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The Canon EOS R6 III is an enthusiast-class camera with a new 32MP full-frame CMOS sensor, aimed at photographers and videographers who need high burst rates and fast readout speeds.

Key specifications

• 32MP full-frame CMOS sensor
• Built-in image stabilization rated to 8.5EV
• 40fps burst rate w/ pre-capture
• 3.0", 1.62M dot fully-articulating screen
• 7K recording up to 60p (Canon Cinema Raw Lite)
• Oversampled 4K ≤60p, subsampled 4K 120p
• 3:2 Open Gate recording up to 30p

The Canon EOS R6 III is available at a recommended price of $2799, a $300 premium over the Mark II's launch price. The EOS R6 II has formally dropped to a $2299 price point. There is also a variant costing $100 more, designed to work with the professional stop-motion software, Dragonframe.

The EOS R6 III is available as a kit with the RF 24-105mm F4-7.1 IS STM for around $3150 and with the RF 24-105mm F4.0 L IS USM for $4050.

Index:

• What's new?
• What is it?
• In Context
• Body and handling
• Image quality
• Autofocus
• Video Capabilities
• Video performance
• In use
• Conclusion
• Sample gallery
• Press release
• Specifications

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The 33MP FSI CMOS sensor at the heart of the EOS R6 III is a new one for Canon's hybrid mirrorless lineup, having only appeared recently in the cinema-focused EOS C50. Canon isn't claiming any particular technological leaps with this sensor, but it has even faster readout speeds than the lower-resolution chip found in the EOS R6 II. As usual for Canon, it has a dual pixel design with two sub-pixels at each location, one capturing the left half of the image, the other capturing the right, allowing the entire sensor to be used for phase detection AF.

The faster readout speeds, paired with changes to the card slot and processor, allow for big improvements to video capture. The stabilization system has also gotten a bit of a bump, going from 8EV to 8.5EV.

Updated ports

The EOS R6 III replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one. While you can still use most of the camera's features with an SD card, you will need to use the faster, larger and more expensive storage to record Raw video.

Speaking of video, the EOS R6 II's microHDMI port is no more on the EOS R6 III. In its place is a full-size one, which is much more appropriate on a camera destined to be many people's workhorse.

Better burst

Despite having the same rates, the EOS R6 III improves on its predecessor's burst rates, no longer requiring a special Raw Burst mode to enable pre-burst capture. Instead, there's now a pre-continuous shooting option that you can simply enable when in the H+ drive mode. Canon says this is largely thanks to that CFexpress card slot and its faster write speeds.

Raw Burst mode is no longer on the camera, though it's hard to be sad about that. While there were benefits to Raw Burst mode, such as it displaying bursts as a single thumbnail in the playback menu, it was overall a relatively clunky experience. To edit the photos you took outside of Canon's own software, you had to select the individual frames you want, and save them as a standard .CR3 Raw files, JPEGs, HEIFs or combinations thereof. That extra step is no longer necessary.

Canon also now says the shutter has been durability tested to 500,000 actuations. We're not used to Canon explicitly giving a figure for a camera at this level.

Raw, 7K and open-gate video

The Canon EOS R6 III gains the ability to record Raw video internally at up to 7K/60 in Canon's proprietary Canon Cinema Raw format. It can also now shoot 'open-gate' video at up to 7K/30, recording the entire area of the sensor to produce a 3:2 image that you can take vertical and landscape crops from.

The menus for selecting your recording mode have also been updated. The EOS R6 II presented you with an overwhelming list containing each possible combination of resolution, frame rate and compression settings, but the EOS R6 III thankfully lets you choose these all independently.

The EOS R6 III also now gains a dedicated red tally lamp, making it obvious to both you and your on-screen talent when you're recording.

AF Upgrades

Looking at the autofocus system, it seems largely the same as the one in the EOS R6 II, with subject recognition support for people, animals and vehicles, as well as an auto mode. However, Canon says the algorithms underpinning those modes have been updated to match the ones on cameras like the EOS R1 and EOS R5 II, making it even more reliable.

The EOS R6 III's Register People Priority supports up to ten faces, and will prioritize them according to your set order.

The EOS R6 III also gains the Register People Priority feature, where you can train it to recognize a specific person and principally focus on tracking them over other people that may be in the scene.

While the cameras theoretically both have 'Digic X' processors, Canon says it's made intergenerational improvements to the chip that allow for some of the EOS R6 III's new features.

What is it? The EOS R6 III is part of the class of "do anything" hybrid cameras.

The EOS R6 III is Canon's enthusiast-tier full-frame camera, which means it's designed to excel at pretty much whatever you want to shoot with it. Like the rest of the cameras in this class (and its predecessor), it's capable enough for most kinds of photography, from landscape shooting to fast-paced action and sports, and comes equipped with the kinds of video features you would've had to buy a cinema camera to get just a few years ago. It also has weather sealing and dual card slots.

Of course, there are some things that separate it from the even higher-end stacked sensor cameras like Canon's own EOS R5 II. It misses out on a bit of extra resolution and a few features that pros might want, such as the ability to control the focus point with your eye, in-camera 'AI' upscaling and Action Priority modes. Canon says the latter two require a still-expensive co-processor that just wasn't in the budget for this camera, but it should still easily handle whatever tasks enthusiasts throw at it.

It supports pre-burst capture, which can help if you're just a bit too slow to the shutter

It can shoot at a 40fps burst rate for up to 150 shots in Raw and JPEG, and supports pre-burst capture, which can help if you're just a bit too slow to the shutter. You no longer have to use the somewhat clunky Raw burst mode to access pre-burst capture, like you did with the EOS R6 II.

It also supports HDR output, with its ability to produce 10-bit HEIF stills with the PQ tone curve, in place of JPEGs. While PQ isn't as broadly supported as the HLG curve used by other companies like Nikon and Panasonic, it can, at least, simultaneously record both HEIF and Raws, unlike Sony, which makes you choose between Raw capture and HDR output files. When shooting video, it can capture HDR video footage using either PQ or HLG. The latter is more widely supported when it comes to playback and is a new addition compared to the EOS R6 II.

Speaking of video, the EOS R6 III is well-equipped for motion pictures too. It supports internal Raw recording, a false color overlay to help you nail exposure and the >4K open gate capture gives you greater flexibility in post.

The EOS R6 III in context

The EOS R6 III is launching into a market segment with robust competition. Its predecessor was still quite a sensible option, so we've included it in the comparison, alongside the Nikon Z6III, which offers a similar combination of fast shooting, top-tier autofocus and incredible video specs. We're also comparing the Sony a7 IV, as its 33MP sensor makes it an obvious competitor, even if it can't match the speed of the other cameras on this list.

Canon EOS R6 III Canon EOS R6 II Nikon Z6III Sony a7 V MSRP (US / UK) $2800 / £2800 $2300 / £2200 $2700 / £2500 $2900 / £2800 Sensor type Dual Pixel AF FSI CMOS Dual Pixel AF FSI CMOS 'Partially stacked' CMOS 'Partially stacked' CMOS Resolution 33MP 24MP 24MP 33MP Maximum shooting rate 12fps mech.
40fps e-shutter 12fps mech.
40fps e-shutter 14fps mech.
20fps e-shutter
60fps JPEG-only 10fps mech.
30fps e-shutter (14-bit) Pre-burst capture? Yes, up to 0.5 sec Yes (Raw Burst mode) Yes (JPEG only) Variable, up to 1 sec Image stabilization 8.5EV* 8EV 8EV 7.5EV Stills rolling shutter rate (ms) ∼13.5ms (12-bit) ∼14.7ms (12-bit) ∼14.6ms (14-bit) ∼15.1ms Flash sync speed 1/250 sec 1/250 sec 1/200 sec 1/250 sec AF subject detection

• Human
• Animal (Dog / Cat / Bird / Horse)
• Vehicle (car, motorcycle, plane, train)
• Automatic

• Human
• Animal (Dog / Cat / Bird / Horse)
• Vehicle (car, motorcycle, plane, train)
• Automatic

• Human
• Dog/Cat
• Bird
• Plane
• Car
• Motorcycle / Bike
• Train
• Automatic

• Human
• Animal
• Bird
• Insect
• Car
• Train
• Plane
• Automatic

HDR still output PQ HEIF PQ HEIF HLG HEIF HLG HEIF (no Raw) Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (full-width)

4K/60 (full-width, oversampled from 6K)
1080p/180 (full-width)

6K/60 (Raw)
5.4K/60 (full-width)
UHD 4K/60 (full-width)
UHD 4K/120 (1.5x crop)

UHD 4K/60 (full-width, oversampled)
UHD 4K/120 (1.5x crop)
1080/240

Uncompressed video C-Raw 6K over HDMI N-Raw
ProRes RAW No Video assist tools False color overlay
Waveform
Log view assists False color overlay
Log view assist Waveform
Log view assist
Shutter angle

Log view assist
Custom LUTs
Auto Framing
Framing
Stabilizer

Viewfinder res/ magnification/
eyepoint 3.69M dot
0.76x
23mm 3.69M dot
0.76x
23mm 5.76M dot
0.8x
21mm 3.69M dot
0.78x
23mm Rear screen 3.0"
1.62M dot
Fully-articulating 3.0"
1.62M dot
Fully-articulating 3.2"
2.1M dot
Fully-articulating 3.2"
2.1M dot
Tilt + Fully articulating Media types 1x CFexpress Type B
1x UHS-II SD 2x UHS-II SD 1x CFexpress Type B
1x UHS-II SD 1x Combo CFexpress Type A / UHS-II SD
1x UHS-II SD Battery life EVF / LCD 270 / 510 320 / 580 360 / 390 630 / 750 Dimensions 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 139 x 102 x 74mm
(5.5 x 4 x 3")

130 x 96 x 72mm

Weight 699g
(25.7oz) 680g
(24.0oz) 760g
(26.8oz) 695g (24.5oz) *When combined with a stabilized lens

The Z6III's partially stacked sensor has higher read noise than other designs, which gives it a disadvantage compared to other cameras when raising the shadows (though, importantly, this has no impact on the midtones, and the EOS R6 III doesn't perform markedly better). For both cameras, it's worth checking to make sure whether the lenses you want exist before choosing a system, as both companies place restrictions on third-party lens makers.

The a7 V is a very capable camera with excellent image quality and dynamic range, though it lacks a few of the more niche video features that most of the other cameras in this class offer, such as open gate and internal Raw recording. While Sony does allow third-party lenses on E-mount, buyers should be aware that it limits non-Sony lenses to 15fps.

Body and Handling

The EOS R6 III hews close to Canon's tried-and-true design formula, and its body is very similar – though not exactly the same – as the EOS R6 II. It has a hefty grip that fits well in your hand, even with a heavier lens attached. It has an array of customizable buttons – nine in total – which can have different functions depending on whether you're in stills or video mode. Switching between the two modes is handled by a dedicated lever to the left of the EVF.

The autofocus joystick and surrounding buttons are placed within easy reach of where your thumb naturally falls when you're holding the camera, and are grouped in ways that help you tell which one you're pressing by feel, even when your eye is up to the EVF.

Canon's M-Fn menu can be used to bring up a customizable menu that lets you change nine different settings.

The EOS R6 III has plenty of buttons that provide a decent degree of customization. There are a few functions that we'd like that currently can't be assigned (quickly being able to turn AF tracking on and off, or adjust your auto ISO minimum shutter speed), but there are also relatively robust options for quickly recalling sets of specific exposure or autofocus settings, or directly cycling through options like AF selection point or subject detection.

Canon also has its M-Fn menu (by default assigned to the M-Fn button, but you can move it if you wish), which lets you have up to five pairs of settings that you can control using the top and rear plate dials. You can customize which of nine settings you want to control:

• ISO
• Drive mode
• AF mode
• White balance
• Flash exposure compensation
• Exposure compensation
• AF selection point
• Metering mode
• Color mode

Beyond this, the camera expects you to control most of its settings through the Q menu, which has 11 customizable slots. Like the rest of its menus, it can be controlled entirely using the touchscreen, entirely via the dials, or with a mix of both.

Screen and viewfinder

The viewfinder and LCD have been unchanged from the EOS R6 II, though that's not really a complaint. The rear 3.0" screen is fully-articulated, which will be welcome to those using the camera for video. It's relatively bright, but can be a little difficult to see in extremely bright sunlight.

The viewfinder is large and can refresh at up to 120fps for a very responsive preview. It's not the highest resolution model out there, though, and it can't quite manage to show you a proper HDR preview when you're shooting in PQ mode, though it does have Canon's OVF simulation mode that gives you a better idea of how much dynamic range you're capturing, at the cost of truly previewing your exposure.

There's no discernible viewfinder blackout when shooting in at the highest burst rate settings using the electronic viewfinder, though it'll show up when shooting in lower burst rates or with the mechanical shutter.

Ports

The EOS R6 III has all the connectivity you might expect from this class of camera: USB C, headphone and microphone sockets, a multi-function hotshoe, 2.5mm remote terminal and full-size HDMI port. The latter represents a bit upgrade from the less-reliable and robust microHDMI port found on the EOS R6 II.

It has two card slots: one CFexpress Type B, and one UHS-II SD. You'll have to use the former if you want to record Raw video internally.

Battery

The EOS R6 III uses 16Wh LP-E6P battery, to give battery life ratings of 270 shots per charge via the viewfinder and 510 if you use the rear screen. These numbers jump to 390 and 620, respectively, if you engage power saving mode. As always, the CIPA-defined tests tend to under-represent how many images you can actually get, with double the rated figure not being unusual, but they're useful to compare between cameras.

These are reasonable but not great for a camera likely to be used quite heavily by an enthusiast photographer. If you have an extremely long shoot, you are able to roughly double the battery life with Canon's BG-R20 battery grip, the same model used by the rest of the EOS R6 and R5-series cameras,

The camera will still work with older batteries such as the LP-E6NH, though it warns that not all features will be available, and that some accessories won't work. Most notably, the camera loses support for network connectivity, refusing to connect to your smartphone or other devices.

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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As you might hope, the Canon captures more detail than its 24MP rivals, and comparable amounts to its 33MP Sony peer, while also matching the color response of the EOS R6 II. The slightly richer, more yellowy pinks than the Sony and Nikon suggest it'll give the skin tone response that many Canon users have come to enjoy.

The detail difference is more apparent in the processed Raws, where the Canon and Sony present the horizontal lines in the doorway in a similar manner, whereas the R6 II and Nikon Z6III can't. Interestingly, the Nikon presents a convincing but completely spurious representation of the vertical lines above the door, while the EOS R6 II represents similar thick lines horizontally: both the result of aliasing.

At mid-to-high ISO there's little to choose between any of these cameras in terms of noise. As you creep towards the very highest ISOs the gap starts to open up, but it's only in the camera's extended 102,400 setting that the difference becomes clear. Even then, this is unlikely to be the difference between the images from some of these cameras being usable and others not: they're all going to be pretty hard to salvage.

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In terms of dynamic range it performs exactly as we might expect. There's plenty of scope to lift the shadows with all these cameras. There's a tiny bit more read noise coming from the Canon, which makes itself known if you delve really deep into the files.

It's also worth noting that the noise that is visible appears slightly smeared, rather than as individual points, which could be indicative of noise reduction. Our scene has plenty of fine detail, much of it with low contrast, if you want to download the files and see if you think it'll have any impact when processed with your preferred workflow.

Switching to electronic shutter mode sees the camera drop to 12-bit sensor readout, which has the predictable effect of curtailing the dynamic range of the Raws (the reduction in available values to encode the shadows presents as quantization noise).

Our ISO Invariance test suggests this is a dual-gain sensor that switches to its higher gain step around ISO 800. There's very little benefit to raising ISO above that point, but opportunity to keep ISO down to protect highlights.

Autofocus

The EOS R6 III's autofocus system uses the same interface as the ones from Canon's higher-end EOS R5 II and EOS R1. There are several options for selecting your autofocus point, including a "Spot" pinpoint option, three customizable zones and a "whole area" option, where the camera picks a subject.

Each of these modes can be used with or without tracking, which you have to enable through the Q menu, where the camera will try to follow whatever was under the point when you started focusing, and in conjunction with the camera's subject recognition modes, listed below. There's also an "auto" subject recognition mode, which will attempt to identify any of the recognized subjects in the scene.

Type of subject Optional detail Human — Eye (Auto, Left, Right) Animal Cat, dog, bird, horse Vehicles Car, motorcycle, plane, train Driver

The camera has and additional four autofocus point options with a Lock symbol, which don't use tracking or subject recognition, so you don't have to manually switch off both features if you're trying to gain complete control over your focusing point in a hurry: you can just select a 'locked' AF area. There's a menu option to let you narrow down which AF areas are available through the Q or M-Fn menus, to make selection and swapping faster.

In general, we found that the EOS R6 III was generally very good at not getting distracted by a nearby subject when we were trying to focus on something else, so we didn't have to switch to the locked modes that often.

Performance

We found the EOS R6 III's autofocus to be accurate and reliable, and its tracking to be very tenacious. In most situations, the tracking point simply stuck to whatever we put it on, no matter how much it or the camera moved. We also found the subject detection modes to be good at picking out people or animals, even if they were small parts of the scene, though it was occasionally prone to jumping from one person to another in very tight groups.

The Register People Priority mode does a decent job of selecting your preferred subject, if there's more than one person in the frame. However, because you can only use a single image to 'train' the camera, it may be confused if you subject looks significantly different to the image you selected: eg if they were/weren't wearing glasses in the training shot, so it's worth trying to grab a quick reference image at the start of your shoot, if you can.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 The EOS R6 III's generic tracking system will draw a box over the entire object that it's tracking, rather than just using your single defined point, but it's not entirely consistent in which part of the object it's focusing on (which is what you'd expect if it's not recognizing it as a known type of subject).

In our tests, the camera's generic tracking dealt very well with a subject moving across the frame at varying speeds. It kept track of the subject throughout the run and was very accurate at driving the lens to the correct distance, resulting in very few soft images. That's no small feat when shooting at 40fps.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

The performance was much the same with human subject recognition turned on, with the camera locking on to the subject's eye throughout the run and keeping up with its changing rate of approach with impressive accuracy.

Video capabilities The EOS R6 III has all the video assist tools most shooters will need: proxies, waveform and false color, dual-level zebras and Log/HDR view assist.

The EOS R6 III can shoot oversampled 4K, taken from a 7K region, at up to 60p. Alternatively, it offers subsampled 4K at up to 120p. It can also capture its entire sensor area in native 7K resolution, 'open gate' recording at up to 30p.

It also lets you record in Canon's C-Log 2 or 3 response curves, and now has a button that defaults to opening the Color menu, making it a bit easier to switch between Log and non-Log recording.

It provides both DCI and UHD 4K options, though, humorously, the true 24fps mode (as opposed to 23.98) is only available when recording DCI. Its Raw mode also lacks a 16:9 mode, but can record open-gate at up to 30p, from which you can take a UHD crop.

Video settings are well separated from photo settings, with the exception of the custom white balance (which, as long as you know that the setting is shared, is probably a good thing). You can also easily set up custom modes for different types of shooting; one for standard 4K/24 recording, using a 1/50 sec shutter by default, and another for 4K/60 slow-motion that uses a 1/125 sec shutter. The one downside is that custom modes do have separate custom white balance settings, which means you can't set one and have it set for all the others (or, at least not without also having other settings carry over that you may not necessarily want).

Recording modes

While the EOS R6 III shares a sensor with the fan-cooled EOS C50, Canon includes several more options on its more cinema-focused camera. As an example, the EOS R6 III doesn't have an HQ Raw mode, nor does it support crop modes in Raw. It can, however, still record proxy files to its SD card slot, which could be quite useful when shooting Raw video.

Dimensions Rates Raw 1.89:1 7K 6960 x 3672 60, 50, 48, 30, 25, 24, 23.98 ST (up to 30p), LT DCI 4K 4096 x 2160 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – DCI 2K 2048 x 1080 180*, 150*, 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – 16:9 modes UHD 4K 3840 x 2160 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – Full HD 1920 x 1080 180*, 150*, 120, 100, 60, 50, 48, 30, 25, 24, 23.98 – 3:2 Open gate 7K Raw 6960 x 4640 30, 25, 24, 23.98 ST, LT 7K Compressed 6912 x 4608 30, 25, 24, 23.98 – * - with a 1.13x crop

Both the 4K and Full HD modes can be used in the "Fine" oversampling modes at all but their highest frame rates; the former from 7K capture, and the latter from 3.5K capture. However, Canon is upfront that, while the 4K/60 Fine mode is still oversampled, it won't have the same image quality that you get from the 4K/30 and slower modes.

Temperature limits

Unlike the video-focused EOS C50, the EOS R6 III is not fan-cooled. Canon has given the following figures for continuous recording times at 23°C (73°F). Taking shorter clips with some rest time between them is likely to give much longer durations.

Continuous recording times (approx.) Auto Off Temp: Std Auto Off Temp: High Raw 7K/60 23 min 23 min DCI 4K/120 28 min 35min DCI 4K/60 Fine (oversampled) 23 min 23 min Open gate 7K/30 (MP4) 24 min 36 min

The subsampled 4K/60 modes, along with both subsampled and oversampled 'Fine' 4K modes at 30p and slower, have no documented temperature restrictions. It's worth being aware of these limits if and when you use the camera's more ambitious modes.

Having shot several projects with the EOS R6 III, both indoors and outdoors, we never had it shut down due to overheating, even when we were shooting in open gate. However, we haven't had the chance to test it in a hot environment in direct sunlight, and would expect it to struggle in those conditions.

Workflow

Canon includes a variety of tools to help make shooting video and, in particular, nailing exposure, easier. The EOS R6 III has options for both waveform monitoring, which provides more detail about what parts of your image are clipping than a traditional histogram, and a false color overlay, which makes it easier to tell if your skin tones are properly exposed.

It's now much easier to set your white balance in video mode

It's also now much easier to set your white balance in video mode; you can capture it from the live view, rather than having to set it from a still image on the card (a process that, on other Canon cameras, meant switching into stills mode, taking a picture of your gray card, then switching back into the video mode before diving back into the settings). Speaking of live view, the camera also (finally!) provides access to level gauges and magnification while recording, so you can make sure your horizon is perfect and your subject is in focus while you're rolling, though you have to tap the screen to access larger magnifications.

The EOS R6 III lets you upload LUTs into the camera, so you can preview an effect you wish to apply, but you can't bake the result into your footage. The EOS R6 III can output lower-resolution proxy files to an SD card while you capture your main footage to the CFexpress card. The only exception is open gate shooting, where you can capture a proxy alongside Raw shooting, but not if you're using MP4 as your main output.

One feature Canon's retained for its cinema cameras is shutter angle, which derives the shutter speed from the recording framerate, rather than an absolute setting, so you don't have to adjust your shutter speed after changing frame rates to retain the same level of motion blur. It's a setting that some of the EOS R6 III's competitors, such as the Nikon Z6III and Panasonic S1II, have, but that it lacks.

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Starting with the open gate mode, the 6912 x 4608 image the EOS R6 III produces captures lots of detail, appreciably more than the 5952 x 3968 open gate image from the Panasonic S1II. The difference will almost certainly be less noticeable in motion, but the EOS R6 III's higher resolution allows for a bit more room to crop in if you're delivering a vertical or horizontal 4K video (or if you shot a bit too wide, and are trying to take a 9:16 vertical crop without using the full height).

The increased detail versus the S1II is still there, though slightly less obvious, when you're using the oversampled 4K mode. The Z6III offers similar levels of detail, though at default settings, it appears to apply more (or perhaps less subtle) sharpening than Canon does. Canon's oversampled modes also don't seem to reduce moire as much as we might expect them to, compared to the open gate mode.

The EOS R6 III loses its edge in detail when you bump up to 4K/60. The oversampled fine setting is massively more detailed than the line-skipped standard mode, but, as Canon said, it's less detailed than the oversampled footage from 24p mode. Interestingly, the rolling shutter figure is the same, so it's perhaps a processing difference, rather than a readout one, presumably for reasons of heat.

The Nikon Z6III's output is again sharper (and more sharpened), but it's not far off the output of the Panasonic S1II. This isn't because Nikon and Panasonic's 60p modes are more detailed than their 24p ones; it's because Canon's oversampled 60p mode isn't as detailed as its 24p one. Perhaps most painfully, though, is that even the EOS R6 II's 4K/60 footage has a slight edge in detail over its successor's.

The EOS R6 III's standard modes all run at the same level of subsampling required to achieve the full-width 4K/120 this camera can provide, as evidenced by their shared rolling shutter rate, and thus come with a substantial step down in detail compared to the oversampled modes. Thankfully, the subsampling doesn't seem to come with a notable penalty in high ISO noise performance; that may speak more to the strength of Canon's noise reduction, though, as you'd expect to see more noise in a mode derived from less of the sensor.

Rolling shutter 7K open gate 17.9ms UHD 4K 24/60/120 standard 7.1ms UHD 4K 24/60 "fine" 14.3ms

Comparing the EOS R6 III's 4K/120 capture with the S1II's, which comes with a 1.24x crop, shows that the Canon is a long way behind when it comes to detail. That's even true of the the Z6III as well, which requires a 1.5x crop to achieve 4K/120. Despite those being derived from a smaller area of the sensor, it's very likely they're derived from more pixels that aren't spread as far apart as they are on the EOS R6 III.

Raw Video

As always, when discussing Raw video options, it's worth keeping in mind that the difference between Raw video and Log video is nowhere near as stark as the difference between Raw and JPEG for stills when it comes to editing flexibility. While shooting in Raw for video gives you control over noise reduction, sharpening* and white balance, it doesn't offer substantially more latitude to adjust your footage's lightness than Log footage does.

With that in mind, the EOS R6 III's Raw footage looks good, capturing a lot of detail from either the entire sensor in open gate mode, or from a 7K 1.89:1 crop derived from that footage. The latter can be shot in up to 60p, though going above 30p will require switching to Canon's Raw Lite format, which compresses the footage more. If there are compromises to detail that come from that, they're not evident in our test scene.

Unlike some of its competitors, Canon applies lens distortion corrections to its Raw footage, arguably making them a bit less Raw, but saving you the extra work of having to manually apply them after the fact, which is especially important for those RF-mount lenses that utilise those corrections as part of their optical formulas.

* Put another way, shooting in Raw puts the onus of noise reduction and sharpening on you.

Autofocus

We found autofocus performance in video to be extremely reliable, with the camera locking onto tracked subjects and not easily getting distracted by things in the background, as we sometimes experienced with its predecessor. We also noticed very little hunting when the camera was tracking a subject or object, which meant we could keep it on without worrying about distracting focus pulsing.

The camera is also quite good at tracking arbitrary subjects, though the interface for doing so can be frustrating. Tapping on a subject will focus on it, but, unlike in stills mode, it won't start tracking it unless you're in the whole area autofocus mode; the camera will continue to focus on whatever the AF selection point is over, and it won't stick to your chosen subject. If you want to use tap to track, you'll have to use the whole area mode; otherwise, you'll have to manually move the AF point with the joystick or touch screen, or keep it over the subject, changing the composition.

The EOS R6 III's autofocus options remain the same throughout its recording modes; you still get continuous autofocus with subject recognition even when recording 4K/120 and 1080/180. This is true both in the standard video recording mode and in the Slow-and-Fast mode that doesn't record audio and produces a file that plays back at a slowed-down or sped-up framerate.

IBIS

The in-body stabilization system of the EOS R6 III is good, but doesn't quite match the performance we'd expect from, say, a Panasonic. It likely won't fool anyone into thinking you're using a tripod, but it smooths out the most distracting shakes. When we shot from odd angles or using a more telephoto lens we were left wishing we'd brought at least a monopod. But in a pinch where we were forced to shoot an entire video handheld with an 85mm lens, we still got usable footage, which is a testament to what the system is capable of.

All the A-roll in this video was shot handheld with the EOS R6 III with an 85mm lens, and it worked well enough that warp stabilization could make up the difference. It struggled a bit more when we were using a 70-200mm lens to shoot the a7 V video, but we still got usable footage.

While we'd generally recommend turning IBIS off when mounting the camera to a tripod, especially if you'll be panning or tilting, it's not always practical to do so in a fast-paced environment when you're frequently switching between handheld and locked-off shots. Thankfully, the EOS R6 III's IBIS system does a good job of not fighting against what are clearly intentional camera moves.

That changes a little if you turn on the digital stabilization modes; both the standard (which comes with a 1.11x crop) and the "Enhanced" (1.43x crop) settings do okay with the panning itself, but stop very suddenly when you stop moving the camera. However, they're decent when it comes to smoothing out that little bit extra hand shake, and are available in the oversampled modes as well as the subsampled ones (though, obviously, not in Raw or open gate).

In Use

By Mitchell Clark

I think the best word to describe the user experience of the EOS R6 III is "refined." While Canon's previous cameras like the EOS R5 II, EOS R1 and EOS R6 II are great in their own rights, they had a few rough edges; setting custom white balance in video was a chore, you couldn't punch in while recording, the burst mode used a weird custom container, you couldn't turn pre-burst shooting on and off with a single button unless you used a hacky workaround.

The EOS R6 III solves all those issues and, therefore, has few quirks left to complain about... though I will spend most of the rest of this section complaining about them, because nothing is perfect. But the topline message is that this camera is very easy to get along with.

The biggest gotcha for photographers will be its burst modes, or situations where you need to shoot silently but still want maximum image quality. The e-shutter dropping to 12-bit readout means you won't have as much latitude to pull up shadows before noise starts creeping in as you do with photos taken with the mechanical shutter (though, realistically, the situations requiring maximum burst rates and the ones demanding maximum DR are usually separate). This also isn't an issue unique to the Canon; all its peers also have to use their e-shutters to achieve their maximum burst rates, which typically incurs a dynamic range cost.

Pre-burst capture only being available at the maximum burst rates is also a frustrating limitation, and often leads to you taking more photos than you'd actually need. It also eats into this camera's limited buffer; at its 40fps mode, it can last for around three seconds (or two and a half if you've used up half a second with your pre-capture). And once you hit the limit, it can take up to eight seconds before it'll let you start shooting again, even if you're using a fast CFexpress card.

I find Canon's menus to be pleasant enough, with their color-coding and the ability to scroll through sections and pages with the command dials. And while I personally don't find the M-Fn menu to be all that useful, that's more a testament to how good the "Q" menu is for this camera, and I can imagine shooters who are used to it preferring it as a way to quickly control various settings without taking their fingers off the command dials. I also appreciate the way Canon has set up the settings for video, letting you choose most of your shooting parameters separately, rather than making you scroll through a list of 100 different options.

Having just reviewed the Panasonic S1II and used the Sony a7 V, going back to the plain, fully articulating display on the EOS R6 III feels like a downgrade. I'd pick it over a display that can only tilt but not flip out, but now that displays that can do both are making their way to many of its competitors, it feels like the correct choice for a camera aiming to be great at both stills and video.

Conclusion

By Mitchell Clark

Pros Cons

• Excellent image quality
• Dependable autofocus performance
• Full suite of video recording modes and assist features
• Refined ergonomics and responsive UI
• Rolling shutter rates can capture all but the fastest action
• Higher framerate video modes don't come with a crop
• Burst rates capable of capturing most things you'd point a camera at
• Battery is decent, but you may want a spare or a USB-C power bank for heavy days
• IBIS does its job for photo and video

• Filling the buffer means waiting for the camera to finish processing
• Overheating in ambitious video modes can be limiting for prolonged or outdoor use
• Dynamic range isn't as strong as its best competitors', and is further limited in e-shutter mode
• Precapture could be more flexible
• Subsampled video modes aren't particularly detailed
• Canon tightly controls RF mount lenses

The biggest challenge with reviewing the EOS R6 III is figuring out what to say about it that isn't just "it's really good." Like most of the cameras in its class, it sets out with the goal of being everything to everyone; a stills camera capable of autofocus tracking and burst rates that would've made professional cameras from a few years back envious and a video camera that you could sensibly shoot a movie with. And somehow, it more or less succeeds at that task.

It's not the only camera to do so, of course. Those are, increasingly, table stakes for this class. But it does so with just that bit of extra shine. Its higher resolution sensor lets it capture more detail than the Z6III and S1II, and it offers more video modes than Nikon or Sony. Its menus are well laid out (if a little bloated, like everyone else's), and it offers all of the ports and buttons that you could ever want. Unless you're a working professional or just really want the best of the best, it's hard to imagine that you'd need more than this camera, no matter what you hope to do with it.

Which is not to say it's perfect. It has some foibles that may annoy power users, but for most people, the ease of use it provides will more than make up for that. If you're equally into video as well as stills, it's probably worth paying more to get the Panasonic S1II with its fan and more detailed 4K slow-motion modes. And if you're looking for the utmost image quality in stills, you'll have to decide whether you value the detail the EOS R6 III provides or the dynamic range of the S1II more (or, potentially, get both with the a7 V, at the cost of some specific video features).

Still, the EOS R6 III proves that we may be getting past the age of "jack of all trades, master of none." Instead, it's a master of most. Given that its pricing is in line with the rest of its peers, and that its capabilities match or exceed them, it handily earns our Gold award.

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

Canon EOS R6 Mark IIICategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe EOS R6 III offers an excellent shooting experience for all types of still photography and videography.Good forMost kinds of photography Capturing relatively short bursts of action All but the most demanding of videographersNot so good forPhotographers who need maximum IQ and speed in e-shutter Videographers doing long takes in hot environments91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"canon_eosr6iii","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

Compared to the EOS R6 II, Canon's latest offers higher resolution stills and a more refined shooting experience, dropping the fiddly Raw Burst mode and multi-step custom white balance picker. The EOS R6 III improves on its predecessor's already very good autofocus with extra features and being that bit more reliable. It's also a much more capable video camera, even if its 60p oversampled 4K mode isn't quite as detailed. That said, the R6 II is remains hugely capable if there's a big price difference between the two.

The Nikon Z6III has a nicer viewfinder and rear display than the EOS R6 III, and Z mount has a few more third-party lens options than RF mount. However, its Raw burst rates are substantially slower (though more configurable) than the Canon's, and its pre-burst capture is only available when shooting in its JPEG-only modes. Both are capable video options, with the Z6III having a slight edge in slow-motion (albeit with a crop), and the EOS R6 III gaining open-gate, a feature Nikon doesn't offer.

The Panasonic S1II's fan lets it record more ambitious video modes for longer, and it offers better dynamic range performance when shooting stills with the mechanical shutter. However, unless you're using the battery-destroying multi-shot high-resolution mode, it won't quite offer the same detail as the EOS R6 III does. We also find Canon's ergonomics to be a bit more refined and comfortable to hold, though your mileage will vary. But if you value the availability of third-party lenses, the L mount is the better choice.

We haven't finished our testing of the Sony a7 V, but early impressions show it to be a very impressive contender when it comes to stills. It matches the EOS R6 III's resolution and seems to have a good chance of outperforming it when it comes to dynamic range, thanks to its ability to read out both its low and high gain steps when using the mechanical shutter. Some video shooters may miss its specific capabilities such as open gate or Raw capture, and we find it's not as comfortable to hold, especially with larger lenses.

Sample Gallery

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

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

Nikon has announced a new firmware update, 5.30, for the Z9, promising a "significant improvement" to the autofocus system's performance when tracking fast-moving subjects, alongside additional features.

The company is also now letting you use the subject detection with the single point and "dynamic AF" autofocus selection point types, giving you more flexibility in how you select which subject you want to focus on. The Z9 also gains the in-camera focus limiter and additional level of live-view magnification that were added to the Z8 and Z6III earlier this year, and has its "wide" area setting expanded to cover more of the image area.

Firmware 5.30 also improves the Auto Capture feature, with the company saying it's added "a new AF standby position." It also brings support for UVC/UAC, which lets you use it as a webcam for your computer without the need for additional drivers or software (though it seems unlikely that there were that many people demanding this ability for their pro sports camera).

The camera also gains support for Nikon's "Flexible Color Picture Control," which lets you create a custom color mode using its desktop software, then load it onto the camera for it to use while creating JPEGs.

It's nice to see Nikon continuing to add new features to the Z9 over four years after it announced the camera. While some of them may have debuted in lower-end cameras in the company's lineup, that gives the company all the more reason to add them to its highest-end camera if it can, so we're happy to see Nikon taking that opportunity.

THE BEST GETS BETTER: NIKON RELEASES NEW FIRMWARE VERSION 5.30 FOR THE Z 9 FLAGSHIP PROFESSIONAL MIRRORLESS CAMERA

Updates Especially Benefit Pro Sports Shooters; Include Improved AF Performance and Functionality, Auto Capture Enhancements, Flexible Color and More

MELVILLE, NY (DECEMBER 15, 2025) -- Today, Nikon Inc. is pleased to announce the release of firmware version 5.30 for the full-frame/FX-format flagship mirrorless camera, the Nikon Z 9. This free firmware is now available for download and adds improvements across the board to further enhance the capabilities of Nikon’s top-of-the-line mirrorless camera.

The new firmware adds multiple focus enhancements, starting with a significant improvement in subject acquisition, tracking and stability for fast-moving subjects such as athletes. The advanced subject detection, created with Nikon’s deep learning technology, now works in other focus modes, making it easier to track the intended subject reliably in either single point or dynamic AF modes. Subject detection can now quickly be toggled on/off using a custom function button, if desired. The firmware also adds a new in-camera focus limiter, which allows the user to restrict the focus range to specific distances.

Improvements have also been made to the Auto Capture function, with a new AF standby position, and other operability and performance updates like face detection. The Z 9 now gives users the ultimate and most intelligent remote camera setup, without the need for any third-party triggering devices. This offers an extreme advantage for those shooting wildlife or professional sports with limited access.

Firmware version 5.30 adds support for Flexible Color Picture Control, which allows users to easily craft their own unique looks using NX Studio, Nikon's image browsing, processing, and editing desktop software. This new feature offers greater creative freedom by enabling intuitive adjustments to parameters such as color hue, brightness, and contrast using tools like Color Blender and Color Grading. Settings configured in NX Studio can then be saved to a memory card and loaded onto the camera as Custom Picture Controls for shooting. These settings are reflected in the live view display, allowing users to preview results in real time, reducing the need for post-processing.

Additional Improvements to Operability and Functionality

• Focusing is now possible with the maximum aperture in live view.
• A magnification option of [400%] has been added to [Zoom on/off] available for Custom Settings.
• Use of an external microphone (wired/wireless) is now possible when recording voice memos.
• Extended the dimensions of focus areas available with [Wide-area AF (C1)] and [Wide-area AF (C2)] AF-area modes.
• Added [Flat Monochrome] and [Deep Tone Monochrome] Picture Controls.
• Added [USB streaming (UVC/UAC)] to [USB] in the [NETWORK MENU].
• Changed the specifications for uninterrupted video output to HDMI devices such as external monitors when recording ended.
• The headphone volume level can now be adjusted in the “i” menu during video recording.

Z 9 owners can visit the Nikon download center to get the new firmware for free. Nikon will continuously meet users’ needs through firmware updates that expand the functionality of its cameras.

Readers' Choice: Best camera of 2025

2025 was another exciting year for cameras. In addition to a variety of models that fit into easy-to-define categories, including high-end workhorses, enthusiast mirrorless, and entry-level bodies, we saw our share of quirky, unusual, and even unexpected cameras this year.

Our editorial team has already announced the winners of the 2025 DPReview Annual Awards. Now, it's time to find out what you think. Which of this year's new cameras do you think are worthy of recognition and one of our coveted Readers' Choice awards? Take our poll and let us know.

Polls are now open; see below.

Voting occurs in three categories (cameras, prime lenses, and zoom lenses) and runs through December 26.

Once the vote has closed, we'll run a fourth and final poll drawn from the first three winners to determine the Readers' Choice Product of the Year. Look out for that poll to open shortly before the end of the year.

Voting is easy: pick your top 3 products by dragging and dropping to rank them in order of priority. Products are listed alphabetically.

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

Please note that for the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once, from a single account.

Readers' Choice: Best prime lens of 2025

We saw some exciting lenses in 2025. Established manufacturers upped the ante with new F1.2 and F1.4 lenses, and even a couple of F2 telephotos, while up-and-coming Chinese lens manufacturers delivered numerous primes designed to deliver a lot of bang for the buck.

Our editorial team has already announced the winners of the 2025 DPReview Annual Awards. Now, it's time to find out what you think. Which of this year's new prime lenses do you think are worthy of recognition and one of our coveted Readers' Choice awards? Take our poll and let us know.

Polls are now open; see below.

Voting occurs in three categories (cameras, prime lenses, and zoom lenses) and runs through December 26.

Once the vote has closed, we'll run a fourth and final poll drawn from the first three winners to determine the Readers' Choice Product of the Year. Look out for that poll to open shortly before the end of the year.

Voting is easy: pick your top 3 products by dragging and dropping to rank them in order of priority. Products are listed alphabetically.

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

Please note that for the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once, from a single account.

Readers' Choice: Best zoom lens of 2025

In addition to the usual assortment of new and updated models, we saw some head-turning zoom lenses in 2025, including fast-aperture zooms, versatile zooms for APS-C and medium format, some heavy-hitting telephotos, and at least one new kit zoom.

Our editorial team has already announced the winners of the 2025 DPReview Annual Awards. Now, it's time to find out what you think. Which of this year's new zoom lenses do you think are worthy of recognition and one of our coveted Readers' Choice awards? Take our poll and let us know.

Polls are now open; see below.

Voting occurs in three categories (cameras, prime lenses, and zoom lenses) and runs through December 26.

Once the vote has closed, we'll run a fourth and final poll drawn from the first three winners to determine the Readers' Choice Product of the Year. Look out for that poll to open shortly before the end of the year.

Voting is easy: pick your top 3 products by dragging and dropping to rank them in order of priority. Products are listed alphabetically.

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

Please note that for the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once, from a single account.

I took this photo of the Abraham Lincoln statue inside the Lincoln Memorial in Washington, DC, in 2020 while writing an article about using anamorphic lenses on smartphones for wide-format photography. This image was captured using a Moment anamorphic lens on an iPhone 11 Pro and desqueezed to an aspect ratio of 2.35:1, about the same as CinemaScope, a widescreen cinema format originally developed in the 1950s.

Photo: Dale Baskin

Our December Editors' photo challenge theme is "Shades of Gray."

This month, we're celebrating the art of black and white photography. Whether you're focused on the interplay between light and shadows, ethereal high-key images, or using darkness to create mood and mystery, we challenge you to show us the world in monochrome. Strip away the color and show us your best black and white images!

Photos can be submitted between Sunday, December 14, and Saturday, December 20 (GMT). The challenge is open to photos captured at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share 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 as soon as the challenge opens.

Visit the challenge page to see the full rules

Last week, we announced the winners of DPReview's Annual Awards for 2025. As always, the process for selecting them can be a bit contentious, with some heated (but still respectful) debate among the team. This year, we thought it'd be fun to give you a peek behind the scenes, so we recorded a team discussion where we go in-depth on the winners we picked, as well as some of the runners-up.

If you want to hear more about our personal favorite things from this year, even the ones that didn't get an official award, be sure to check out our Gear of the Year columns. Not all of them are out yet, but the rest of the crew's articles will be coming soon.

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

Partially stacked sensors are essentially conventional BSI sensors with more complex readout circuitry (seen at the top and bottom of the Z6III sensor, here). This allows boosted DR modes we're seeing from the Panasonic S1II and Sony a7 V.

Image: Nikon

Dynamic range data for the Sony a7 V makes clear that the benefit of partially stacked CMOS isn't just speed: it's the ability to deliver higher dynamic range.

Bill Claff has just published his DR figures for the Sony a7 V, making an impressive showing and revealing what's going on behind the scenes, both of the Sony and the recent Panasonic Lumix S1II.

Partially stacked sensors are essentially conventional BSI chips with more complex readout circuitry around the edge (the sensor itself isn't stacked). The Nikon Z6III showed this could bring a speed advantage over existing BSI sensors but the Panasonic S1II and Sony a7 V show that there's much more they can do.

The dynamic range data for the Sony a7 V (black) gives a hint to how it's delivering its excellent results in mechanical shutter mode (blue).

Image: Photos to Photos

Unlike existing dual conversion gain sensors, which could use either a low gain (high capacity) setting for low ISO and a high gain (lower noise but lower capacity) mode for high ISOs, the new sensors can do both, simultaneously. So you can capture the full capacity of the low gain mode but combine the cleaner shadow data of the high gain mode.

For years, we've seen dismay that the advances in sensor tech weren't giving an IQ improvement. Well here's the step forward in IQ we've all been waiting for'

This process, which we suspect involves sample-and-hold capability in the more complex readout circuitry, takes longer than reading out just a single mode. As a result, it can only be conducted in mechanical shutter mode, where the physical shutter stops any more light accumulating, giving you as much time as you need to read the sensor.

The publication of the e-shutter data for the Sony makes this clear: in e-shutter mode you see the now-familiar shape of a dual conversion gain sensor, but in mechanical shutter mode the low ISO DR is boosted: essentially extending the shadow benefit of the high gain mode back up into the low ISO range. Panasonic's S1II does the same thing.

Compare the results of the Panasonic S1II (orange) with that of the Nikon Z6III, which uses a similar sensor but appears to always use only either its low or high gain mode, and you see the same pattern. We strongly suspect the S1II's e-shutter data would overlap very closely with the Nikon's.

Image: Photons to Photos

For years now, we've seen dismay expressed that the advances in sensor tech were only giving a speed benefit, rather than an IQ improvement. And those speed improvements were often mischaracterised as solely benefiting video. Well here's the step forward in IQ we've all been hoping for, in addition to the speed boost we see in the single gain readout mode.

What does this mean for the a7 V?

The upshot for the Sony is that dynamic range looks excellent in mechanical shutter shooting but you have to give up that DR boost when you switch to any of the e-shutter modes. So, while the Sony still outputs 14-bit files in these modes, there may not be the DR advantage over the Canon EOS R6 III's 12-bit output that some commenters have been (perhaps prematurely) crowing about.

The good news is that Bill had initially marked the a7 V's data as having noise reduction in it. He's now removed this designation as the signal processing he was observing appears to be the combination of the two readout modes, rather than anything murky goings on in the shadows.

Do I need all this DR?

This is certainly a step forward for the industry, and one that doesn't come with the significant costs of a fully stacked sensor design, so it's likely to come to a wider range of cameras. We'd assume a similar approach will appear in the next generation of fully stacked sensors, though it may still require the use of a mechanical shutter.

It's worth keeping in perspective, though. DR numbers do not represent image quality as a whole, and there's nothing to suggest that there's been a big boost in IQ across the whole tonal range of the images. The improvements will primarily be in the shadows, adding editing flexibility for things like daybreak and sunset landscapes.

For a lot of photographers, DR differences were worth considering when some models produced Raw files with relatively little opportunity to exploit shadow capture, beyond what was already present in the JPEGs. But once you reach a threshold of 'good enough' for your style of shooting, any further increase is nice to have but for an increasingly small number of your images, rather than an every-shot benefit.

It's definitely a step forward, though, and if more people start to utilize the capabilities of HDR screens to make their work more striking and lifelike and more often use more of their captured DR, then that will only increase the value of this breakthrough.

Thansk to Horshack, Bill Claff and Robert Newman for their work, insight and feedback on this technology.

A self-portrait I created during grad school.
Photo: Abby Ferguson

Confession: this year has been a complicated one for me and my relationship with photography. It's been a year of conflicting emotions and unanswered questions about how to move forward with the medium. While I've already shared my reflections on some of my favorite photos taken this year, the end of the year also seems like a good opportunity for broader reflection about my place in the photographic world.

This year, I've been more involved in photography than ever before. On top of working at DPReview (for nearly a year now), I'm also teaching my second semester of photography at a local community college and I've joined local photography groups with regular meetups (a first for me). Photography has seeped into just about every aspect of my life and is part of every single day. It's become an all-consuming activity and topic. And yet, more than ever, I've also grappled with what this photography thing is to me at this point in my life. This year has challenged me to consider what kind of photographer I am and whether I'm creating work that I even want to make.

My thesis body of work from graduate school consisted of digital multiple exposures printed on transparency film and mounted to plexiglass. The work centered around the impact of failing memory, specifically visuospatial working memory. The image on the left is a very small segment of my thesis installation, with a close-up of one of the pieces on the right.
Photos: Abby Ferguson

To understand why I've been grappling with this medium, some background may be helpful. I went to school for photography for seven and a half years. My undergraduate degree was a dual major in photography and art education, and I subsequently earned my Master of Fine Arts in the medium. Both my undergraduate and graduate programs were very conceptual, fine-art focused. I loved that side of photography, and it resulted in work that I am incredibly proud of to this day.

There was an interactive component of my thesis show as well. Visitors were invited to take one of the small images hanging from red string (a reference to an old memory trick), which left empty red strings by the end of the show (the image on the right).
Photos: Abby Ferguson

Since graduating from graduate school, I have held a variety of photography-related jobs, all of which have been focused on the commercial or general industry side of the field. Being busy with a full-time job (and trying to make money) meant that the art side of my photography was largely pushed aside. I've made the classic excuses, including not having time and not having a dedicated space to create like I did in grad school.

I've continued to dip my toe in the art photography waters from time to time over the past decade, but not with any serious focus. There have been some conceptual self-portraits and a few series that I’ve started and stopped, but I haven't put forth the time or energy to develop anything in earnest or to get my work out there beyond my computer or the occasional Instagram post.

This is one of my more recent conceptual images, though it was taken in 2020. The red string has remained a consistent theme (or thread, if you will) in my work.
Photo: Abby Ferguson

I'd already been struggling with missing the art component for some time, which has resulted in something of an existential crisis. I've been questioning whether I still like and am proud of my work since it isn't conceptually based. I've also been thinking a lot about the why. Why do I take photos? And why do I take photos of the things I do?

For a period of time, those questions resulted in my rarely taking photographs. Luckily, this year, I at least got over that hump and started shooting regularly again, largely thanks to the photo clubs. But those groups also brought all of my doubts and confusion into full view, partly because with these new people, I am frequently asked what type of photography I do. Quite frankly, I struggle to answer that question.

Film photography and photo walks with local groups (which this image is from) have brought the fun back to photography for me, though they have also brought some of my dilemmas to the forefront.
Photo: Abby Ferguson

To a certain extent, it's always been that way, as I never narrowed down into one small niche as some do (and as I was constantly told to do). But it's been amplified lately. I always feel like I need some long, convoluted reply, or to have an asterisk at the end of it. Am I still a conceptual photographer at this point? I make lots of non-conceptual work, but is any of it any good? And how would I describe that work in a word or two? I can confidently say that I don't consider myself a landscape or wildlife photographer, but what type of photographer am I?

I wish I could say that as we wrap up this year, I've found my answer and can confidently say that I am a [fill in the blank] photographer or that I am in love with my photographs. Unfortunately, that's very far from the truth. While I created images I'm proud of, the big picture is something I am still wrestling with, and likely will continue to. For the time being, I'll just keep making work and perhaps find a renewed urge to put that work out there for others to see.

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

Sony has released an update for its ZV-E10 II that unlocks better slow-motion capabilities from the tiny vlogging-focused camera. While the addition of 4K120p recording is free, it isn’t delivered as a standard firmware‑only update.

Instead of being able to install new firmware, the typical way releases like these are disseminated, ZV-E10 II users will instead need to install a free license file. To do so, users can go to the Sony Creators' Cloud website and sign in with their account to obtain the license. Alternatively, you can generate a license without an account by entering your camera's serial number.

The upgrade also adds support for shooting Full HD footage at 240 fps.

In addition to the 4K/120 mode, the upgrade also adds support for shooting Full HD footage at 240 fps. There are some limitations with both additions, however. First, proxy recording isn't supported with either of the new frame rates. Additionally, Smart Zoom, Clear Image Zoom and Digital Zoom are also restricted when 4K120 recording or "slow and quick*" frame rates of 120 fps or higher.

The higher frame rate also comes with a more substantial crop. At 4K60, the ZV-E10 II uses a 1.1x crop (with stabilization off), while the updated 4K120 mode results in a 1.6x crop, which is a relatively substantial change in your field of view.

While the upgrade license required to unlock the new recording modes requires some extra steps compared to a typical firmware update, it being free makes that a bit easier to swallow. It also makes the ZV-E10 II an even more capable and versatile vlogging camera.

You can learn more about the 4K120 Upgrade License in Sony's help guide or head to the Creators' Cloud to upgrade.

* Sony's term for footage that's slowed down or sped up in camera.

When you use DPReview links to buy products, the site may earn a commission. Images: Sony / Mitchell Clark

It's not terribly often that I get to test something that's unlike any other piece of equipment I've used before, but from the moment I laid hands on it, I knew the Sony FE 50-150mm F2 GM would provide one of those rare occasions. I'd used both Sony's and Canon's 28-70mm F2s before, but was excited to have that same speed and level of versatility in a telephoto zoom. All the lens had to do was have decent image quality, and I'd have been delighted.

Given that this is a Gear of the Year article, you probably won't be surprised to hear that it surpassed that benchmark. Even wide-open, I was impressed by how sharp it was, capturing as much detail as I wanted (at least, in the razor-thin silver of the scene that was in focus). I was also impressed at how well it handled chromatic aberration, even in relatively harsh conditions. Sure, there's a touch of color fringing in this image, but given that it was taken with a zoom, wide open in direct sunlight, it's more than acceptable in my book.

Beyond any technical aspects, though, there was just something about this lens that I really enjoyed. Perhaps I simply really enjoy this focal range. Or maybe it was the amount of subject separation I could achieve at the long end, the quality of the bokeh at F2, or the fact that I could be taking environmental portraits at one moment, spot an animal in the distance, and get a decent picture of it without having to change lenses or get too close to it.

Realistically, I suspect it's actually that this lens offers all of that, without being impossible to lug around and shoot with. Make no mistake, this lens is definitely a commitment to take with you; it's just not an undue one. In fact, it weighs less than Sony's original 70-200mm F2.8 GM OSS, though the newer version of that lens is 30% lighter than the 50-150. I'm not exactly known for packing light, so take this assessment with a grain of salt, but I never hesitated to take it out with me on a photo walk while I was testing it, which hasn't always been the case with other F2 telephotos I've tested (not that those lenses are particularly comparable).

The elephant in the room is the price. At $4000, most of the people buying this lens are likely to be professional sports or wedding photographers, rather than enthusiasts. But having had the opportunity to use it as the latter, I find myself envying those who can justify getting one. While I'll always preach the gospel of finding ways to be creative with what you already have, I'll also acknowledge that sometimes a piece of gear – especially lenses – can just catch you in a certain way, meshing with your creative instinct in a way that others don't.

I got that feeling shooting with the 50-150mm F2; if I had the means, I would definitely be picking one up. The engaging experience of using it made it my favorite example from what's been an impressive run of lenses from Sony: the 16mm F1.8, 100mm F2.8 Macro GM and the 28-70mm F2 from late last year. I'm left wondering what their optical division will come out with next... and impatiently waiting to get to shoot with it.

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My favorite photo from this past year was of my favorite season, in one of my favorite places and taken with my current favorite camera.

Mamiya RB67 | Kodak Portra 400

I am a notoriously indecisive person and rather hate making decisions in most situations. So, when tasked with choosing my favorite photograph from the past year, I immediately started agonizing. How on earth is one to select only a single photo that, theoretically, represents an entire year?

With that in mind, I started combing through the thousands and thousands of images I've created this year. I've documented hikes, vacations, work trips, family time and quiet moments at home. I've also participated in numerous local photography club photo walks. The end result is an overwhelming number of images across a diverse set of subjects and genres to choose from. As I scanned through all of them, one kept popping back into my head.

If you aren't familiar with the Mamiya RB67, here I am using it at the beach. This wasn't where I took the image at the top of the article, or immediately below, but it is where I took the image of the stilt house in the gallery at the bottom.
Photo: Anthony Verdi

I took the image while I was home in Minnesota, where I grew up. I try to make a pilgrimage there every fall, since I've lived in tropical environments for the past six years and desperately miss dramatic seasons. This year, I lugged home my Mamiya RB67, which my husband gave me for Christmas last year and is my new prized possession.

While I've taken plenty of images that I really like with that camera over the course of the year (some of which you can see in the gallery below), this one stands out to me as a favorite. There's no grand story behind it; the light was simply nice on my last evening at home, and I wanted to finish the rolls of film in my cameras before my flight the next day. So I wandered down to the pond in my parents' backyard with my mom and took some images (admittedly with three separate cameras, as any sane photographer would do).

I remember when I got scans back, it stopped me in my tracks. It's an image that I'm very proud of, especially since I managed it on a camera with no built-in light meter and no autofocus. The colors, the light and the subject tick a lot of boxes for me. That it was taken with my beloved film camera in one of my favorite places makes it even better for me. Add to all that the fact that my mom was standing next to me, watching me do my thing, and it's hard to imagine not choosing this image.

Another image that I took on the same roll of film that evening, which others have said is their favorite.

At the risk of rambling about far more than a single photograph – which is the point of this article – let me address the potential elephant in the room: yes, I'm highlighting a film photo at Digital Photography Review. But, you see, 2025 was a year of returning to film (which is how I learned photography) in earnest for the first time since I earned my Master of Fine Arts a decade ago. Some may see that as a foolish or even pointless decision, but I love using film for many reasons. I still use digital cameras constantly (I do work at DPReview, after all), but there were plenty of times this year that I left the digital camera at home in favor of my trusty Pentax K1000, or that I turned to my Mamiya instead of my Sony.

As a result, my list of favorite photos from the past year is a mix of both digital and film (both 35mm film and medium-format). And since I am so indecisive, here are some of those that nearly made the cut of my top image.

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Photo by synyan

In this week's Question of the week, members of the community said the biggest positive changes to their photography came from simplifying their gear and embracing a few smart tools and habits, rather than chasing specs alone.

Some of you pointed to big-ticket purchases, such as returning to interchangeable-lens systems after a long absence or investing in a medium-format body. In contrast, others highlighted inexpensive adapters, flashes, or AI tools that quietly transformed your workflow. A recurring theme was that anything which removed friction, such as lens changes, menu-diving, clunky tripods, or excessive retouching, freed you to focus more on composition, timing, and storytelling.

Read on for a spotlight selection of contributions, and then join our forum community to share your great photos and the stories they tell.

New gear rekindling motivation Photo by MyReality

Several community members did point to new cameras or lenses as their standout change, but not only for the specs. What mattered most was how a body or lens made them feel: whether they were more inclined to get out to take photographs, more confident handling the camera or less distracted by constant gear decisions.

Alan Sh: I know it sounds odd, but buying the Fuji X-E5 rekindled my excitement for street photography. The camera just felt 'right' in my hand - much more so than the X100VI I had purchased over 12 months before.

barefeetDave: New gear. Pulled the trigger and picked up the Panasonic Lumix S1R2… It's a heavy kit, but the images I get are terrific. I love the tactile controls of the S1R2 - I rarely have to dig into the menus to change setup.

Poppamies: Getting my telephoto zoom for Fuji, the Sigma 100-400 DG dn os. They say gear doesn't matter, but it does, wildlife is hard with a 16-80mm zoom, haha.

tvgc: The battle of size was the most influential contributor to my photography this past year. Aging brings challenges, and I found myself looking for a camera that I could carry without significant IQ compromises, but wasn't too bulky in size. I was fortunate in that I had the opportunity to try a couple of the Internet's favorite compacts. I had owned a Sony RX1RMK2 and really enjoyed it, a few years ago I foolishly sold it when I moved to the Sony A7C models.

MyReality: In 2025, I shot a lot more video, had a lot of slides scanned, and had an 80-image book printed. I did not buy more gear because my photography is shifting more to video, and I have made no decision on cameras. 2026 will be the year I buy a much more videocentric camera.

Howard V: My photography was most influenced in 2025 by a newly purchased iPhone 16 Pro. I decided to delve more deeply into its features than previously owned models, and into phone photography as a legitimate approach. To reinforce this, I shelved all other photo equipment. At first, it felt novel, but then it became less pleasant as its shortcomings became more evident. But I mostly stuck it out until July.

Habits, discipline, and shooting more Photo by Sam Bennett

For others, the biggest impact came from how they worked rather than what they bought. The community described small studio and workflow changes that paid big dividends in consistency, efficiency and enjoyment.

sirhawkeye64: For me, it was just getting out more and shooting more with what I already have. No need for newer/better gear, but just getting out, experiencing new things, and practicing is what had the biggest impact for me over this past year+. I'm at the stage where I don't need/necessarily want the newest, most expensive gear. I just want capable gear, which is what I have for what I shoot. It's not the latest or fastest, but it gets the job done. Now I'm focused more on shooting and making memories.

Sam Bennett: This one's easy - re-adopting the habit of having an 'every day carry' camera. Going to the coffee shop wasn't just about getting caffeinated; it was about getting creative. One of the biggest benefits of this is that the OM-3 has become an extension of my body - I use it so often that it is completely second nature. It has also helped me use my OM-1 differently and more efficiently - I understand that camera better now than I did before I got the OM-3.

Krummj: I’ve been printing more. But printing on the small side, 5x7. Printing is quick with the small size, and the photos look great. For shooting, I've been having fun with adapted Nikon G primes (these were made for full-frame DSLR and film Nikons). Adapted to my ZF and Z7, they work perfectly, and the images have something I like about them compared to the latest Z lenses (don't ask me what).

AndreyBess: I did several things…

1) Read all books by Bryan Peterson - they helped in several aspects
2) Started to use Canon Linear profile while doing RAW processing from my Canon RP.
3) Started to use DxO PureRaw, which saved a lot of my ISO 1600+ shots.
4) Bought Canon EF 16-35 F4 IS (used a EF-S Sigma 2.8 before) in addition to my Tamron 35-150 2.8-4.0 and Canon EF 100mm f2.0.
5) Finally started to shoot much more. It improved me very much.
6) Try to shoot as best as I can directly from my camera

Software, AI, and post‑processing changes Photo by Howard V

AI and software didn’t dominate the thread, but when they came up, readers said they quietly transformed post-processing. The focus was less on flashy effects and more on tools that removed tedious cleanup work.

Vince P: I know it's blasphemous, but the latest AI distraction, reflection removal, etc, has saved me so much time.

Maoby: The new AI features in photo editing software, such as LR, are fantastic when used intelligently and sparingly.

JaredL: Cancelling my Adobe subscription after more than a decade. I'm still getting accustomed to DxO PhotoLab, and it's been fun revisiting and re-editing photos from years ago to see the results.

icexe: Learning how to utilize Adobe Camera Raw better to do post-processing. I've learned a lot of really cool masking and lighting techniques to create just about any look I like without relying on plug-in ‘film packs’ or recipes to do it.

Community, learning, and life‑experience driven shifts Photo by Pedrin

Several readers mentioned that their biggest leap occurred when they changed how they viewed and shared their images. Printing, in particular, emerged as a surprisingly powerful habit.

fotoword: Camera club membership drives me to get out of my chair and my comfort zone to enter the various themed and open competitions in my local club. I think this challenge, along with attending meetings with like-minded individuals, is what mostly gets me motivated.

Acquiring an XT50 earlier in the year and later a Canon 45 mm F1.2 for my R8 helped make those excursions even more interesting. I'm just waiting for my Godox IT32 to arrive to elevate the excitement that photography provides. Of course, it's not about the gear, but it does assist the enthusiasm.

Pavel Vishniakov: I started going to photo workshops and master classes organized by a local photo gear chain. It also pushed me to look at the world differently and capture photos that I wouldn't have thought of myself.

fatplanediaries: 2025 was when I decided to launch myself by doing well in as many photography competitions as I could. It was a humbling experience. I found out how far I still have to go.

It's now the end of 2025, and I can look back at my 2.5-year panorama odyssey with good clarity. There are many obvious lessons to get out of the way. For one, the Dunning-Kruger effect can haunt you at any stage of your creative life. For another, don't have such an ego. I've since received critiques from some really amazing photographers on my photos, and learned about aspects of photography I'd never known before.

Pedrin: Hello, everyone. This is my very first time posting on this website. I am now totally blind, with some light and form perception remaining. I was able to go forward and still photograph for the pleasure of others to see, and for the pleasure of me going back to very basic manual. I am therefore experiencing the joy of my photography as I have throughout my whole life.

Change that brings enjoyment

Across all these stories, it's clear that the most impactful change in 2025 was anything that made it easier to shoot often and enjoy the process - whether that came from a new camera, a smarter workflow or a simple habit that stuck.

Are you interested in participating in this series? Keep watch for the next Question of the week every other Wednesday, posted as an article here on the homepage and also in the forums. We can't wait to read and share your stories.

Image: Adobe

Earlier this year, Adobe made it possible to use third-party AI models in Photoshop, but now, the reverse is also true, and the company is bringing its own tools to AI chat platforms. Adobe is integrating Photoshop, Adobe Express and Adobe Acrobat with ChatGPT, allowing users to access select Adobe tools directly in the AI-powered conversational chatbot, for free.

Adobe says the integration aims to make it easier for everyone to edit photos, design invites and posters and create professional-looking documents. Users will be able to use ChatGPT’s conversational interface to request changes, instead of hunting for the correct tool themselves. The move builds on Adobe's AI Assistants and its beta Edit Suggestions feature, which it introduced at Adobe Max as its first step in testing "agentic style" editing.

Image: Adobe

To access the apps in ChatGPT, users need to type the name of the app or select it from the plus menu. Then users type a specific request describing the change they want. For example, if someone wants to change the colors in an image, they need to type something like, "Adobe Photoshop, warm up the colors in the image." After applying the adjustment, users can click on the selection and use sliders to fine-tune the edits, similar to what they might do in Photoshop (or at least a pared-down version of it).

Image: Adobe

Photoshop in ChatGPT won't offer the full suite of features found in the desktop software or mobile app. But it will allow for adjustments to a specific part of an image, provided you can define the section you want changed. It also supports changes to global image settings such as brightness, contrast and exposure, along with creative effects like Glitch and Glow. Adobe says that those who want more complete adjustments can then transfer an image from ChatGPT into its native apps and pick up where they left off.

The Adobe ChatGPT apps are available on desktop, the web and iOS. The Adobe Express ChatGPT app can be used on Android devices, and Adobe says that support for Photoshop and Acrobat is coming soon. All of the apps are free to use, and they don't require a paid ChatGPT subscription. However, some Acrobat and Adobe Express features do require users to sign in to an Adobe account.

Press release:

Adobe Makes Creativity Accessible for Everyone with Adobe Photoshop, Adobe Express and Adobe Acrobat in ChatGPT

• Everyone can now edit with Photoshop in ChatGPT as Adobe’s category-defining creative app launches inside one of the world’s most popular conversational AI platforms
• Adobe apps for ChatGPT combine the simplicity of conversation with the power of Adobe’s industry-leading tools to make it easy for everyone to edit photos, enhance designs and transform documents without leaving ChatGPT
• The launch of Adobe apps for ChatGPT brings Adobe’s most popular creative and productivity apps – Photoshop, Adobe Express and Acrobat – to ChatGPT’s 800 million weekly users

SAN JOSE, Calif. — December 10, 2025 — Adobe (Nasdaq:ADBE) today launched Adobe Photoshop, Adobe Express and Adobe Acrobat for ChatGPT, bringing its industry-leading creative and productivity apps to the platform’s 800 million users. Adobe apps for ChatGPT build upon the company’s innovation in agentic AI, enabling everyone to easily enhance vacation photos, design event invitations and create polished, professional documents simply by describing what they want to achieve with their words. By combining the power of Adobe’s creative technology with ChatGPT’s conversational interface, Adobe apps for ChatGPT make creativity accessible for everyone.

"We’re thrilled to bring Photoshop, Adobe Express and Acrobat directly into ChatGPT, combining our creative innovations with the ease of ChatGPT to make creativity accessible for everyone," said David Wadhwani, president, digital media, Adobe. "Now hundreds of millions of people can edit with Photoshop simply by using their own words, right inside a platform that’s already part of their day-to-day."

The launch of Photoshop, Adobe Express and Acrobat for ChatGPT builds on Adobe’s ongoing innovation in conversational experiences powered by agentic AI and the Model Context Protocol (MCP). Earlier this year, Adobe launched Acrobat Studio, a destination for productivity and creativity that transforms static documents into interactive, AI-powered workspaces where people can ask questions, get insights, and easily create standout content from their PDFs. At Adobe MAX, Adobe introduced AI Assistants for Photoshop and Adobe Express that empower everyone to create using their own words and refine results using the company’s world-class tools. Adobe also previewed an upcoming AI Assistant for Adobe Firefly that will empower creators to quickly turn their ideas into finished content by working across multiple Adobe apps and beyond.

Adobe’s Top Creative and Productivity Apps Now in ChatGPT

Adobe apps for ChatGPT bring Adobe’s category-defining tools to people who may be new to its apps. The apps provide users with many popular features they need to create within the chat, where they can make conversational edits or take control using Adobe’s intuitive tools like sliders in Photoshop, to adjust image brightness or contrast.

Accessing Adobe’s apps in ChatGPT is as simple as typing the name of the app followed by an instruction. For example, to blur the background of an image with Photoshop, users can type: "Adobe Photoshop, help me blur the background of this image." ChatGPT then automatically surfaces the app and uses contextual understanding to guide the user through the action. To learn more about how to get started with Adobe apps for ChatGPT, read here.

With Adobe apps for ChatGPT, users can:

• Easily edit and uplevel images with Adobe Photoshop: Adjust a specific part of an image, fine-tune image settings like brightness, contrast and exposure, and apply creative effects like Glitch and Glow – all while preserving the quality of the image.
• Create and personalize designs with Adobe Express: Browse Adobe Express’ extensive library of professional designs to find the best one for any moment, fill in the text, replace images, animate designs and iterate on edits – all directly inside the chat and without needing to switch to another app – to create standout content for any occasion.
• Transform and organize documents with Adobe Acrobat: Edit PDFs directly in the chat, extract text or tables, organize and merge multiple files, compress files and convert them to PDF while keeping formatting and quality intact. Acrobat for ChatGPT also enables people to easily redact sensitive details.

By delivering intuitive actions in ChatGPT, Adobe is expanding access to its most popular apps, reaching new audiences where they already work. For anyone who wants the full power and precision of Adobe’s tools, it’s seamless to move from ChatGPT into Adobe’s native apps and pick up right where they left off.

Pricing and Availability

Photoshop, Adobe Express and Acrobat for ChatGPT are free to ChatGPT users globally and available starting today on ChatGPT desktop, web and iOS. Adobe Express for ChatGPT is also available on Android, with support for Photoshop and Acrobat for ChatGPT on Android coming soon.

The Tele Conversion Lens (TCL) gives X100 series photographers a 50mm equivalent focal length.
Image: Viltrox

Viltrox has announced two conversion lenses for the Fujifilm X100 series of cameras. The TCL-X100VI (Tele Conversion Lens) and WCL (Wide Conversion Lens) aim to provide greater flexibility by offering two additional fields of view from the fixed-lens cameras.

Fujifilm's X100 series cameras all feature a fixed, built-in 23mm (35mm equiv) lens. That focal length is relatively versatile, but the single option is inherently limiting. The conversion lenses give Fujifilm X100 users two additional options. The TCL results in 1.4x magnification, effectively turning the lens into a 50mm equivalent. The WCL offers a 0.8x magnification, equivalent to a 28mm lens.

The Wide Conversion Lens (WCL) results in a 28mm equivalent focal length.
Image: Viltrox

Viltrox says that both conversion lenses use professionally engineered optics to prevent any degradation in image quality or light transmission. They feature an optical design comprising five elements in four groups. The TCL benefits from two high-refractive-index elements and one extra-low-dispersion element, while the WCL offers two refractive-index elements. Both use multi-layer nano coatings to reduce vignetting. The TCL accepts filters with a 67mm filter thread, while the WCL uses 49mm filters.

Both the WCL and TCL are available in black and silver.
Image: Viltrox

The conversion lenses are easy to attach, simply screwing onto the camera's built-in lens. Viltrox explained that on fourth-generation and later devices (X100F, X100V, and X100VI), the camera will automatically detect conversion lenses and adjust the appropriate settings, including built-in distortion and vignetting correction. Both the TCL and WCL are available in black and silver and are designed to match the X100's retro look. Both are compact and lightweight, with the TCL weighing 230g (8.1oz) and the WCL 130g (4.6oz).

Fujifilm makes its own conversion lenses for the X100 series (the similarly named WCL-X100 II and TCL-X100 II), which offer the same magnification levels. They both cost $400, though. The Viltrox TCL and WCL are, in keeping with Viltrox standards, more affordable. They are available for purchase today for $189 for the TCL and $159 for the WCL.

Photo: Mitchell Clark

Nikon has announced that it's bringing nine "Imaging Recipe" color profiles inspired by popular color grading looks for its Red cinema cameras. The company says it'll let users get cinematic-looking videos straight out of camera. It's Nikon's latest announcement tied to its Red cinema brand, after it released the video-focused Nikon ZR earlier this year.

Four of them – CineBias, CineBias Offset, Film Bias Bleach Bypass and Achromic – will be familiar to Nikon users, as they've been available as Lookup Table files, or LUTs, for a while. While those are relatively subtle color modes, the newly-added ones push things a little further, which you can see below.

Unlike when Nikon released a few Red-inspired LUTs for its Z-series cameras last year, this release isn't coming in the form of standard Lookup Table files. Instead, Nikon is distributing them through its Imaging Cloud service, and they'll be applied to your H.264/H.265 videos as you record them. That means you'll only be able to use them on cameras that support Imaging Cloud, a list that includes the ZR, Zf, Z6III, Z5II and Z50II, though notably not the Z8 and Z9. That's a bit awkward, given how much effort Nikon has put into making those extremely capable video cameras.

Unlike with a standard LUT, you can't apply the looks to N-Log footage you've already shot; they have to be baked in at the time of shooting. That also means you're giving up the editing latitude you'd usually get with Log footage to gain the cinematic looks.

That likely speaks to the audience that Nikon is focusing on with these looks: not professional filmmakers trying to cut video from their Nikon mirrorless cameras together with footage from Red cinema cameras, but creators who want cinematic-looking footage without having to do a lot of editing work. That's almost certainly a bigger market, and those looking to use the Red Creative LUTs can do so with footage from the ZR, but it's still a bit disappointing that Nikon isn't taking a more open approach, especially given that Fujifilm just released a bunch of its own "Film Simulations" as more broadly compatible LUTs.

2025 Northern Lights Photographer of the Year

The Northern Lights Photographer of the Year competition has announced its 2025 winners. Hosted by travel photography blog Capture the Atlas, this marks the 8th year of the contest and highlights 25 of the most outstanding Aurora images captured over the past year.

The selected images from this year's contest showcase stunning scenes from across the Northern and Southern Hemispheres. The top 25 photographers represent 15 nationalities, with image locations ranging from Iceland and Norway to Australia and New Zealand and more. Geomagnetic activity was exceptionally high throughout the year, allowing photographers opportunities to capture Aurora Borealis and Aurora Australis in unusual locations.

The winning images are curated by Dan Zafra, editor of Capture the Atlas, with the selection based on image quality, the story behind the shot and the inspiration the photo conveys. You can see all 25 of the winning images and find tips on photographing the Northern Lights at Capture the Atlas.

Lights & Ice

Photographer: Tori Harp

Location: Aoraki/Mt Cook National Park, New Zealand

Camera gear: Sony a7R IV, Sony 20mm F1.8 G

Technical details: Sky and ice cave: F1.8, ISO 2000, 20 sec; Abseiler shot: F2.8, ISO 1250, 1/50 sec

Caption: I originally found this ice cave, called a moulin, 8 months prior to setting up this shot in Aoraki/Mount Cook National Park. Glaciers are a very dynamic environment, so I kept going back to monitor the changes of this moulin over the 8-month period. As the opening of the cave formed, I envisioned setting up a night shot with my friend abseiling down the mouth of the cave with New Zealand’s amazing starry sky in the background.

One magical night, everything finally came together! To my surprise, the Aurora Australis also lit up the sky. I managed to capture my friend’s silhouette perfectly placed in the center of the cave’s opening, and I love how the pinky tones of the aurora contrast with the icy colors of the cave. This dream shot ended up coming out better than I had originally envisioned, and I had a great night with my friends exploring the glacier!

Essence of the Arctic Night

Photographer: Giulio Cobianchi

Location: Haukland Beach, Lofoten islands

Camera gear: Nikon Z6II (astro-modified), Nikon Nikkor Z 14-24mm F2.8 S

Technical details: Panoramic of 21 shots in 2 rows:

• Sky: 10 shots, 14mm, F2.8, ISO 5000, 10 sec
• Landscape: 10 shots, 14mm, F3.5, ISO 5000, f3.5, 13 sec
• Myself: 1 shot, 14mm, F3,2, ISO 6400, 8 sec

Caption: Autumn in the Arctic is the best time to capture the “double arc” of the Milky Way and the Aurora Borealis. The nights have finally turned dark again after the endless summer days when the sun never sets. The summer Milky Way is already high in the sky shortly after sunset, and the Northern Lights return to dance across the sky in bands of pink, red, violet, and green.

During my last tour in September, I captured this 360° panoramic image at the border between Haukland and Vik Beach, where rugged mountains meet the wild Norwegian Sea. The intense Northern Lights and the bright moonlight softened the Milky Way, but the combination of all these elements in the Arctic sky felt absolutely magical — just as the Lofoten Islands always do.

Frozen Silence Beneath the Lights

Photographer: Nikki Born

Location: Riisitunturi National Park, Finland

Camera gear: Canon EOS R6, Sigma 14-24mm F2.8 DG HSM Art

Technical details: 14mm, F2.8, 10 sec

Caption: This night was truly unforgettable. Capturing the famous frozen trees of Riisitunturi beneath the Northern Lights had been a dream for years.

In March 2025, we set out to make it happen, but the weather challenged us with thick clouds all week. On our final night, we hiked into the park, hoping for a glimpse of the sky. The wind was biting, and we took shelter among the frozen trees, waiting in silence. After hours of nothing, we finally gave up and began the hike back to our cabin.

Then, just as we were about to call it a night, a break appeared in the clouds. We grabbed our gear and hurried back up the Riisitunturi Hill. The moment we reached the top, the sky burst into vivid shades of green. It was an explosion of light and wonder.

This night was the experience of a lifetime: the dream shot I had longed for and a moment that words can hardly describe. Photographing the Northern Lights demands patience and persistence, but when they finally appear, time stands still, and nature reminds you just how amazing our world can be.

Sueños en Eystrahorn

Photographer: Pablo Ruiz

Location: Eystrahorn, Iceland

Camera gear: Nikon D810, Nikon AF-S Nikkor 14-24mm F2.8G ED

Technical details: Panorama 2 rows of 8 photos:

• Sky: F2.8, ISO 6400, 6 sec
• Ground: F2.8, ISO 6400, 15 sec

Caption: Without a doubt, one of the most challenging aurora panoramas I’ve ever taken was this one at one of Iceland’s most spectacular locations.

Capturing a panorama with reflections and auroras that move so quickly is quite difficult. It was the photograph of my dreams, so I arrived in the afternoon to prepare the angles and options for the night. Clear skies and very little wind looked perfect for capturing reflections in the different pools.

Auroras were already visible in the sky during the blue hour, so I quickly headed to the spot where I had planned the composition. The wind shifted, making it difficult to capture the reflections, but the moment the sky exploded, the wind stopped, and for a few brief moments, I achieved my dream photograph. It was a great joy to witness and capture such a moment.

Twisting Turn

Photographer: Virgil Reglioni

Location: Scoresbysund, Greenland

Camera gear: Sony a7C II, Laowa 15mm F2 Zero-D

Technical details: 15mm, F2.0, ISO 2500, 1.3 sec

Caption: Behind every image lies a deliberate process — a fusion of coordination, timing, and technical precision carried out from a ship navigating some of the harshest conditions on Earth. Photographing the aurora over the ice is never about luck; it’s the result of preparation, teamwork, and experience. From the ship’s bridge to the camera deck, every movement is carefully planned to give the lights their best possible stage.

During the day, we navigated through fields of icebergs, scouting for the perfect one — a curve, a ridge, or a translucent arch to anchor the composition. Guided by how the aurora moves across the Greenlandic sky, we aligned our chosen iceberg and ship precisely, uniting earth, ice, and sky in one luminous image.

Working closely with the bridge crew, we searched for newly formed ice strong enough to hold the vessel steady. A stable platform was vital — it allowed us to capture long exposures between half a second and two seconds, every moment of stillness essential as the aurora began to dance above.

When the Northern Lights intensified, our focus shifted. We exposed for the highlights, preserving the delicate shapes of light without losing their definition. Each frame became a balance between nature’s raw power and the patience of observation.

Aurora Comet Lemmon

Photographer: Petr Horálek

Location: Skaulo, Sweden

Camera gear: Canon EOS Ra, Sigma 50mm F1.4 EX DG HSM

Technical details: F1.4, ISO 2500, 3.2 sec

Caption: The night of 24 October, 2025, was incredible. I had just moved to Sweden, where I organized an astrophotography workshop. We headed to Skaulo, where we found an incredible viewpoint over Suotojärvi Lake.

This night coincided with the C/2025 A6 (Lemmon) Comet, which was only discovered back in January 2025. The comet was so bright that we could see it with our naked eyes, even when it was very low on the horizon.

Fortunately, I had my camera with me! I photographed the comet darting through the sky beside the bright Aurora Borealis. Capturing two stunning natural phenomena in one shot was an exhilarating experience. The comet and the aurora appeared to be in a sort of dance, giving us an amazing show that I’ll remember forever.

Corona Blast Aurora Geomagnetic Storm

Photographer: Roi Levi

Location: Kirkjufell, Iceland

Camera gear: Sony a7S III (astro-modified), Sigma 14mm F1.4 DG Art

Technical details:

Caption: This image was captured during the March Equinox, as a geomagnetic storm structure brought a mesmerizing light show. A full-zenith Auroral Corona erupted overhead – powerful, bright pillars of light radiated across the sky, creating a stunning crown-light blast shape.

This rare phenomenon occurred on March 21, 2025, when a CME struck Earth, triggering a G2 geomagnetic storm. The shot is a 360° panoramic stitch of 21 frames, capturing the entire Aurora shape and a complete sky view. I used a Sigma Art fast F1.4 lens to get a fast exposure and capture the pillar structure.

Kirkjufell is one of Iceland’s most iconic mountains, and witnessing the aurora here was a one-of-a-kind experience. With the Kirkjufellsfoss waterfalls in the foreground, this image is a dynamic representation of the sweeping auroral corona.

Speechless

Photographer: Ralf Rohner

Location: Hudson Bay, Canada

Camera gear: Canon EOS R (astro-modified), Sigma 28mm F1.4 DG HSM Art

Technical details: F2, ISO 6400, 5 sec

Caption: I was flying at 35,000 feet over Hudson Bay, Canada. As a commercial pilot, night flights often test one’s patience and endurance. Confined to a narrow seat, surrounded by seemingly never-changing instruments, the pilot stares into a boundless darkness and wonders what drives him to endure such long, lonely hours. The monotony can seem endless – until suddenly, everything changes. There are rare nights when the sky rewards you for all that fatigue and isolation.

Above a silent sea of clouds, cocooned within a fragile shell of metal, the pilot witnesses something extraordinary. Curtains of light dance across the heavens, painting the darkness with vivid greens and purples. In that breathtaking moment, every struggle feels justified, and words simply fail. What I couldn’t express with words, I captured in this photograph.

The Northern Crown

Photographer: Mari Jääskeläinen

Location: Pyhäjärvi, Finland

Camera gear: Sony a7 III, Sigma 14mm F1.8 Art DG HSM

Technical details: F2, ISO 2500, 1.6 sec

Caption: I step outside and take a look at the sky above my house. It’s time. I feel the adrenaline rush in as I gather my gear and put on more warm clothes.

Just a quick drive to the lake nearby and I’m all set up for the night! During active nights, I always follow the real-time solar wind data to predict what’s yet to come. On this night, there were no significant CMEs as far as I remember. And I was perfectly fine with that, as this could be the night when I finally get the shot I’ve dreamed about for a long time.

In my mind, I imagine the Northern Lights creating a clear, bright green spiral to the northern sky, just above the trees, so the foreground would fit perfectly into the frame. I couldn’t believe my eyes when the auroral arc started taking the exact shape I had only dreamed about for so long! Perfect reminder of how beautiful these subtle auroras can be!

Neon Nightfall

Photographer: Andres Papp

Location: Türisalu, Estonia

Camera gear: Canon EOS 6D, Samyang 14mm F2.8

Technical details: F2.8, ISO 6400, 5 sec

Caption: I shot this image on a quiet, rocky beach as a strong aurora storm rolled in from the north. At first, it was just a low green arc, but it quickly erupted into vertical curtains of lime and rare magenta. To connect the sky with the foreground, I illuminated the shoreline rocks with a strong 365 nm UV light torch, which made the minerals pop and added the surreal glow you see in the image.

The challenge was balancing everything—an exposure of about 5 seconds to keep the aurora structure sharp and managing the UV spill so it didn’t look artificial. What keeps me coming back to Northern Lights photography is this mix of science and magic: you study forecasts and KP indices, but the real reward is when the sky does something unexpected, and you’re prepared to capture it in a single, colorful frame.

Gibson Steps Aurora

Photographer: Jeff Cullen

Location: Great Ocean Rd, Victoria, Australia

Camera gear: Canon EOS 5DS, Samyang 14mm F2.8

Technical details: F2.8, ISO 1000, 30 sec

Caption: I had been struggling to find the motivation to get out and shoot. The aurora was predicted, as were the clouds, but I decided to take the chance and drive the hour to this iconic destination. The cloud prediction was correct, but I still went down the 86 steps to the beach and crossed the sand to the Gog and Magog sea stacks. The clouds started to clear, and I was able to shoot some great images before the aurora died down. I packed up and had another nearby destination in mind.

Climbing back up the stairs, the beams were so big and bright in the corner of my eye! I ran back down to the beach and quickly set up my camera again. This image shows the magic that happened that night; I was absolutely amazed and astounded that such a weak aurora forecast brought me such a brilliant show.

Moral of the story: Go and shoot! There is nothing to lose, but the finest nature photos to gain.

Guardians of the Aurora

Photographer: Daniel Mickleson

Location: Taranaki, New Zealand

Camera gear: Canon EOS R5, Canon 16-35mm F2.8L II USM

Technical details: F2.8, ISO 1250, 13 sec

Caption: A rare aurora event lit the west coast of New Zealand’s North Island in vivid curtains of pink and green. In the foreground, the rock formations known as the Three Sisters stand as guardians of the shoreline, while the sacred Taranaki Maunga rises in the distance. Within Te ao Māori (the Māori worldview), such natural features are not just landscapes but ancestral presences, carrying the role of guardianship. Beneath the aurora, earth, sky, and ancestry converge in a moment both fleeting and timeless.

After capturing my first aurora during the May 2024 storm, I was hooked. Travelling several hours from my home to this special location, I hoped the forecasts would be correct. Even with a near–full moon, the powerful display shone across the sky. I could see the beams dancing overhead — a truly spectacular sight.

One Autumn Night

Photographer: Jesús Garrido

Location: Abisko, Sweden

Camera gear: Sony a1, Sony FE 14mm F1.8 GM

Technical details: F1,8, ISO 4000, 3.2 sec

Caption: The 1st of October 2025. That night, at the very moment I stepped outside my home, I somehow knew it was going to be a great one. The solar activity was looking really good, and I kept thinking that I had to find some open water to catch those reflections. Soon, the lakes would be completely frozen and covered in snow, so this felt like the right time to look for reflections before winter settled in.

I drove to a little bay of Lake Torneträsk in Abisko, a place I like because it’s usually quiet and protected from the wind. A few moments after arriving, the Northern Lights started to move slowly across the sky, and then suddenly they began to dance. Red tones rose on the southern horizon while the lake remained perfectly still, reflecting every single thing that was happening above me.

Celestial Fireworks on New Years

Photographer: Sara Aurorae

Location: The Otways, Victoria, Australia

Camera gear: Nikon Z7II, Nikon Nikkor Z 20mm F1.8 S

Technical details: Panorama: 6 Frames, F2.5, ISO 1250, 13 sec

Caption: On New Year’s Day, beneath the dark Australian sky, my friends and I were met by celestial fireworks with the Aurora Australis unfurling in a sudden, breathtaking bloom above our quiet campsite in the Otways of Victoria. Ribbons of rose, violet, and green shimmered, visible even to the naked eye, as if the universe itself had heard our resolutions for 2025 and joined in our celebration.

The spectacle arrived without warning, giving me only moments to reach for my camera. Though the foreground may be plain, I don’t mind it, as the lines of trees on the right lead your eye to the stunning light show in the sky. This photograph holds something far greater — a reminder that even in life’s simplest scenes, magic can find us when we least expect it.

Auroral Reflections

Photographer: Travis D. Amick

Location: Ketchum, Idaho, USA

Camera gear: Sony a7R IV, Sony FE 14mm F1.8 GM

Technical details: Single shot, 14mm, F1.8, ISO 2000, 8 sec

Caption: The night commenced with the eagerly anticipated arrival of a large coronal mass ejection (CME) destined to impact Earth. CMEs, a primary cause of significant aurora displays, serve as an excellent catalyst for the aurora to be observed in lower latitudes, particularly during substorms, which are brief “bursts” of heightened auroral activity.

The notification of a CME impact came ringing in much earlier than expected from SpaceWeatherLive. I was well prepared and quickly headed out to a secluded pond just north of Ketchum, Idaho. After the initial impact, time seemed to slow down, and only a faint auroral glow was present on the horizon. I was ready to throw in the towel when suddenly, there was an explosion of color and the brightest naked-eye red flares I’ve ever seen.

I ran down to the pond to get this particular shot of the vibrant red flares intertwined with the colors of the aurora reflecting off the tranquil pond. Within minutes, the substorm subsided, and the aurora once again receded to just a glow on the horizon. The aurora demands patience and meticulous planning, but it’s worth it for those fleeting moments of awe.

Hasselblad X2D II 100C | XCD 35-100mm F2.8-4 E @ 100mm | F4.0 | 1/180 sec | ISO 3200

Please download the original and view on an HDR display, where the light on the right of the subject's face is rendered more realistically.
Photo: Richard Butler

Sometimes you just know. Sometimes it's in the moment you hit the shutter, but more often I find, it's the moment the review image pops up on your screen or viewfinder: you've caught exactly the moment you wanted to. Or, perhaps something even better than you anticipated.

I always struggle with choosing my photo of the year, because I think of myself primarily as a writer who's a keen photographer, rather than as a photographer (still less, a YouTuber). Like the majority of DPReview's readers, I'm a keen amateur always pushing myself to get better. And one of the core photography skills I'm still working on is the ability to select and assess my own images. But I knew, in the moment I'd taken this one, that it was the best thing I'd shoot this year.

And I'm going to fight my inner Britishness and try not to be bashful or stumble about between self-deprecation and false modesty. I got this photo because I put in the work. There was definitely an element of good fortune and serendipity to it, but I got this photo because I made it happen.

There was definitely an element of good fortune and serendipity to it, but I got this photo because I made it happen.

I say this because I took this photo in the midst of a conversation on precisely that topic. I'd flown into London earlier that afternoon and was enjoying a pint outside my favourite pub with two of my closest friends. One of them, a former DPReview colleague, was saying how impressed he'd been with some of my recent portrait photos, the other was teasing (/haranguing) me for not being able to accept the compliment.

As we chatted, another group of people arrived and stood next to us, among them a young woman in a pink top with pink and orange hair and quite striking checkerboard trousers. It was a pretty loud outfit, so quite hard to ignore but it was also, by some strange coincidence, the same shade of pink as the wall of the intentionally Instagram-friendly cake shop opposite us.

I'd say "picture the scene" but you don't have to, as I apparently included a photo of it in another article, four years ago. This story takes place where the people are standing: the pink wall is parallel with the right-hand edge of this photo. It were a copy shop/reprographics house, back in my day.

Photo: Richard Butler

Emboldened by Andy's kind words (and with no contribution from the beers I'd drunk or the fact I was nearly hallucinating with tiredness/jet-leg), I decided to ask if she'd pose for a photo. The moment I opened my mouth I remembered that, back in the UK, I don't have an accent working in my favor, but the strength of my "your outfit matches that wall" argument and the promise that it'd only take a moment, was sufficient, regardless.

Unfortunately, and for this I am blaming the timezone change, I'd not noticed how dark it had got. My subject was very game in trying to pull exaggerated poses in front of the matching wall for me, but the light was much flatter and greyer than it'd been a few moments (hours?) ago.

I was just about to give up, when I noticed that the previous shot I'd taken had a distinct orange tinge catching my subject's outline. The interior lights of the Instagramable bakery were beginning to overwhelm the fading grey light of dusk, and even in my slow-witted state, I knew what to do next.

"Could I ask you to take a step to your right, so you're more in front of this window?" I asked, repositioning myself so that I'd be shooting from the direction of the glow. Suddenly, there was something: my subject's face bathed in orange light, with the pink wall still visible behind her, each element working with her intensely dyed hair.

Once you've found some nice light, it's so hard to resist making more use of it.

Photo: Richard Butler

Still not great, but at least one of the shots, good enough. I showed them to my subject and she smiled in response. But, more importantly, she relaxed a little. I knew I was onto something, but the familiar urge to keep shooting was being tempered by my promise that it wouldn't take long, and that I'd let her get back to her friends.

"Can I do one more? More of a head-and-shoulders?" I asked. I don't know whether the response was an attempt to engage more with the camera or to try to hear what I was saying, but my subject leaned a little further toward me. Further out into the light spilling from the window, suddenly lighting up her eyes. I hit the shutter before anything could change and hoped like hell that eye detection would do its thing.

"Omg, that looks so cool"

The image appeared on the back of the camera, given stunning vibrancy by its HDR rear panel. Pinks and oranges leaping off the screen and eyes directly connecting with the viewer. "I'm not going to get a better one than that," I concluded, immediately, and thanked my subject for her time, promising a copy of the shot as soon as I could. "Omg, that looks so cool," came back the response, when I did.

I took another couple of portraits in the cake shop's high-beam glimmer that evening, including one that my friend likes of himself (which he never does), until I felt that I'd been taking the risk of waving thousands of dollars of borrowed camera around in central London long enough.

There's a bit of a story behind all the other images I considered for this piece: stories of nice light, photos their subjects have really liked, moments of serendipity. But, particularly if you download the original and view it in HDR, this one feels like it stands out. Sometimes you just know.

Richard's favorite photos of 2025

It's partly a reflection of the cameras I've reviewed this year, but I find it interesting that three of my potential shots of the year were shot in black and white, and three are HDR photos, either out-of-camera or as after-the-fact conversion.

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Our favorite pictures from this year's Editors' photo challenges

One of the secret pleasures of being the Managing Editor of DPReview is that I get to run our monthly Editor's photo challenges. Each month, we challenge readers to show us their best photos that illustrate a new theme.

Don't tell the staff, but this is basically the best part of my job. We frequently share winning images from international photo competitions here on DPReview, but I'll put the photos submitted by members of our community up against any of them. DPReview readers may have a reputation for being pixel-peeping nerds, but behind that facade are some incredibly dedicated, master photographers.

On the pages that follow, you'll see two of the staff's favorite photos from each Editors' challenge over the past 12 months. To ensure a full year of fantastic photos, we're going all the way back to the winners of our December 2024 challenge (since the winners of our December 2025 challenge won't be announced until the very end of the year).

With that, we present our favorite Editors' challenge photos from 2025, presented in random order.

The empire of the midnight sun

Photographer: BasilG

Month: July

Challenge theme: Landscape photography

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

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

Aletch Glacier, Switzerland

Photographer: mattalatta

Month: February

Challenge theme: Winter games

Photographer's description: The genre of Adventure Photography can be quite challenging. One has to have the stamina to manage the trip while expending extra energy to carry camera gear and capture photographs. This often requires anticipating shots, running ahead and photographing as your partners move through your frame. In this photo, safety was a primary concern as we skied along a crevassed glacier with seracs hanging above us. I was in the back, waiting for my friends to create a leading line to the peak framed in the picture. Moving quickly through this section of the glacier was important, so I only had a moment to capture the frame.

Equipment: Olympus OM-D E-M1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Colors, canal, cloud

Photographer: Anders A

Month: April

Challenge theme: Red, green and blue

Photographer's description: Mum spoke enthusiastically about the vivid colors of the tulip fields in Holland. I started to wonder what they might look like from above, from a drone. This was in 2015, and drone tech was still very new and far from something everyone had. So, my tulip-loving friend Ulf and I drove the 1,000 km down to Holland on a chilly day in April 2015 and started criss-crossing the landscape. And my god, it looked fantastic! This is probably the best shot from the trip, from outside Sassenheim. The canals are used to flood the fields after harvest, to kill off germs and parasites.

Equipment: Sony a7 + Sony FE 35mm F2.8 ZA Carl Zeiss Sonnar T* + HAB Paparazzo heavy lift drone

Driving through the highlands

Photographer: JohnnyBE

Month: August

Challenge theme: Road trip

Photographer's description: This photograph was taken around 1:00 AM during an all-night road trip through the Highlands of Iceland. Experiencing and photographing such a remote place with no one else around was truly unforgettable.

This photo was taken from a drone, with the main challenge being to find the right composition to capture this epic location, while at the same time including my car for scale and perspective. The blue light worked beautifully with my exposure settings, allowing me to convey the mood of the moment, from the dark volcanoes to the distant blue sky.

Equipment: Hasselblad L3D-100C

Kings of the street

Photographer: SFStreets

Month: January

Challenge theme: B&W street

Photographer's 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

Riding on UFOs

Photographer: Dan da Lanci

Month: May

Challenge theme: Human-powered travel

Photographer's description: "Close Encounters of the Third Kind:" two bikers in their "spacy" vehicles meet in the middle of nowhere, and I found that the scene has something of the famous film directed by Steven Spielberg.

Equipment: Sony SLT-A55 + Tamron SP AF 17-50mm F/2.8 XR Di II LD Aspherical (IF)

Close encounters

Photographer: prahja

Month: November

Challenge theme: Compact camera bonanza

Photographer's description: Taken whilst on an exploratory caving expedition in Borneo in 2013 (to find, explore and survey new cave passages). The mist and formations were a good opportunity to try out a lightweight photography setup.

Equipment: Canon PowerShot G1 X

The underside of water

Photographer: Thorgnyr

Month: March

Challenge theme: Water

Photographer's description: Often during winter, Lake Thingvallarvatn freezes. The view of the ice from below can be spectacular, especially during the thaw period; the ice has broken into flakes and then froze again. This was the case when this picture was taken. I started taking pictures without the diver but felt the scale was missing. So I got my buddy to pose for me.

Equipment: Canon EOS 5D Mark III

Ho! Ho! Happy holiday little fella

Photographer: Hooyat

Month: December

Challenge theme: Happy holidays

Photographer's description: The boy was watching children lining up to take pictures with Santa Claus. Santa noticed the boy was watching him for quite a while. He was alone with his mom. Santa came over, peeked around the fence, and told them he would take a picture with the boy... free of charge and ahead of the queue. Happy holiday.

Equipment: Nikon Z6 II + Nikon Nikkor Z 24-70mm F4 S

Moonlight star trail over a wild tulip field, Blufi, Sicily

Photographer: astrodariogiannobile

Month: April

Challenge theme: Red, green and blue

Photographer's description: What is happening in Holland on this “day?" Nothing except that... we are not in the daytime, and we are not in Holland!!! Strange? Absolutely yes. We are in Sicily, of course, and what you see is a real field of wild tulips growing near the village of Blufi.

Equipment: Canon EOS 6D + Canon EF 8-15mm F4L Fisheye USM

Beach sprint

Photographer: LuMa

Month: June

Challenge theme: Chasing summer

Photographer's description: A great afternoon with the kids, family and some wonderful beach fun. I was just lying around in the shallow waters and snapping away at my kids fooling around with their games. It's always more fun when the camera is waterproof.

Equipment: Olympus Stylus Tough TG-860

Pretty big jump

Photographer: Gbeeston

Month: May

Challenge theme: Human-powered travel

Photographer's description: I built this jump with my friend over a week, and it turned out a little larger than we had imagined. The day we tried hitting it was a little muddy, so getting up to speed was a challenge. After a few run-ups, he pulled the trigger. Neither of us was expecting to get that much height off the lip!

Equipment: Canon EOS R8 + Canon EF 50mm F1.8 STM

Summer love?

Photographer: softmarmotte

Month: June

Challenge theme: Chasing summer

Photographer's description: Taken during the alpine mountain summer at a swimming lake with views over the distant glaciers. A typical scene of young people flirting and maybe falling in love. Savoie, France.

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

Day of the Dead

Photographer: JeffryzPhoto

Month: October

Challenge theme: Fall follies

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

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

Under

Photographer: Cliff Connell

Month: March

Challenge theme: Water

Photographer's description: On one of the last hot days in autumn 2011, just before our southern Australian Easter swell kicked in, I had just finished a long session of surfing some pretty big, clean waves when I decided to get back in to capture some in-water shots of the rest of the crew. Most of the shots I got that morning were pretty average, except for this one of a young guy duck diving under the closed-out section of a 5-6 foot wave. It made my day!

Equipment: Canon EOS 20D + Tamron SP AF 17-50mm F/2.8 XR Di II VC LD

Spiral spiral

Photographer: fatplanediaries

Month: September

Challenge theme: Pixels in your pocket

Photographer's description: I spent a summer with family in Europe. At the time, I only brought a prime for my camera, so I ended up using my Samsung for all other focal lengths. My camera ended up becoming my B cam, as I enjoyed smartphone photography quite a bit that vacation.

Equipment: Samsung Galaxy S10 Plus

2023 New Mexico White Sands yucca

Photographer: garyphx

Month: July

Challenge theme: Landscape photography

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

Equipment: Leica Q2 Monochrom

New Year's Eve, Mt. Hood, Oregon

Photographer: rainrunner

Month: December

Challenge theme: Happy holidays

Photographer's description: New Year's Eve at Mt Hood, Oregon, each year, if weather permits, we snow camp on New Year's Eve and watch the fireworks show at Timberline Lodge.

Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VXD

Curtain call

Photographer: findhenryb

Month: November

Challenge theme: Compact camera bonanza

Photographer's description: I would never grab a photo during a performance, but when the curtain call took place, I grabbed my camera and made this quick frame at the Paris Opera House.

Equipment: Leica D-Lux 8

On Iceland's ring road

Photographer: Phantogram

Month: August

Challenge theme: Road trip

Photographer's description: In spring this year, I was chasing the northern lights in Iceland. When the weather was not promising, I was hitting the road for a better location. However, bad weather often gives the nicest shots. This picture was made close to Djupivogur, a small town in the east fjords, with blistering winds and between rainstorms.

Equipment: Sony a7 III + Sony FE 24-105mm F4 G OSS

Balloons over Myanmar

Photographer: light_reaction

Month: September

Challenge theme: Pixels in your pocket

Photographer's description: This photo was taken while soaring above Bagan, Myanmar. This moment was guided by a UK army veteran piloting our balloon – a tradition in Bagan where British and international pilots work alongside local crews. Ballooning here is more than a visitor’s thrill: it’s a source of pride and support for the local community, with companies employing hundreds of locals and funding projects in education, health, and heritage conservation, ensuring that the ancient temples continue to inspire and sustain those who call Bagan home.

Equipment: Apple iPhone 8

Ryland Bell

Photographer: owenleve

Month: February

Challenge theme: Winter games

Photographer's description: Professional snowboarder Ryland Bell on location with Warren Miller Entertainment. This was shot in the Chugach Mountains with Points North Heli-Adventures, a heli-ski operation based out of Cordova, AK. This is a seldom-ridden line as conditions have to line up just perfectly.

Equipment: Nikon D800

Foggy fall in Norway

Photographer: hach

Month: October

Challenge theme: Fall follies

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

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

Monte Sant'Angelo di corsa

Photographer: Luigi Azzarone

Month: January

Challenge theme: B&W street

Photographer's 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

I captured this night photo of the Kiggins Theatre in Vancouver, Washington, during the annual DB Cooper conference. Adobe's Project Indigo app did a great job of rendering the photo in a way I would have expected from a DSLR or mirrorless camera.

Photo: Dale Baskin

Most years, my Gear of the Year shortlist writes itself. There are usually two or three products that clearly stand out, and the hardest part is simply narrowing it down to one.

2025 was different. We've seen some great products come through the DPReview office, and I've enjoyed using many of them, but none really inspired me in the way I expect to make the cut. In fact, I reached a point last month where I considered not even writing a Gear of the Year column this time around.

And then one day, it hit me. I picked up my iPhone to take a photo, opened Adobe's Project Indigo app, and… Shazam! I'd been racking my brain trying to think of what hardware I had enjoyed using most this year, and in a moment of mental clarity I wish I could achieve more often, the answer was staring me in the face. Literally, it was in my face as I held the phone up in front of me: the gear I enjoyed using most this year wasn't a piece of hardware, but an app.

Project Indigo is available for free (at least for now) on the iOS App Store. Adobe says it is considering an Android version as well.

We all know that smartphones can't compete with large sensor cameras when it comes to ultimate image quality or tactile experience. But they do have this sneaky ability to tag along with us wherever we go, always at the ready.

Autumn leaves cover the forest floor. Captured with Adobe's Project Indigo app.

Photo: Dale Baskin

The thing that always frustrates me about smartphone cameras isn't that they can't compete with large sensor cameras in terms of image quality – I mean, who would ever expect that they could? – but "the look." You know exactly what look I'm talking about: that over-processed, over-sharpened look with shadows pushed to within an inch of their life. It's a signature that screams "smartphone photo."

This is where Adobe's Project Indigo comes into the picture. It's a free product from Adobe Labs that promises "SLR-like" quality from your iPhone. According to Adobe, it accomplishes this using a number of techniques, including underexposing highlights more aggressively and combining more frames (up to 32) than the iPhone's native camera app. In theory, this should result in fewer blown-out highlights and less noise.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The above comparison shows the same scene captured with the Project Indigo app (left) and the iPhone's native camera app (right). The Project Indigo photo doesn't exhibit the extreme tone-mapping and pushed shadows present in the native app.

In practice, Project Indigo delivers. To my eye, photos taken with the app usually look more like a well-processed image from a mirrorless camera. The aggressive tone mapping is gone, replaced by images where highlights roll off naturally, and shadows actually look like shadows.

To achieve this, the app uses profiles specifically calibrated for each phone and camera module. That specificity is great, though it can also introduce friction; one of my few frustrations was waiting a few weeks for the Project Indigo team to release an update calibrated for the new iPhone 17 Pro Max I've been testing.

"To my eye, photos taken with the app usually look more like a well-processed image from a mirrorless camera."

The main downside to the Project Indigo app is that all this computational processing requires computational power. The app works on iPhone Pro models as far back as the 12 (and regular iPhones back to the 14 series), but it's not a tool for rapid-fire photography, typically taking 1 to 5 seconds to process a single image, depending on the model. It can also generate some serious heat; my older iPhone 14 Pro gets hot to the touch after just a few photos, and I can practically see the battery indicator get shorter as it works.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. In this set of photos, captured shortly after sunset at a lake in western Montana, the Project Indigo photo does a great job of representing the scene I saw in real life. In contrast, the iPhone's native camera app has pushed the shadows to the extreme, added blue to the sky that wasn't there, and has an over-sharpened, crunchy look.

The good news is that the iPhone 17 Pro Max, with its newer processor and better thermal management, barely seems to notice the load. It's frustrating that Project Indigo struggles on older hardware, but I appreciate that this is a proof-of-concept product; Adobe is engineering for the future, not the past.

There are also plenty of tools in the app that I haven't explored yet, including its own Night Mode, multi-frame super-resolution modes when using sensor-cropped "zoom" (such as the 2x and 8x modes on the iPhone 17 Pro), and AI noise reduction derived from Adobe Camera Raw.

This photo of a snowberry bush looks pretty close to what I would expect from a typical mirrorless camera.

Photo: Dale Baskin

If it sounds like I haven't thoroughly tested Project Indigo, it's because I haven't. I've been using it for several months, not because I planned to review it, but because I genuinely love the natural-looking photos it produces.

It made me enjoy taking photos with my phone again, and that alone is enough to earn it my Gear of the Year.

Adobe says it's exploring future directions for Project Indigo, including an Android version, a high-quality portrait mode with more control and higher quality than native apps, and even video recording with computational video features. I'm excited to see where Adobe goes with this, but even if it just stays as it is – a tool that lets me take nicer, more natural photos on the device I already have in my pocket – I'm a fan.