University, I made the move from Ottawa down to the Florida Keys to partake in an internship doing Coral Restoration work, and this was when I truly started falling in love with underwater photography. My dad had a small digital underwater camera that he used for our annual dive trips, and despite pointing out every single fish I wanted him to photograph, I never used the camera much myself. When I moved to the Keys, I took the camera with me, and being in the water nearly every day for my internship allowed me to discover my love of underwater photography. From there, I spent as much time underwater as possible, as well as saving any extra money I had for plane tickets, and now I travel as much as I can to witness and capture a variety of marine life. I have always thought of the photos I take as the preservation of my fondest memories, and as someone who’s fallen completely in love with the ocean, capturing these underwater memories has become one of my greatest passions. Personally, the most meaningful part of documenting marine life is being able to share a world that so few people get to see firsthand. I feel incredibly fortunate to have spent time in these remarkable ecosystems, and I want to share that beauty with others. People fight for and protect what they love — and my hope is that by showcasing marine life through my lens, others will also come to care for these animals and the fragile environments they call home. I hope people look at my images and see the amazing wildlife we have in our world. With so many threats currently facing our oceans, I believe that the more people are exposed to its unique wildlife, the more they’ll be inspired to care for and protect this incredible environment.

Finalist: Animal

Photographer: Gabriel Jensen

Instagram: @shallowseasgallery

Image title: Everything's A-Ok

Category: Animal

Photo location: Lauderdale-by-the-Sea, Florida

Caption: This doctorfish looks completely unbothered as a lizardfish does its best to have it for breakfast. Luckily, the doctorfish has spines in its fins that can prevent it from sliding down the lizardfish's throat.

Finalist: Animal

Photographer: Bianca Lewallen

Instagram: @roamtobewild

Image title: Eye Contact

Category: Animal

Photo location: Tiputa Pass, Rangiroa, French Polynesia

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

Updated July 23 2025

Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.

Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.

Our picks:

• Best fixed lens camera for patient people: Fujifilm X100 VI
• The full-frame 35mm option: Sony DSC-RX1R III
• Best pocketable fixed lens camera: Ricoh GR III
• The just-for-fun fixed lens: Fujifilm X half
• The Rolls-Royce of fixed lens camera: Leica Q3 43

Best fixed lens camera for patient people: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

Image: Richard Butler

Buy now:

$2259 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.

The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.

The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.

It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.

Click here to read our review of the Fujifilm X100VI

Click here to see the Fujifilm X100VI 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 full-frame 35mm option: Sony DSC-RX1R III

60.2MP Full-frame BSI CMOS sensor | 35mm F2 lens | Compact body with direct controls

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H Photo What we like:

• Excellent image quality
• Genuinely small
• Very responsive

What we don't:

• Very expensive
• Fixed screen limits flexibility
• Low-res viewfinder

The Sony DSC-RX1R III is the company's fourth full-frame, fixed-lens 35mm camera, now using a 60.2MP BSI CMOS sensor.

We're still reviewing the RX1R III, but in many regards it's a full-frame alternative to the X100, providing the same focal length with a bump in image quality that comes from its larger sensor, all in a shockingly compact package. However, we'll have to spend some more time with it to determine whether that justifies its price, which is especially eye-watering in the US.

What about larger formats?

Fujifilm also makes the GFX100RF, which pairs a 28mm equiv. F4 lens with a 102MP medium format sensor. While there's a lot to recommend it, we feel it doesn't quite excel enough in any one area to beat out the rest of the competition on this list. It's small for what it is, but still not particularly compact, and the relatively slow lens and no image stabilization limit the number of situations you can use it in while still getting the most out of its sensor. If you mainly shoot in good light, though, the GFX100RF offers image quality unparalleled for its size.

Best pocketable fixed lens camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

Buy now:

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

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is a compact camera with a 24MP APS-C sensors and a a very sharp 28mm equivalent F2.8 lens in an incredibly small yet well-built body.

The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.

The GR III's image quality is excellent, especially in Raw (we found the JPEG color to be a little drab). The lens is impressively sharp, and in-body image stabilization means you can confidently shoot down to around 1/10 sec. The built-in stabilizer can attempt to shake off dust particles that find their way to the sensor. "Offers direct control and excellent image quality in a pocketable camera" The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

Warning: Ricoh has announced that there's a GR IV coming later this year; if you don't like the experience of buying something only for an updated version to come out shortly after, you may want to hold off for now.

Click here to read our review of the Ricoh GR III

Click here to see the Ricoh GR 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. A different perspective

Ricoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.

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

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The just-for-fun fixed lens: Fujifilm X half

18MP Type 1 sensor | 32mm equiv F2.8 lens | Film Camera simulation mode

Photo: Richard Butler

Buy now:

$849 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Genuinely compact
• Attractive color modes
• A lot of fun

What we don't:

• Focus rather unreliable
• Touchscreens are laggy
• Expensive

The X half is a JPEG-only pocket camera that shoots vertical images and makes a game of approximating the film experience.

This camera is very different from the others on this list because its entire reason for being is fun. From its separate film simulation window, built-in dyptic feature and film camera mode, the X half is designed to encourage you to play with your photography. If you find yourself scrutinizing its image quality, thinking about it as a miniature X100, or are at all annoyed that it doesn't shoot Raw, you should take that as a sign that it won't be a great fit for you.

It's all a question of whether you want a camera that might be called "adorable" It has direct controls for exposure comp, aperture and a 'film' advance lever. Most other settings are controlled via two touchscreens, one of which pretends to be a film window. AF is the camera's biggest shortcoming: being rather slow and laggy. The camera can detect faces but can't always then successfully focus on them. It's worth being patient with, though. The X half is not a serious camera, but it's tremendous fun. The price and unreliable people focus put us off, but we found it constantly endearing to use. It's all a question of whether you want a camera that might be called "adorable," rather than technically excellent.

Click here to read our review of the Fujifilm X half

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The Rolls-Royce of fixed lens cameras: Leica Q3 43

43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:

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

What we don't:

• Subject recognition system could be better
• Auto white balance can be aggressively neutral/cool
• Significant price premium for the Leica name

The Leica Q3 43 is a variant of the company's full-frame prime lens compact, with a 43mm F2 lens mounted in front of a 60MP BSI CMOS sensor.

While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.

Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The light luminance noise reduction helps preserve detail at high ISOs. The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range. The controls are minimal, but help focus your attention on the fundamental settings of photography. It has the build quality that you'd expect of a luxury product. Autofocus is swift and precise, though the subject recognition system doesn't let you specify an AF point to pre-select a subject and can jump from one subject to another if there are multiple options in a scene. The Q3 43 is an impressive photographic tool, and manages to feel like a first-rate camera, not just a desirable object.

Click here to read our review of the Leica Q3 43

Click here to see the Leica Q3 43 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 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.

Image: Sony

Sony claims its newly-announced PXW-Z300 camcorder is the "world's first" to be able to record industry-standard authenticity metadata with its videos. The tech could help prove that videos were actually captured by a camera rather than generated by AI, so it's no surprise that Sony's debuting it in a camera designed mainly for "news and documentary shooting."

Sony says the feature will comply with the standard set by the Coalition for Content Provenance and Authenticity (C2PA), with the camera embedding a digital signature into the video file. The system is similar to the one found on its mirrorless stills cameras, which has mainly been available to news organizations.

The feature's launch date is TBD

The PXW-Z300 isn't launching with support for content authenticity, and the feature will require a "separate upgrade license," according to a Sony press release. The camera's product page says its launch date is currently "TBD," and that it'll "only be available in specific countries and regions." It'll also be limited to MP4 recording formats, which may limit its usefulness for some operators, depending on their workflows and post-production needs.

Still, it's good that Sony is pushing its content authenticity efforts forward. While this specific camcorder is a specialized tool for professional videographers, we wouldn't be surprised if we see support for content authenticity in video come to Alpha cameras at some point in the future. Earlier this year, the company said it plans to "expand [C2PA] support for video content after fall 2025."

Despite these advancements, it's still clearly early days for content authenticity tools. Many are still in beta, and there are plenty of cameras that can't digitally sign their images. The industry mostly seems to be focusing on news applications to start, where being able to prove how images were captured is more important than in most consumer applications.

Image: Godox

If you've ever found yourself checking out Godox's small, cheap flashes but aren't interested in something you have to manually control, you're in luck. Godox has announced two TTL flash units that are just $50. The Godox iT20 and iT22 are tiny TTL flashes for Sony, Nikon, Canon Fujifilm, Sony, Olympus and Panasonic cameras. They promise long battery life, auto controls and more.

The iT20 and iT22 are identical in every way except size. Both are highly compact, but the iT22 is somewhat taller, allowing it to work better with large lenses or big lens hoods. The iT20 weighs slightly less at 45g (1.6oz), while the iT22 comes in at 52g (1.8oz).

The iT20 (on the left) is slightly more compact than the iT22.

Images: Godox

Both models enable auto TTL metering with compatible cameras or full manual controls with a one-touch mode switch. They offer six output levels from 1/32 to 1/1 in third-stop increments for greater control.

The new Godox flash units feature a built-in lithium battery that charges via USB-C. Godox promises 700 flashes per charge with a 1.5-second recycle time. They also make it easy to modify your light, as they are compatible with magnetic snap-on diffusers, color filters, creative gels and honeycomb grids. Each flash comes with two color filters (1/2 CTO and 1/1 CTO) and a diffuser, with additional modifiers available for purchase separately.

The Hot Shoe Riser adds 90 degrees of tilt to the otherwise fixed iT20 and iT22.

Image: Godox

Neither the iT20 nor the T22 features a hinge, so you can't bounce the light with them. However, Godox also has a small accessory – the TR TTL Hot Shoe Riser – that lifts the flash by 30mm (1.2") and adds 90 degrees of tilt so that you can use it for bounce flash. It retains TTL support as well, so you can still use auto flash functions.

The Godox iT20 and iT22 are available for pre-order for $50.

Buy now: Godox iT20 at B&H Godox iT22 at B&H

Press release:

Mini Flash, Maxi Fun!

iT20/iT22 C/N/S/F/O

iFlash Camera Flash

TTL
Auto Flash 45g
Ultra-compact Magnetic Accessories 700+ Full Power Flashes 1.5s Rapid Recycling Lithium Battery

Introducing iT20/iT22 iFlash Camera Flash. 45g Ultra-compact body with TTL function, perfect for both indoor and outdoor use, easily fits in your pocket for anytime creativity. Innovative magnetic accessories for quick light effect switching, creating unique atmospheres and creative possibilities.

Smart TTL, Effortless Results

Say goodbye to complex setups. Our mini TTL flash delivers perfect lighting instantly, empowering you to shoot faster and smarter.

45g Ultra-Compact Design

Its featherlight build takes up minimal space, ensuring you’re always prepared to seize life’s precious moments.

One-Touch M/TTL Mode Switching

Toggle between manual and TTL modes instantly via a dedicated button. The high-definition display shows clear, real-time settings for rapid adjustments.

Magnetic Accessories: Creativity Unleashed

Equipped with magnetic snap-on diffusers, color filters (CTO/CTB), creative gels, and honeycomb grids, the iT20/iT22 transforms light in seconds. Experiment with atmospheric effects and craft distinctive visual stories.

700+ Flashes & 1.5s Recycling

Shoot uninterrupted with 1.5-second recycle times at full power and a remarkable 700-flash battery endurance.

Precise Power Control

Adjust flash intensity across 6 stops (1/32 to 1/1 power) in precise ±1/3-step increments for total command over your lighting.

Lightweight Lithium Battery

The built-in lithium battery charges swiftly via USB-C—keeping your creativity powered through extended shoots.

Elevate your flash—literally

The Optional TR TTL Hot Shoe Riser lifts your flash by 30mm, ensuring better clearance from the frame edge when using wide or protruding lenses. Compatible with Canon E-TTL II, Nikon i-TTL, Sony, Fujifilm, OM System and Panasonic TTL systems, it supports both auto flash and High-Speed Sync (HSS) functions. A 0-90° tilt adjustment gives you the flexibility to shoot with direct or bounce flash.

*Recommended for use with Godox camera flashes under 300g for optimal balance and stability.

Image: VSCO

VSCO, a company most known for its photo editing and sharing app, has been growing its community support for photographers over the past few years with features like Client Sites, VSCO Hub and more. That mission has taken another step forward, as it announced its acquisition of The Freelance Photographer, an education and mentorship platform.

The Freelance Photographer was founded in 2018 by Paul Weaver. It started with in-person workshops in Minneapolis, Minnesota, but now it is an online-based community and membership platform. VSCO explains that The Freelance Photographer provides a robust business curriculum designed for commercial photographers and videographers. It aims to help creatives grow, pursue paid work and build sustainable client relationships.

Image: VSCO

The Freelance Photographer provides content through webinars, workshops, mentorships and coaching programs. There are also peer-led sessions to offer support and community. Additionally, the platform helps photographers by providing various business tools like contract templates, email scripts, production guides, proposal decks and more. "The Freelance Photographer serves as a long-term career partner to creatives, offering a comprehensive education, a supportive community, as well as the tools and insight they need to turn their craft into a career," said Eric Wittman, CEO of VSCO.

Image: VSCO

Enrollment is currently closed at The Freelance Photographer, but you can sign up for its waitlist. There are two membership tiers with different levels of support. Both give you 12-month access to training, tools, community and mentorship. You can also purchase select trainings and tools à la carte style if you want instant access to smaller portions of the platform for less investment.

VSCO explained that for now, The Freelance Photographer will remain separate from VSCO. It added, "at some point in the future, we intend to integrate elements of The Freelance Photographer offering to VSCO’s membership."

In addition to announcing the acquisition, the recently revealed Capture app is now available globally for iPhone users. The app doesn't require a paid subscription, but you will need a VSCO account. It provides access to 50 real-time VSCO presets, non-destructive edits, Raw and ProRaw formats, manual control and more.

Press release:

VSCO Launches New Camera App Capture, with Coveted Film-Based Presets; Acquires Education and Mentorship Community, The Freelance Photographer

The creative platform deepens its focus on emerging and established professional photographers

SAN FRANCISCO, July 22, 2025 — VSCO, the Visual Supply Company, today announced new offerings to improve the photographer experience, including a standalone camera app and a platform for education and mentorship. Following its recent launch of VSCO Canvas and VSCO Sites, the company is further strengthening its position to support photographers on their journey from casual to professional.

With one of the world’s largest and most engaged communities of photographers, VSCO is uniquely attuned to the needs of today’s creators. Photographers are increasingly drawn to content that feels real and tactile, like film and want to easily share their images with wide-reaching audiences.

Global Launch of VSCO Capture

For the first time in a decade, VSCO has released a new standalone mobile application, a camera designed to help photography enthusiasts capture their creative point of view and refine it in the moment. With over 50 live presets, real-time film effects and manual settings, VSCO Capture gives photographers precise creative controls within an intuitive interface.

“VSCO Capture is a direct response to our community’s desire to get closer to the lens, to reduce editing fatigue and find more joy in the process of making authentic, stylized photography using their phone,” said Eric Wittman, CEO of VSCO."
Early users of VSCO Capture are already embracing the app’s creative potential and impact on their workflow.

“VSCO Capture shifts the entire rhythm of how I work. It’s no longer this two-step process of shoot now, edit later. With Capture, I’m able to see my creative vision unfold live, through my choice of presets, tones, and adjustments all before I even hit the shutter. That changes everything, especially the way I shoot,” said photographer Jared Thomas Tapy.

Key features of the free camera app include:

• 50 real-time VSCO presets, including the latest We The Creator presets, launched in collaboration with renowned VSCO photographers
• Non-destructive presets and edits that retain the original image for further modification
• RAW and ProRAW format options for increased editing flexibility
• Includes real-time bloom and halation effects
• Manual controls, including shutter speed and exposure compensation
• Instant sync with VSCO to easily import images, make additional edits and share

VSCO Capture is available to download today on iOS and on vsco.co/capture.

Acquisition of The Freelance Photographer

With the goal of helping creators grow professionally and pursue paid work, VSCO has acquired The Freelance Photographer, a platform offering education, mentorship, and a thriving peer community.

“There’s a clear gap in the market for business education and industry-specific guidance for emerging photography professionals who are looking to secure sustainable client relationships,” said Eric Wittman, CEO of VSCO. “The Freelance Photographer serves as a long-term career partner to creatives, offering a comprehensive education, a supportive community, as well as the tools and insight they need to turn their craft into a career.”

The Freelance Photographer has built a robust business curriculum specifically designed for commercial photographers and videographers, addressing everything from positioning and pitching to pricing. The training is delivered across webinars and workshops, a mentorship and coaching program. Their active community of accomplished independent and freelance commercial photographers and videographers are dedicated to supporting each other through peer-led sessions.

To explore The Freelance Photographer’s curriculum and mentorship programming, visit thefreelancephotographer.com.

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

Despite having owned a Fujifilm camera for years, I'll admit I'd never really given much thought to the "recipes" that are loved by many of the brand's fans. However, with the X-E5, the company has officially embraced them by letting you assign them to a slot on a physical dial, a change that's completely changed how I think about and use recipes.

What's a recipe?

Some background for those less familiar: many of Fujifilm's cameras have allowed you to adjust several parameters that affect how your JPEGs look. The changes, which are applied on top of a base film simulation (Fujifilm's term for its color modes), range from relatively subtle, like changes to sharpness or contrast, to more complex, like adding grain or a color chrome effect.

Anders Lindborg's HP5 recipe modifies Fujifilm's monochrome film simulation by adding grain and contrast while reducing sharpness and noise reduction.

Fujifilm X-E5 | Fujifilm XF 16mm F2.8 | F2.8 | 1/100 sec | ISO 1600
Photo: Mitchell Clark

For years, the Fujifilm community has found and shared certain combinations of these settings that create a distinctive look or emulate certain film stocks. You could save the recipes to a custom setting to somewhat quickly activate/deactivate them, but they've always been a byproduct of systems that Fujifilm builds into its cameras, not an intentionally supported feature.

Fujifilm has long had several image quality settings that let you change your JPEGs, but the X-E5 gives you three profiles to save them to as a custom recipe.

The X-E5 changes that. Like the X-M5 and X-T50 before it, it has a film simulation dial with custom slots. What's new, though, is that it lets you save not just standard film simulations to the dial, but actual recipes, which you can activate or deactivate on the fly depending on whether you want to use the base simulation or apply your custom changes to it. Fujifilm has adopted the terminology from its community and has added physical control to what used to be a bit of a workaround.

What does this change?

Even before working at DPReview, I was a heavy Fujifilm user. I own an X-T3 and have rented various other cameras for important shoots. But I never really played around with recipes; my thought was that if I were going to go through the hassle of tweaking a bunch of parameters and juggling settings, I might as well just do it in post where I had more flexibility anyway.

While that worked for me, the X-E5 has convinced me that I was missing out. As I've tested it, I've found myself having a lot of fun finding different recipes, picking favorites, and occasionally switching to them using the film simulation dial (a control I previously haven't personally used that much in cameras without the recipe feature). Instead of wondering, "What would this photo look like in black and white?" I've found myself saying, "I bet this shot would look really cool with Anders Lindborg's HP5 recipe, let me quickly switch over to that." I've even challenged myself to shoot with a single recipe for the day, somewhat emulating the (slightly contentious) X half experience.

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

This is, I imagine, how some people feel about the built-in film simulations, but those have never really done it for me. I've always stuck to one or two, as I haven't found the other dozen or so to my tastes. Recipes, by contrast, are available in the thousands, and I've been able to find several that I really enjoy and that achieve a wider range of looks.

Would I have given the recipe much thought if it weren't my job to test the X-E5? Maybe not, but I'm glad the review process has finally forced me to think about the system and use it. I've even gone as far as to program a few onto my X-T3 (for the rare occasions I still use it), though the experience isn't as smooth. I suspect I'll end up using them far less than I have with the X-E5, since I have to use up a valuable function button to bring up the custom setting switcher.

Related: Opinion: let me get my hands on the goodies

And that's always been the point, hasn't it? If you're a camera manufacturer and have a feature that makes you stand out from the crowd, you should make it impossible for people to miss. Sure, not everyone will appreciate it, but you may even win over some people who think they won't.

A few limitations

Despite all my praise, there are a few things that make me think that Fujifilm should've given its implementation of recipes just a bit more time in the oven. My biggest gripe is that you can't use saved recipes when reprocessing Raws like you can with the standard film simulations. Of course, the in-camera software does let you tweak all the same parameters on a photo-by-photo basis, but it'd be much nicer if you could tell it to use the recipe you'd saved to one of your FS slots.

It'd be nice if the in-camera converter could use a recipie you'd saved to one of the FS slots

The second is the process of adding the recipes themselves. While there is a new menu associated with the film simulation dial (which, helpfully, lets you quickly toggle your recipe changes on and off), actually setting up the recipe is largely the same process as it's always been: you find a list of the settings online, and manually input them.

The process of inputting a recipe may involve tweaking several parameters, a process that takes a bit of time, and that could be easy to mess up.

The X-E5 lets you adjust about a dozen parameters, so the process can actually take a bit of time, and there's room for error. In an age where Panasonic and Nikon let you browse color modes in their apps and beam them to your camera, it feels like there's probably a better way. If you could download popular recipes to your camera using Fujifilm's Xapp, it'd be an even bigger invitation to experiment with them.

A few smaller nitpicks: the custom "FS" settings on the film simulation dials are just text, which looks dull in comparison to the official film simulation ones, which have a little film canister icon. I also wish you could name and store recipes like you can with the custom settings.

At the end of the day, though, those limitations are relatively minor, and Fujifilm could theoretically improve the system through updates to its app and firmware. For a version one, it's quite well-considered, and it's nice to finally see Fujifilm fully-embracing a fan-favorite feature... and maybe earning some new fans in the process.

As for how the system fits into the X-E5, and how the camera performs as a whole, stay tuned for our full review.

Photo: Mitchell Clark

Summer is in full swing in the northern hemisphere, and with it comes hot weather and plenty of sunshine. It also means road trips and travel for many. While you likely want your camera on hand to document your journey and create photographs along the way, summer trips can introduce risks for your camera gear. Below you'll find some suggestions on how to keep your camera safe and in good working order during your summer road trips.

Don't store your camera in your car Graphic: CDC

Locking your camera in your car can be risky for multiple reasons. One that most people already know is that expensive gear is a perfect target for break-ins and theft. The last thing you want is to return from lunch to discover a broken window and your camera gone. We'd advise against storing your camera in your car solely because of that.

While potential theft is reason enough, summer heat is also very dangerous for your expensive gear. Cars can heat up to extreme temperatures very quickly. According to the Centers for Disease Control (CDC), the temperature inside a car can rise by 20 degrees Fahrenheit in just 10 minutes, even with a cracked window. On an 80°F day, the inside of your car could reach 123°F in an hour.

Extreme heat is hard on things, and leaving your gear in such conditions can cause damage.

Extreme heat is hard on things, and leaving your gear in such conditions can cause damage. The electronics, plastic and rubber components, lubricants, sensor and battery are all susceptible to heat damage. In especially hot locations like Arizona and Nevada, cars can even get hot enough to warp and melt plastic, which your camera has a lot of.

Desert locations can get especially hot in the summer, so take extra care in those places.

Photo: Mitchell Clark

Even if temperatures aren't extreme enough to melt plastic, they can damage components in different ways and shorten the life of your camera. Plus, beyond potential damage, most modern cameras will shut down or go to sleep if they get too warm. You don't want to arrive at an amazing viewpoint and discover that you can't shoot a video clip or take a photo because your camera is too warm from being in the car. To keep your camera safe and to keep shooting, bring it with you whenever possible so it isn't sitting in your roasting car.

If you absolutely must store your camera in your car, consider using an insulated bag or cooler without ice (you don't want to cause water damage instead of heat damage). It's also good to tuck that cooler somewhere it will be out of direct sun, such as under a seat or in the trunk. A well-padded camera bag can also offer some insulation. Then, make sure to keep your time away from the car as short as possible.

Avoid condensation and fogging Photo: Abby Ferguson

If you're traveling in humid environments, condensation and fogging are additional concerns. You've likely experienced your glasses or sunglasses fogging when stepping into or out of heavily air-conditioned spaces during hot, humid weather. The same thing happens to your camera's lenses, which can leave you unable to take photos until it dissipates.

Unfortunately, there's no quick fix for a fogged lens because of rapid temperature changes. To avoid the problem entirely, you'll need to allow your camera to acclimate gradually, which prevents moisture from condensing on (and inside) your camera. Keep your camera in a camera bag when moving from air conditioning to outside, and wait to open the bag until the temperature has equalized. This can take 10 to 20 minutes.

I like to hang onto the silica gel packets that come with purchases and toss them in my camera bags to help keep moisture at bay.

Photo: Abby Ferguson

Alternatively, you can place your camera in a sealed plastic bag (like a Ziploc), which will adjust faster than a padded camera bag. It can also help to store some silica gel packs in your bag (either a camera bag or a plastic bag), as they will absorb excess moisture.

Sometimes, though, you can't wait 10 minutes before taking photos. If you need to use your camera right away, you can wipe the condensation off with a microfiber cloth. It will return fairly quickly until the temperature equalizes, which can take a few minutes or more, but you may at least be able to get a few shots in between wipes without fogging.

Have a comfortable way of carrying your gear

While you'll be spending time in the car, hopefully you also have plenty of time to stretch your legs and use your camera, too. When that's the case, you'll need a safe and comfortable way to carry your camera. Camera straps are great when you don't need anything other than the camera, but a backpack or bag may be necessary when you need to have more with you or don't want the camera out.

That pack doesn't need to be a dedicated camera bag, but having some way to store and protect your camera is smart. If you're hiking during your road trip, you may want to spend a bit more time considering how you'll carry your camera during those hikes.

Don't forget cleaning tools Photo: Abby Ferguson

Summer road trips generally mean plenty of outside time, too, which can expose your gear to all sorts of environmental hazards, such as dust, dirt, pollen, rain and more. A good set of cleaning tools is a must, then. A bulb blower is the first tool we recommend, as it can clear all sorts of debris from your camera (inside and out) and lens without touching anything. That means there's limited risk of scratches or damage from dragging something across the surface.

A lens cleaning pen is also helpful. Most offer a soft brush on one side and a non-liquid cleaning compound on the other for more stubborn debris on your lenses. For more serious messes, I like to have lens cleaning liquid and a microfiber cloth on hand as well.

Take advantage of your car's charging capabilities

Finally, while not a safety tip, don't forget about charging options in your car. All recent camera models charge via USB-C, and most modern cars offer USB ports that can charge your devices. It's a convenient way to top off your camera's charge while spending those hours in the car, making sure you don't arrive at your destination with a dead camera battery.

This video is part of our Intro to Photography series, where we break down some of the fundamental concepts of the image-making process. You can find a written version below.

Intro to Exposure

• What is Shutter Speed?
• What is Exposure?

What is Exposure?

Exposure is perhaps the most important concept in photography. The word 'photography' is derived from words meaning "drawing with light," so the amount of light your camera is exposed to is absolutely fundamental to the process.

What defines exposure?

Three factors define how much light your camera sees, and they're not necessarily the three you might expect:

• Aperture value, or size of the hole through which your camera sees the scene
• Shutter speed, or how long the shutter stays open to let light in
• The amount of light in your scene

These three factors determine how much light hits your sensor. And that's arguably the most significant thing that determines image quality: how much light you captured to describe the scene. That's not quite the end of the story, though.

What about ISO?

Your camera also has a setting called 'ISO' that determines how light or dark your final image looks. So if you’re shooting in low light, you can increase the ISO to make the image look lighter. But be aware that changing ISO doesn’t increase the amount of light you captured: it just tries to make up for the fact you couldn’t capture more.

Pentax K-3 Mark III | Pentax 15mm F4 ED AL | ISO 32000 | 1/30 sec | F8
Edited in Adobe Camera Raw with noise reduction left to default
Photo: Carey Rose

As light levels fall, your images will get noisier, because of the lack of light. ISO can’t really help with that, but it’s not the thing causing the noise.

Shutter speed and aperture each have an impact on what the final image looks like. Once you understand those impacts, you can learn the balancing act required to get as much exposure as you can, then use ISO to try to make up the difference.

Intro to Exposure

• What is Shutter Speed?
• What is Exposure?

The July Editors' photo challenge

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

As always, you delivered! DPReview photographers covered the globe to capture stunning scenes with land, sky and water, including impressive stitched panoramas. We were overwhelmed with many incredible photos – many more than we can present here. Our top picks, showcasing a diverse range of vision and talent, are presented in random order.

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

Alpe di Siusi sunrise

Photographer: dvine photographer

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

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

The hand of God

Photographer: Juliendelaval

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

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

Grand Canyon, South Rim at Desert View

Photographer: PlatinumCharlie

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

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

Kilauea

Photographer: fcarucci

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

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

Whispers beyond the bridge

Photographer: BROWN-AU

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

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

Sunset at Sand Harbor

Photographer: rishabhonnet

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

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

The empire of the midnight sun

Photographer: BasilG

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

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

2023 New Mexico White Sands yucca

Photographer: garyphx

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

Equipment: Leica Q2 Monochrom

No pink glasses needed

Photographer: supernaut

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

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

Croda da Lago

Photographer: Lemmj

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

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

Purple sunrise

Photographer: NMindel

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

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

St. John's light

Photographer: TheDispossessed

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

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

Oulu, 2025

Photographer: Black_and_white_FR

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

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

Falling rays

Photographer: sberkley

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

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

Glacier's embrace

Photographer: Fabian from Swizzy Land

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

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

Himalayan fog

Photographer: Mazurekphoto

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

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

Mt. McKinley 2019

Photographer: marchark

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

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

Deep in the forest

Photographer: Meeces

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

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

Trillium Lake at night

Photographer: mike earussi

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

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

An epic flight

Photographer: as9107

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

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

Image: LGR on YouTube

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

A review of I'm Back Film

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

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

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

Even more details on the unorthodox cinematography for 28 Years Later

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

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

A monster DIY battery

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

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

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

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

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

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

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

Image: The Last Camera Project

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

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

Screenshots: The Last Camera Project

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

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

Screenshot: Dale Baskin

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

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

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

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

Camera image: Canon

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

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

Nikon Image: Nikon Nikon Z8 Firmware Ver 3.01

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

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

See details and download the Z8 Ver 3.01 firmware here.

Canon Image: Canon

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

Canon EOS R5 Ver 2.2.0

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

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

Canon EOS R6 II Ver 1.6.0

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

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

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

Canon EOS R8 Ver 1.5.0

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

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

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

Canon EOS R3 Ver 1.9.0

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

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

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

Canon EOS R50 Ver 1.4.0

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

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

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

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

See details and download the S9 Ver 1.5 here.

See details and download the S5II Ver 3.3 here.

See details and download the S5IIX Ver 3.3 here.

See details and download the G100D Ver 1.3 here.

See details and download the G97 Ver 1.2 here.

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

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

Product photos: Sony

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

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

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

Basic specs

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

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

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

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

Updated autofocus

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

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

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

Price and positioning The original RX1
Photo: DPReview

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

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

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

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

Price: US and beyond

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

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

Higher-res sensor

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

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

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

Larger battery

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

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

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

Vs Leica Q3

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

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

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

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

EVF and screen

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

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

Leaf shutter and hotshoe

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

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

Summary

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

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

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

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

Image: Harman

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

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

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

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

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

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

Buy now: 35mm format 120 format Images: Harman

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

Buy now: Harman Red 125 (120 roll film)

Images: Canon

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

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

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

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

Images: Canon

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

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

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

Buy now: Preorder at Canon Preorder at B&H