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Image: Canon

Happy Friday, folks. This week, Canon has reintroduced new firmware for the EOS R1 and R5 II. It brings new features and bug fixes to both models. Additionally, Fujifilm has announced new firmware for seven cameras that offer minor updates and fixes. Without further ado, let's dive in.

Canon Image: Canon

Canon initially released firmware for the R1 and R5 II last week. Those updates came at the same time as new firmware for a list of other models, but Canon had to pull the R1 and R5 II upgrades after discovering an error. It's fixed that error, and the firmware is again ready for download. If you downloaded and installed the pulled version, make sure to update to the one released on July 24 (version numbers below) to avoid any potential issues.

Canon EOS R5 II Ver 1.1.1

There are quite a few updates for the R5 II. It adds automatic flicker detection at 100 or 120Hz when using Live View and improves image stabilization control with lenses compatible with Peripheral Coordinated Control. Sports photographers will benefit from the option to expand Servo AF to better focus on subjects behind nets, and it promises improved AF tracking during video with difficult-to-focus subjects.

You can also now set the number of shots captured in pre-continuous shooting mode. And, it adds the ability to turn on Exposure Simulation when using a flash unit.

Additionally, Ver 1.1.1 adds compatibility with CFexpress cards up to 8TB. Canon does note that cards larger than 2TB cannot be used for updating firmware, though. Plus, like the other recent Canon firmware updates, it enables firmware updates when the camera is connected to the internet.

If you previously downloaded Ver 1.1.0, this update fixes the two potential issues associated with that version.

See all changes and download the R5 II firmware Ver 1.1.1 here.

Canon EOS R1 Ver 1.1.2 Image: Canon

The EOS R1 shares most of the same updates as the R5 II. That includes automatic flicker detection at 100 or 120Hz when using Live View, internet-based firmware updates, the option to expand Servo AF to improve focus on subjects behind nets and improved AF tracking during video capture with difficult-to-focus subjects. It also adds compatibility with 8TB CFexpress cards and Exposure Simulation with flash units.

The R1 gets the added benefit of Panning Assist, which applies image stabilization and subject blur correction during exposure when panning with compatible lenses.

See all changes and download the R1 firmware Ver 1.1.2 here.

Fujifilm Image: Fujifilm

Fujifilm released minor firmware updates for the X-T5, X-Z20, X-T50, X-M5, X100VI, GFX100RF and X half. All seven of those cameras now have enhanced security for wireless communication and some small updates to menu options. The X half firmware fixes a rare bug that caused the camera to freeze when the power is turned off and on.

See details and download Fujifilm X-T5 Ver 4.30 here.

See details and download Fujifilm X-S20 Ver 3.30 here.

See details and download Fujifilm X-T50 Ver 1.30 here.

See details and download Fujiifilm X-M5 Ver 1.20 here.

See details and download Fujifilm X100VI Ver 1.30 here.

See details and download Fujifilm GFX100RF Ver 1.10 here.

See details and download Fujifilm X half Ver 1.20 here.

Viltrox Image: Viltrox Viltrox AF 28mm F4.5 FE lens Ver 1.07

Finally, Viltrox released an update for the E-mount version of its 28mm F4.5 lens. It's a small change with limited detail, simply saying it "fixed known issues."

See details and download firmware Ver 1.07 here.

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After Sony's surprise announcement of the RX1R III, the latest iteration of its full-frame photographers' compact, we had a lot of questions that we knew could only be answered by getting hands-on time with it. Now that we've tested it in our studio and spent time shooting with it in a variety of situations, we have answers.

We're still at work on our in-depth written review, but we've covered the essentials of its image quality, autofocus performance and, of course, price, in our video review, which you can watch now.

Be sure to stay tuned for our full sample gallery and more analysis, and check out the DSC-RX1R III in our studio scene to see how its sensor and lens perform.

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

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

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

Studio scene

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

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

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

A closer look at the lens

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

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

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

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

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

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

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

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

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

Learn technique and composition (25% of feedback)

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

Photo: Dale Baskin

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

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

"Every photo requires light. Understand good light."

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

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

Focus on mindset and philosophy (22% of feedback)

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

Photo: Dale Baskin

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

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

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

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

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

"Don't fall prey to GAS."

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

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

Learn and practice (18% of feedback)

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

Photo: Dale Baskin

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

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

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

Post-processing (6% of feedback)

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

Screen capture: Mike Tomkins

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

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

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

Tell us what you think

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

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

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

Photo: Abby Ferguson

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

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

The dangers of the beach for your camera

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

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

Photo: Abby Ferguson

Sand is the enemy

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

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

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

Photo: Abby Ferguson

Salt water is also problematic

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

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

How to keep your camera safe at the beach

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

Don't set your camera down

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

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

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

Photo: Mitchell Clark

Don't change lenses on the beach

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

Choose the right lens

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

Keep your hands clean

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

Photo: Abby Ferguson Stay away from waves

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

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

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

Photo: Abby Ferguson

Take time to clean your gear afterwards

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

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

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

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

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

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

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

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

Winners of the 2025 Flow Photo Contest presented by Kodak

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

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

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

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

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

Grand Prize Winner: Water

Photographer: Érico Hiller

Instagram: @ericohiller

Category: Water

Photo location: Turmi, Ethiopia

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

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

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

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

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

Finalist: Water

Photographer: Jorgito Rivera

Instagram: @jorgitorivera

Image title: Beneath the Lineup

Category: Water

Photo location: Teahupo'o, Tahiti, French Polynesia

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

Finalist: Water

Photographer: Mohammed Rimon

Instagram: @mohammedrimon

Image title: Carrying Date Juice

Category: Water

Photo location: Bogura, Rajshahi, Bangladesh

Grand Prize Winner: Human

Photographer: Saurabh Narang

Instagram: @_saurabhnarang

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

Category: Human

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

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

Finalist: Human

Photographer: Zay Yar Lin

Instagram: @zayyarlin84

Image title: Golden Moments in the Corn House

Category: Human

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

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

Finalist: Human

Photographer: Pyae Phyo Thet Paing

Instagram: @pyae_phyo_thet_paing

Image title: The Fishing Boys

Category: Human

Photo location: Inle Lake, Shan State, Myanmar

Grand Prize Winner: Travel

Photographer: Evan Wang

Instagram: @evanwongphoto

Image title: Best View in Town

Category: Travel

Photo location: Squamish, British Columbia

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

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

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

Finalist: Travel

Photographer: Luba Hristova

Instagram: @lubahristova

Image title: Volcán de Fuego

Category: Travel

Photo location: Volcán de Fuego, Chimaltenango Department, Guatemala

Finalist: Travel

Photographer: Aidan Doyle

Instagram: @fotosaidan

Image title: Fun and Games

Category: Travel

Photo location: Comuna 13, Medellín, Colombia

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

Grand Prize Winner: Film

Photographer: Jacob Paley

Instagram: @jacobpaley

Image title: Eyes on the Palisades Fire

Category: Film

Photo location: Santa Monica, California

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

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

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

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

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

Finalist: Film

Photographer: Ben Dickson

Instagram: @shot.point.blank

Image title: Grind

Category: Film

Photo location: Newcastle, New South Wales, Australia

Finalist: Film

Photographer: L . Chaussée

Instagram: @l.chaussee

Image title: Monument Valley

Category: Film

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

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

Grand Prize Winner: Animal

Photographer: Michele du Plooy

Instagram: @michele.d.p

Image title: Once in a Lifetime

Category: Animal

Photo location: Magdalena Bay, Baja California Sur, Mexico

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

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

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

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

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

Finalist: Animal

Photographer: Gabriel Jensen

Instagram: @shallowseasgallery

Image title: Everything's A-Ok

Category: Animal

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

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

Finalist: Animal

Photographer: Bianca Lewallen

Instagram: @roamtobewild

Image title: Eye Contact

Category: Animal

Photo location: Tiputa Pass, Rangiroa, French Polynesia

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Updated July 23 2025

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

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

Our picks:

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

Best fixed lens camera for patient people: Fujifilm X100VI

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

Image: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

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

Click here to read our review of the Fujifilm X100VI

Click here to see the Fujifilm X100VI studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The full-frame 35mm option: Sony DSC-RX1R III

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

Photo: Richard Butler

Buy now:

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

• Excellent image quality
• Genuinely small
• Very responsive

What we don't:

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

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

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

What about larger formats?

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

Best pocketable fixed lens camera: Ricoh GR III

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

Buy now:

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

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

What we don't:

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

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

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

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

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

Click here to read our review of the Ricoh GR III

Click here to see the Ricoh GR III studio scene

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

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

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

Buy now:

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

• Focus rather unreliable
• Touchscreens are laggy
• Expensive

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

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

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

Click here to read our review of the Fujifilm X half

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

Click here to read our review of the Leica Q3 43

Click here to see the Leica Q3 43 studio scene

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

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