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Less than a week ago, Ricoh announced the GR IV, the next iteration of its highly popular compact line. Now, six years after its launch, Ricoh has discontinued the predecessor, the GR III.

The move shouldn't come as much of a surprise, since when Ricoh initially teased the GR IV earlier this spring, it also said that production of the GR III would end in July 2025. That's now official, as the Ricoh GR III is listed as discontinued on the Ricoh Japan website as well as at B&H. The Ricoh US site and other retailers still have the camera marked as backordered at the time of writing, however.

Even though Ricoh had announced its plans, it still may be a disappointment to those hoping to pick up the GR III at a discounted price. That is, after all, what happened with the last changing of the guard: when Ricoh launched the GR III in 2019, the GR II got a price cut. At that time, the company was likely selling through existing stock, though. The GR III, on the other hand, has been backordered since roughly the beginning of 2024, suggesting there is much less stock available.

The GR IIIx is still available, as there is currently no replacement for it. Ricoh also said in its May teaser that it will continue to produce and market the GR IIIx for now. Unfortunately, that device is also listed as out of stock, so while it isn't discontinued, getting your hands on one may not be straightforward. Likewise, Adorama has the GR III Street Edition listed, though also on backorder.

Image: Canon

Retro compact cameras are a hot ticket item at the moment. Some of these pocketable devices have gone viral on social media, driving up interest and demand, leading to steep prices. Many used to sell for $5 at garage sales, but now have seen prices of $500 or more on the secondhand market. While they have their appeal, most retro point-and-shoots are running on borrowed time.

Cameras have limited lifespans Many things can break on older cameras, especially if they aren't stored or cared for properly. In this case, the battery compartment of this compact film camera is corroded.
Image: delihayat / iStock / Getty Images Plus via Getty Images

Every electronic device has a limited lifespan, and cameras are no different. Electronic components do eventually fail. Capacitors, flexible flat cables and LCD screens are common points of failure on compact cameras. The LCD may go dim, lose segments or flat out stop working. Flex cables like those used for moving lens assemblies can crack and disconnect. Additionally, moving components like sliding lens covers, pop-up flashes, or even shutter buttons can all develop issues and break with repeated use.

Most compact cameras were designed to last between 3 and 7 years. Some are able to reach 10 years with gentle use. The issue here is that many of the popular models came out in the early 2000s or 2010s, meaning they are now well beyond their expected service life. Making matters worse, if you're buying a used camera on eBay, you have no clue how it was handled before you get your hands on it. It may not have had the careful treatment that would allow it to have a longer lifespan.

Many compacts aren't repairable Photo: vavlt / iStock / Getty Images Plus via Getty Images

You may think that a broken camera is just something that could be repaired. Unfortunately, it's rare for manufacturers to provide service or spare parts for devices that are more than 5 to 10 years old (and that's even assuming the company that made the camera is still around). That's even more true for consumer-level devices like point-and-shoot cameras. That means you can't send the camera to the brand for repairs, and repair businesses won't have spare parts.

Beyond being outside their service window, compact cameras are, as the name suggests, designed to be very small. To do that, companies created densely packed and non-modular builds. Replacing an LCD screen, then, isn't as simple as just popping the old one off and replacing it. It generally involves a complete disassembly. Such a repair job requires highly specialized skills, lots of time and parts that were not meant to be serviced by a consumer or general repair tech.

As an example, I was at a local camera repair shop recently and saw someone bring in two point-and-shoots that weren't working. One would turn on but the LCD didn't work, and the other wouldn't turn on despite the person replacing the AA batteries. The repair tech looked at both cameras, but pretty quickly said that they weren't repairable and were essentially paperweights. Once the customer left, they told me that people looking for compact camera repairs is a very common occurrence these days, but that most of the time, they can't be fixed.

Don't forget obsolete accessories Older memory cards, like the MMC on the left, can be hard to find.
Image: Multicherry, CC BY-SA 4.0, via Wikimedia Commons

Even if you picked up a camera in fantastic working order, you also need to consider that some accessories may be obsolete. For example, some older point-and-shoots may use obscure memory card formats that are difficult or impossible to find. Finding a card reader for them could be just as tough. Likewise, it may be challenging or impossible to source batteries or battery chargers.

Without those items, your camera won't be functional. As a result, it's important to look at what batteries, chargers, memory cards or other accessories are necessary to use the camera.

Keep in mind longevity when buying

Old compact cameras can be a nice change of pace from today's highly technical and precise cameras or the overly processed images from smartphones. However, they can also be a risky purchase for the above reasons. If you're picking one up for $5 to $20, that's a lot different than $500, of course. But you may not want to pay a significant bit of money for a device that is already long past its predicted lifespan and could be nothing more than an artifact in a short amount of time.

The August Editors' photo challenge

The theme for our August Editors' photo challenge was "Road Trip," and we asked you to share your favorite moments on the open highway or road trip adventure.

You took us on a wild ride, with photos from across the globe, ranging from the vast expanse of the Arabian Peninsula to a frozen Mongolian lake. Each image is a testament to the spirit of adventure that fueled your journeys. As usual, we were overwhelmed with great photos – many more than we can present here. Our favorites, showcasing a diverse range of vision and talent, are presented in random order.

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

Avenue de Baobab in Madagascar

Photographer: Kjeld Olesen

Photographer's statement: Traveling around Madagascar, most people make a stop at Avenue de Baobab to take in the scenery of majestic baobabs lining the dirt road between Morondava and Tsingy De Bemaraha National Park.

Going in 2001, this was our first trip with a digital SLR camera, the Canon D30, with its 3 megapixel sensor, which was considered fantastic at the time, along with a voluminous IBM 340 MB Micro CF drive and a Minds@Work 6 GB DigitalWallet, allowing for some 2000 images to be stored – comparable to the usual 1800 images from 50 rolls of Kodachome. It is fun to see how much more detail and clarity can be extracted from those old Raw files using modern software.

Equipment: Canon EOS D30 + Canon EF 28-105mm f/3.5-4.5 II USM

Heading into the storm

Photographer: LokeshS

Photographer's statement: Storm clouds brew overhead as the straight road to Leh, India, stretches across the wind-swept, barren land and disappears into the horizon. This picture was taken a few kilometers before the confluence of the Indus and Zanskar rivers. Rain had stopped, though angry clouds gathered overhead for another assault on the land. Having seen numerous pictures of the Leh highway with an empty road stretching into the horizon, I too was inclined to take one. I purposely kept the BRO tents in the frame to highlight their presence amidst the tough conditions and desolation of the landscape.

Equipment: Canon PowerShot G1 X Mark II

Making his own road

Photographer: Nilesh Trivedi

Photographer's statement: An intrepid explorer gamely finding his way through the majestic dunes of the Rub Al Khali (or The Empty Quarter), one of the most desolate places on the planet.

Equipment: Canon EOS 70D + Sigma 18-250mm F3.5-6.3 DC OS HSM

Driving on frozen Lake Khovsgol

Photographer: SemK

Photographer's statement: In 2012, I traveled to the Northern part of Mongolia, to Khovsgol Lake, to see the Mongolia Winter festival. Crossing the lake was very strange because it was a very silent drive, and wherever we looked, all we saw was ice, snow and no signs or anything to read. This picture was taken when we stopped for a break while crossing the lake.

Equipment: Pentax K-5 + Pentax smc DA 18-250mm F3.5-6.3

Driving the S-bend

Photographer: Jill Hancock

Photographer's statement: We were on a road and rail trip through China and visited the Rainbow Mountains, where you get around by bus. Here we were looking down on the road as it wound its way around the mountains as a bus drove along.

Road dogs, Hot Springs, SD

Photographer: jaberg

Photographer's statement: Gigi and I waiting for pack member JP. She’s provisioning. Dinner will be thick steaks cooked over the fire, but we have another hour to our destination and camp yet to make. Day ten or so of this trip. I’m loving it, but it’s taking its toll.

Equipment: Apple iPhone 5s

Equipment: Canon EOS R6 Mark II

High Atlas road trip

Photographer: Mark B Willey

Photographer's statement: The windy road up and over the High Atlas Mountains in Morocco, this stitch panorama was taken on the day of the disastrous 2023 earthquake and near its epicenter. Fortunately, we were out in the Sahara Desert when it hit just before midnight!

Equipment: Nikon D500 + Nikon AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR

The storm

Photographer: Andreas Glindemann

Photographer's statement: On a road trip close to Jasper Forest National Park in Arizona, we saw this pick-up perfectly fitting the landscape. Will the road guide it away from the storm? Probably.

Equipment: Olympus OM-D E-M1 + Olympus M.Zuiko Digital ED 12mm 1:2

Togwotee Pass highway

Photographer: McFrost69

Photographer's statement: A mid-October 2023 morning view of the Grand Teton as seen from just below the Togwotee Pass Lodge on US Highway 26-287 between Dubois and Moran, Wyoming. It was the beginning of my road trip down to Utah to see the annular eclipse of the Sun that month.

Equipment: Canon EOS 90D + Canon EF 70-200mm F4L USM

Scotland backroads

Photographer: poppyjk

Photographer's statement: My wife and I did a 24-day road trip through Ireland, Scotland and England. Poignant because her ancestors immigrated to the US from Scotland, and mine from Ireland. Both of us felt deep-rooted emotional connections. Close to Glencoe in Scotland, this flock of Scottish Blackface sheep delayed our driving for 45 minutes. Two Border Collies were tending the flock, but had no urgency to herd them off the road.

Equipment: Canon EOS 30D + Canon RF 24-105mm F4L IS USM

Where the pavement ends

Photographer: Star Geezer

Photographer's statement: One of a dozen glacial lakes my wife and I canoed and tent camped during a 5700-mile road trip covering over 20 states. This lake, about 10 miles from the Canadian Border, was one of over 30 lakes and a dozen rivers we paddled. This road trip celebrated our 43rd wedding anniversary in 2014. At the time, we were both in our late 60s, and one of dozens we took together over 50 years. Life's too short, go out and do something!

Equipment: Nikon D800 + Nikon AF-S Nikkor 14-24mm f/2.8G ED

Box of rain

Photographer: MCHammer

Photographer's statement: I was heading home across the Snake River Plain in Idaho when this rainbow appeared across the road. I couldn't get the entire scene into one frame, so I took six shots and merged them as a panorama in Photoshop. I also corrected the perspective as much as I was able.

Equipment: Canon PowerShot G7

Heading home after a long day

Photographer: WSmith_798

Photographer's statement: My husband and I were visiting Yellowstone National Park. At the end of one day, we were heading back to our campsite in stop-and-go traffic when a bison cut in line in front of us with such ease we wondered if it was his routine. Captured through the windshield with my first DSLR, a Canon 70D, and a Canon EF-S 15-85mm lens.

Equipment: Canon EOS 70D + Canon EF-S 15-85mm f/3.5-5.6 IS USM

Mongolia

Photographer: JeffryzPhoto

Photographer's statement: While stopping to hit the outhouse, we saw this car out of gas at a tiny gas station in the middle of nowhere in Western Mongolia. (Everything seems to be in the middle of nowhere outside the capital city of Ulanbaatar, where half the population resides.) They were waiting to fill up, and the car wouldn't start when the one in front of it pulled away.

Equipment: iPhone 15 Pro Max

Driving through the highlands

Photographer: JohnnyBE

Photographer's statement: 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

On our way to Monument Valley

Photographer: IFRPilot

Photographer's statement: This is the first time we visited Monument Valley. Even before arriving at the park, we saw impressive formations of rocks. It was also nice to meet some of the local people there.

Equipment: Sony a7R + Sony FE 24-70mm F4 ZA OSS Carl Zeiss Vario Tessar T*

On Iceland's ring road

Photographer: Phantogram

Photographer's statement: 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

Way up to the Col du Lautaret

Photographer: alexolph

Photographer's statement: Beautiful scenery in the French Alps with the majestic Ecrins massif in the background. Bicycle trip with a dear friend heading to Col du Galibier. Panorama composed of six single images using ptGUI and Lightroom post-processing.

Equipment: Ricoh GR III

Nepal van Java

Photographer: Myles Baker

Photographer's statement: Every year, my wife's extended family goes on a road trip somewhere in Indonesia. I hadn't been able to go for the last two years due to work, but I was able to make this trip. We rented a bus (complete with mini-bar & karaoke, because, why not) and headed from Jakarta to Yogyakarta, taking in sites like Borobudur & Prambanan. This photo of a few of the cousins was taken on a side trip to Nepal van Java, a small mountain village near Magelang, Jawa Timur.

Equipment: Canon EOS R8 + Canon RF 24-105mm F4L IS USM

On cue, a red convertible

Photographer: Ranger 9

Photographer's statement: It was a hot, hazy August day, and I had driven up the old Lincoln Highway route through Harrison County, Iowa, to climb the steep, grassy trail up the bluffs to the Murray Hill Scenic Overlook. At the top, it was quiet except for the wind; I was possibly the only human within half a mile. The panorama of the Missouri River valley spread out at my feet, fields dappled by clouds, a winding asphalt road directly below me.

Looking down at the scene, I thought: "This is almost too perfect. All it needs is a red convertible." I was pondering the scene when I heard the hum of tires, looked down, and saw... a red convertible. The brake lights blinked on for an instant as it slowed for the sharp left-hand curve. I had just enough time to drag the camera to my eye and make one shot.

Equipment: Panasonic Lumix DMC-G1 + Olympus M.Zuiko Digital 45mm F1.8

When you use DPReview links to buy products, the site may earn a commission. Canon EOS R7 | Sigma 12mm F1.4 DC | F1.4 | 1/2000 sec | ISO 100

Earlier this week, Sigma announced the 12mm F1.4 DC, an ultra-wide prime lens for APS-C systems. We were able to spend some time with it pre-launch to get some sample images in a variety of situations.

One note about these images: while we typically process our lens sample galleries in Capture One to get maximum control over lens corrections, we had to process the samples for this lens using Adobe Camera Raw to apply the distortion correction profile. We've taken care to match the settings as closely as possible.

See the 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; 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: Ricoh

This week, Ricoh announced the GR IV, the latest in its lineup of photographers' compact cameras with an 18.3mm (28mm equiv) lens and APS-C sensor. The company seems to have made an attempt at addressing several concerns raised by GR III users, including the camera's proclivity to get dust on its sensor, its battery life, lack of flash and control setup.

Dale Baskin, Mitchell Clark and Mykim Dang sat down to talk about the camera in more depth than we could fit into our initial impressions video. You can watch the discussion below.

From Left to right, the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold.
Images: Google

Earlier this week, Google announced its latest Pixel phone lineup, unveiling the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. With any new lineup, there are likely questions about how the devices stack up against each other or how they compare to the old models. While we covered the basics of the Pixel 10 series at the time of launch, here we'll be diving into a more detailed look at what makes the devices stand apart regarding cameras, video features and special shooting modes.

Camera differences Image: Google

The two 10 Pro phones and the 10 Pro Fold kept all of the same camera specs as the 9 Pro devices, so there's nothing terribly exciting there. The Pixel 10, on the other hand, has some notable changes. It added a telephoto camera to a line of devices that traditionally had only two (the wide, main camera and ultrawide). Unfortunately, the addition of that third camera resulted in downgrades (on paper) in the other two.

The primary camera on the Pixel 10 isn't a substantial change resolution wise, but that's not the story with sensor size. The Pixel 9 featured a Type 1/1.3 (72mm²) sensor, while the Pixel 10 uses a Type 1/2 (30.7mm²). That's quite a notable downgrade, and it is now the same as the primary camera in the Pixel 9a, Google's budget device (which also used a smaller sensor than its predecessor). We'll have to do some additional testing on the cameras to see what the impact is in the real world, but it certainly doesn't look good on paper.

The ultrawide camera is also significantly impacted, going from 48MP to 13MP. It also features a smaller sensor and a smaller aperture. The newly added telephoto camera on the Pixel 10 is a little lackluster compared to the non-folding Pro models.

We asked Google Gemini why Google says the Pixel 9 can take 50MP photos, but we can't find a setting to use that resolution (the same thing the Pixel 10 does), and this was its response.
Screenshot: Dale Baskin

It's also worth noting that, while Google's spec sheet says the Pixel 10's main camera uses a 48MP sensor, users will only be able to get binned 12MP images from it. This was also the case with the Pixel 9. The Pro model, meanwhile, offers a setting that allows users to select between 12MP and 50MP outputs, but this option isn't available for the standard Pixel.

Camera Spec Pixel 9 Pixel 10 Pixel 10 Pro / Pro XL Pixel 10 Pro Fold Wide (main) Sensor

50MP

Type 1/1.3 (72mm²) Octa PD

48MP

Type 1/2 (30.7mm²) Quad PD

50MP

Type 1/1.3 (72mm²) Octa PD

48MP

Type 1/2 (30.7mm²) Quad PD

Aperture F1.68 F1.7 F1.68 F1.7 Field of view 82° 82° 82° 82° Ultrawide Sensor

48MP

Type 1/2.55 (23mm²) Quad PD

13MP

Type 1/3.1 (16.1mm²) Quad PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.5MP

Type 1/3.4 (13mm²) Dual PD

Aperture F1.7 F2.2 F1.7 F2.2 Field of view 123° 120° 123° 127° Telephoto Sensor N/A

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

Aperture N/A F3.1 F2.8 F3.1 Field of view N/A 23° 22° 23° Front camera Sensor

10.5MP

Type 1/3.1 (13mm²) Dual PD

10.5MP

Type 1/3.1 (13mm²) Dual PD

42MP

Type 1/2.94 (17mm²) Dual PD

10MP

Type 1/3.4 (13mm²) Dual PD

Aperture F2.2 F2.2 F2.2 F2.2 Field of view 95° 95° 103° 87°

The downgrades might make a little more sense when you consider that the telephoto camera used to be the main differentiator between the base and pro model cameras. After all, the Pixel 9 shared the same wide and ultrawide camera specs as the Pixel 9 Pro. If that stayed consistent with the addition of the telephoto camera, Google would have three devices that were essentially the same in terms of rear cameras.

The other difference between the Pixel 10 and 10 Pro cameras comes from the selfie camera. The 10 Pro and 10 Pro XL feature a higher-resolution selfie camera than the Pixel 10, so if you want really sharp selfies, you'll be better off with the Pro models.

The 10 Pro Fold uses the same main and telephoto cameras as the Pixel 10. The ultrawide camera, though, features a slightly lower resolution and smaller sensor than the Pixel 10.

Video features Video Spec Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Rear video max res/FPS

4K at 24/30/60 fps

1080p at 24/30/60 fps

4K at 24/30/60 fps

1080p at 24/30/60 fps

8K at 30 fps*

4K at 24/30/60 fps

1080p at 24/30/60 fps

4K at 24/30/60 fps

1080p at 24/30/60 fps

Slow-motion video Up to 240 fps (1080p) Up to 240 fps (1080p) Up to 240 fps (1080p) Up to 240 fps (1080p) HDR 10-bit HDR 10-bit HDR 10-bit HDR 10-bit HDR Supported formats H.265 (HEVC), H.264 (AVC) H.265 (HEVC), H.264 (AVC), AV1, VP9 H.265 (HEVC), H.264 (AVC), AV1, VP9 H.265 (HEVC), H.264 (AVC), AV1, VP9 Stabilization OIS, Fused video stabilization, Cinematic Pan, Locked, Active OIS, Fused video stabilization, Cinematic Pan, Locked, Active OIS, Fused video stabilization, Cinematic Pan, Locked, Active, Video Boost OIS, Fused video stabilization, Cinematic Pan, Locked, Active, Video Boost Video zoom Digital up to 7x Digital up to 20x 'Super Res Zoom' up to 20x 'Super Res Zoom' up to 20x

On the video side of things, there aren't any substantial changes from the previous generation. Most of the settings and modes remain the same. Google promises some improvements, however. For example, it says it enhanced the optical and AI-based stabilization in the Pro models, even going so far as to say it's the best of any smartphone (unsurprisingly). Google also says it improved Night Sight (the video mode for recording at night) performance.

Naturally, the Pro models promise better video capabilities than the base Pixel 10. It's important to note, however, that the 8K video isn't native 8K. It relies on Google's Video Boost setting that uses cloud-based AI processing to upscale 4K footage to 8K. It also promises to improve lighting, color, dynamic range and stabilization while reducing noise and grain.

* - 4K footage upscaled to 8K via post-processing

Shooting modes and settings Mode / Setting Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Zoom settings 0.5x, 1x, 2x 0.6x, 1x, 5x, 10x 0.5x, 1x, 2x, 5x, 10x 0.5x, 1x, 5x, 10x Super Res Zoom Up to 8X Up to 20x Up to 100x Up to 20x Pro Controls No No Yes Yes High-Res (up to 50MP) No No Yes Yes Hi-Res Portrait Mode (up to 50MP) No No Yes Yes Auto Unblur No Yes Yes Yes Auto Best Take No Yes Yes Yes A comparison of the camera modes and settings for still photos. There are a ton of other modes not listed here that are available on all of the models.

The camera hardware in phones is just part of the equation. What modes and settings they offer also make a difference in usability and quality. The Pixel 10 only gains a few settings over the Pixel 9. Naturally, the Pixel 10 provides more optical zoom options, since there is a telephoto lens.

Beyond updated camera array are some software changes, including Auto Best Take and Auto Unblur. The 9 offered Best Take and Unblur settings, but both were accessed during the editing process. Now, Google can handle those tasks automatically using Gemini AI. Auto Best Take is able to automatically find and combine group photos, selecting the best version of each person for the combined photo. Auto Unblur uses AI to detect and sharpen blurry photos, whether the subject is a face or not.

The Pixel 10 Pro.
Image: Google

There are a few differences between the Pro and base models as well. The Pro devices offer Pro Controls, or the ability to adjust settings like ISO, shutter speed, white balance and focus in photo and video settings. The base models do not provide Pro Controls, so if you want to manually set your exposure, you'll need a third-party app.

As already discussed, the Pro models offer High-Res modes (standard images and Portrait Mode) for producing images up to 50MP, whereas the Pixel 9 and 10 do not and top out at binned 12MP images as a result. Finally, the 10 Pro and 10 Pro XL offer extra reach from the Super Res Zoom, which uses a combination of cropping and generative AI to, in theory, maintain image quality even when zooming up to 100x. The Pro Fold and Pixel 10 only support Super Res Zoom up to 20x, while the Pixel 9 topped out at 8x.

Mode / Setting Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Video Boost No No Yes Yes Pro Controls No No Yes Yes Night Sight Video No No Yes Yes A comparison of video-specific modes and settings. There are a ton of other modes not listed here that are available on all of the models.

In terms of video settings, there are a few notable differences as well. The Pixel 9 and 10 lack Google's Video Boost mode, while all the Pro models provide access to the AI tool. The Pro models also offer manual controls, just as in photo mode. Finally, only the Pro models offer Night Sight video, Google's low-light video mode that uses AI and multi-frame computational photography techniques. The mode promises less noise, increased brightness and more shadow detail while maintaining natural colors and contrast.

Choose your device From left to right: Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold
Images: Google

For most people, there are plenty of other considerations when choosing a phone beyond the cameras alone. However, if that's a deciding factor for you, the information above should help clarify what the differences are between the Pixel 10 series and what is different from the Pixel 9 series.

To summarize, there are very minimal camera updates when comparing the three devices in the Pixel 9 Pro lineup to the Pixel 10 Pro lineup. Some processor upgrades promise to improve various photography and videography features, but camera-specific specs remain the same. The Pixel 10 does have substantial camera changes, but they may not be to everyone's liking.

The differences between the base model and Pro devices, at least in terms of cameras, primarily come down to higher image and video quality and more control on the Pro devices.

World Photography Day mini-challenge

For World Photography Day on August 19, we gave our readers a simple mission: go out and photograph the world around you, wherever you happen to be, all on the same day. Mission accomplished.

The DPReview community is filled with incredibly talented photographers, as we've learned from our Editors' Photo Challenges. This time was no different; you all delivered some truly stunning work. While we can't feature every entry here, we encourage you to check out the forum thread to see all the great photos your fellow readers submitted.

You'll find our editors' favorite photos on the following pages, presented in no particular order. And if your photo wasn't chosen, don't be discouraged. We'll be holding more spontaneous mini challenges in the future, so keep an eye out!

Birds and blossoms

Using a Nikon D7100, Larry Khan captured this image of a juvenile Ruby Topaz hummingbird as it fed from a Chaconia flower in Trinidad and Tobago.

Ominous clouds

When Ryan Schwartz saw our call for photos, he went outside to shoot the first thing he came across, gravitating toward the clouds as he likes to shoot skyskapes, thunderstorms and aurora. To make World Photography Day even more fun, he decided to use his first DSLR, a Nikon D5000, that's still going after 15 years.

Yellow infrared

After two years of research, JeanPierre Martel developed a new style of infrared photography called "Yellow 3629 infrared." Its unique feature is that it reveals the secondary pigments of the plant kingdom responsible for the vivid colors that deciduous trees adopt in autumn, resulting in a unique vegetal polychromatism in infrared photography. This photo was taken using a full-spectrum infrared Olympus OM-D E-M5.

Everton

ian_harris had spent the entire day shooting headshots of his colleagues for a company website. At the end of the day, the company cleaner, Everton, came in and asked what he was doing. When Everton told Harris, "I haven't had my photo taken in 20 years," Harris put him in front of the camera and captured this powerful photo using a Nikon Z7 II.

Lilly macro

HemingJ108 wanted to shoot a landscape or a seascape, but got off work late and couldn't go far. The lily in the front yard was at its peak, providing a perfect subject. To capture this stunning beauty, the photographer took 15 frames using focus stacking with a Nikon Z7 II.

A gray day

Stuck at home on a gray World Photography Day, Eduard began goofing around on the patio, capturing this colorful leaf with a Fujifilm X-E5 and a Viltrox 15mm lens.

Abby Road

Photographer Bob Janes used World Photography Day to channel The Beatles. Friends visited on the anniversary of the last day of recording the Beatles' Abby Road album, and three of them recreated the album cover.

Stunning still life

Frenchfx recently took a still life master class and captured this painterly image on World Photography Day using a Canon R6 Mark II.

Sensual harvest

Farmers' markets are full of amazing fresh produce, including this interesting specimen above, but as User7201588310 explains, big ugly tomatoes don't have to be ugly; if one looks carefully, they can be quite sensual, as evidenced by this image inspired by the works of Group f/64, captured on a Sony a7 IV.

Complimentary

DPReview Editor Abby Ferguson belongs to a local photography group that celebrated World Photography Day with an evening photo walk. The orange glow of these lights, contrasted with the blue hour light and water, caught her attention and became the perfect target for her Sony a7 III.

A beautiful day!

Par Mims Books captured this impromptu selfie using a Samsung AG13 smartphone to celebrate World Photography Day. We can't argue with the title.

Crag Hotel

Despite rumors of being haunted, DixonLau felt picturesque vibes upon entering this old abandoned building called Crag Hotel in Penang Hill in Malaysia, and captured this perfect morning sunlight filtering through this room using a Sony a7R III.

Fifteen-love

DPReview Managing Editor Dale Baskin was inspired by other photographers who shared photos captured with older digital cameras, so he grabbed his trusty Panasonic LX7 for an evening walk around his neighborhood. Determined to get a picture on World Photography Day, and with light fading quickly, he framed the shapes and colors on this tennis court to create an abstract shot.

Green lizard

DrummerJim caught this small lizard peaking its head out from the undergrowth and captured it with an Olympus OM-1.

Alps view

This World Photography Day image of the Alps was captured by Serieux on a flight from Paris to Milan using an iPhone 15.

Owl in flight

CheeYong took this photo during an evening walk using a Sony a1 to capture this great horned owl leaving a barn.

Simple street

Thirdmort didn't even know about our World Photography Day challenge when taking this photo, where clear lines in the sidewalk and street to draw the eye. We love the colors and the evenly spaced trees, which create a sense of rhythm and order. Captured with a Fujifilm X100V using a Kodak Portra 160 film recipe.

Aerial arts

World Photography Day came at just the right time for hschnee, the official volunteer photographer for Upside Aerial Arts & Fitness in Burlington, NC. Unsatisfied with photos captured using basic lights in the studio, the photographer brought in a recently acquired pair of monolights and softboxes to try out. If this photo is any indication, those lights passed the test with flying colors.

Right side of the tracks

DPReview Editor Mitchell Clark headed for the Spokane River in Spokane, Washington, searching for inspiration but found nothing special. Thinking he had run out of time, he packed up his camera, climbed back up the embankment and got on his bike just in time to notice a train about to cross this bridge. He pulled the OM System OM-5 II back out of his bag just in time to catch the train cross.

It's a dog's world

Having the time of its life while hunting in beach grass, a dog named Blue became the central character of this photo by sbruni, creating an image of subtle light and story.

This Film Friday, we're taking a look at film in the cinema world. The Tested Team YouTube channel has produced two videos touring the American Society of Cinematographers museum. Emmy Award-winning cinematographer, director and producer Steve Gainer is the curator of the museum, and takes the host of the show through the museum, discussing some of the cameras that are on display.

Gainer has an incredible wealth of information about the cameras, sharing in-depth information on how the cameras work, how and when they were used and more. He starts the first video, above, with a 1890 Lumière camera, which was essentially an all-in-one camera system that Gainer says still works today.

The video also tells stories of the problems with the original wood cinema cameras and how bugs loved the glue used to hold them together. Gainer says that cinematographers would wake up a day after arriving at a shoot in the jungle to discover their camera in pieces because the bugs ate all the glue. The Bell Howell 2709 camera was a big step forward since it was a metal body. The model that the museum has on display was purchased in 1918 by Harry Warner and was used to shoot Warner Bros.' first motion picture.

If the above video isn't enough fun information for you, there's also a second episode looking at even more cameras, this time large-format ones.

The museum has the large-format Todd-AO cinema camera that was used to shoot The Sound of Music and Cleopatra. Gainer walks through how it works and why large-format film came about. He explains that it was an answer to people staying home to watch TV since they were only seeing small, square pictures. The wide format provided something new that viewers couldn't get at home.

Both episodes are absolutely fascinating, with an incredible amount of information and history shared. It's clear how knowledgeable and passionate Gainer is, and the museum has quite the collection of items from cinema history. If you're interested in old cameras, history or cinema (and especially all three), they are well worth a watch.

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

Nikon is updating one of the Z-mount's core lenses, just six-and-a-half years after the release of the current version. The Nikon Nikkor Z 24-70mm F2.8 S II will replace the company's flagship standard zoom and promises improved image quality and autofocus speed over the already impressive Mark I.

The 24-70mm F2.8 S II features an internal zoom design, allowing it to be better weather-sealed than the current version. The unchanging length of the new lens also allows its use on gimbals or video rigs without the need for rebalancing or reconfiguration. The new lens is 150mm long: 24mm longer than the existing lens it its retracted state, but 14mm shorter when compared at their fully zoomed-in positions.

The lens is 136g lighter than its predecessor

It uses a completely new optical design made up of 14 elements in 10 groups and including 3 aspherical elements and 2 ED elements. This compares with 17 elements in 15 groups, with 2 aspherics and 4 ED elements in the older lens. This simplification helps make the lens lighter, overall: at 675g, it's 130g (16%) lighter than its predecessor. The new lens features 11 aperture blades, rather than 9, for more consistently circular bokeh.

Buy now:

Buy at AdoramaBuy at B&H Photo

Minimum focus distance drops to 0.24m at wide-angle and 0.33m at full zoom, an improvement on the 0.38m of its predecessor. This sees the maximum reproduction ratio increase from 0.22x to 0.32x, achieved at the long end of the lens.

The Mark II accepts the same 77mm filter thread as the Z 70-200mm F2.8, rather than the larger 82mm filters used by the existing 24-70mm.

Nikon also says the "Silky Swift" voice-coil autofocus motor is around 5x faster than the previous version, with scan time reduced by 40% and tracking while zooming improving by 60%.

Image: Nikon

Other changes include a duplicate lens function button, so that there's one within reach for portrait, as well as landscape shooting, and switch to de-click the lens control ring. The Mark II loses the display screen on the top of the lens, so there's no longer any depth of field or distance indication on the lens.

The Nikkor Z 24-70mm F2.8 S II will be available starting in mid-September, and will retail for a recommended price of $2799, excluding tax, $300 more than the original lens launched for in 2019. Taking inflation into account, the Mark 1's launch price is equivalent to over $2900 in today's money.

Press release:

NIKON ANNOUNCES THE NIKKOR Z 24-70MM F/2.8 S II LENS DELIVERING THE FASTEST AF AND LIGHTEST WEIGHT IN ITS CLASS

Engineered for Reliability and Agility, This Next-Generation Zoom Lens Sets a New Benchmark for Performance in the NIKKOR Z Lineup

MELVILLE, NY (August 22, 2025) – Nikon Inc. has announced the release of the new NIKKOR Z 24-70mm f/2.8 S II, a standard zoom lens that is compatible with full-frame/FX format mirrorless cameras. This second generation of the acclaimed NIKKOR Z 24-70mm f/2.8 S brings enhancements to image quality, speed and handling, further improving upon a lens that was already a popular choice for all types of imaging professionals.

As part of the S-Line*1 of NIKKOR Z lenses, the NIKKOR Z 24-70mm f/2.8 S II is a standard zoom lens with a constant maximum aperture of f/2.8, covering the versatile focal length range from wide-angle 24mm to medium-telephoto 70mm for full-frame/FX format cameras. It features a first in its class*2 internal zoom mechanism, and it’s also the lightest in its class*2, weighing approx. 675g (1.49 lbs.). Additionally, the internal zoom mechanism increases zooming stability as well as dust- and drip-resistant performance.

It is the first zoom lens to adopt Silky Swift VCM (SSVCM)*3 motors for the AF drive, achieving the fastest*4 autofocusing in Nikon history with extremely precise and quiet AF control. Autofocus is approximately 5x faster than that of the NIKKOR Z 24-70mm f/2.8 S, and AF tracking performance during zooming has been enhanced by approximately 60%, making it even easier to capture decisive moments with fast-moving subjects such as athletes in action.

As a new-generation f/2.8 standard zoom lens that combines outstanding image quality and superior agility, the NIKKOR Z 24-70mm f/2.8 S II is the lens for those seeking high levels of performance in both still image and video recording, even when shooting in a variety of conditions or harsh environments.

Primary features

• The multi-focusing system*4, incorporating Silky Swift VCM (SSVCM) technology for the first time in a zoom lens, achieves the fastest*5 autofocusing in Nikon history, delivering extremely precise and quiet AF for both still image and video recording.
• A compact design with the lightest weight (approx. 675g) in its class*6 and a 77mm filter attachment size makes it easy to carry and reduces fatigue when shooting handheld.
• The first lens in its category*6 to feature an internal zoom mechanism that prevents dust and debris from entering the lens during zooming, providing superior dust- and drip-resistant performance*7. Even when zooming, it maintains its balance for flexible use of a variety of video accessories.
• A newly developed 11-blade diaphragm enables very circular bokeh.
• Optimized for video recording with a design that suppresses focus breathing.
• Equipped with a control ring clicking switch, allowing the tactile “click” of control ring operation to be turned on or off as needed.
• The lens supports a minimum focus distance of 0.24 m at the wide-angle end and 0.33 m at the telephoto end, with a maximum reproduction ratio of 0.21× at the wide-angle end and 0.32× at the telephoto end, allowing users to get closer to their subjects for dynamic expression.
• Includes Meso Amorphous Coat, which offers the best anti-reflection performance in Nikon history, and ARNEO Coat for effective suppression of ghosting and flare, resulting in clear images.
• The lens hood features a filter adjustment window, enabling users to adjust circular polarizing and variable ND filters without removing the lens hood.

Price and Availability

The new Nikon NIKKOR Z 24-70mm f/2.8 S II lens will be available in mid-September for a suggested retail price of $2,799.95*. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

1 The S-Line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.

2 Among interchangeable zoom lenses for full-frame/FX format mirrorless cameras with a focal-length range from 24mm at the wide-angle end to 70mm at the telephoto end, and a constant maximum aperture of f/2.8, available as of August 22, 2025. Statement based on Nikon research.

3 An AF drive actuator that combines a Voice Coil Motor (VCM) and a guide mechanism developed by Nikon. The VCM is a motor in which a coil reciprocates in a strong magnetic field created by a powerful magnet.

4 Multiple AF drive units work together to control the position of multiple focus lens groups with great precision for superior image formation performance regardless of shooting distance.

5 When used with a camera equipped with the EXPEED 7 image-processing engine. Measured in accordance with Nikon standards.

6 Among interchangeable zoom lenses for full-frame/FX format mirrorless cameras with a focal length range from 24mm at the wide-angle end to 70mm at the telephoto end, and a constant maximum aperture of f/2.8, available as of August 22, 2025. Statement based on Nikon research.

7 Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Buy now:

Buy at AdoramaBuy at B&H Photo Nikon Nikkor Z 24-70mm F2.8 S II specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length24–70 mmImage stabilizationNoLens mountNikon ZApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades11OpticsElements14Groups10Special elements / coatings3 aspherics, 2 EDFocusMinimum focus0.24 m (9.45″)Maximum magnification0.32×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight675 g (1.49 lb)Diameter90 mm (3.54″)Length150 mm (5.91″)Zoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread77 mmHood suppliedYesTripod collarNo

Blurry photos are always disappointing.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/5 sec | ISO 2500
Photo: Mitchell Clark

We've all been there: you're excited about an image you took, only to pull it up on your camera or computer and realize it's blurry. If you're new to photography, though, you may not know the cause of that blur, making it hard to prevent such problems in the future. Your photo may be blurry for multiple reasons, with different solutions for each.

Before diving into the details, it's important to know that there are primarily two types of blur you'll encounter: blur from movement and blur from focus issues. Movement blur appears as streaks, trails or ghosted outlines with a clear sense of directionality. Blur related to focus, on the other hand, is a more even, uniform softness with no directionality.

Slow shutter speeds

One of the most common causes of blurry images is related to shutter speed and movement. Shutter speed (which you can learn more about here) determines how long your camera's shutter is open, allowing light to hit the sensor. Slow shutter speeds mean the shutter is open for a longer period, which can result in blur caused by either movement of the camera or of the subject. Moving the camera with a slower shutter speed will typically result in complete image blur, while motion blur related to subject movement only causes specific portions of an image to be blurry.

Camera movement

If your photo looks streaky all over, like this image, that's because your shutter speed was too slow to hand-hold the camera.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/20 sec | ISO 2500
Photo: Mitchell Clark

If your entire image is blurry, that's likely a result of camera movement while using a slow shutter speed. This type of blur is also called camera shake. Camera shake can be subtle with small streaks that are only noticeable when zoomed in, or dramatic, with everything in the image streaking together. The key is that it is blurry across the entire image, not select portions of it. That's because, as steady as you may try to hold your camera, your body will always have some movement, which will transfer to your camera, producing blur.

There isn't a hard and fast rule of what shutter speed is necessary to avoid blur, though the long-standing rule of thumb is to use a shutter speed that is at least the same as your focal length (or the full-frame equivalent focal length for crop sensor cameras). So, for example, if you're using a 50mm lens, you should use a shutter speed of at least 1/50 sec to keep your image sharp.

"The shutter speed that is necessary depends on your camera, lens and how steady your hands are."

However, the shutter speed that is actually necessary depends on your camera, lens and how steady your hands are. Some modern cameras and lenses feature built-in stabilization that can help prevent camera shake at slightly slower shutter speeds. Turning on your stabilization settings while using slow shutter speeds can help you prevent camera shake.

However, stabilization can only do so much, and many cameras don't offer it. Blur may simply be unavoidable if you're trying to hand-hold your camera at a shutter speed that is too slow. In those situations, an easy way to prevent blur is to use a tripod (or another solid surface). The key is to use a sturdy tripod, as shutter shock (movement from the shutter), or mirror slap in the case of a DSLR, can cause vibrations that result in camera shake. Fimsy tripods can even introduce movement on their own. Using the self-timer on your camera is also useful so that the action of pressing the shutter button doesn't result in blur.

Subject movement

If only your subject is blurry, your shutter speed is too slow for their movement. In this case, the cat rolling around was too fast for the shutter speed, so he's completely blurred.

OM System OM-5 II | OM System 20mm F1.4 Pro | F5.6 | 1/2.5 sec | ISO 500
Photo: Mitchell Clark

Sometimes, only some elements in the frame, such as people, animals or cars, will be blurry, while the rest of the image is sharp. If that's the case, the blur is caused by a shutter speed that's too slow for the subject's movement. Slow shutter speeds, even if you're using a tripod, will blur any movement in the image, so moving subjects will end up blurry. Additionally, photographing fast-moving subjects will require especially fast shutter speeds to ensure they are clear and sharp.

There is no silver bullet shutter speed that will freeze (or purposefully blur) movement. Multiple factors are involved, including the speed and direction of the movement and how close it is to the camera. For example, a Formula 1 car will require a much different shutter speed than a child playing. If you notice that your subject is blurry and you are in a situation where you can retake the image, use a faster shutter speed to freeze that movement.

Focus issues

Another very common type of blur isn't caused by shutter speed but by focus issues. This type of image issue is often referred to as 'out of focus' instead of blur, as it helps to differentiate between the two problems. Unlike motion blur, out-of-focus images are soft without blur in a defined direction. However, like shutter speed, multiple problems can arise to cause out-of-focus images that either impact the entire image or only select areas.

Completely missed focus

This image is completely out of focus, which is different than blur from motion.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/160 sec | ISO 160
Photo: Mitchell Clark

If your entire photo is soft-looking but not streaky (caused by motion blur), it's out of focus. This can happen because your camera (or lens) was set to manual focus and you didn't realize it, or because your camera was substantially off in finding a focus point.

To remedy this, double-check your autofocus settings. Ensure that autofocus is on (if you want it to be), and that you know which autofocus setting is appropriate for your situation. An entirely out-of-focus image could also be caused by being too close to your subject. Every lens has a minimum focus distance, or a limit to how close it can focus. If your lens won't autofocus correctly, try backing up to see if that helps.

Missed focus point or too shallow a depth of field

I accidentally focused on the brick wall in this image, leaving the cityscape, my desired subject, out of focus.

Sigma BF | Sigma 35mm F2 DG DN Contemporary | F5.6 | 1/1000 sec | ISO 125
Photo: Abby Ferguson

If only a portion of your image is out of focus, such as the foreground or background, that's a result of either missing the focus point or using too shallow a depth of field. For example, if you're taking a portrait, and the person is out of focus but the background is sharp, that's caused by the focus point not being on top of your subject. To remedy that, you simply need to change where your camera is focusing by manually focusing or changing the placement of the focus point.

Sometimes, you may have the focus point in the right spot, but some of your subject is out of focus, and you may not want that. When that's the case, it's because your depth of field is too shallow. Depth of field – the amount that's in focus in a scene – is controlled by multiple factors, one of which is aperture (which you can learn more about here). If you want a deeper depth of field so that more of your subject is in focus, use a smaller aperture (larger aperture number). Just be sure to adjust your shutter speed to maintain a correct exposure.

Lens issues

A fogged-up lens will make your images very blurry.

Photo: Abby Ferguson

Finally, sometimes blurry photos are caused by lens issues. Some lenses don't provide sharpness all the way to the edge of the frame, so your images may have blurry-looking corners.

Another potential issue is that you may have a smudge, water spots or condensation on your lens, creating blurry areas in your images. It's smart to keep a microfiber lens cloth or other lens cleaning items on hand to keep your lens clean for sharp photos.

Parting thoughts

As you now know, blurry photos can result from many issues. Unfortunately, blurry or out-of-focus images can't usually be fully corrected after the fact, so it's important to pay attention and address what's causing the blur while out photographing. Alternatively, some of the above items can be used intentionally to create creative, meaningful images. Blur doesn't always have to be a bad thing.