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On a blustery, snowy day in 2016, my now-husband, some friends and I made our way to Estes Park for an ice climb that required a hike in (or, in our case, ski). We skinned up to the lake that we would need to traverse, only to hear that the winds were so strong that people were getting blown over. A hardened Estes local told us he'd never seen it so bad. After some deliberation, we decided to bail, and I grabbed this photo as we pulled off our skins to begin the ski descent back to the car.

Photo: Abby Ferguson

Winter is in full swing here in the northern hemisphere, so our theme for the February Editors' Photo Challenge is 'Winter Games'.

We're looking for photos covering the full spectrum of winter activities, from classic winter sports to your own unique winter adventures, whether skating on a pond or having a snowball fight. Our favorites will be featured on the DPReview homepage later this month.

Are you in the southern hemisphere? No worries – this challenge is open to photos taken at any time.

Photos can be submitted between Sunday, February 16, and Saturday, February 22 (GMT).

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

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

Visit the challenge page to see all the rules

Photo: Mitchell Clark

A lot of gear passes through our hands throughout the course of a year, and we wouldn't blame you if you missed some of the coverage. That's why we've made this article, which we'll keep updated throughout the year with all the cameras, lenses, and other pieces of gear that we've used.

Be sure to check back; we're always working on the next review or sample gallery.

Index:

• January
• February

January Canon RF 24mm F1.4 L VCM sample gallery

Canon RF 24mm F1.4 L VCM | F5.6 | 1/100 sec | ISO 100
Photo: Mitchell Clark

We got to test Canon's latest fast, wide-angle lens in a variety of scenarios, including on a trip to Mississippi, far from the gloom of the Pacific Northwest winter. While there's plenty of controversy around the amount of software correction the lens does, we invite you to see the results for yourselves.

See the sample gallery

Panasonic GH7 sample gallery Olympus 40-150mm F2.8 Pro | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin

We're still hard at work on our review of the Panasonic GH7. As part of the process, we took it to Florida and managed to nab some great shots of birds, planes, and more. While the camera is aimed at video creators, it's also clearly no slouch when it comes to photography.

See the sample gallery

Leica D-Lux 8 studio scene Photo: Richard Butler

As an enthusiast-class compact, Leica's D-Lux 8 is a rare breed these days. As part of our review process, we shot our standard studio scene with it to help illustrate the type of image quality you can expect from it.

See the studio scene

Leica SL3-S initial review Photo: Richard Butler

The first big camera release of 2025 was the SL3-S, an SLR-style mirrorless camera from Leica, which focuses on speed. While the regular SL3 features a 60MP sensor, which can only manage 5fps with continuous autofocus, the S model uses a 24MP sensor capable of 30fps shooting. It has a lot of DNA from the Panasonic S5IIX, but has Leica's stellar build quality and user interface. You can read more about it in our initial review.

Read the initial review

Nikon Z50II review Photo: Richard Butler

In January, we finished our review of the Nikon Z50II, an update to the company's APS-C camera, which aims to be a great hybrid option for those who shoot both stills and videos. We found that, while it features the same processor and autofocus system as higher-end options like the Z6III, it doesn't quite live up to the standards those cameras set. Still, it's a solid offering, especially given its sub-$1,000 price.

Read the review

February Nikon Nikkor Z 35mm F1.2 pre-production sample gallery Photo: Mitchell Clark

We got the opportunity to shoot with a pre-production model of the Nikon Z 35mm F1.2 for a few hours. While our sample gallery only includes out-of-camera JPEGs and isn't necessarily an indicator of exactly how a final production lens will perform, it does show the type of photos that a lens this fast and wide can produce.

See the sample gallery

OM System OM-3 Review Photo: Mitchell Clark

It's not often that we get the chance to fully review a camera in time for its launch, but the stars aligned with the OM System OM-3, which is essentially the guts of the company's flagship OM-1 II, fit into a retro-style body. The end result isn't perfect, but if you're looking for a travel camera that can handle almost anything you throw at it, it's a hard option to ignore.

Read the review

Images: Akuko Labs, Pgytech, ProGrade

It's Saturday, which means it's time for another accessory roundup. This week we're taking a look at cards, keyboards, and getting a peek at something that one of our favorite accessory makers is working on. But first, the deals.

Midrange madness Photo: Shaminder Dulai

OM System has its flagship Micro Four Thirds camera, the OM-1 II, on sale for $2,000, $400 off its original MSRP. That's the same price as the just-announced OM-3, which owes a lot of its DNA to the OM-1 II, and which we quite enjoyed shooting with. If you're into birding or other action / wildlife photography, the OM-1 II is one of the fastest cameras you can get at its price point.

Buy now:

$1999 at Amazon.comBuy at B&H PhotoBuy at MPB Photo: Dale Baskin

If you're looking for a mid-range camera with a larger sensor, Canon's excellent EOS R6 II is also on sale for $200 off MSRP.

Buy now:

$2399 at Amazon.comBuy at AdoramaBuy at B&H Photo The perfect keyboard for arguing about cameras Image: Akuko Labs

This one's for people who are enthusiasts of photography and keyboards. The Aperture Priority keycap set, spotted by PetaPixel, uses a legend that's clearly inspired by the type Leica uses on its cameras and lenses but goes much further than that. The modifier keys feature various photographic symbols, such as an exposure comp meter, flash symbol, aperture ring, and more. Akuko Labs, which designed the set, says it's "inspired by the timeless craftsmanship of analog photography."

It's worth noting that this is likely only going to be for those who are pretty deep into the mechanical keyboard world. If you're not familiar with group buy preorders, or if it's news to you that people would be willing to pay $79 for a set of keycaps – not a full keyboard, mind you, just the caps – or $65 for a single keycap made out of aluminum and designed to look like a shutter button, these probably won't fit on your keyboard anyways. But for people with a foot in both worlds, it could be a fun addition to your collection.

High-capacity cards for Sony Image: ProGrade

If you're a Sony shooter in the market for a beefy storage card, you have a new option. ProGrade has launched a 960GB version of its "Gold" CFexpress Type A card. At $439 it's certainly not cheap, but that price does put it at around $60 less than many other Type A cards with a similar amount of storage. That's likely because it's a CFexpress 2.0 card, meaning its maximum write speeds are capped at 800 MBps versus the blistering 1800 MBps speeds that more expensive CFexpress 4.0 cards can hit. However, if you care more about capacity and price than how quickly you can clear your buffer, it could be a decent option.

Buy at B&H Get a grip Image: Pgytech

Earlier this week, Leica announced a luxurious $329 grip meant to attach to your phone, making it feel more like shooting with a compact camera. Accessory maker Pgytech has also released something similar, though at $60, it's much more affordable. The MagCam Phone Grip attaches to your phone using magnets, either via Apple's MagSafe or the Qi 2 standard, and gives you a zoom rocker, shutter button, and a button that lets you switch modes or cameras. The controller part of the grip can also be detached and used wirelessly if you want to attach your gripped phone to a tripod using the built-in 1/4" thread and control it remotely.

The grip isn't just for improved ergonomics, though, as its main body actually houses a battery that can keep your phone topped up via wireless charging, so you don't have to worry about it dying after your photo shoot. The grip also detaches from the magnetic puck that connects it to your phone, so you can easily store your phone in your pocket and then quickly attach the grip when you want it. It comes in three colors: black, gray, and "mint green."

One caveat for iOS shooters: the grip won't let you switch shooting modes or use the quick launch feature when paired with an iPhone. These features do work with Android, though.

Buy at Amazon Buy at B&H Keep an eye out Image: Peak Design

This isn't accessory news per se, but rather news that accessory news is coming. Peak Design, a company famous for its photography-focused bags and camera straps, has been teasing that it's making a roller bag and saying that details will be coming "soon." As for what design flourishes the company will include to make it stand out, we can only guess – though its Instagram posts make it seem like the handle might be carbon fiber, which implies that this will likely be a very premium product, similar to the company's much-loved travel tripod.

Asymptomatically approaching perfection

When we get the chance, we like to share some of our favorite bits of knowledge from around the internet as part of this roundup. This video is a little different, as it's not so much about any concrete knowledge – rather, it's a meditation on precision. Over the course of 21 minutes, we get to see two people who are unquestionably dedicated to their craft struggle with the question: how close is close enough?

"On a millisecond scale, we did it. On a microsecond scale, we definitely didn't. It's just who we want to be today."

It's a question we're all too familiar with here at DPReview, especially as cameras improve to the point where even the slightest imperfections become measurable. Even that, though, pales in comparison to shooting video at 82,000 FPS, where 0.00005 seconds can be the difference between getting the shot and not getting it. If you're at all interested in the processes behind creating high-quality content for the internet, it's absolutely worth a watch.

Read last week's roundup

Image: Lucky Film

Film enthusiasts can rejoice, as it seems the film resurgence is still going strong. Chinese film company Lucky Film released a teaser on its Instagram account announcing that it has a new color film on the way. Its bare-bones website says the offering will be a "brand new, true original C-41 color negative 35mm film."

Lucky Film isn't a new company by any means. The company also began production of two black-and-white film stocks in March of last year. My local film lab was sent some at the end of last year, along with a letter that provided more context on the company and upcoming film stock. It explained that it used to be the OEM factory for Kodak Gold 200 and helped Kodak produce more than 50 million rolls of film. However, its contract with Kodak was terminated in 2007 as a result of the rapid rise of digital photography. Even still, Lucky Film produced three color negative films (GBR 100, GBR 200 and GBR 400) between 2003 and 2012, but it has been on a hiatus from producing film for over a decade.

The letter goes on to say that the company had to get around Kodak's patent and raw material control and hired a team of chemists to do some reverse engineering. It had expected the color film to be ready at the end of 2024, but it seems things took a little longer than anticipated.

Details are very slim on the new color film stock, but the Lucky Film website says it will be "at a price today's photographers can afford." The letter to Reformed Film Lab also promised that it would be "the world's cheapest color film." Given the high price of film, it would be great to have a more affordable option on the market. Unfortunately, no specific dates are mentioned on the website or Instagram account, so the wait continues for now.

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This week, OM System announced the OM-3, a Four Thirds camera with a Stacked sensor and retro design. Over the weeks we spent testing it, we shot images with various lenses in several different situations, from a bird sanctuary in Spokane to the streets of Seattle.

Our sample gallery includes several examples shot using the multi-shot modes, which are the OM-3's bread and butter. The mode used is noted in the description. We've also added a few examples of the default black-and-white modes that are accessible via the PEN-F-style Creative Dial on the front of the camera.

See the sample gallery

Buy now:

Buy at AdoramaBuy at B&H Photo

Oliver Barnes and the No1 Pocket Kodak that contained the mystery negatives.

Photo: Oliver Barnes

Here's an interesting entry for Film Friday: Oliver Barnes, a 20-year-old antique camera fan, was in a Salisbury antique shop when he discovered a bag hiding in the corner. Inside the bag was a No1 Pocket Kodak, a camera that went into production in the 1920s. That would be an exciting enough find, but once he worked out how to open the camera, he discovered film inside, as the BBC reports.

"I was in complete shock; I was so worried I had exposed the film because they are very, very light sensitive," he said."It's, like, 100 years old, so I wasn't expecting the film to come out of it."

Some of the photos show a crowd of people and television crew outside the Portcullis Hotel in Chipping Sodbury.

Photo: Unknown / Oliver Barnes

The No. 1 Pocket Kodak used 6x9cm negatives, which resulted in a decent level of detail from simple contact prints for photographers at the time. Of course, developing such negatives today isn't as straightforward as it used to be. Barnes brought the negatives to Fujifilm Salisbury Photo Centre, where Ian Scott helped narrow down some of the details related to the images. Scott knew the film inside the camera wasn't produced until the late 1950s, providing a more precise timeline of when the images could have been taken.

Given the age of the negatives, it was surprising how well they turned out. "They're really good quality for how old they are; I wasn't really expecting anything," said Barnes. The developed images revealed more mysteries, however. Some of the images show an event of some sort. Barnes did some sleuthing and figured out the photo was taken from the upper floor of a building overlooking the Portcullis Hotel and the war memorial in Chipping Sodbury. There appears to be a television crew on the edge of the frame.

The images have sparked lots of interest locally in an attempt to identify the event. "It's caused quite a fuss on social media round here. It got shared literally everywhere," said local photographer Richard McDonough. "We've had all sorts of people coming up with speculation and different ideas of what it might be." Some have guessed a wedding, while others have proposed an event related to the American Army, which was posted nearby during WWII. "There are so many different scenarios," said tourist center volunteer Barry Townsend.

This photo is believed to be of two students on the Swilcan Bridge at the University of St. Andrews, though the two men have not been identified.

Photo: Unknown / Oliver Barnes

Another image shows two young men on a bridge who have not been identified yet. However, they are assumed to be two University of St. Andrews students. Barnes and others searching for answers hope that sharing the images may spark someone's memory. Even if the details remain a mystery, it certainly is a fun find to stumble on. It's also a good reminder to be careful with how you open thrifted film cameras; you never know what gems you may find inside.

Photo: Leica

With its latest announcement, Leica is furthering its focus on mobile photography, adding a new accessory to its lineup. The company designed the Leica Lux Grip specifically for iPhones, following up on the June release of the Leica Lux iPhone app. The grip is strictly for Leica lovers, as it will only work with Leica's iPhone app; controls will not transfer to the default iPhone camera app or any other third-party options.

Leica says the Lux Grip is "similar to a classic Leica camera in terms of its handling and feel." It goes even further and explains that all of the grip's "physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera." Any grip will make for a more camera-like experience and make taking photographs with a phone a bit more ergonomic, so users who focus on mobile photography could certainly benefit from it.

Photo: Leica

The grip relies on a magnetic MagSafe connection rather than a case-like design, which is typical in other phone grips. The magnetic attachment makes switching between portrait and landscape orientations easy while maintaining a comfortable grip with easy controls. Plus, removing the grip when it's not needed and returning to a traditional phone form factor is straightforward. That also means that when users purchase a new iPhone, there's no need to buy an entirely new grip specific to that phone.

The Lux Grip uses Bluetooth Low Energy (BLE) connectivity to communicate with a phone's camera, allowing users to control camera functionality without digging into phone menus. That includes a two-stage shutter release that, like cameras, uses light pressure to focus and a full press to take a photo. There's also a button to switch between shooting modes, two customizable buttons and a dial for adjusting settings.

Photo: Leica

For those who want to go all out, Leica also released a leather case designed just for the Lux Grip, which features an AirTag holder.

The Leica Lux Grip is available for $329 on Leica's website and B&H. The purchase includes a year of the Leica LUX Pro subscription.

Buy now: $329 at B&H $329 at Leica

Press release:

Leica Camera AG is launching the Leica LUX Grip for the iPhone today.

The camera grip impresses with its intuitive operation and high-quality manufacturing while, at the same time, setting new standards for photographic precision using a smartphone. The Leica LUX Grip is similar to a classic Leica camera in terms of its handling and feel. Its clear design, sophisticated operating concept and easy attachment – guaranteed by secure magnetic MagSafe technology – improve the ergonomics and functionality of smartphone photography, taking it to a new level. The LUX Grip and iPhone communicate via Bluetooth Low Energy (BLE) and are perfectly complemented by the Leica LUX app.

All of the LUX Grip’s physical controls consistently express Leica’s design philosophy and conjure up the familiar experience of using a professional camera. The 2-stage shutter release focusses with light pressure and starts shooting when fully pressed down. A button allows you to quickly switch between shooting modes. Two control elements can be individually assigned and customised via the Leica LUX app. While one button provides quick access to frequently used functions, the easy-to-grip control dial enables the precise selection of camera settings – such as zoom, aperture, shutter speed and exposure compensation. This means that photographers have all the essential aspects of image composition in their own hands, even when using a smartphone.

The Leica LUX app rounds off the photographic experience by adding the unmistakable image and colour aesthetics of legendary Leica lenses. The bokeh effect of the Summilux-M or Noctilux-M can be used to deliberately emphasise features while retaining full control over exposure, ISO and shutter speed. Unique Leica Looks – from Vivid to classic Black&White – expand the artistic palette, lending digital photography an analogue character. The Leica LUX app forms a perfect symbiosis with the LUX Grip. The full version of the app is included for one year with every Grip product registration.

The LUX Grip also sets the tone when it comes to sustainability. Thanks to its modular design, the Grip can be easily reused with all electronic components every time you change your iPhone. Only the MagSafe base plate has to be replaced. Weighing just 130 grams, the Leica LUX Grip is comfortable to hold and is equally suitable for left- and right-handed users. Its powerful battery lets you take up to 1,000 shots and will be ready for use again in a flash with a charging time of 2 hours via USB-C.

The Leica LUX Grip is now available in selected Leica Stores, in the Leica Online Store and from specialist retailers. The recommended retail price is EUR 300 incl. VAT.

When you use DPReview links to buy products, the site may earn a commission. Nikon Nikkor Z 35mm F1.2 pre-production | F1.2 | 1/125 sec | ISO 64

Earlier this week, Nikon announced the Nikkor Z 35mm F1.2 S, a wide-angle lens with a fast aperture. We were able to spend a few hours on the streets of Seattle with a pre-production model, and got some shots that should give you an idea of what this lens is about.

A few caveats to keep in mind – given that the photos were shot with a pre-production lens, they may not be exactly indicative of how a production model would perform. Our standard lens gallery procedure also involves processing the images through Capture One, giving us precise control over what corrections are and are not applied. However, the images in this sample gallery are straight out of camera JPEGs, and thus may have corrections that wouldn't usually be applied to images in our sample galleries.

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

This image depicts the Sony E-mount version of the AF 28mm F4.5 lens, though the size is nearly identical.

Photo: Viltrox

After a playful bit of marketing, Viltrox announced a new flavor of its ultra-thin AF 28mm F4.5 lens. It first made the lens available for Sony E-mount cameras last fall, and now it will also be available for X-mount cameras.

Viltrox calls this teeny offering a chip lens. That nickname is in reference to how thin it is, drawing similarities with potato chips, and does not pertain to any sort of technology inside the lens. To stay on theme, the company's teaser for the announcement featured a bag of chips with AF 28mm F4.5 XF above it, much like the Lays potato chip flavor announcements.

Image: Viltrox

The Viltrox AF 28mm F4.5 is a unique lens because of its diminutive size. It weighs a measly 60g (2.1oz) and is only 15.3mm (0.6in) thick. To keep the size so minuscule, there are some compromises. Most notably, it uses a constant F4.5 aperture. That means no adjusting the aperture based on lighting conditions. Additionally, it lacks a manual focus ring, so you'll be stuck entirely with autofocus. It also isn't compatible with filters.

The optical design is made up of six elements in six groups, including two ED and two aspherical elements. Voltrox says it will deliver "sharp images, vibrant colors, and stunning starburst effects." It uses a VCM for autofocus, which Viltrox promises will be "fast, precise, and silent." Additionally, the lens features an integrated lens cap with a slide for opening and closing the cover and a USB-C port for firmware updates.

The AF 28mm F4.5 XF is available in black and white colorways for $99.

Buy now:

$99 at Amazon.com

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 86%Overall scoreJump to conclusion Product photos: Mitchell Clark

The OM System OM-3 is the company's latest Micro Four Thirds mirrorless camera. Its use of the same 20MP Four Thirds Stacked CMOS sensor found in the OM-1 Mk II makes it the least expensive interchangeable lens camera to feature a Stacked sensor we've seen to date, and it has most of the features and capabilities of the more expensive model.

OM System has packaged it all in a retro-styled body, which features a knob for quickly switching between color modes, as well as a button that, by default, gives you quick access to the many computational photography features that the company has become known for.

Key Specifications

• 20MP Four Thirds Stacked CMOS sensor
• In-body image stabilization rated up to 6.5EV
• 2.36M dot EVF 0.61x magnification
• Up to 50fps continuous shooting with C-AF, 120fps with AF/AE locked
• Up to 4K 60p video with 10-bit Log option
• Color and effects dial
• IP53-rated weather sealing
• 50MP handheld / 80MP tripod high-res composite mode
• Battery rated to 590 shots

The OM-3 will be available for sale starting February 27th, with a body-only MSRP of $1999. It will also be available as a kit with OM System's M.Zuiko ED 12-45mm F4.0 Pro lens for $2299. In the US, the company is running a pre-order bonus until Feburary 26th, where you can get $200 off if you purchase the camera with either the 17 or 25mm F1.8 primes that launched alongside it.

Buy now:

Buy at AdoramaBuy at B&H Photo Index:

• What's new?
• How it compares
• Body and controls
• Image Quality
• Autofocus
• Video
• In Use
• Conclusion
• Sample gallery
• Specifications
• Press release

What's new A new design

Unlike the OM-1 and OM-5, the OM-3 isn't a direct continuation of an existing Olympus camera line, which results in a camera that looks quite distinct from other models bearing the OM badge. There's absolutely still a family resemblance – it looks a bit like a larger OM-5, despite mostly being an OM-1 II inside – but the OM-3 also very clearly draws influence from classic film SLRs.

This is most obvious when viewing it from the front. There's no raised grip to speak of, and a black leatherette wraps around the silver camera body. The texture and substantial thumb rest on the rear make the camera relatively easy to hold on to, at least for our testers, and the metal build feels reassuringly solid in the hand.

The camera is remarkably wide, though that evokes classic film bodies and provides plenty of room for its battery.

Beyond its shape, the OM-3 differs from previous OM System cameras in several ways. Instead of being integrated into a raised circular section with two buttons atop it, the power switch is now on its own. The buttons have been replaced by a dial, which lets you quickly switch between stills, video and 'slow and quick' video modes. Speaking of dials, there's one on the front that warrants an in-depth look.

The 'Creative Dial'

The OM-3 features a front control knob called the "Creative Dial." It'll be familiar to fans of the PEN-F, whose similar dial set it apart from preceding PEN models.

Like the PEN-F's, the OM-3's dial has five positions; the middle lets you use the standard color modes for the camera. Switching to Color gives you access to four profiles, which are designed to replicate specific film looks. Another click to the left takes you to the Mono mode, with four more profiles, this time in black and white. The other side of the dial gives you access to the "Art" modes, which act as filters to add effects like pinhole camera or bleach bypass, and the color creator mode, which lets you add a tint to your photos.

You can use the customizable Color Profiles to create some relatively extreme looks.

The real fun comes from customizing the color and mono profiles. OM System gives you the basic sliders – sharpness, contrast, vignetting – but also offers finer-grained control. In the mono modes, you can add a virtual color filter, a simulated grain effect in three strengths and choose a sepia, blue, purple, or green tint. In the color profiles, you get a color wheel giving you control over the saturation levels of 12 hues. You can also control shadows, mid-tones and highlights, boosting them or lowering them to get the look you want.

It's worth noting that most of these customizations aren't wholly new to OM System; the OM-1 II also gives you a lot of control over how your JPEGs turn out, including the shadow, midtone, and highlight control. However, the OM-3 puts those features front and center, making it much harder to miss them, and having four custom profiles instead of one makes it easier to create some dramatic looks without having to worry about using up your one custom slot.

Quick access computation

Lately, we've seen a trend of camera companies adding physical controls for their standout features – think the Fujifilm Film Simulation dial or the Panasonic S9's LUT button. OM System has done the same with the OM-3's "CP" button, which gives you easy access to the camera's vast array of computational photography features without requiring you to dive into the menus. For those unacquainted, these features are multi-shot modes, where the camera takes several exposures to achieve certain effects in-camera, without the need to stitch anything together using external software.

The modes available on the OM-3 via the CP button are:

• High resolution (tripod / handheld)
• Live ND (1-6EV)
• Live Graduated ND (1-3 EV)
• Focus Stacking*
• HDR
• Multiple exposure

* Only available with select lenses

These features are arguably part of what sets OM System apart from its competitors, so it makes sense to replace what was traditionally an AE / AF lock button with something that puts one of the camera's main selling points at your fingertips.

This straight-out-of-camera shot was taken using the Live Graduated ND mode to keep the sky from being overexposed. Its availability at the press of a button made using it a no-brainer.

OM System 12-40mm F2.8 PRO II | F4 | 1/250 sec | ISO 200
Photo: Mitchell Clark

A single press of the CP button activates the last computational mode you used, with a long press gaining you access to the other available options. You can limit this list in the menus so that even the long-press takes you to a list of only the modes you actually want to use. This approach does slightly reduce the button's ability to help new users discover all the features, but means experienced shooters can get straight to the function they want.

OM Cinema video color modes Standard Color Profile OM Cinema 1 OM Cinema 2

The OM-3 includes two new "OM Cinema" color modes for video, which the company says are meant to give you the same highlight capture capabilities as its OM-Log mode, while giving you a cinematic look straight out of camera. OM Cinema 1 is designed to highlight yellows in the bright parts of your image, and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like the OM-Log400 mode, both modes have a base ISO of 400, pushing you to use exposures that can capture the additional highlight range.

How it compares

The OM-3 is the least expensive ILC we've seen to use an expensive Stacked CMOS sensor. Internally, it's very similar to OM System's flagship OM-1 Mk II, featuring the same sensor, burst rates, autofocus subject recognition, computational photography modes and weather sealing. The more expensive model has a faster mechanical shutter, more buttons, a beefy grip, deeper buffer, a larger, higher-res viewfinder and dual card slots. However, we suspect looks and size, rather than capability, will be the deciding factor between the two for most people.

The use of an expensive, Stacked sensor puts the OM-3 in an interesting position. Multiple full-frame cameras are available for this much money or less, offering a substantial increase in light-gathering ability at the cost of larger, heavier lenses, much slower burst rates and generally fewer features. But if you want a larger sensor that's still Stacked, you'll have to pay for it – the Fujifilm X-H2S's MSRP is 25% more expensive.

At this price point, the OM-3 is playing in a few markets. You could consider high-performance models like the Panasonic G9 II, Canon EOS R7, or Fujifilm X-H2S as its peers, but it also competes with style-conscious options such as Fujifilm's X-T5 and the Nikon Zf. We've included a selection of both.

OM System OM-3 Canon EOS R7 Fujifilm X-T5 Panasonic G9 II Nikon Zf MSRP $1999 $1499 $1699 $1899 $1999 Pixel count 20MP 33MP 40MP 25MP 25MP Sensor size Four Thirds (225mm²)

APS-C
(329 mm²)

APS-C
(367mm²) Four Thirds (225mm²) Full-frame (864mm²) Sensor tech Stacked CMOS FSI-CMOS (Dual Pixel) BSI-CMOS CMOS BSI-CMOS Viewfinder res / mag 2.36M dot
0.69x* 2.36M dot
0.72x 3.69M dot
0.8x 3.68M dot
0.8x 3.69M dot
0.8x Stabilization IBIS, can coordinate with select lenses IBIS, can coordinate with select lenses IBIS

IBIS, can coordinate with select lenses

IBIS Max burst rate

6fps (mech.)

50fps (C-AF, e-shutter)

120fps (S-AF, e-shutter)

15fps (mech.)

30fps (elec.)

15fps (mech.)

20fps (e-shutter, 1.29x crop)

14fps (mech.)

60fps (C-AF, e-shutter)

75fps (S-AF, e-shutter)

11 fps Raw

14 fps JPEG (15 e-shutter)

30fps in C30 JPEG mode

Pre-release capture Yes Yes Yes Yes Yes (JPEG only) Rear screen 3" 1.62M dot fully-articulated 3" 1.62M dot fully-articulated 3" 1.84M dot three-way tilt 3" 1.84M dot fully-articulated 3.2" 2.1M dot fully-articulated Battery life (LCD/EVF) 590 / - 660 / 380 580 / - 390 / 390 380 / 360 Card slot 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD 2x UHS-II SD 1x UHS-II SD
1x UHS-I Micro SD Dimensions 139 x 89 x 46mm 132 x 90 x 91mm 130 x 90 x 92mm 134 x 102 x 90mm 144 x 103 x 49mm Weight 496g 612g 557g 658g 710 g

*Using the whole-panel 'Viewfinder style 3'

Every system listed here will have strengths and weaknesses compared to the OM-3. The EOS R7, for example, is technically an extremely capable camera with its larger sensor, reliable autofocus, and dual SD card slots, though the OM-3 shoots significantly faster and with less rolling shutter. Nowadays, the lens selection for Canon APS-C systems is a little more healthy, but still well short of the Micro Four Thirds system's. The EOS R7 also doesn't have the retro design that the OM-3 does; like the G9 II, its looks lean toward the industrial.

The Nikon Zf and Fujifilm X-T5 have similar aesthetics, but while the Nikon is relatively small for a full-frame camera, the same can't be said for the lenses you'll have to attach to it. Fujifilm's lens ecosystem is the only one that's as comprehensive as Micro Four Thirds, though its autofocus system isn't as good as OM's in many situations and is well off the pace from the state of the art.

Only Panasonic's G9 II comes close to offering the range of in-camera multi-shot computational modes, and even then, the OM-3's faster readout gives it an advantage.

Body and controls

The OM-3's retro design is one of its biggest selling points over the OM-1 Mk II. It trades rubberized, inset dials for top-mounted ones with chunky knurling and silver accents placed on the top plate. Despite the prominent hump, the viewfinder is actually relatively small, though it usually gets the job done.

It's clearly a throwback to old-school SLRs. That may disappoint those who saw the Creative Dial and hoped for a rangefinder-style PEN-F revival, but given that SLR-shaped cameras have long outsold rangefinder-styled ones, its inclusion here hints that this may be the closest we'll get to a direct successor.

The OM-3 isn't as compact as the OM-5 but takes up less space than the OM-1 II.

The OM-3 isn't as much smaller than the OM-1 as we initially expected; several DPReview staff remarked on how wide it was upon picking it up for the first time. That does, however, add to the film camera aesthetic and gives it room for a large battery, and the lack of a grip does make it easier to fit in a bag, especially without a lens attached. However, you still likely won't be able to stow it in a pocket or purse like you could with the smallest Micro Four Thirds bodies.

During our testing, we found that the camera's controls were well laid out, with all the essential buttons being easy to reach. It has several customizable buttons that you can map to your preferred functions and OM System's traditional function lever, which lets you quickly change an unfortunately very limited selection of your dial functions or autofocus settings. The locking mode dial also gives you access to five custom shooting modes, which can recall a much broader range of settings, providing a generous number of setups that most photographers would likely struggle to fill.

It's generally easy to use one-handed, though the lack of a grip can make things a bit harder when you have to hold a button and operate the dials simultaneously. Depending on how you have the camera set up, its UI will require that relatively frequently. The lack of a joystick for controlling your focus point also means that you'll likely have to use two hands when moving your focus point around, whether using the directional pad or the touchscreen.

The OM-3 has OM System's latest menu system, which is very similar to Canon's. The sections are color-coded, which can help remind you of where everything is, and you can use the customizable My Menu to create a section filled with your most-accessed settings.

You can navigate through the sections using the front dial and switch pages using the rear one, making it easy to zip around once you get a feel for where everything is. However, you'll have to use the four-way controller to actually change your settings; the camera lets you use the touchscreen to switch tabs and pages but not to navigate through or adjust the settings themselves.

The OM-3's menus are logically laid out, though it would be nice if the top categories were always color-coded rather than just showing the color when you select them.

You may not actually have to spend that much time in the menus, though. The OM-3 features the company's "Super Control Panel," which is, by default, mapped to the "OK" button. Bringing it up gives you easy access to most of your important shooting settings: drive mode, AF mode, AF subject section settings, exposure and ISO control, etc. All of which can then be adjusted with a spin of the dial or tapped to display their options. Combined with all the physical controls, it can make a trip to the menus a rarity if you spend some time setting everything up.

Battery

The OM-3 uses OM System's large, 17Wh BLX-1 battery, the same found in the OM-1 Mk II. It's rated to provide around 590 shots on a charge when using the LCD. That's an impressive capacity for a camera this size, and it bore out in our testing; we didn't often find ourselves reaching for a charger, even over long weekends of shooting with frequent use of the computational modes. That's good news for those hoping to use it as a travel camera.

As always with CIPA ratings, the exact number isn't a literal indicator of how many pictures you can expect to get out of a charge, and we find you can generally expect to get at least double the rating. It does, however, act as a common point of comparison among cameras, and 590 is a very healthy rating.

Image quality

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, full even light and low directional light, to see the effect of different lighting conditions.

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At base ISO, the OM-3's Raws provide good levels of detail, even compared to its 25MP peers. Canon and Fujifilm's use of higher-resolution sensors give them a leg up in detail, though the differences are subtle when viewed at comparative sizes. Differences between noise levels are also subtle at base ISO, though the advantages of a larger sensor become more noticeable at mid and higher ISOs. It's difficult to directly compare the OM-3 and the G9 II, as the latter appears to be applying noise reduction, even in Raw.

Straight out of camera using handheld multi-shot mode.

Lumix G Vario 35-100 F2.8 II | F2.8 | 1/400 sec | ISO 200
Photo: Mitchell Clark

Like the G9 II, the OM-3 has a multi-shot high-res mode that promises to bump its resolution while also improving noise performance thanks to the multiple exposures. As we've pointed out before, the performance of such modes – especially the handheld ones – will be limited by how steady you can keep the camera and how still your subject is. However, the OM-3 makes it easy to give it a try, as it combines the shots in-camera; you won't spend precious time combining shots on your desktop only to discover motion artifacts. We found that, in the right situations, the modes provided a decent bump in detail.

The OM-3's JPEG engine does a good job of retaining fine detail without giving it an over-processed look and strikes a good balance of smoothing out noise without giving up too much detail at higher ISOs. There isn't much to distinguish it from its peers when it comes to its standard color mode; it competently reproduces pleasing skin tones and has pleasant, but not overbearing, yellows, reds and greens.

Dynamic Range

Exposed for highlights, +2EV in ACR, edited to taste.

OM System 25mm F1.8 | F1.8 | 1/80 sec | ISO 200
Photo: Mitchell Clark

Given that the OM-3 shares a sensor with the OM-1, it's no surprise to see that its dynamic range performance is just as good. The sensor doesn't add much read noise, and the shadow noise performance is good, giving you room to shoot to preserve highlights, and lift the shadows in post.

Exposure Latitude | ISO Invariance

Autofocus

To select an autofocus point, you can use the touchscreen or the four-way controller. There are a variety of target mode settings, including the option to select a single point, small, medium, and large areas, a cross-pattern area, and a wide area that allows the camera to analyze the frame and choose what to focus on. You can also create four custom-sized zones.

The OM-3 has several autofocus modes, including the ability to recognize and track several types of subjects: Humans / eyes, cars and motorcycles, airplanes / helicopters, trains, birds and dogs / cats. It also has a specialized star autofocus mode for astrophotography.

The OM-3 lets you engage subject recognition mode, and use it with your chosen AF target type. The camera will focus on whatever's under your AF point and will track it if it's a recognized subject, but it won't jump off to recognized subjects elsewhere in the scene. However, unlike many contemporary cameras, you can't combine AF Tracking mode with subject recognition: if you want your camera to track something it's not been trained to recognize, you'll have to switch to the dedicated Tracking mode. This means you can't just leave it in a single mode and expect it to use the selected recognition mode only when appropriate; instead, you have to constantly turn subject detection on and off.

As for the autofocus system's performance, the camera performed well – though not exceptionally – in our standard tests and in our general use. For a subject moving straight toward the camera at a consistent speed, the OM-3 was generally able to keep them in focus, though it occasionally misstepped, resulting in a small number of slightly soft images.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Even in subject recognition mode, shown here, the OM-3 occasionally misjudged the distance it needed to drive the lens when tracking a subject moving at a variable speed toward the camera.

Its standard autofocus tracking system was quite sticky and reliably stayed on the subject moving towards the camera and across the frame at varying speeds. While many of the resulting photos were in focus, the camera still sometimes struggled to judge and drive the lens to the correct place, leading to a handful of soft shots. Human subject recognition faired better and was tenacious at sticking to the subject, though there were still a handful of shots with the same issue, implying that the fault lies with the distance assessment/prediction algorithms, not the camera's inability to figure out what to focus on. The camera has C-AF speed and sensitivity adjustments that you can try to use to improve its performance for the specific subject you're shooting.

During our usage, the autofocus was generally reliable but occasionally faltered in situations that it felt like it should handle easily. We ran into a few situations where the tracking point would wander off the selected target or where the subject recognition AF would get confused by objects partially covering a subject's eye, such as glasses frames or fence wire.

Video

The OM-3 has capable video specs, with a standout being its ability to shoot 4K UHD at full-width at up to 60 fps. It can also shoot at up to 240fps in FHD for slow motion, though the higher frame rates are the rare video modes that come with a crop – the only other time you won't get full-width video is if you enable electronic stabilization, which adds a 1.18x crop in 4K. That electronic image stabilization is quite good, especially paired with the stabilized sensor; it handles camera movement well, and generally doesn't have a noticeable grab-and-release effect if you pan the camera.

The video autofocus system can recognize the same subjects available in stills, though it's not as competent at tracking a subject that it hasn't been trained on. Unlike the notably sticky performance in stills, it was relatively easy to get the camera to lose track of the subject. In common with stills mode, the camera provides options to tune continuous autofocus performance, so you can choose whether you want slow, cinematic focus pulls between subjects or quick, snappy ones trying to maintain focus on a moving subject.

Most of the OM-3's ports are made for video and are along the left side. That does mean you may occasionally struggle with the flip-out screen hitting the microphone cable.

The camera also has a variety of features that make recording video a bit easier. It has headphone and microphone jacks, which are vital if you want to get good audio, and a micro HDMI port – it's better than nothing, but anyone who makes a habit of outputting video through HDMI will almost certainly wish for the more robust full-size port. It can display two levels of zebra patterns, making it easy to spot when your highlights are clipping or are about to clip, a red frame recording indicator and the ability to use the front lamp as a tally light, and a view assist mode that gives you some idea of what your Log footage will look like when it's graded.

The OM-3 has several features that make recording video easier

The OM-3 supports 10-bit H.265 recording for Log and Hybrid Log-gamma HDR recording, which is where the extra bit-depth will be most useful. If you want to shoot footage using its standard color mode, you'll have to do it using 8-bit H.264 which comes with a penalty in detail – more on that in a moment...

Switching between photo and video modes using the dial is relatively easy, and both retain their own settings, so you won't have to constantly change your exposure parameters when shooting a mix of stills and video. You can also use the Creative Dial for video as well if you have the color mode set to "Same as Picture Mode," giving you access to the same color mode presets you've created for stills. However, if you've set the camera to use one of the video color modes, such as Flat, OM Cinema, or OM-Log, it will ignore the dial.

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The OM-3 has the same video system as the OM-1 and OM-1 II, which means that its 8-bit 4K H.264 modes deliver video with relatively good detail and that you won't pay any apparent penalty for going from 24p to 60p. However, like the OM-1, the OM-3's 10-bit H.265 video mode appears to offer a noticeable increase in detail in its 24p mode.

This doesn't carry over to 60p, though the bigger limitation is that you can only shoot in 10-bit mode when using the OM-Log400 or HLG color mode for HDR. That means that if you want the extra detail, you'll have to do some post-processing work.

For most use cases, the difference in detail will be very hard to discern when you're taking video of moving subjects, but it's something to be aware of if you intend to use the camera for serious video work.

Rolling Shutter

Given the OM-3's Stacked sensor, it's no surprise that its rolling shutter performance is strong across its modes.

Shooting Mode Crop Rolling Shutter Rate 4K 30p Full-width 5.8ms 4K 60p Full-width 5.8ms FHD 24p Full-width 5.8ms FHD 120p 1.27x 3.5ms

Its consistent rolling shutter rate of 5.8ms across its main video modes means that you'll essentially never have to worry about jello-like artifacting when shooting fast-moving subjects or panning the camera.

In use

It's clear a lot of thought has gone into the user experience – with some notable exceptions that we'll address shortly. The interface is sprinkled with small icons that let you know what you're doing, like the hearts and diamonds that let you know when you're shooting in electronic shutter or anti-shock mode. The menu also lends a helping hand, giving you explanations when settings are greyed out; for example, if a specific computational mode isn't available because of your shooting mode, the camera will just tell you that instead of leaving you to wonder.

The camera also has a great degree of customizability. You can change the function lever into a power switch, swap the dial directions depending on what you're used to, narrow down the CP menu options, and much (much) more. Perhaps that's not a surprise, given that second-system shooters are one of the main target audiences for this camera; being able to set it up to work like your main camera goes a long way to reducing the friction that often comes with switching between cameras.

OM System has built new features after adding the function lever and not gone back to update its behavior

This has long been one of the brand's calling cards, though it's not unlimited – OM System has continued to build new features after adding the function lever and not gone back to update its behavior. If you set it to change autofocus modes it only controls certain parameters, meaning newer AF functions can get ignored or overridden. For example, if you have switch position 1 set to continuous autofocus with tracking and position 2 set to be single autofocus, if then you activate subject recognition while in position 2 and switch to position 1, the choice of subject recognition over-rides the C-AF+Tracking mode.

The FN lever options are still extremely limited.

It feels like a missed opportunity. If the lever supported a wider array of settings, as the custom modes do, you could use it to switch between very different shooting styles. Instead, it's only useful in very specific situations, and you'll have to use the custom mode slots if you want to be able to quickly change between more sophisticated setups like subject recognition settings, your auto ISO minimum shutter speed, or focus limiters.

While we're discussing downsides, the lack of a joystick to control autofocus points was a disappointment, as we suspect it will be to anyone used to using one. However, OM System has made it so that each button on the four-way controller will start moving the autofocus point by default. You don't have to press a button to activate autofocus select mode before starting to move it. You can change this behavior if you want, using each direction as its own shortcut for other functions.

Using the camera's 25fps continuous shooting mode let us capture moments that would've been difficult to photograph with slower cameras.

OM System 100-400 F5-6.3 II | F6.3 | 1/250 sec | ISO 200
Photo: Mitchell Clark

Putting those complaints aside, though, it's just plain fun shooting at 50 or 120fps using a camera this compact, though it is worth noting that you can only do 50fps in the continuous autofocus mode with certain lenses. Many lenses, including the 100-400mm F5-6.3 IS II that launched alongside the OM-3, will be limited to 25fps in the continuous autofocus mode. For our birding outings, that was still a sufficient display of the power of a Stacked sensor, and while some competitors may be able to shoot faster than 25fps, their sensor readout rates will also be higher, likely leading to distortion from rolling shutter.

While the Creative Dial will likely delight those who love developing and playing around with 'recipes' for their JPEGs, the pre-programmed Color Profiles available through the dial weren't compelling enough that we found ourselves reaching for it all that often.

Color Profile 1 Color Profile 2 Color Profile 3 Color Profile 4 The camera comes pre-loaded with four color modes available via the Color setting on the Creative Dial. You can customize them however you want, but these are the defaults.

That's not true of the CP button, though. We used it almost every time we went out to shoot with the camera, and it became second nature to use the hand-held 50MP multi-shot mode since it was often only a button press away, helping you quickly access some of the modes that set the OM-3 apart from its peers.

One small detail that delighted us, to balance out some of the criticism: if the display is flipped out, the camera won't switch to the EVF if its sensors are blocked, preventing your jacket or shirt from making the monitor go blank while you're trying to compose your shot. Fans of waist-level shooting rejoice.

Conclusion Pros Cons

• Good image quality that can be improved with in-camera multi-shot
• Controls put best features front-and-center
• Super Control Panel quick to use
• Custom color / monochrome modes leave room for creativity
• Sensor allows for fast shooting with low rolling shutter
• Wide variety of computational photography modes
• Good degree of customization
• IP water resistance certification
• Excellent battery life

• Expensive compared to its slower peers
• Small, low-res EVF
• No autofocus joystick
• 50fps mode limited to certain lenses
• AF tracking isn't as accurate as best of its peers
• Some features and functions can't be assigned to custom buttons and switches

At times, it's been difficult to think about and write about the OM-3 on its own terms instead of analyzing what it means for OM System as a whole. The brand has been in an odd spot since it spun out from Olympus, with most of its releases being minor updates to Olympus models. While the OM-3 has a lot of that same DNA, it is arguably the first real new model we've seen from OM System, and the temptation is to talk about what that means for the company going forward.

Doing so, however, would feel unfair to the OM-3. Because on its own, it's a great little camera which manages to pack a lot of technology and features into a classic-looking body. What's more, it makes those features easily accessible; the color mode dial on the front invites you to tailor your images to your preferences and makes it easy to shoot in black and white on a whim. The Super Control Panel makes it easy to access your most important settings without diving into the menus, and the CP button gives you access to the entire bag of multi-shot tricks that have become OM System's calling card.

The OM-3 is a testament to the age we're in, where many photographers want a camera that looks great and where usability has replaced image quality as the main factor setting cameras apart. With that said, at this price, it's hard to completely ignore image quality; it doesn't help that there are several great competitors. If you're looking to spend $2,000 on what will be your only camera, there's a compelling argument that you should pick up an APS-C camera and a decent standard zoom for around the same price. They won't shoot as fast as the OM-3, but they can still manage speeds that will be sufficient for most situations.

That does mean that the OM-3 is a bit of a niche camera; you'll have to want the flagship-tier performance that comes with a Stacked sensor while being okay with giving up some light-gathering ability. It's that limited appeal, along with its autofocus system that doesn't quite match the state of the art, and the small papercuts of some features being restricted to certain lenses and customization limitations, that keep it from getting Gold.

I usually wouldn't consider bringing a camera with a 200-800mm equiv. lens on a walk, but with the OM-3 and the 100-400mm F5.0-6.3 II announced alongside it, it wasn't really a burden.

OM System 100-400mm F5.0-6.3 II | F5.8 | 1/60 sec | ISO 250
Photo: Mitchell Clark

However, it earns its silver by being really, really good for its niche. If you're willing to give up some light-gathering ability, you'll get a camera that you can take almost anywhere to do almost anything, all while staying stylish in the process.

It seems especially well-suited for travelers since its blistering shooting speeds and relatively reliable autofocus mean you'll be able to capture subjects no matter how fast they are, and you won't have to dedicate an entire carry-on to lenses, even if you want to bring a few. And when the pace slows down, you can use the multi-shot modes to get some of that image quality you gave up back, or to capture a beautiful sunset, even if you didn't remember to pack a physical graduated ND filter.

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Scoring is relative only to the other cameras in the same category. Click here to learn about the changes to our scoring system and what these numbers mean.

OM System OM-3Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe OM-3 is a camera that's small enough to go anywhere, with enough speed and computational tricks to capture almost any subject you'll come across.Good forTravelers who may encounter anythingNot so good forShooters that need maximum image quality86%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"omsystem_om3","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R7 has a decidedly different form factor than the OM-3, with its deep grip, AF joystick, and dual card slots. It also doesn't allow for the same level of customization, and while the lineup of APS-C lenses for RF mount is improving, telephoto options are still a bit of a weak point, which is definitely not the case for Micro Four Thirds. The EOS R7 has some of the most simple and dependable stills autofocus in its class, and would likely nab you a few more tack-sharp shots than the OM-3 in most situations.

The Fujifilm X-T5 has similar SLR-throwback styling, as well as a very competitive selection of lenses. However, it can't shoot nearly as fast, and its X-Trans color filter means that its 40MP images won't quite offer the improvement in detail that you'd expect, given the pixel count delta between it and the OM-3. Fujifilm's tracking autofocus performance also isn't quite as good as OM System's, though its performance in subject recognition mode works well, and it lets you use tracking without turning off subject recognition. The X-T5 also has a substantially nicer viewfinder.

The Panasonic Lumix DC-G9 II is a close competitor to the OM-3, offering a similar number of computational modes. It's noticeably larger and heavier – it uses a body borrowed from Panasonic's full-frame S5 II – and has notably worse battery life, making it a less compelling travel companion. However, if you shoot a lot of video, the G9 II is almost certainly the better buy, with its open-gate support, full-size HDMI, a broader range of codecs, and tools like waveforms, vectorscopes, shutter angle settings and more.

The main advantage of the Nikon Zf over the OM-3 is the pure image quality improvements of a full-frame sensor, at the cost of substantially slower shooting and significantly larger body/lens combinations that also hurt its packability. Its autofocus system is easier to use, as you won't have to choose between tracking and subject recognition. Despite its retro aesthetics, the Zf is quite capable for video, but can't manage full-width at 4K/60p like the OM-3 can, and will have substantially worse rolling shutter. While Nikon's full-frame lens lineup is becoming pretty robust, your options will also be bigger, heavier, and more expensive than their Micro Four Thirds equivalents, again making it less appealing for travelers.

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OM System has announced the the M.Zuiko Digital 17mm F1.8 II and the M.Zuiko Digital 25mm F1.8 II primes. Both are refreshed versions of existing lenses, maintaining the same optical formulae in both instances.

The 17mm F1.8 II gains a degree of weather sealing, earning the IPX1 ingress protection rating. This is a pretty low rating, indicating that it hasn't been tested for dust/particle ingress and that vertically falling drops of water shouldn't have a negative effect. OM System describes this as "splash-proof and dust-resistant" but it comes at the cost of the removal of the manual focus clutch: a retractable ring that switched the focus mode when used on Olympus/OM System cameras.

As with the previous version the 17mm F1.8 II offers a 34mm equiv field of view and is constructed using nine elements in six groups, including two aspherical elements and a high refractive index element.

Diagram showing the sealed points on the OM System M.Zuiko Digital 17mm F1.8 II, hinting at the challenges required to achieve an IPX1 rating with the moving focus switch ring on the older design.

Rendering: OM System

The Mk II lens also gains OM System's 'ZERO' anti-reflective coating. Removing the focus clutch ring reduces the weight from 120g (4.2oz) to 112g (4.0oz). Other than this, it's the same as before, with the minimum focus distance and, presumably, the sharpness, unchanged.

There's less change with the 50mm-equiv M.Zuiko Digital 25mm F1.8 II. The Mk I had no focus clutch/switch, so in this instance the updated weather sealing (to IPX1) makes the new lens heavier. The Mark II weighs 156g (5.5oz), rather than the 136g (4.8oz) of the 2014 version.

It too keeps the existing arrangement of nine elements in seven groups, including two aspherical elements.

Both lenses will be available from late February 2025. The OM System M.Zuiko Digital 17mm F2.8 II will sell for a recommended price of $550, up $50 on the 2012 prive, while the OM System M.Zuiko Digital 25mm F1.8 II will have a recommended sales price of $500, up $130 over 2014's Mk 1 launch price.

Press release:

OM SYSTEM Expands Prime Lens Lineup with the Splash & Dust-Proof M.ZUIKO DIGITAL 17mm F1.8 II and 25mm F1.8 II

Versatile Lenses Designed for Landscapes, City Snapshots, and Portraits

BETHLEHEM, PA, February 6, 2025 - OM Digital Solutions proudly announces the launch of two premium prime lenses, the M.ZUIKO DIGITAL 17mm F1.8 II (35mm equivalent: 34mm) and M.ZUIKO DIGITAL 25mm F1.8 II (35mm equivalent: 50mm). Developed for the OM SYSTEM lineup and compliant with the Micro Four Thirds System standard, these lenses will be available for purchase beginning in late February 2025.

Designed to combine exceptional imaging performance with robust splash and dust-proof durability, the 17mm F1.8 II and 25mm F1.8 II are compact and lightweight, making them the perfect companions for photographers on the go. With their wide f/1.8 apertures and versatile focal lengths, these lenses are well-suited for capturing stunning landscapes, dynamic cityscapes, and striking portraits.

The combination of cutting-edge optical technology, intuitive handling, and weather-sealed construction makes these lenses invaluable tools for photographers seeking creative flexibility and uncompromising reliability.

Key Features of the M.ZUIKO DIGITAL Prime Lens II Series: M.ZUIKO DIGITAL 17mm F1.8 II

• Wide-angle lens with a large-diameter f/1.8 aperture for stunning bokeh and
  pan-focus capabilities
• IPX1-rated splash-proof performance and dust-proof design for reliable
  performance in challenging environments

M.ZUIKO DIGITAL 25mm F1.8 II

• Standard focal length lens with natural perspectives and exceptional imaging quality
• Compact, IPX1-rated splash-proof performance and dust-resistant design for enhanced portability and
  durability

The combination of cutting-edge optical technology, intuitive handling, and weather-sealed construction makes these lenses invaluable tools for photographers seeking creative flexibility and uncompromising reliability.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL Prime Lens II Series: M.ZUIKO DIGITAL 17mm F1.8 II

The M.ZUIKO DIGITAL 17mm F1.8 II Lens will be available beginning in late February 2025, at a suggested retail price of $549.99 (US)/$769.99 (CAD).

M.ZUIKO DIGITAL 25mm F1.8 II

The M.ZUIKO DIGITAL 25mm F1.8 II Lens will be available beginning in late February 2025, at a suggested retail price of $499.99 (US)/$699.99 (CAD)

OM SYSTEM M.ZUIKO DIGITAL Prime Lens II Series Features & Technology Detail M.ZUIKO DIGITAL 17mm F1.8 II

The 17mm F1.8 II lens delivers superb optical performance in a compact, lightweight body measuring just 37.6 mm in length and weighing 112 g. It features a high-precision configuration of nine elements in six groups, including a DSA (Dual Super Aspheric) lens and HR (High Refractive index) lens. The ZERO (Zuiko Extra-low Reflection Optical) coating reduces ghosting and flaring, ensuring crisp, clear images even in challenging lighting conditions.

• Creative Aperture Control: The wide f/1.8 aperture allows for stunning bokeh effects, making subjects stand out, while the deep depth of field typical of wide-angle lenses enables sharp focus across the entire frame, from foreground to background.
• Weather-Resistant Durability: With IPX1-rated splash-proof performance and dust-resistant design, photographers can confidently shoot in adverse weather without worrying about their equipment.

M.ZUIKO DIGITAL 25mm F1.8 II

This standard focal-length lens, with a natural 50mm1 equivalent angle of view, replicates the perspective of the human eye. Its optical design includes nine elements in seven groups, featuring two aspherical lenses for optimal performance. The lightweight metal construction measures just 42 mm in length and weighs only 156g.

• Versatile Everyday Lens: Perfect for still life, snapshots, and portraits, its bright f/1.8 aperture ensures sharp low-light performance and beautiful bokeh for creative compositions.
• Reliable in Any Setting: With IPX1-rated splash-proof performance and dust-resistant design, photographers can focus on their craft in any environment, from rainy streets to rugged outdoor adventures.

Designed for Every Photographer

Both lenses offer fast, quiet autofocus (AF) thanks to a MSC (Movie & Still Compatible) mechanism. Combined with the high-performance image stabilization of OM SYSTEM camera bodies, these lenses make capturing sharp, professional-quality stills and videos effortless.

These lenses are essential tools for photographers seeking portability, durability, and creative flexibility.

Related Accessories

LH-49B Lens Hood (bundled or sold separately): Reduces unwanted light in backlit scenes and protects the lens.
Suggested retail price: $46.99 (US)/$62.99 (CAD)

LC-46 Lens Cap (bundled or sold separately): Provides protection for the lens element.
Suggested retail price: $7.99 (US)/$10.99 (CAD)

PRF-D46 PRO Protection Filter (sold separately): Offers additional protection for the front lens element.
Suggested retail price: $66.99 (US)/$89.99 (CAD)

LSC-0811 Lens Case (sold separately): Designed for secure storage and transportation.
Suggested retail price: $26.99 (US)/$35.99 (CAD)

MCON-P02 Macro Converter (sold separately): Designed to enhance close-up capabilities of the lens.
Suggested retail price: $9.99 (US)/$9.99 (CAD)

1. 35mm equivalent

OM System M.Zuiko Digital 17mm F1.8 II & M.Zuiko Digital 25mm F1.8 II specifications  OM System M.Zuiko Digital 17mm F1.8 IIOM System M.Zuiko Digital 25mm F1.8 IIPrincipal specificationsLens typePrime lensMax Format sizeFourThirdsFocal length17 mm25 mmImage stabilizationNoLens mountMicro Four ThirdsApertureMaximum apertureF1.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades7Aperture notesCircular aperture diaphragmOpticsElements9Groups67Special elements / coatings2 Aspherical, HR glass element2 aspherical elementsFocusMinimum focus0.25 m (9.84″)0.24 m (9.45″)Maximum magnification0.08×0.12×AutofocusYesMotor typeMicromotorStepper motorFull time manualYesUnknownFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight112 g (0.25 lb)156 g (0.34 lb)Diameter58 mm (2.28″)56 mm (2.2″)Length36 mm (1.42″)41 mm (1.61″)MaterialsMetalSealingYesFilter thread46 mmHood suppliedYesHood product codeLH-49BTripod collarNo

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OM System is keeping things exciting with a handful of announcements all at once. Along with a new camera (the OM-3) and an updated set of prime lenses, it also revealed the M.Zuiko Digital ED 100-400mm (200-800mm equiv.) F5.0-6.3 IS II lens. The update to its super-telephoto zoom lens offers some subtle yet worthy changes, especially for those taking the lens into the great outdoors.

One of the biggest changes is that the new version is Sync IS compatible, allowing the lens's stabilization system to be co-ordinated with in-body stabilization for improved motion correction.

In addition, the 100-400mm F5.6-6.3 lens gains improved weather sealing. It now offers an IPX1 rating for protection against water. OM System has billed itself as a rugged option for adventure-loving photographers, so it makes sense that it would work to provide better build quality on its lenses. It also added a new fluorine coating to the front elements to help keep it clear of water, dust, and fingerprints.

The tripod collar features a hinging design, making it easier to take off and on.

Image: OM System

Beyond weatherproofing, OM System reduced the new version's weight to 1,300g (2.8 lbs) with the tripod adapter on and 1,125g (2.5 lbs) without the tripod collar. That's a weight saving of 25g (0.9oz) compared to the original model, which, while not much, can make a difference when slogging through the backcountry. The tripod collar also features a hinged design, so you can remove it without needing to take the lens off the camera.

The OM System M.Zuiko Digital ED 100-400mm F5.0-6.3 IS II lens will be available on February 27 for $1,500.

Buy now:

Buy at AdoramaBuy at B&H Photo Sample images

Our own samples taken with the updated 100-400mm F5.0-6.3 IS II can be found in our OM System OM-3 sample gallery.

Click here to see our OM System OM-3 samples

Manufacturer samples Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Images supplied by OM System

Press release:

Introducing the OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II

A Super Telephoto Zoom Lens with 5-axis Sync IS for Powerful Handheld Photography

BETHLEHEM, PA, February 6, 2025 - OM Digital Solutions is thrilled to announce the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens, a high-performance super telephoto zoom lens designed exclusively for the Micro Four Thirds System. Engineered for photographers who demand precision, reliability, and portability, this compact and lightweight lens empowers users to capture stunning images in the most challenging
environments. The M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens will be available for purchase beginning in late February 2025.

Offering a focal length range of 200-800mm (35mm equivalent) and compatibility with the MC-20 2X teleconverter, extending the reach up to an impressive 1600mm, this lens delivers unparalleled versatility for bird and wildlife photography. Its 5-axis sync IS system offers up to 7.0 steps of shutter speed compensation, ensuring crisp, steady handheld shots even at extreme magnification. Built with an IPX1-rated splash-proof performance and dust-resistant design, this lens is designed to thrive in demanding outdoor conditions, making it the ultimate tool for capturing the beauty of nature.

Key Features of the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens:

• Unrivaled Reach: A compact, lightweight super telephoto zoom lens equivalent to 200-800mm on its own, extending to 1600mm with the optional MC-20 2X teleconverter.
• Advanced Image Stabilization: Supports 5-axis sync IS for exceptional handheld shooting with up to 7.0 steps of shutter speed compensation.
• Reliable All-Weather Durability: IPX1-rated splash-proof performance and dust-resistant design, plus a fluorine-coated front element for worry-free use in the toughest conditions.

With its cutting-edge technology and robust construction, the M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II lens redefines possibilities for wildlife and outdoor photographers.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens

The M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens will be available beginning in late February 2025, at a suggested retail price of $1,499.99 (US)/$2,099.99 (CAD).

Detailed product specifications for the OM SYSTEM M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS II Lens

Please see the OM SYSTEM website: Product Details & Specifications

OM System M.Zuiko Digital ED 100-400mm F5.0-6.3 IS II specifications Principal specificationsLens typeZoom lensMax Format sizeFourThirdsFocal length100–400 mmImage stabilizationYesCIPA Image stabilization rating7 stop(s)Lens mountMicro Four ThirdsApertureMaximum apertureF5–6.3Minimum apertureF22Aperture ringNoNumber of diaphragm blades7OpticsElements21Groups15Special elements / coatings4 ED, 2 Super HR, 2 HR elements, flourine coatingFocusMinimum focus0.25 m (9.84″)Maximum magnification0.08×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterYesPhysicalWeight1300 g (2.87 lb)Diameter86 mm (3.39″)Length206 mm (8.11″)MaterialsMagnesium alloySealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread72 mmHood suppliedYesTripod collarYes

Wildlife Photographer of the Year People's Choice Award Winner

Back in November, the Natural History Museum, London, announced the winners of its 2024 Wildlife Photographer of the Year Award. Now, after a few months of voting, the winner of the People's Choice Award has been announced along with four "Highly Commended" entries. There were 25 finalists for the People's Choice Award, which were selected from 59,228 entries from 117 countries and territories.

The Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. Those in London can view an exhibition of the winning photographs in person through June 29, 2025.

Photo: Ian Wood (UK) / Wildlife Photographer of the Year

Image title: No Access

Caption: An ambling Eurasian badger, illuminated by a streetlight, appears to glance up at badger graffiti on a quiet road in England, UK. Residents of St Leonards-on-Sea had been leaving food scraps on the pavement for foxes, but Ian noticed that badgers from a nearby sett were also coming to forage. After seeing a badger walking along the pavement by this wall late one night, he decided to photograph it. He set up a small hide on the edge of the road to take this picture.

Wildlife Photographer of the Year People's Choice Award Highly Commended

Photo: Francisco Negron (Chile) / Wildlife Photographer of the Year

Image title: Earth and Sky

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

Wildlife Photographer of the Year People's Choice Award Highly Commended

Photo: Francisco Negron (Chile) / Wildlife Photographer of the Year

Image title: Edge of Night

Caption: A ghostly barn owl exits the hayloft window of a derelict barn to hunt in fields outside Vancouver, Canada. Jess quietly watched the owl for several nights to understand its habits. He set up an invisible beam that would trigger a flash when the owl flew out of the barn. Simultaneously, a slow shutter speed gathered ambient light cast on the clouds and barn. On the tenth night, all the moving parts came together as the owl left to begin its hunt.

Wildlife Photographer of the Year People's Choice Award Highly Commended

Photo: Michel d’Oultremont (Belgium) / Wildlife Photographer of the Year

Image title: Whiteout

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

Wildlife Photographer of the Year People's Choice Award Highly Commended

Photo: David Northall (UK) / Wildlife Photographer of the Year

Image title: Spiked

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

Photo: Shackelton

It's no secret that the Leica name demands steep prices. That holds true whether the gear in question is a camera or not, as is evident by a new collaboration between London-based performance apparel and guided expedition brand Shackelton and Leica Camera. The Frank Hurley Field Jacket was developed with Leica Camera and expedition photographer Levison Wood. The jacket's name references the Australian photographer and adventurer, a member of the infamous Shackelton Expedition. As we would expect with the Leica name attached, it comes with a hefty $955 price tag.

Shackelton says waterproofing was the main focus when designing and testing this technical hardshell. As a result, it promises a fully waterproof design thanks to three-layer fabric and Aquaguard zippers to keep water out of pockets. It is interesting, though, that they skipped over well-known (and trusted) Gore-Tex materials for the shell, especially given the price tag. The Arc'Teryx or Norrøna offerings with Gore-Tex Pro certainly seem to make more sense for the price.

Image: Shackelton

Of course, this isn't the first time Leica has teamed up with a clothing company to create a jacket. Back in October, a collaboration between apparel brand Aether and Leica was announced, offering photographer-friendly details like pockets for camera batteries and SD card holders. It is also the second time Shackelton has collaborated with Leica. Interestingly enough, both jackets notably lack the red Leica circle, which seems like it should bring the price down at least a little.

Like the Aether jacket, the Frank Hurley Field Jacket offers features specific to photographers, but it is more focused on cold and wet weather in this case. That includes insulated battery pockets to protect battery life when working in cold conditions and a memory card case pocket. There are large cargo pockets with double folds for security and protection. A dedicated pocket also has a branded lens cloth on a retracting lanyard.

"An inspirational Hurley quote is bonded on the inside of the jacket," the company says.

Image: Shackelton

The Aether jacket was a limited edition and sold out almost immediately, but the Shackelton Frank Hurley Field Jacket seems to be a more permanent offering. If you're gearing up for a polar expedition of your own (or a trip down the streets of London), it can be yours for $955 from the Shackelton website.

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Nikon has announced the Nikkor Z 35mm F1.2 S, the latest in its lineup of full-frame fast primes. It's an interesting option for photographers who want shallow depth of field, but still want to capture the environment around a subject – something that's not as easy with the company's 50mm and 85mm F1.2 options.

Buy now:

$2797 at B&H Photo

The 35mm F1.2 is made up of 17 elements in 15 groups, with three ED elements, three aspherical elements, and one aspherical ED element. The lens also has a variety of coatings to prevent ghosting and flares, but while its body does have dust and moisture sealing, there's no fluorine coating on the front element to repel moisture or oils.

Nikon says that such a wide, fast prime would not have been possible for F-mount

The lens uses stepping motors for its autofocus system, and has a minimum focusing distance of 0.3m (11.8"). For controls, it has a clickless control ring and a matched pair of function buttons meaning they can be reached whether portrait or landscape shooting. As is expected for a fast full-frame lens, it's relatively large, weighing 1060g and using an 82mm filter.

The company is pitching the lens at people who shoot weddings, events and fashion, as well as video, but we won't be surprised if it finds an audience with enthusiasts as well. Wide-angle lenses with apertures this fast are relatively uncommon, which lets you get distinctive-looking photos with them. You can see a few examples in the sample gallery we shot using a pre-production lens.

Nikon says that such a wide, fast prime would not have been possible with its longer, narrower F-mount.

The Nikkor Z 35mm F1.2 S will be available later this month and will retail at $2,799.

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

Buy now:

$2797 at B&H Photo

Press Release:

REDEFINE THE ART OF STORYTELLING: NIKON RELEASES THE NIKKOR ® Z 35MM F/1.2 S, A FAST WIDE-ANGLE PRIME LENS FOR NIKON Z MOUNT MIRRORLESS CAMERAS

Environmental Portrait Lens Provides Outstanding Optical Performance and Smooth, Beautiful Bokeh

MELVILLE, NY (February 4, 2025) – Today, Nikon Inc. announced the highly anticipated release of the NIKKOR Z 35mm f/1.2 S, a medium wide-angle prime lens with an impressively fast f/1.2 maximum aperture for professional photographers and filmmakers.

The NIKKOR Z 35mm f/1.2 S is Nikon’s latest S-Line lens, a series synonymous with outstanding optical performance and handling. The lens emphasizes the main subjects with soft and beautiful bokeh, a dramatic shallow depth-of-field, and the realistic expression of textures. This classic wide-angle prime lens allows for a creative use of the environment to tell a deeper story that meaningfully connects with the viewer.

“Our latest f/1.2 lens truly demonstrates the power of Nikon’s optical expertise, creating a lens that helps the user to portray more of the environment within a single, beautiful frame,” said Fumiko Kawabata, Sr. Vice President of Marketing and Planning, Nikon Inc. “The NIKKOR Z line of lenses continues to expand as we now offer more than 40 impressive optical solutions for Nikon Z Series users.”

The optical characteristics of the NIKKOR Z 35mm f/1.2 S are finely tuned to create the perfect combination of sharpness and atmosphere. Soft, delicate organic textures, such as skin and hair, are rendered with a natural authenticity, while reflective objects like jewelry are sharp and free of distracting color aberrations. The NIKKOR Z 35mm f/1.2 S is a must-have lens for those shooting events, weddings, fashion, as well as for cinematography.

Sharing a similar design concept to the NIKKOR Z 50mm f/1.2 S and the NIKKOR Z 85mm f/1.2 S, the new lens offers superior rendering capabilities as well as depiction of the scene with a sense of depth, even with its wide angle of view. The optical design includes three ED glass elements and one aspherical ED element, enabling effective reduction of false color aberrations. In addition, the application of Nikon’s proprietary Meso Amorphous Coat, Nano Crystal Coat, and ARNEO Coat minimize ghosting and flare and provide outstanding optical performance.

Primary Features of the NIKKOR Z 35mm f/1.2 S

• Enables unique imaging styles through the combination of high resolving power achieved by superior optical performance, smooth and beautiful bokeh that takes full advantage of the shallow depth-of-field at f/1.2, and 35mm angle of view.
• Achieves a sense of depth with smooth bokeh that transitions gently as it moves away from the focal plane.
• A lens structure with symmetry in front of and behind the aperture realizes outstanding optical performance.
• Three ED glass elements and one aspherical ED glass elements enable effective correction of various lens aberrations.
• Adoption of Meso Amorphous Coat, Nano Crystal Coat and ARNEO Coat effectively reduces ghosting and flares for clear rendering even in tough lighting conditions.
• Adoption of a multi-focusing system1 that uses stepping motors (STMs) realizes fast and accurate AF drive for both still images and video.
• Features a design optimized for video, including a clickless control ring, silent focusing and stable exposure, and suppressed focus breathing to effectively reduces shifts to the angle of view when focusing.
• Two convenient L-Fn buttons, to which a wide variety of functions can be assigned, enable smooth adjustment of settings, even during vertical shooting.
• Superior dust and drip-resistant performance2 is ensured by sealing various parts of the lens, including movable parts of the lens barrel.

Price and Availability

The new Nikon NIKKOR Z 35mm f/1.2 S lens will be available in late February 2025 for a suggested retail price of $2,799.95*3. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

*1 Multiple AF drive units work together to control the position of multiple focus lens groups with great precision for superior image formation performance regardless of shooting distance.
*2 Thorough dust and drip resistance is not guaranteed in all situations or under all conditions.
*3 SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon Nikkor Z 35mm F1.2 S Specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length35 mmImage stabilizationNoLens mountNikon ZApertureMaximum apertureF1.2Minimum apertureF16Aperture ringNoNumber of diaphragm blades11OpticsElements17Groups15Special elements / coatings3 ED, 3 aspherical, 1 aspherical ED, meso-amorphous coating, areno coating, nano crystal coatingFocusMinimum focus0.30 m (11.81″)Maximum magnification0.2×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight1060 g (2.34 lb)Diameter90 mm (3.54″)Length150 mm (5.91″)SealingYesFilter thread82 mmHood suppliedYes

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Nikon has announced an updated (albeit minimally) version of its P1000 24-3000mm equiv. superzoom compact. The Coolpix P1100 gains a USB-C socket, updated Bluetooth and a handful of relatively minor changes over the now-discontinued P1000.

Buy now:

$1097 at B&H Photo

When Nikon released the Coolpix P1000 in 2018, it offered something no other bridge camera did or has since: 125x optical zoom. That was well beyond the previous high water mark of 83x optical zoom in the Coolpix P900. The 125x zoom delivered an equivalent focal length of 24-3000mm from the camera's 16MP Type 1/2.3 (6.2 x 4.7mm). It was bulky as a result of that lens, but the extensive reach made it a versatile choice for certain applications (though mainly for photographing the moon).

The P1100 provides the same reach as the P1000, making it feasible to take photos of the moon.

Photo: Nikon

There was speculation that Nikon discontinued the P1000 because it wasn't selling enough models due to smartphone competition. However, Nikon says that wasn't the case, and it was selling enough units to make it worth continuing production, hence the new model. Zoom reach is one of the areas smartphones struggle to compete with, so it makes sense that the longest-zoom compact might remain comfortable in its niche.

Unfortunately, for fans of the P1000, the upgrades are minimal. The main focus of the P1100 is a USB-C port to meet the 2022 law that requires electronic devices sold in the EU to have the newer connector type.

Photo: Nikon

In addition to the port, though, there are a few other small upgrades. Most notably is that it modernized the camera's connectivity, moving to WPA3-SAE Wi-Fi for greater security and Bluetooth 5.1. The P1100 also enables Fn button operation from the ML-L7 Bluetooth remote, which the P1000 did not.

A change in CIPA's stabilization standard sees the P1100's rating drop to 4.0 stops of correction vs. the P1000's 5.0 stops, despite the performance being identical. The flash's guide number drops from 16 to 12m. Nikon added a new Fireworks Show Scene Mode and Long Exposure NR.

The P1100 will be available in late February for $1099; this is $100 more than the 2018 launch price of the P1000 but a match for the increased list price it gained mid-lifespan.

Buy now:

$1097 at B&H Photo

Press release:

REACH FOR THE STARS: NIKON RELEASES THE COOLPIX P1100 COMPACT DIGITAL CAMERA WITH AN EXTRAORDINARY 125X OPTICAL ZOOM

The Compact Camera That Sets the Gold Standard for Super Zooms

MELVILLE, NY (February 4, 2025) – Today, Nikon Inc. announced the COOLPIX P1100, a compact digital camera that features an incredible 125x optical super-telephoto zoom, with creative features that help users create amazing photos and videos from the most extreme distances.

The COOLPIX P1100 is a compact digital camera and offers further improvements in usability and connectivity. The COOLPIX P1100 covers a vast range of focal lengths beginning at the wide-angle 24mm equivalent, extending to the super-telephoto 3000mm 1 equivalent. If that is not enough, the P1100 is capable of going even farther, with up to a 250x 2 zoom when Dynamic Fine Zoom is enabled.

The COOLPIX P1100 makes it easy to enjoy the world of super-telephoto shooting with the ability to capture dynamic images of subjects that are difficult approach, including birds and celestial bodies. The camera features Dual Detect Optical VR, which achieves a level of vibration reduction equivalent to 4.0 stops 3 at the center of the frame, effectively suppressing camera shake when handheld shooting. The P1100 is also able to capture 4K UHD/30p and superlapse movie recordings, helping the user make creative videos of nature and
the night sky.

Further enhancements include a selectable AF-area mode in Bird-Watching Mode, and the same functions that can be assigned to the camera’s Fn button can now be assigned to the Fn1/Fn2 buttons on the optional ML-L7 Remote Control 4 . What’s more, a Fireworks option has been added to [Multiple exp. Lighten] scene mode. This function reduces instances of blown-out highlights that often occur when shooting long exposures, making it easier to capture impressively clear scenes of fireworks displays in which the brightness of the foreground or
the background differs.

Primary Features of the COOLPIX P1100

• Incredible 125x optical zoom for super-telephoto performance up to a 24-3000mm equivalent.
• Super ED and ED lens elements provide superior chromatic aberration compensation and deliver outstanding rendering capabilities across the entire zoom range, even with super-telephoto shooting.
• Dual Detect Optical VR accurately suppresses the effects of camera shake with super-telephoto handheld shooting. This enables the capture of sharp and clear images of birds, celestial bodies, and other distant subjects at dynamic angles of view.
• Bird-Watching and Moon modes can be accessed directly using the mode dial.
  Support for 4K UHD/30p movie recording lets users beautifully record subjects with the power of super-telephoto 3000mm equivalent. Frames from movies recorded in 4K UHD format can also be saved as still images.
• Massive zoom, small size: Despite coverage of focal lengths up to 3000mm equivalent, the camera weighs only approx. 3.1 lbs. (1,410g), allowing users to enjoy super-telephoto shooting more comfortably than with DSLR and mirrorless camera systems.

Additional Features of the COOLPIX P1100:

• The camera is equipped with a focus mode selector that can be used to change the focus mode even after it has been acquired, along with a control ring that enables the adjustment of settings such as white balance and manual focus.
• Optional accessory ML-L7 Remote Control connects to the COOLPIX P1100 via Bluetooth®︎, and the same functions that can be assigned to the camera's Fn button can be assigned to the remote.
• A 3.2in. TFT LCD Vari-angle monitor with a wide-viewing angle makes it easy to compose handheld or on a tripod.
  Compatible with Nikon's exclusive RAW (.NRW) format.
• COOLPIX Picture Control 5 , which can be used to make adjustments in accordance with the subject, shooting situations and intentions.
• Capability to record superlapse and time-lapse movies.
• Support for Clean HDMI output 6 , which cleans the information display from the
• image output to an external monitor during recording.
• The ability to set long-exposure noise reduction to [Auto] or [Off].
• Adoption of a USB Type-C input/output connector.
• Compatible with the optional DF-M1 Dot Sight that facilitates image composition during telephoto shooting.

Price and Availability

The new Nikon COOLPIX P1100 will be available in late February 2025 for a suggested retail price of $1,099.95*. For more information about the latest Nikon products, including the large collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

Nikon Coolpix P1100 specifications PriceMSRP$1,099Body typeBody typeSLR-like (bridge)SensorMax resolution4608 x 3456Image ratio w:h4:3Effective pixels16 megapixelsSensor photo detectors17 megapixelsSensor size1/2.3" (6.17 x 4.55 mm)Sensor typeBSI-CMOSProcessorNikon ExpeedColor spacesRGBColor filter arrayPrimary color filterImageISOAuto, 100-6400White balance presets5Custom white balanceYesImage stabilizationOpticalCIPA image stabilization rating4 stop(s)Uncompressed formatRAWFile format

• JPEG
• Raw (NRW)

Optics & FocusFocal length (equiv.)24–3000 mmOptical zoom125×Maximum apertureF2.8–8Autofocus

• Contrast Detect (sensor)
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (4X)Manual focusYesNormal focus range30 cm (11.81″)Macro focus range1 cm (0.39″)Screen / viewfinderArticulated LCDFully articulatedScreen size3.2″Screen dots921,000Touch screenNoScreen typeTFT LCDLive viewYesViewfinder typeElectronicViewfinder coverage99%Viewfinder resolution2,359,000Photography featuresMinimum shutter speed60 secMaximum shutter speed1/4000 secExposure modes

• Program
• Aperture priority
• Shutter priority
• Manual

Scene modes

• Backlighting
• Beach
• Bird-Watching
• Close-up
• Dusk/Dawn
• Easy Panorama
• Fireworks Show
• Food
• Landscape
• Moon
• Multiple Exposure Lighten
• Night Landscape
• Night Portrait
• Party/Indoor
• Pet Portrait
• Portrait
• Scene Auto Selector
• Selective Color
• Snow
• Soft
• Sports
• Sunset
• Superlapse Movie
• Time-lapse Movie

Built-in flashYesFlash range12.00 m (at Auto ISO)External flashYes (via hot shoe)Drive modes

• Single shot
• Continuous H
• Continuous H 60
• Continuous H 120
• Continuous L
• Interval timer
• Pre-shooting cache
• Bulb/time

Continuous drive7.0 fpsSelf-timerYes (2 or 10 secs)Metering modes

• Multi
• Center-weighted
• Spot

Exposure compensation±2 (at 1/3 EV steps)AE Bracketing±2 (3 frames at 1/3 EV steps)WB BracketingNoVideography featuresFormatMPEG-4, H.264Modes

• 3840 x 2160 @ 30p, MP4, H.264, AAC
• 3840 x 2160 @ 25p, MP4, H.264, AAC
• 1920 x 1080 @ 60p, MP4, H.264, AAC
• 1920 x 1080 @ 50p, MP4, H.264, AAC
• 1920 x 1080 @ 30p, MP4, H.264, AAC
• 1920 x 1080 @ 25p, MP4, H.264, AAC

MicrophoneStereoSpeakerMonoStorageStorage typesSD/SDHC/SDXC (UHS-I support)ConnectivityUSB USB 2.0 (480 Mbit/sec)USB chargingYesHDMIYes (micro HDMI)Microphone portYesHeadphone portNoWirelessBuilt-InWireless notes802.11b/g + Bluetooth 5.1Remote controlYes (via smartphone, Bluetooth remote, wired remote)PhysicalEnvironmentally sealedNoBatteryBattery PackBattery descriptionEN-EL20a lithium-ion battery and chargerBattery Life (CIPA)250Weight (inc. batteries)1410 g (3.11 lb / 49.74 oz)Dimensions146 x 119 x 181 mm (5.75 x 4.69 x 7.13″)Other featuresOrientation sensorYesTimelapse recordingYesGPSNone

Image: Sony

Sony is updating its app and cloud platform to give users more options for getting their photos from their cameras onto the cloud. You can now make it so your photos and videos automatically upload to Google Drive or Lightroom, either straight from your camera via Wi-Fi or from your smartphone via the Creators' App.

The feature works by first uploading the images to Sony's Creators' Cloud, which will then automatically transfer them to Drive or Lightroom. This ability will be limited to Sony's most recent generation of cameras, such as the a1, a7 IV, a7S III, a7R V, FX3 / FX30 and ZV-E10 II, as its older models can't upload directly to the cloud or connect to the Creators' App. You'll also need to ensure that your camera has the latest firmware.

If you want to leave your files on Sony's cloud, you'll have to keep an eye on how much storage they take up. By default, you get 5GB free – though owning a Sony camera ups that to up to 25GB – but you'll have to pay a monthly fee if you need more storage. Of course, you can always delete the images from Sony's cloud after they've been offloaded to Google Drive or Lightroom.

The updates help bring Sony's cameras in line with competitors

The company has also recently updated its app to support "differential transfer," where your camera will only send new or unsent files, speeding up the process of offloading images and videos onto your phone. The latest version of the app also supports "Enhanced Remote Control," which Sony says lets you adjust camera settings from your phone, though the company doesn't specify exactly what kinds of settings you can adjust.

The latest version of the app is available immediately from Google Play and Apple's App Store, according to Sony. The updates, especially the ability to have your images automatically transferred to Google Drive and Lightroom, help bring Sony's cameras in line with the competition. Other companies have taken a similar approach, letting you upload images to their cloud, where they'll then be automatically transferred to a third-party cloud provider of your choice, while others have relied on integrations like Frame.io's Camera To Cloud.

Press Release:

Sony Electronics Enhances Creators’ Cloud with Addition of Direct Transfers to Google Drive or Adobe Lightroom

SAN DIEGO, CA – Feb. 4, 2025 – Sony Electronics Inc. has made updates to its Creators’ Cloud platform, enhancing the Creators’ App to streamline content management for creators with new automated cloud transfer options. Based on feedback from the creative community, this latest update simplifies workflows by enabling direct uploads from select Sony cameras to Google Drive or Adobe Lightroom, empowering creators to seamlessly integrate their work into widely used editing and storage solutions.

This release of version 2.6.0 of the Creators’ App marks another step forward in Sony’s ongoing commitment to supporting the creative process with practical, user-driven enhancements, that give creators powerful, intuitive tools to move from shooting to sharing with minimal steps, with fewer technical barriers.

Overview of Creators’ Cloud System Capabilities:

The Creators' Cloud platform enhances flexibility, control, and efficiency for photographers and videographers by offering an all-in-one platform for remote camera operation, content management, and seamless media transfer. This comprehensive ecosystem empowers modern content creators with a suite of innovative apps designed to streamline every stage of the creative process.

From capturing footage to editing and finalizing projects, the platform offers specialized tools that cater to the unique needs of photographers and videographers. The Monitor & Control (M&C) app provides real-time, mobile-based control over camera settings, ideal for complex shooting environments, while the Creators' App acts as a central hub for connectivity, facilitating camera-to-phone transfers, live streaming, and cloud uploads. Then, for postproduction, the Catalyst Prepare Plugin accelerates workflows with metadata-driven tools for fast, precise edits, compatible with DaVinci Resolve and Adobe Premiere Pro, simplifying the editing process while delivering professional-grade results.

What’s New:

The recent updates brought further optimized workflow with features like a USB connection for stable monitoring, a Shutter Angle Display, improved iris control, and enhanced smartphone transfer options. In addition, upgraded live streaming capabilities streamline YouTube integration for faster setup and operation.

Key Feature Highlights of Creators’ App v2.6.0:

• Automatic Cloud Transfer to Google Drive or Adobe Lightroom: In response to creator requests for a faster, more seamless workflow, this new feature allows users to automatically transfer images and videos to external cloud storage providers, offering immediate accessibility for collaborative editing and organization across platforms.
• Enhanced Smartphone Transfer and Efficiency Options: The latest smartphone transfer feature enables creators to move content to their devices while shooting, ensuring uninterrupted productivity. With “differential transfer,” only new or unsent files are transferred, maximizing efficiency and reflecting Sony’s commitment to streamlining repetitive tasks.
• Expanded Storage Options Tailored to User Needs: Creators’ Cloud now provides four cloud storage plans, including a free 5GB for all Creators’ Cloud users (25GB free for Sony camera owners), and premium tiers up to 500GB, addressing the storage demands of both casual users and professionals. This flexible structure responds to feedback for scalable, affordable storage solutions.
• Enhanced Remote Control via Smartphone: With advanced control options, users can now adjust camera settings directly from their mobile devices, enhancing creative flexibility. This feature continues to evolve based on the needs and insights of the Sony creator community.

These updates are available immediately and continue Sony’s mission of fostering an inclusive ecosystem that grows in response to the needs of the creator community.

To download the latest Creators‘ Cloud updates and for further details on compatibility, please visit: https://creatorscloud.sony.net

To download the latest version of the Creator’s App, please visit: https://creatorscloud.sony.net/catalog/en-us/creatorsapp/index.html

Image: Cloudflare

Content delivery giant Cloudflare has announced a new tool to preserve the digital history of images using Content Credentials, based on the Coalition for Content Provenance and Authenticity (C2PA). It is also joining forces with Adobe's Content Authenticity Initiative (CAI) to help people verify the authenticity of online images. The new one-click setting to "Preserve Content Credentials" is available starting today across the entire global Cloudflare network.

Given that roughly 20% of the web uses Cloudflare's services, this marks a significant jump forward in the movement to address the growing problem of AI-based imagery. One of the holdups with the success of this initiative is simply the lack of compatibility across the web. If the metadata is wiped from a file, it's much harder to retain proof that it's authentic. Such a major player getting involved to capture and keep all metadata moves the needle forward in a big way.

Given how easy it is to create realistic-looking fake photos using AI, there has been a push to come up with a solution for verifying the source of imagery. After all, faked imagery can have significant implications, so a greater level of trust is needed as this type of content becomes even more prevalent. Additionally, in the age of viral content, it is all too easy for someone's photo to become hugely popular without any credit provided. Content Credentials aims to address both situations.

The new tool is designed for content creators and publishers alike. Media organizations such as BBC, the New York Times, Associated Press, Wall Street Journal and Dow Jones are members of the CAI. In addition to news organizations, Microsoft, Arm, Nvidia, Qualcomm, Truepic, Getty, Shutterstock, Canon and Leica have also joined.

“By integrating Content Credentials across our global network, we can help media and news organizations to verify authenticity and maintain ownership of their work"

"The future of the Internet depends on trust and authenticity,” said Matthew Prince, co-founder and CEO, Cloudflare. “By integrating Content Credentials across our global network, we can help media and news organizations to verify authenticity and maintain ownership of their work, wherever it moves online. This isn’t just about securing individual images—it’s about giving publishers the tools they need to preserve trust and remain relevant in the age of AI."

Image: Cloudflare

In a blog post, Cloudflare explains that the Content Authenticity Initiative aims to create a digital version of content provenance. Provenance enables a better understanding of how a piece of digital media was created and edited, even including resizing. With the new tool, anyone uploading images to their sites will know that any Content Credentials they have will be retained, letting their users verify the file's digital history using tools like Adobe’s Content Authenticity web tool or Chrome browser extension.

"Cloudflare’s implementation of Content Credentials is a major win for Content Credentials, particularly at the final stages of the content creation and management lifecycle,” said Andy Parsons, Senior Director Content Authenticity at Adobe. “Ensuring these credentials are always available at the edge provides valuable ‘trust signals,’ ensuring those who interact with content online have confidence in what they engage with, especially with the rise of generative AI and deepfakes. Cloudflare helps strengthen the integrity of digital content, supporting content authenticity for news organizations and journalists, while also enabling creators to maintain proper attribution."

Diagram: Canon

For many years there was something of an ideological struggle between the brands that pursued optical image stabilization and those that adopted an in-body approach. Or, to be more precise, between fans, owners and proponents of those brands.

The pro-lens crowd would willfully overlook the fact that their brand had adopted optical stabilization in the film era, when it was the only practical option, and focus on the fact that optical stabilization is better at correcting the large image displacements that can occur with telephoto lenses.

The in-body side of the debate focused on the fact that sensor-shift stabilization worked with every lens they had and was better at correcting the impact of translational movements, that can bedevil wide-angle and macro shooting.

We've just found a diagram by Canon that rather elegantly settles the debate, showing the relative strengths and weaknesses of optical and in-body stabilization. As the diagram makes clear both sides were right. And wrong for indulging in cross-brand bickering, obviously.

What Canon points out in the accompanying, rather marketing-led article, is that this means you can get further benefit by co-ordinating the efforts of both approaches and having them work co-operatively. This is something we first saw with Panasonic's Dual IS 2 system and that had subsequently appeared across most brands, in the intervening years.

As a site that does its best to explain some of the more complex behaviors in photography, we appreciate a good diagram more than most.

Editors' Photo Challenge: Your best photos of 2024

The theme for our January Editors' Photo Challenge was black-and-white street photography, one of the most frequently requested themes since we started our Editors' Photo Challenges last year.

We asked you to show us the city through your lens in glorious black-and-white photography, and you absolutely crushed it! To be blunt, we were blown away; you submitted more fantastic images than we could possibly present here, and we had a tough time judging this one. You'll find our top picks on the following pages, presented in random order.

If you want to view all the photos from this challenge and see how your fellow readers voted, head to the challenge page to see the complete set.

Want to enter some other photo challenges? Here's a list of currently open and upcoming challenges hosted by members of the DPReview community.

Open challenges

• Laughter (closes Feb. 3)
• Sunset Silhouette (closes Feb. 7)
• Repeating Patterns (closes Feb. 7)

Upcoming challenges

• Show us BREAD! (starts Feb. 3)
• Fortnight 44: My Best Non-bird Photo Shot after 2025-01-20 (starts Feb. 3)
• Black and White Landscapes (starts Feb. 4)
• Photographer(s) photographed (starts Feb. 8)
• The Power of Flowing Water (starts Feb. 8)

Smile!

Photographer: fatplanediaries

Description: I have so many questions about this photo. The dude in the subway window. Why'd he blink? Was he posing for me? What was he texting at? And most importantly, how the heck did I get perfect focus of him at 1.2? A lucky picture.

Equipment: Sony a7R IV + Sony FE 50mm F1.2 GM

Moment in Zadar

Photographer: dksano

Description: While exploring Zadar, Croatia, I left the main busy pedestrian walkway to explore less trafficked side streets. Here, there were local people and some gritty old apartment buildings. I walked past a group of young boys, transfixed by a mobile device. I quickly took a few photos. I still wonder what they were looking at.

Equipment: Fujifilm X-T20 + Fujifilm XF 27mm F2.8

Mesmerized

Photographer: Daneland

Description: A young girl watches soap bubbles with a mesmerized expression on Southbank, London. If you look carefully, you can see reflections of the Tate Gallery in the individual bubbles.

Equipment: Leica Q2 + 28mm Summilux

Kings of the street

Photographer: SFStreets

Description: Every year, the San Francisco Low Rider Council holds the "King of the Streets" event, where lowriders cruise along Mission Street. This year I caught a skateboarder come riding by one of the entrants, between 17th and 18th Streets. We all survived the encounter.

Equipment: Sony Cyber-shot DSC-RX100 II

Hot food noodle

Photographer: rkny

Description: This was taken in NYC in the summer of 2012. The bench the fellas are taking a break on is outside a deli, but I’m not sure if they work at the deli or a nearby restaurant. I was fascinated by the variety of poses they struck and the angles they created. I also felt for them, as they were clearly working some arduous job.

Equipment: Sony Cyber-shot DSC-RX100

Daredevils of Fitzrovia

Photographer: Mike Engles

Description: Fitzrovia is a term coined to describe the area around Fitzroy Street and Charlotte Street in London. It was a bohemian area occupied by well-known writers, musicians and artists such as Jacob Epstein, Nina Hamnett, Dylan Thomas, Augustus John, and George Orwell, who frequented the Fitzroy Tavern on Fitzroy Street. They had an annual festival, and this picture was taken in June or July 1976 on Charlottes Street.

Equipment: OM System OM-1

Nemo

Photographer: Vampscunos

Description: An old man drinking a coffee alone on a cloudy evening in a crowded bar. He was nobody to them. He was nobody to me. He was nemo.

Equipment: Fujifilm X100VI

Olympic moon in Paris

Photographer: Samu photo

Description: I captured this picture on a warm evening in Paris during the Paralympic Games. The city buzzed with energy, lively and filled with tourists and locals alike. The festive mood of the Games was palpable, with cafés and streets teeming with crowds. People perched on every available spot, soaking in the atmosphere and scenery. I feel this photo is a snapshot of Paris embracing a special moment.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 9-18mm F4.0-5.6

Day's end, Times Square Station, 1976

Photographer: phototransformations

Description: From 1974 to 1979, I roamed the streets and subways of NYC with two cameras and a tape recorder, documenting street life. Decades later, I compiled them into a book of stories and photos. I was working as a researcher at a stock photo agency on Park Avenue South. I changed trains at Times Square. This woman epitomized the weariness of the day-to-day grind at a time when unemployment was the highest in decades, garbage piled up on the streets, and crime was high. The camera was a Robot Star II, which captured square-format images on 35mm film. Its wind-up spring could actuate the shutter multiple times per second. It was the perfect street photography camera.

Equipment: Robot Star II

Imagine all the people

Photographer: ebaphoto

Description: The photographer picked his best vantage point to view the Mermaid Parade at Coney Island, NY, the site of the nation's largest art parade celebrating the start of the summer season. He exuded confidence with his chosen equipment; each of his images would be perfectly captured. On the other hand, I felt the time I spent shooting in the set-up area was more interesting than in the parade itself.

Equipment: Nikon D90 + Nikon AF-S DX Nikkor 16-85mm f/3.5-5.6G ED VR

Buddhist kids driving through Myanmar

Photographer: JohnnyBE

Description: I took this photo through the front window of a taxi while driving through a city in Myanmar. I could not believe someone would or could fit seven Buddhist kids on a modified motorcycle. They seemed very happy with the situation.

Equipment: Nikon D5

Marching in peace

Photographer: Andreas Sander

Description: At noon in the spring of 2023 on the promenade of Tel Aviv. A young couple seems to be marching in step through the heat. The sunshade casts a wonderful pattern on the square. No one suspects anything of the developments after October 7. It is siesta time.

Equipment: Nikon Z7 + Nikon Nikkor Z 24-120mm F4 S

Monte Sant'Angelo di corsa

Photographer: Luigi Azzarone

Description: While I was visiting a beautiful town in Italy, the Puglia region, I saw these works drawn on the wall. I waited for the right moment to immortalize the beauty of youth, the desire to live.

Equipment: Nikon D7100 + Nikon AF-S DX Nikkor 16-80mm F2.8-4E ED VR

Man on the bridge

Photographer: Tim Zhou

Description: Some new architecture has been built and has slowly transformed the city center of Swansea, Wales, in recent years, including this footbridge that was initially called 'The Taco' and 'Crunchie' by the locals.

Equipment: Sony Alpha NEX-5N

Three old ladies

Photographer: Pretoret

Description: This was shot a while ago and is still one of my favorite street shots. I was walking around one of my city museums when I noticed the winter late afternoon light falling on people arriving at the top of a staircase. Lucky I was. I didn't have to wait very long before this group of elegant old ladies suddenly appeared. I just had to instinctively trigger... the decisive moment?

Equipment: Olympus OM-D E-M5

Storm surge

Photographer: Rye Clifton

Description: We were on the top of a building in São Paulo filming helicopters. We had to take cover because of some heavy storms. When the rain stopped, the clouds opened, and we got a few minutes of amazing depth.

Equipment: Sony a7R V + Sony FE 24mm F1.4 GM

Inside West, self-portrait in Greensboro

Photographer: West of Cary

Description: In/outside a defunct eatery and not yet defunct human in Greensboro, NC. Strolling the edge of the annual NC Folk Festival, this building invited me to peer through the window's reflection into its heart...

Equipment: iPhone 15 Pro

Mohinga

Photographer: ElaineSpringford

Description: Mohinga is considered to be Myanmar's national dish. It is a fish broth with noodles, served with various accompaniments. It is traditionally eaten for breakfast, served at home or more often on the streets on the way to work/school. Here, you see a street vendor at dawn, selling mohinga to the market traders.

Equipment: Nikon D70

Light stroke at Pena Palace

Photographer: leoncaruana100

Description: This arch at Pena Palace caught my eye as a frame for the cobblestones. The shifting sunlight suggested some interesting composition with shadows, but the ever-mingling tourists made for a busy scene. Finally, after some 45 minutes of patience and several pictures, I was rewarded with this clean and central subject.

Equipment: Panasonic Lumix DC-GX9 + Panasonic Lumix G Vario 14-140mm F3.5-5.6 II ASPH Power OIS

Street spirit

Photographer: KeithFord

Description: As far as capturing the spirit of life on the streets of India, this is one of my favorites. The men crammed into the back of a truck, waiting to leave the market somewhere in Rajasthan. I believe Jojawar, a lesser known village in the Aravalli Hills.

Equipment: Nikon D200

Hydrant at sunset, NYC

Photographer: robsl

Description: In the later months of summer, an oppressive heat accompanies the soft glow of the early evening sun. During this time, it's inevitable for someone to open a hydrant to let people in the neighborhood cool off. (Some say the NYFD will do it on occasion, but I couldn't say where I heard that.) Until my time in the Dominican district (around 98th), this had always been a trope from a film - but that day, I fully understood what it meant and why this activity had become part of the social fabric. I remember sweat dripping off my forehead as I captured this from the 5th floor of a walk-up. Soon after, I went downstairs and got my feet wet!

Equipment: Canon EOS 30D + Canon 24-105mm F4

Street light

Photographer: unView

Description: This photo captures the sometimes amazing light and shadows that appear underneath the 'L' scaffolding on Franklin Street in the River North neighborhood of Chicago. Sun has to be out in Chicago! And late morning to midday, so the light angle maximizes the shadows.

Equipment: Fujifilm X-T5 +Fujifilm XF 27mm F2.8 R WR

Lone soul in a snowstorm

Photographer: Hooyat

Description: In a snowstorm, offices and shops closed early, and people were told to go home or seek shelter. I crossed the downtown street when I noticed a lone man crossing on the opposite side and direction. He leaned as he was struggling against the howling wind. I stopped in the middle of the street, took out my camera, and timed the moment. Later, at home, the photo inspired this haiku poem: Flakes dance like echoes; A single breath cuts the cold; Heartbeats pierce the night.

Equipment: Ricoh GR III

Don shadows. Or not...

Photographer: agott123

Description: It was winter 2018. I just saw the shadow on the wall and immediately thought of the, at that time, POTUS. I just waited as long as I could to get something else in the picture to balance the composition.

Equipment: Olympus PEN E-PL7 + Olympus M.Zuiko Digital 17mm F1.8

Eyes

Photographer: tolgatacmahal

Description: This refugee child, who came to Gaziantep, the closest Turkish city to Syria for refugees escaping from the Syrian war in 2015, was watching a card game played in a coffeehouse when he suddenly saw me and opened his eyes wide at me, and at that moment I pressed the shutter button.

Equipment: Sony Alpha NEX-5N + Sony E 18-55mm F3.5-5.6 OSS