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Pictured: Sony's FX3 camera in action. Due to the subtle updates, the FX3a should look and function essentially the same as the original.

Image: Sony

Sony has quietly introduced the FX3a, a revised version of its FX3 full-frame Cinema Line camera. Rather than offer up a next-generation upgrade, the FX3a replaces its predecessor with a small hardware change. The very minor upgrade aims to maintain compatibility with current manufacturing standards.

The only apparent update is a new rear LCD screen, which increases resolution from 1.44 million dots to approximately 2.36 million. The new screen enhances display clarity for monitoring and menu use. While it is a nice update, the swap is necessity-based since the screen found on the original FX3 is no longer manufactured.

The update mirrors Sony's recent strategy with other models, including the A6400a and A6100a, which received similar minor revisions. While the FX3a isn't the leap some users anticipated with a potential FX3 II, it retains the camera's compact but dependable allure and S-Cinetone color science.

Sony has not yet announced pricing or an official release date for the FX3a, and it's not listed for sale on Sony's website. However, it is listed at B&H as a new item available for pre-order and is priced at $3898. At launch, the original FX3 was priced at $3900. It's worth noting that, like other recent revisions, it may see a limited release dependent on regional regulations.

Image: Microsoft

Microsoft unveiled new Surface devices yesterday, along with some improvements to its AI-powered creative apps. The Photos, Paint and Snipping tools were given new features that aim to make editing easier and more intuitive. There is one catch, though: You'll need one of the company's new Copilot+ PCs to access them.

One of the more substantial additions is Relight in the Photos app. It lets users adjust lighting in photos by positioning up to three virtual light sources. Users can adjust each light's color, focus point, intensity and position. It was designed to correct poor lighting or add some artistic flair to an image.

Of course, how well the Relight tool actually works and how natural it looks remains to be seen. Still, it is interesting to see such a (potentially) powerful photo editing tool from Microsoft. The app already had Generative Erase and Background Blur tools, but otherwise, it was a very basic photo editing option. This new feature adds some functionality for those who want a bit more control over their photos without diving into a complicated platform like Photoshop.

In Paint, a new Sticker Generator creates custom digital stickers from simple text prompts. This is ideal for creators who want to generate quick, personal visuals. Object Select uses context-aware selection to detect and isolate elements on the canvas, streamlining detailed edits like moving or erasing parts of an image without manual tracing (like using the lasso tool).

The Snipping Tool features a new Perfect Screenshot option. It detects the most relevant on-screen content and automatically crops around it in a rectangular shape. Text Extractor lets users copy text directly from any image or screenshot and paste it elsewhere. This is useful for extracting quotes or data from infographics. Color Picker enables users to identify any color on their screen with its hex or RGB value.

All of these updates rely on a new, diffusion-based AI model Microsoft says is faster and more accurate. For the time being, they're limited to Copilot+ starting with the Snapdragon X PCs. Support for AMD and Intel-powered systems is promised "later this year," a fairly vague timeline. You can see all of the details at Microsoft's Windows Experience blog.

Sony is teasing a new flagship device, though this time in the smartphone realm. The company posted a very short video on its YouTube channel to announce the May 13th launch date of the next Xperia 1 phone. The new model, which will likely be called the Xperia 1 VII, comes almost a year to the day after the launch of the Xperia 1 VI.

The 28-second video doesn't reveal much, but it does show off the Sony a1 camera, what looks to be the 70-200mm f/4 Macro G OSS II lens and the 50mm f/1.2 GM lens. It also includes the tagline "Powered by Alpha." Of course, that could mean a lot of things, referencing either software or hardware.

While the Sony Xperia 1 VI's camera system was good, it wasn't spectacular. It featured a 48MP main camera, 12MP ultrawide and 12MP telephoto with 3.5x-7.1x continuous optical zoom, all of which used Zeiss optics. What made the Xperia 1 VI unique was its expandable memory and headphone jack, which are rarities in current phones. Given all the camera references in the teaser, perhaps Sony will surprise us with something exciting camera-wise on the new version to bring back some excitement around its flagship phone.

The brief view of the phone's back reveals a design that looks very similar to the Xperia 1 VI. It keeps the three-camera array and standard rectangular build with flat edges. A graphic at the end features a colorful triangle with a TV, camera and music device at each corner, which likely suggests that the phone will borrow aspects from Sony's Bravia TVs, cameras and Walkman products.

When it was launched last year, the Xperia 1 VI cost roughly $1,300, which was quite pricey given what it offered. It also wasn't available in the US. There's no word yet on pricing or availability for the new phone, but leaked information suggests there won't be a US launch of the new model, either. We'll just have to wait until May 13 for details.

Download this image and open on a recent iPhone or in Preview in MacOS 15 (Sequoia) and the bright edges of the petals should glow.

Sigma BF | Sigma 35mm F2 DN | F2.0 | 1/500sec | ISO 200
Photo: Richard Butler

Modern displays in the latest phones, TVs and laptops can show a much wider brightness range and a broader array of colors than before, allowing more lifelike images in a way that could revolutionize photography. But a lack of movement toward a format with widespread support has stifled the progress of true HDR photography.

Now, just as it looks like the industry might be closing in on a standard, Sigma has quietly delivered an intermediate step that gives more impressive images with full backward compatibility.

True HDR

The term 'HDR' has been undermined by its association with wide dynamic range captures crudely tone-mapped for standard DR (SDR) displays. The results were often overdone, frequently looking off-putting and gimmicky.

True HDR is an attempt to convey more of what your camera captured (even in a single, conventional exposure), by taking full advantage of the greater brightness and color capabilities of modern displays. Instead of looking gimmicky, true HDR can present a more lifelike representation of the world that was possible in print or on SDR displays.

It's becoming increasingly common in the video world and on devices such as iPhones to be able to share and view HDR content, but the photo world and camera industry have lagged behind. True HDR imagery really needs more space than the elderly, 8-bit JPEG format can cope with, but nothing else comes close to being as well supported.

What's Sigma's middle ground?

Embedded in the image at the top of the page is this image, a 1/4 resolution 'gain map' that tells HDR displays where to boost the brightness.

The result isn't quite as impressive as full 10-bit images encoded with high dynamic range response curves, but they're an interesting stepping stone on the way and can be viewed as normal on SDR displays.

As we were finalising our review of the Sigma BF, we noticed that the JPEGs produced by the Sigma BF look much more punchy and vibrant when viewed on Mitchell's laptop. A little digging revealed that the files include a gain map, which the newer version of Mac OS he was running could interpret.

It's an interesting intermediate step: capturing the main image data in the universally-supported JPEG format but embedding an additional version of the image telling HDR displays which parts of the image should be made brighter.

The result isn't the best representation of HDR that we've seen, not maintaining the subtle and, crucially, saturated colors on the approach to clipping that can convey the bright 'glow' of evening sunshine or light passing through spring leaves that the best can. But it means that more people might be able to get a taste of what HDR photography can offer, while being certain that other people will be able to see at least an SDR version of their shots.

What's the next step?

For the full HDR experience, the industry will probably need to adopt a proper HDR response curve - with the Hybrid Log Gamma (HLG) curve developed by broadcasters NHK and BBC looking most likely - along with a file format that can include the 10-bit data required to encode the additional tonal and chromatic range.

As things stand, HDR broadcasting has been happening for more than a decade, iPhones are merrily creating HDR photos without their users necessarily knowing, YouTube is happy to support HDR video, but the camera industry is still pulling in different directions.

Video and broadcast are a fair way ahead of the photo industry with increasingly widespread support for HDR display. At present, YouTube is the most reliable way of us sharing HDR content.

Adobe has finally introduced HDR editing tools to Adobe Camera Raw, but its output formats (AVIF or JPEG XL) are not the ones camera makers appear to be settling on.

Sony and Nikon have adopted the HLG curve and HEIF format for their cameras while Canon and Fujifilm can both output HEIF files and shoot video using HLG, but can't combine the two. Panasonic used to output HLG photos in a format that never took off, but there are hints that HEIF support is on the horizon.

Being lucky enough to use modern Macbook Pros and having access to Adobe Camera Raw means we're constantly reminded of how much more attractive and compelling HDR could make some of our photos, and frustrated at not having a reliable means of sharing them. While the rest of the industry dithers, Sigma is forging its own path.

Photo: Abby Ferguson

As you start to shop for lenses, you'll come across the terms "prime" and "zoom." But as with most gear decisions, understanding what those are, what their impact is and what you should choose isn't always so straightforward. Each type has pros and cons, so it isn't a simple answer of one is better than the other. Below is a simple outline of what these terms mean and why you might choose one over the other.

What are prime lenses?

Both of these lenses are prime lenses, even though they are vastly different focal lengths.

Photo: Abby Ferguson

Prime lenses are camera lenses with only a single, fixed focal length. You can't zoom in or out, and instead will need to move yourself. Since there is no zoom mechanism, you can't simply twist a ring on the lens to change what's included in the frame. Instead, your feet have to function as a substitute for the zoom.

Prime lenses are available in a wide range of focal lengths (how lenses are measured). There are ultra-wide-angle primes, telephoto primes and everything in between. Because of this, you can find a suitable prime lens for nearly any focal length you need.

What are zoom lenses?

Both of these lenses are zoom lenses, with the one on the left covering from 12-24mm and the one on the right covering 24-70mm.

Photo: Abby Ferguson

Zoom lenses offer a range of focal lengths in one single lens body. They allow you to zoom in or out without physically moving. Instead, a twist of the lens can change what is included in your composition.

Like prime lenses, zoom lenses come in focal lengths across the entire range. It’s also important to know that zoom lenses can cover multiple focal length categories in a single lens. For example, a classic 24-70mm lens offers a bit of wide-angle, normal and telephoto coverage all in one lens. Some zoom lenses are even more dramatic than that, covering from ultra-wide all the way to super telephoto, though such a range often comes at the cost of image quality.

Zoom lenses can also be limited to just one focal length category. A 70-200mm lens offers exclusively telephoto range, while a 14-24mm lens (on a full-frame camera) only provides a wide-angle point of view. A lens is considered a zoom lens as long as it offers adjustable focal length, regardless of which focal lengths are covered.

Are prime or zoom lenses better? Photo: Abby Ferguson

For a long time, prime lenses offered superior image quality to zoom lenses, making them the best choice for those wanting the best image quality. While this is still typically true for budget-friendly options, lens development has advanced to the point where zoom lenses are often nearly as good, or even as good as prime lenses. As a result, the conversation comes down to different factors.

Zoom lenses, thanks to their range of focal lengths, are a versatile choice. There are times when physically changing your position or changing your lens (especially quickly) are not options, so being able to zoom with the lens you have on your camera is crucial. Weddings, events and sports photography are great examples of this. If you’re on the sidelines of a football game, you won't be able to back up if a player rushes toward you and gets too close for your telephoto lens to capture. A zoom lens could make the difference between getting the shot or not.

Prime lenses, on the other hand, offer simplicity and can promote a more intentional, thoughtful approach to photography. Because there is only one focal length, it is easier to focus on composition without getting caught up or distracted by changing focal lengths. Since you have to move around to change your composition, you'll likely think more about what's in the frame. Their simplicity means they are often recommended (or even required) for beginner photography classes.

Many prime lenses can be quite compact, making them ideal for travel.

Photo: Abby Ferguson

Outside of intentionality and versatility, there are a few other things to consider. While some prime lenses certainly are quite bulky and heavy (like the 135mm at the top of the story), those are typically either high-end lenses or telephoto lenses. Budget primes, especially wide-angle and normal ones, are generally much smaller and lighter than zoom lenses. The more diminutive size makes them ideal for street and travel photography or any other situation where size and weight are essential.

Prime lenses can also offer wider apertures than most zoom lenses, though there are some (quite expensive) exceptions. So, if you need a lens to create a shallow depth of field or will be working in low-light conditions, then a prime lens will be ideal unless you have a large budget for a pricier zoom.

How to choose between a prime or zoom lens

When it comes to choosing between prime and zoom lens, it comes down to your needs, preferences and budget. If versatility is key, either because you can't or don't want to change lenses frequently, then a zoom is the way to go. However, if you're more interested in focusing on composition, need a small, lightweight lens or want something with a fast aperture without spending a fortune, then a prime lens will be your best bet.

Image: Sigma

Sigma, a Japanese company that designs and manufactures lenses and accessories for a wide range of camera systems, including Sony, Fujifilm, Canon, Nikon and its own cameras is the latest to announce US pricing adjustments due to government-imposed tariffs. The news was delivered via an apologetic letter from Sigma America's president, Mark Amir-Hamzeh. Price increases on its products will take effect on Monday, June 2nd.

"Due to the recent implementation of government-imposed tariffs, our costs at Sigma America have increased substantially. We have made every effort to absorb these added expenses, but the sustained impact of the tariffs now necessitates a price increase to ensure we can continue delivering the quality and service you expect," Amir-Hamzeh stresses.

Orders placed between now and May 31st won't be impacted, and current pricing will still apply. Sigma hasn't specified how much prices will increase, simply saying there will be a "pricing adjustment." The new tariff-adjusted pricing will take effect on June 2nd and will apply to any new or unfulfilled US orders from then onward. Sigma joins Tamron, Canon and a growing list of camera manufacturers whose bottom line is being impacted on the growing cost of conducting business in the US.

Early this morning, DJI released a teaser announcement on its social media channels. The video clip titled "Spin Your World" clocks in at less than 10 seconds. It opens with an aerial landscape shot of snowy mountains and a slight rolling gimbal movement. Coupled with the closing shot of two arms at the forefront and a tri-camera system with the word "Hasselblad" inscribed on top, it appears that DJI is releasing a follow-up to its Mavic 3 series drone.

Leaks of DJI's products and their rumored specs flood online sites and forums months before release. If an overwhelming amount of speculation turns out to be correct, the Mavic 4 Pro will launch next week. As you can tell from the video, DJI has moved away from its traditional boxy camera system for a more spherical design. While it looks odd, the gimbal is rumored to allow more flexibility by enabling the camera to roll up to 175º while tilting in a range of -90º to +70º.

DJI will release all the details surrounding its highly anticipated latest release on Tuesday, May 13th, starting at 12:00 PM, GMT (8:00 AM, EST/5:00 AM, PST).

When you use DPReview links to buy products, the site may earn a commission.Canon EOS R50 vs R50 V

Canon recently announced the EOS R50 V, a camera aimed at creators looking to shoot high-quality video without spending a ton of money. However, it made similar claims about the original EOS R50, which – unsurprisingly, given the name – the EOS R50 V shares a lot of DNA with. They have the same 24MP APS-C sensor and many of the same features.

So what are the differences between the two, and which one should you buy? We'll aim to break it down in this comparison.

Buy now:

Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon Design

Even at a glance, it's easy to tell that these cameras are aimed at different audiences. The EOS R50 looks like a small stills camera, with a relatively deep front grip and a prominent hump at the top for the electronic viewfinder and pop-up flash. On the top is a relatively standard stereo microphone.

The EOS R50 V does away with the viewfinder and flash, giving it a much boxier and slightly larger design. Its grip is less prominent, though this has the effect of making it more comfortable to hold when it's facing toward you. There's also a record button on the front, along with a tally light to make it obvious when you're recording, both of which can be quite useful when you're trying to film yourself. It has an upgraded internal microphone, which Canon says has three capsules to help make audio clearer and to reduce noise. We've found it provides decent audio for vlogging, as long as there's no wind.

The EOS R50 V has an extra tripod mount for vertical shooting.

Both cameras have tripod sockets on the bottom, but the EOS R50 V has an additional one on its right side, making it easy to mount it vertically.

Handling / Controls

The EOS R50 has a shutter button towards the front of its grip, right around where your index finger would fall, and its main control dial behind it.

Looking at the back, it has a stills-focused control layout, with a multi-directional controller and buttons for choosing your autofocus area, setting exposure compensation and locking your exposure. The mode select dial lets you choose from the various exposure modes like manual, shutter priority, aperture priority and auto, and has a setting for video. There's also a separate record button on the top plate.

The EOS R50 V, meanwhile, has a decidedly more video-focused layout. The top plate control dial is towards the back of the camera, and the shutter button has been replaced by a record button, which is surrounded by a zoom toggle switch. The mode dial, meanwhile, flips the script from the EOS R50's: stills are relegated to a single position, while the rest of the modes are for video.

The buttons continue the video focus; while some are the same as the EOS R50's, it swaps some photo functions for quick access to white balance, color options and livestreaming modes. The multi-directional controller is swapped out for a spinning dial, though you can still press up, down, left or right to access specific functions. While we typically prefer two top-plate control dials, this rear-mounted one is better than nothing, especially when taking stills. There's also a button on the top that sets the camera to ignore input from the control dials, so you don't accidentally change your settings while vlogging.

Stills capabilities

The two cameras have very similar stills-taking capabilities. Both can shoot Raws and use electronic-first curtain shutter and a mechanical shutter to end the exposure, which eliminates concerns about rolling shutter in stills and gives you more flexibility if you're shooting with flash.

EOS R50 V | RF-S 14-30mm F4-6.3 IS STM PZ | 21mm | F5.6 | 1/1250 | ISO 100

However, the lack of an EVF on the EOS R50 V can make it difficult to judge your exposure and composition in bright sunlight. You also don't have that pop-up flash to help add some light if you need a bit of fill on your subject or are shooting in a darker environment. The default button layout for the EOS R50 is definitely more suited to shooting stills – you don't have to rely on the touchscreen as much – though spending some time to customize your button layout can alleviate that on the EOS R50 V; you can have separate settings for photo and video modes.

Video capabilities

The EOS R50 has a fair number of video capabilities. Its 4K footage is derived from 6K capture, giving it a bit of extra detail, and it has a microphone jack that'll let you record better audio. It can also shoot 10-bit HDR video, though only in the more obscure PQ response curve.

The EOS R50 V builds on top of that, with some pretty substantial additions: instead of topping out at 30fps for 4K, it can shoot at up to 60fps*, though with a substantial 1.56x crop. It also adds the ability to record C-Log 3, which gives you more flexibility to adjust color, lightness and contrast in post, and a headphone jack, so you can monitor the audio you're recording. If that wasn't enough, it includes false color assistance, which helps you nail your exposure by providing an overlay that makes it clear where your image clips and where your skin tones should be.

While both cameras have a microphone port, the EOS R50 V has subtle tweaks that make it easier to use with one. Unlike with the EOS R50, the screen won't run into the cable when you're trying to flip it out and articulate it. The actual display panel has also been moved over, so the microphone jack will mostly block your bezel rather than your preview.

* - the 4K modes above 30p aren't based on 6K capture

User Interface

The EOS R50 and R50 V have similar user interfaces, though the latter has some definite upgrades regarding video. It has an updated menu system for selecting your resolution and framerate. Rather than listing all the possible combinations of framerate, resolution, and codec, it allows you to set all three independently. This takes some getting used to, but gives you more control over what codec you want to record in, which can be especially helpful if you want to edit your footage on a less powerful device.

The EOS R50's Q menu for video mode has the same layout as it does for photo mode. The EOS R50 V's Q menu for video is a scrolling list that's a bit easier to use when you're in front of the camera.

The EOS R50 V also has an updated Q menu for video mode, giving you slightly easier access to all your settings, as well as the vlogging-specific features it has. We've found that it's a fair bit nicer for switching your most important settings during a shoot, especially if you're shooting vertically: the on-screen display gains the ability to rotate with the camera. The addition of three custom video modes also makes it particularly easy to quickly switch between resolutions, framerates and other settings without having to dive into the menus.

Ports and Connectivity

The EOS R50 has a USB-C port, microHDMI port, and a 3.5mm socket for attaching an external microphone.

The EOS R50 V has all that and more: it gains a single-pole remote terminal that lets you control the camera from afar and has a faster USB-C port. The EOS R50's USB port runs at USB 2 speeds, while the EOS R50 V's can transfer data at 10Gbps; over 20 times faster. That helps when you're offloading footage, but also has the benefit of making it a more capable webcam: while both can be used to stream video to your computer using the UVC protocol, the EOS R50 tops out at 1080p 30fps, while the EOS R50 V can deliver 4K 30fps*.

The EOS R50 V may also wirelessly transfer photos to your phone faster since it supports 5 GHz Wi-Fi as well as 2.5 GHz. The EOS R50, meanwhile, can only use 2.5 GHz.

* - The camera can't draw power from the computer when shooting at 4K, only 1080p, so you will be limited by battery life.

Price and Kit options

Body-only, the EOS R50 V costs $649, $30 less than the EOS R50. If you're looking at the kit options, though, the vlogging-focused model is more expensive; you can get it with the new RF-S 14-30mm F4-6.3 IS STM PZ lens for $849. The EOS R50, meanwhile, comes with the collapsable RF-S 18-45mm F4.5-6.3 IS STM for $799.

While the 18-45mm's wider range makes it a better pick if you're shooting a wide variety of subjects, if you mainly intend to vlog, you'll appreciate the wider field-of-view on the 14-30mm. That's especially true if you plan on features that add crops, such as 60 fps or electronic stabilization; the lens is still wide enough to produce a reasonable frame while vlogging. The powerzoom is also nice to have, especially since it's quiet enough that the camera's internal microphones don't pick it up, and you never have to worry about having to extend it when you're trying to capture a moment quickly.

Conclusion

If you're looking for a camera to mostly shoot stills or mostly shoot video, it's pretty easy to pick between the EOS R50 and EOS R50 V. It's a little trickier if you want to do both; while the latter has a compelling list of video features that aren't available on the former, they do come at the cost of a viewfinder, which can also be useful for videographers (providing they're filming something other than themselves).

EOS R50:

Buy now:

$629 at Amazon.comBuy at B&H PhotoBuy at MPB

However, if you think you'll end up shooting a lot of video, the EOS R50 V has more features and capabilities that will likely come in handy.

EOS R50 V:

Buy now:

Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon

Tamron recently built a second factory in Vietnam.

Photo: Tamron

Quarterly financial results for brands are trickling out, and a common theme so far is the impact of the US tariffs on production and pricing. Last week, Canon publicly discussed that it would be raising prices, likely only in the US, because of the tariffs. Now, Tamron has released its Q1 financial results, with the release detailing changes to production in response to the tariffs.

While Tamron's materials for its Q1 financial results don't share as much as Canon's, they do provide some insight into what the brand is doing in response to the US tariffs that went into effect at the beginning of April. In the materials, Tamron calls out that it is looking to "strengthen the global tripolar (Japan, China, Vietnam) production system." As part of that, the company began production at its new factory in Vietnam in February, citing "geopolitical risks, along with rising tariffs on Chinese imports" as reasons for building the second factory in the country.

Production at its second Vietnam factory began in February this year.

Photo: Tamron

According to Tamron's financials, it currently produces approximately 25% of its products in Vietnam, 65% in China and 10% in Japan. However, it is aiming to adjust that by 2028, reducing the amount produced in China to 45% while increasing the amount produced in Vietnam to 45%. Additionally, Tamron says it will reduce its parts procurement from China to 20% this year, down 10% from the current amount.

Tamron didn't specify any plans for shifting production specifically for its Photographic Products category. However, roughly 15% of that segment is produced in China, with approximately 60% coming from Vietnam and 25% from Japan. That could be good news for US consumers, since most of its lenses come from countries with lower tariffs for US imports than China. However, it isn't clear how many parts for those lenses come from China.

Tamron thinks that further cost reductions could help absorb the impact of tariffs

Even with the uncertainty surrounding the tariffs, Tamron hasn't changed its initial forecast for the year in light of its progress in Q1, saying that it exceeded its plan. That's despite a slump in sales in the US market as well as a "reactionary decline in China market," since it says gross profit increased as a result of "cost reductions and productivity improvements." Tamron thinks that further cost reductions could help absorb the impact of tariffs, but added that the tariff situation is fluid and it will "consider possible measures to minimize the impact." It didn't specify if some of those measures could mean increased prices in the US.

Tamron added, "From the 2nd quarter, uncertainty and economic slowdown are expected to increase further due to the expanding impact of US tariffs, rekindling of trade friction, and the continuing weakening of the USD and strengthening of the JPY." The US tariff situation continues to be a constantly evolving situation, so only time will tell what the actual impact will be.

The company has already announced one lens this year – the 18-300mm F3.5-6.3 Di III-A VC VXD lens to RF mount and Z mount – and says five more are coming.

Image: Tamron

The financial results presentation also contained some more exciting news: Tamron plans to release six new models in 2025, up from the company's typical five lenses per year. That includes the already announced Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD, which is Tamron's seventh model for Nikon Z-mount and the second model for Canon RF mount. Even better, it says that it will have 10 new models (including variants for different mounts) per year starting in 2026.

Photo: Abby Ferguson

Interchangeable lens cameras, or cameras that let you swap out lenses, can unlock a lot of opportunities and new creative control for your photography. That's because different focal lengths (offering different fields of view) result in unique views of a scene, allowing you to create dramatically different images based on which lens you select. However, choosing a lens for a given situation can be overwhelming when you're starting out. Below, you'll find some of the more common lens types in terms of focal length and the situations photographers typically use them for to help you identify which may be best for you.

Before jumping in, it's important to note that a lens’s angle of view (its view of the world) changes depending on the camera’s sensor size. For example, a 50mm lens on a full-frame camera gives a normal view, but on an APS-C camera it offers a more telephoto, or zoomed-in view, equivalent to about 75mm on full-frame. To keep matters straight, a holdover from the film era is used, and a lens' angle of view is usually described by its "equivalent" in 135 film/full-frame camera terms. Thus an APS-C lens might say "50mm" on it, but to describe its functional angle of view, we say "75mm equivalent." In this article about angles of view, we'll be discussing focal lengths in terms of their full-frame equivalents.

Normal lenses

A 50mm lens is a popular focal length ideal for many situations.

Photo: Mitchell Clark

Normal lenses, or lenses with a focal length between 40 and 55mm, have a name that hints at their function. These lenses produce a natural-looking view of the world. As a result, they are often seen as one of the more versatile focal lengths, ideal for portraits, travel, still life and more. It's a fantastic focal length for beginners, but it's also a lens that most photographers, even seasoned pros, like to have in their kit.

Many beginner cameras come with a lens, called a kit lens, which covers the normal range and a little bit on either side. While kit lenses are a good starting point, that range makes them fairly limiting as you expand your skills and creativity. As a result, you may find yourself wanting to invest in something else that provides focal lengths outside of the typical kit range.

Wide-angle lenses

This image was taken with a 16mm lens, providing a sweeping view of a building in Versailles.

Photo: Mitchell Clark

As the name suggests, wide-angle lenses provide a wide view of the world, described as a wide angle of view. These lenses have focal lengths of less than 43mm, though once they get shorter than 22mm, they are referred to as ultra-wide-angle. Put simply, the lower the number, the wider the angle of view.

Because of their broad coverage, wide-angle (and ultra-wide-angle) lenses are ideal for capturing a large portion of a scene at once. They are a go-to for landscape photographers who want to capture sweeping landscapes. They are also essential for real estate photographers looking to capture an entire room. Finally, wide-angle lenses are standard in wedding or event photographer kits, as they make it possible to capture large groups.

Telephoto lenses

A 150mm focal length provides a tight view.

Photo: Mitchell Clark

Lastly, telephoto lenses offer a narrower angle of view. By focusing optically on a small arc of the scene and expanding it to fill your photo, a telephoto lens effectively zooms in. These lenses have focal lengths greater than 70mm, with anything over 300mm considered a super telephoto lens. The higher the number, the narrower the field of view and the greater "zoom" power a lens has.

Because telephoto lenses make subjects appear closer than they actually are, they are a must for wildlife and sport photographers. That way, they can stay on the sidelines or at a safe distance from wildlife while still producing a strong photograph of the subject. They also allow you to isolate your subject more easily, which is why moderate telephoto lenses (like the 85mm) are a go-to option for portrait photographers.

Final thoughts on selecting a lens

Deciphering focal length and its impacts can be complicated, and there's more to it than what's covered here (such as magnification, distortion, depth of field and equivalent focal lengths). However, this should give you a good starting point as you think about what you need in your kit. You can get more detailed information on choosing a lens in our buying guide.

Bikers rounding the corner during a bike race in the Seattle summer. The evening provided some excellent lighting and a chance to test a camera's autofocus tracking skills.
Photo: Richard Butler

The theme for our May Editors' challenge is human-powered travel.

We're looking for photos that show people propelling themselves in fun or interesting ways. That could be walking, hiking, skateboarding, biking, roller-blading or even more exotic means of transportation, as long as they're not motorized. Our favorites will be featured on the DPReview homepage at the end of the month.

This challenge is open to photos taken at any time.

You can submit photos to the competition starting Sunday, May 11th. The last day for entry will be Saturday, May 17th (GMT).

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

Walk, run, pedal or paddle to the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.

Visit the challenge page to see the rules

Images: PGYTech, SmallRig, Chimera, Epson

Another week down, another chance to check out some new accessories. This time around, we've got some massive printers, a wildly fast SD card, cages for new cameras and more. But first, as always, the deals.

Deals of the week Image: Nikon

The Nikon Z7 II has been included in our Best Cameras for Landscapes buying guide because it provides a lot of image quality at a very reasonable price. This week, it's even cheaper, selling for $500 under MSRP.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Image: Nikon

If you're more excited by style and shooting experience, Nikon's retro-inspired Zf is also on sale for $200 off.

Buy now:

Buy at Amazon.comBuy at B&H PhotoBuy at MPB More mounting options Image: Chimera

Chimera, a lightning company that prides itself on building quality modifiers that it says will be "durable and long lasting," is giving users even more mounting options. Its new Chimera Pro series light modifiers are compatible with Bowens mount rings, which many users may already have, given the widespread use of the mount by several of the biggest names in lighting.

There are several different modifiers in the Pro series, including a 30" lantern and four sizes of its "LightBank" softboxes. Pricing will depend on what option you're going with, but they're currently available to preorder at B&H and Chimera's website.

An SD card that reaches new heights Image: Adata

SD Express has been around for a few years now, but Adata says its latest card is the first to support the SD 8.0 Express specification. That means it has write speeds of up to 1200MBps and read speeds up to 1600MBps. Adata says that's 12 times faster than standard UHS-1 cards and four times faster than what UHS-II cards are capable of. It even trades blows with some relatively high-end CFExpress cards despite being the same tiny SD form factor we're all familiar with.

Of course, the elephant in the room with SD Express is that there currently aren't any cameras that support the standard; they'll work in a standard SD card slot, but only at UHS-1 speeds, which sort of defeats the purpose. But if a camera manufacturer ever does decide to support the standard, it seems like there will be cards ready to go for it.

Currently, there's no word on pricing or availability for Adata's SD8.0 Express card, but the company says it'll come in a 512GB capacity.

Kitting out the Canon EOS R50 V...

The cage lets you attach accessories like the sold-separately handle, as well as various coldshoe-compatible add-ons.
Photo: SmallRig

Canon's latest camera is the video-focused EOS R50 V, which seems like it's designed specifically to fit into a cage or a gimbal. It's no surprise, then, that SmallRig has already stepped in to make a cage for it, which adds a deeper grip and a plethora of mounting points. It also has a built-in Arca-Swiss quick-release plate, which could be a big upgrade since, by default, some larger tripod plates will block the EOS R50 V's battery/SD card compartment. If you don't need all the mounting points, SmallRig is also selling an L-shaped mounting plate that adds the grip and tripod plate but doesn't go all the way around the camera.

Buy at SmallRig Buy at Amazon Image: SmallRig

Also available from SmallRig: a furry windscreen that attaches to the camera's hotshoe and covers the microphone to cut down wind noise. Thankfully, its design includes a coldshoe mount as well, so you can still mount a microphone, monitor, light or other accessory on top of your camera.

Buy at SmallRig ... and the Insta360 X5 Photo: PGYTech

The EOS R50 V isn't the only camera getting a cage this week. PGYTech has designed one that locks on to Insta360's latest 360 camera, the X5. The X5 is a bit of a blank slate camera, so the cage adds some attachment points for coldshoe accessories, as well as a bit of protection in the form of silicone lens covers.

Buy at Amazon Print big Image: Epson

Recently, Epson announced two new large-format printers: the SureColor P7370 and the SureColor P9370. At 24" and 44" respectively, the printers are aimed more towards commercial use than home use, but they're also designed to be a bit less expensive than higher-end models. While the company's site doesn't currently have pricing info, PetaPixel reports that they're around $1000 cheaper than their higher-end counterparts. That's because they use a 10-ink system instead of a 12-ink one, though Epson says they're still capable of "accurate color reproduction and industry-leading print permanence."

The two models will be available in "summer 2025."

Read last week's roundup

The month of May brings new opportunities to get your work seen by a large, international audience. While they sometimes get flak, photography competitions, when judged fairly and conducted with integrity, offer exposure to industry decision-makers, an opportunity to get your work published or exhibited and recognition that can elevate your career.

As we've learned, not all competitions are created equal. Some have been exposed as cash grabs at best and content farms at worst. We waded through a long list of open calls and came up with this list of eight competitions worth considering. From Pop Art to Landscape and Black & White, there is a genre for every type of photographer.

We'll lead with the free-to-enter competitions and follow with contests that require an entry fee. No matter the contest, it's essential to read the rules and terms and conditions closely. As a former judge, I can't tell you how frustrating it is to disqualify a promising submission because a watermark was left on or the photo was formatted incorrectly. Reading the requirements will at least get your foot in the door.

We wish you the best of luck if you decide to enter any of these competitions. While there is no guarantee that your work will be selected, and rejections are always discouraging, taking steps to get your work out there is always valuable. If any noteworthy contests are missing, let us know.

The CEWE Photo Award Image: CEWE Photo Award

Deadline: May 31st

Entry Fee: Free

Website

CEWE is a leading photo printing company based in Europe. Its annual competition offers €250,000 in prizes, including vacations and photography gear. Participants can enter up to 100 photos, taken on anything from a full-frame camera to a smartphone. CEWE also donates €0.10 for every entry to the SOS Children's Villages International. There are 10 categories to enter, including Travel & Culture, Landscape, Food and Macro/Close-up.

Banff Mountain Photo Essay Competition Image: Banff Centre for Arts and Creativity

Deadline: May 5th

Entry Fee: Free

Website

The Banff Photo Essay Competition emphasizes storytelling through a curated series of images that delve into mountain culture, natural history, adventure, wildlife, sports and the environment. Open to amateur and professional photographers, you must submit three to five images that can stand independently but also combine to create a narrative. A prize of CAD 3000 and a showcase at the Banff Centre of Mountain Film and Book Festival will be awarded to one Grand Prize Winner.

Photometria Awards Open Call, "Non Stop Pop" Image: Photometria

Deadline: May 31st

Entry Fee: The first image is free or €5 for up to 3 photos

Website

This competition invites professional and amateur photographers to explore the influence of pop culture on modern society. Submissions will be judged by Magnum photographer Alec Soth, who is looking for compelling and original interpretations. The overall winner will receive Nikon gear and the top 25 images will be exhibited during the 17th Photometria International Festival in Ioannina, Greece.

The Motif Collective: Black and White Photography Competition & Sunrise and Sunset Image: The Motif Collective

Black and White deadline: May 7th

Sunrise and sunset deadline: June 7th

Entry Fee: $12 to $36, depending on the number of submissions

Website

The Motif Collective currently has two contests: Black and White and Sunrise and Sunset. April's contest, which closes on May 7, focuses on the art of monochrome imagery. The May contest is dedicated to sunrises and sunsets and closes on June 7. Both are open to professionals and amateurs worldwide; participants can submit up to six images. The prize pool scales with the number of entries and can reach up to $10,000 in total cash rewards. There will also be an artist showcase gallery promoted across its social media channels.

International Garden Photographer of the Year Macro Art Photo Project Copyright: © Zsolt Varanka

Deadline: May 6th

Entry Fee: €16 for up to 4 single images

Website

The Macro Art Photo Project from International Garden Photographer of the Year asks that photographers from all over the world capture the fine details of plants, insects and other natural forms. Only single entries are accepted as the judges aren't looking for a series of images. Winners will get international exposure through exhibitions and publications.

reFocus Awards: Black & White Photo Contest Image: reFocus

Deadline: May 13th

Entry Fee: Anywhere from $12 to $50 for single images and series

Website

The reFocus Black & White Photo Contest is open to student, amateur and professional photographers. Individual entries or a series of two to five monochrome images can be submitted. Winners receive $4000 in cash prizes, custom-engraved trophies and features in the reFocus Artist Directory. There is also a People's Vote Award, which allows the public to select standout work.

40th AOP Photography Awards Image: AOP Photography Awards

Deadline: May 15th

Entry Fee: Anywhere from £50 to £90 for a single image or project

Website

The Association of Photographers (AOP) deems its awards competition as the "Oscars" of the photography world. While this competition is only open to AOP members, everyone from students to assistants and professionals at any stage in their career can apply for inclusion. The 10 open categories include Documentary, Portrait, Best Moving Image and Still Life. Winners will be exhibited and featured in a book.

Nature Photographer of the Year Image: Nature Photographer of the Year

Deadline: May 25th

Entry Fee: Free for Youth Category and £34 to £49.50

Website

NPOTY features 12 categories including Birds, Landscapes, Underwater and Natural Art. There's also a Youth category for photographers under 18 and the Fred Hazelhoff Award for Best Portfolio submission. The total prize pool is £25,000 with the overall winner receiving £3000. Winning images are displayed at the Nature Talks Photo Festival and receive international recognition in publications and exhibitions.

Printing images successfully in a darkroom requires lots of skill, especially if you're printing iconic photographs for Magnum Photos, a cooperative of photographers going back to 1947. Such is the case for Pablo Inirio, a Magnum master printer. This video profile of Inirio briefly walks through his background and process in the darkroom, giving interesting insight into what a master printer does.

Inirio explains how amazing it was seeing a photograph develop for the first time. "The first time I saw an image come up in the developer, I was like, wow, this is great," he says. "You know, because it's almost like a little bit of magic in there, you know? You know it's just a chemical process and all that. But still, when you see the image comes up, it's like, wow, this is cool. From then on, I was hooked."

"it's almost like a little bit of magic in there"

Inirio started working for Magnum in 1992 after he answered an ad asking for a printer for an agency. They initially hired someone else, but they called him back two to three weeks later because the person they had hired left. Throughout his time working for Magnum, he's printed images from Bruce Gilden, Gilles Peress, Eugene Richards, Burt Glinn, Inge Morath and many more.

What stood out to me most about the video was his process walkthrough. Being a master printer means you often need to repeat a print months or years later. Because of this, Inirio says he tries to keep the process really simple and keeps notes to save himself time later. His notes take the form of outlines on a working print, labeling sections that he's dodging or burning or adding contrast filters. You can even buy reproductions of his test prints, complete with mark-ups and notations. Seeing how he looks at a photo relative to printing is fascinating, and I've found myself closely examining his notations on prints many times.

If you've never had the opportunity to step inside a darkroom, this is a neat video to watch to see what the process is like. As Inirio points out, it's not really like how movies show it, with pictures hanging up with clothespins. But it is a truly special process that, even when you've been doing it for a long time, still feels a little bit magical.

Image: Neewer

Neewer announced that its new outdoor studio flash, designed to overpower even midday sunlight and fill large softboxes, is available for pre-order. The company says the Neewer Q6 offers 600Ws output, a consistent 5700K color temperature, fast recycle times, TLL/HSS support, smartphone app control and a quartz flash tube.

The Q6 weighs 3kg (6.6 lbs) without the handle and is 195 x 185 x 170mm (7.7 x 7.3 x 6.3"), roughly the size and weight of a small dumbbell. If you've fitted your camera with a a compatible flash or wireless trigger, it can use Canon E-TTL, Nikon i-TTL, Sony TTL and Fujifilm TTL systems. It also supports Manual and Multi (Stroboscopic) modes. Neewer has equipped it with features like front/rear curtain sync, a "masking" mode that exposes the subject and background separately, making it easier to separate them while editing, burst modes for continuous shooting and timelapse capabilities from 0.01 to 30 seconds.

Main Specs:

• Color Temperature: 5700K (+/-150K)
• Full Power Flash: 400 (with modeling light off)
• Flash Duration: 1/20400s max
• Recycling Time: Approx. 0.01-0.9s
• Flash Mode: TTL/M/MULTI/BURST MODE
• Stroboscopic Flash: 1-100Hz, 1-100 times
• Flash Exposure Compensation (FEC): -3EV to 3EV, 1/3 EV increments
• Sync Mode: High-speed sync, front/rear curtain sync
• Delay Flash: 0.01-30s

Neewer promises a constant 5700K (±100K) color temperature across power levels for color accuracy, an essential element for product and commercial photography. Flash power is adjustable in 0.1-stop increments, from 1/512 all the way up to full power (1/1), giving users precise lighting control.

It features a durable quartz flash tube (rated for 300,000 flashes), two TFT color screens, color-coded groups, and an intuitive layout designed for easy control. A smartphone app allows you to adjust flash modes, tweak settings and update firmware directly from your phone.

It can also connect to Neewer's sold-separately 2.4G wireless QZ or QPRO triggers, with five groups and 32 channels for flexible multi-flash setups. This lets you control your flashes from up to 100m (328 ft.). A 3.5mm sync port adds compatibility with other triggers.

Image: Neewer

Powered by a 28.8V/3000mAh lithium battery, the Q6 can deliver up to 400 full-power flashes per charge. Fast recycling times (0.01-0.9 seconds) and freeze mode allow you to shoot high-speed subjects, such as cars or cyclists, with precision. It supports up to 1/8000s high-speed sync (HSS), ideal for dance or fashion with movement, and ultra-short flash durations from 1/209 to 1/10989 seconds.

A 30W bi-color LED modeling lamp (2700-6500K) allows for real-time previewing or serves as a continuous light for video. The Bowens mount makes it compatible with a wide range of modifiers, including reflectors, softboxes, snoots and beauty dishes.

Neewer's Q6 aims to be an asset for location shoots where consistent, natural-looking light is critical. It is available for pre-order at a special price of $499.99 (regularly $699.99). The company warns that the US price may increase soon due to tariffs. Shipping is estimated to start on May 18th.

Buy at Neewer

Photo: Yinwei Liu / Moment via Getty Images

QHYCCD, a Chinese astronomy camera company, recently announced on its Facebook page that it will no longer ship cameras to the US because of the tariffs. "This was not an easy decision for us, and we deeply regret any inconvenience it may cause. If you’re in the U.S., we encourage you to reach out to local distributors — they may still have stock available," the post says.

It may be a sign of what's to come, as the US tariffs that have been such a hot-button issue over the past month start to go into effect. Many economists predicted that the US tariffs would have a broader impact on goods coming into the United States beyond higher prices. Justin Wolfers, Professor of Economics and Public Policy at the University of Michigan, explained, "If there's equipment from highly-tariffed nations – like China – the tariffs may make them so uncompetitive that retailers drop the brand altogether rather than importing cameras they won't sell." Unfortunately, those predictions are becoming a reality.

"the tariffs may make them so uncompetitive that retailers drop the brand altogether"

The cessation of shipments is already being felt in other industries, too. For example, keyboard company Keyboardio announced in April that it would be pausing all US orders starting on April 23. That date was chosen to ensure orders would arrive in the US before the tariffs take effect on May 2. Keyboardio's post on its website details the reasoning behind this, explaining that DHL has already stopped taking packages that require formal customs clearances coming into the US. The company also cites the overall lack of clarity regarding future fees and delivery times as additional reasons for pausing orders.

Additionally, popular video game controller brand 8Bitdo originally announced on April 30 that it would no longer ship to the US. It has since walked back that statement, saying it is only pausing orders from May 1 to May 5 for Chinese Labor Day. Still, as with many aspects of these tariffs, the situation is in flux and can change on a day-by-day basis.

As with many aspects of these tariffs, the situation is in flux and can change on a day-by-day basis.

The US tariffs are also affecting more well-known brands in the camera industry. PetaPixel reported today that the DJI Osmo Pocket 3 has jumped in price to $800 and is listed as out of stock on most websites, including Amazon, B&H and DJI's own site. A DJI spokesperson told PetaPixel that "Due to local market conditions and industry environment, including trade-related policies, we may experience extended delays in restocking, and have had to adjust our pricing strategy."

It seems unlikely that major brands like Sony, Nikon and Canon will pause shipments to the US, though Canon has said that its prices will increase. It's also very feasible that smaller accessory brands will decide to pause orders to the US, just as gaming and computer accessory brands have started to do. Once stock that's already in the US runs out, that could be it for some of these products for those in the US.

Thank you to DPReview reader Fervent Astronomy for the tip about QHYCCD's announcement.

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

Updated May 1, 2025

By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• The compact option: Sony a7CR
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested.

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

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

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Read our EOS R5 II Review

See the EOS R5 II 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. Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.

Buy now:

Buy w/ 24-105mm f/4 at Amazon.comBuy at AdoramaBuy at B&H Photo Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

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

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 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 cheaper option?

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video capabilities. But while we found it to be a quite capable camera, its autofocus system's performance and UI are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV 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. Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

IQ above all else: Fujifilm GFX 50S II

51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II 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. Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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Updated May 1, 2025

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Panasonic S1RII
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

$5349 at Amazon.com$4999 at Adorama$4999 at B&H Photo What we like:

• Excellent detail capture
• Very high tonal quality
• Ready-to-go JPEG or malleable Raws

What we don't:

• Autofocus not especially fast
• Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.

While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for landscapes and more: Panasonic S1RII

44MP full-frame BSI sensor | 40fps burst shooting with pre-capture | 8K video up to 30p

The S1RII's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.

Photo: Mitchell Clark

Buy now:

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

• Excellent image quality
• Solid ergonomics
• Extensive video features, codecs and resolutions

What we don't:

• Short battery life
• Autofocus tracking and subject detection lag behind competition
• Small buffer

The Panasonic S1RII is a high-resolution full-frame hybrid camera with a BSI 44MP BSI sensor.

The S1RII doesn't have the highest-resolution sensor, but for landscapes, it can make up for that with its quite capable 177MP high-resolution multi-shot mode, which can compensate for some movement and is processed in camera. It's also quite capable for everyday photography, with high burst rates and tons of video features, though it doesn't have the greatest autofocus system for routinely shooting motion and action.

Image quality is very good, with attractive out-of-camera JPEGs that can be heavily customized with Panasonic's open LUT system. Unlike other full-frame options, it can process its multi-shot high-res mode in-camera. The S1RII is very capable, but its autofocus performance lags behind competitors for action and wildlife. It has a comfortable grip and highly customizable controls, and the menus are laid out well for the rare occasions you'll need to use them. The S1RII is very capable camera, especially for video, but the autofocus system and performance make a compelling argument to spend the bit more for one of its competitors if your shooting includes action and movement.

Click here to read our review of the Panasonic S1RII

Click here to see the Panasonic S1RII 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. Want higher single-shot resolution?

While Panasonic's high-resolution multi-shot mode is arguably the best in the business, it won't give you much benefit if you're trying to shoot subjects or scenes with motion. With its 60MP full-frame sensor, the Sony a7R V can capture more detail in single-shot mode than the S1RII. Its autofocus system is also more reliable for non-landscape uses, but while it can shoot 8K, it doesn't have the rolling shutter performance or extra video tools the Panasonic offers.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

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

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II 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. Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

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

• Sensor offers some of the best image quality in its class
• Lovely ergonomics
• 4K/60p (with a minor crop)

What we don't:

• Autofocus interface a bit clunky
• EVF not as high-res as competitors
• Customization a bit limited

Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files. To say the Z7 II is a comfortable camera to hold would be an understatement The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II 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 compact option: Fujifilm X-T5 Photo: Richard Butler

Buy now:

$1699 at Amazon.com What we like:

• Dedicated dial interface shows your settings
• Detailed 40MP images
• Photo-centric design and feature set

What we don't:

• Autofocus prone to false-positives
• Significant rolling shutter in e-shutter mode
• Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size. The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting. Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 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. Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.comBuy at AdoramaBuy at B&H Photo 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.

Leica will be releasing limited edition M11 cameras in six cities for its 100th anniversary.

Image: Leica

Leica is no stranger to limited edition cameras. It celebrated 70 years of the M series with a $23,000 platinum-plated kit and has released a black and gold Q2 in collaboration with Daniel Craig and Greg WIlliams, a streetwear-themed version of the D-Lux 7 and a $50,000 gold-plated M10-P, among a long list of others. It should come as no surprise that the company is releasing a special edition for its 100th anniversary, then.

As part of the 100 Years of Leica celebrations happening in a handful of cities worldwide, Leica is releasing limited edition M11 cameras. These special M11s feature engravings on the top plate for each city where events are hosted throughout the year. The cameras feature a "premium glossy black paint finish" and "stylish black cowhide armouring." The buttons and dials on the top of the camera are silver-chromed. Leica is only releasing 100 units per city, and the top of the camera will feature the serial number. Otherwise, it is the exact same as the standard Leica M11.

The limited edition Leica M11s feature an engraving on the top plate reflecting the city where they are sold, and the edition number out of 100.

Image: Leica

Leica kicked off the special edition M11 in Dubai on January 22, followed by Milan, Italy at the beginning of April. New York is the third city in the lineup, launching today, with the "NEW YORK USA" engraving. Each version is sold exclusively in the respective country. If you're itching for the New York edition, be prepared to spend $10,695 – a mere $1500 more than the standard M11.

Press release:

Leica M11 100 Years of Leica “NEW YORK USA”

Leica Honors 100th Anniversary of the Leica I with Exclusive Special Edition Release, Limited to 100 Units

NEW YORK, May 2nd, 2025 – As part of Leica’s centennial celebrations in New York occurring on May 3rd, 2025, one of the standout highlights is the launch of the new Leica M11 100 Years of Leica “NEW YORK USA”. Celebrating the Leica I, the first mass-produced 35mm Leica camera, this innovation revolutionized the world of photography at the Leipzig Spring Fair a century ago, unlocking a world of new possibilities with its compact design and versatility. To honor this standout moment, Leica has released an exclusive Leica M11 100 Years of Leica “New York USA” edition, which will be available on May 3rd 2025 and offered only in the United States. With a limited production run of just 100 units, this special edition is engraved with the city's name, making it a true rarity.

About the Leica M11 100 Years of Leica “NEW YORK USA”

This special edition includes several unique features that make it a true collector’s item. An individual engraving on the top plate spells out “NEW YORK USA” in combination with the traditional “Leica” engraving. This exclusive anniversary edition of the legendary rangefinder camera comes in a premium glossy black paint finish, inspired by the historical M-Cameras, which creates a distinctive patina over time– an unmistakable feature reflecting the individual story of each and every camera. A harmonious look is achieved thanks to the combination of silver-chromed control elements such as the shutter release, the on/off switch, and the ISO and speed dials, which are decorated with elaborate cross knurling.

The stylish black cowhide armouring lends a certain elegance to the camera, and its distinctive texture is a throwback to the legendary vulcanite leathering of earlier models. Details such as the black chrome-plated hot shoe cover with the anniversary logo “100”, a subtle black screw instead of the red logo, the special serial number from 001/100 to 100/100, and a certificate of authenticity emphasize the uniqueness of this special edition.
The Leica M11 100 Years of Leica “NEW YORK USA” model will be sold exclusively in the United States, at select Leica store locations, starting on May 3rd. The price of this model is $10,695.00.

The Leica M11 100 Years of Leica will also be released in five other distinctive country versions—each limited to just 100 units. Every select country edition will feature unique engravings and special serial numbers, making them true collector’s items. The M11 100 Years of Leica will also be launched in “MILAN ITALY”, “DUBAI UAE”, “SHANGHAI CHINA”, “TOKYO JAPAN” and “WETZLAR GERMANY”. Each of these releases will be limited to just 100 units and available exclusively for purchase in their respective countries.

100 years of Leica: Witness to a century

In 2025, Leica Camera AG is celebrating the 100th anniversary of the Leica I, the first 35mm camera to be mass-produced, which was introduced to the public at the Leipzig Spring Fair in 1925. This groundbreaking camera exceeded all expectations with its compact, portable design, unlocking new possibilities in photography. Under the theme 100 Years of Leica: Witness to a Century, Leica Camera AG commemorates this milestone that transformed photography worldwide. Throughout the year, Leica will host international events in major cities including Dubai, Milan, New York, Shanghai, and Tokyo, showcasing cultural projects and exclusive special product editions. The highlight of the celebration will be the anniversary week in June at the company’s headquarters in Wetzlar. Additionally, the global Leica Gallery network will feature high-caliber exhibitions showcasing works by renowned photographers.

The terms 'content creator' and 'creators' are quite the buzzwords these days. Content creation is so popular that many manufacturers have specifically said they want to appeal to people who claim those titles and are putting out cameras for those users. But you may have wondered who those people are and what camera systems they actually use for their content. A recent video from the Waveform Podcast channel walks through just that, chatting about which cameras they all use for content creation.

The hosts, Marques Brownlee and David Imel, sat down with studio producers Eric Villa and Rich Ho to discuss cameras. They spent time interviewing more than a dozen creators like Casey Neistat, Becca Farsace, Inga Lam, Tyler Stalman, Brittney Janae and more to get insight into what cameras they use and why. They also discussed specific situations in which some cameras may be good or bad and which cameras they don't like at all.

They broke the video down into sections for each major camera brand, touching on Red, Nikon, Blackmagic, Fujifilm, Panasonic, Canon, Sony and even iPhone. While the discussion is centered around cameras from those brands, they also get into topics like camera format, recording format, color science and autofocus. They even touch on which industries tend to use which cameras.

It's a broad discussion that includes a wide range of insights from many different types of content creators. It's a long discussion that shows that the work camera manufacturers have done to court content creators seems to have had at least some payoff.