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The rubber on older cameras can sometimes "revert," turning tacky or even liquefying, after many many years.

When buying a new or especially used camera, it's easy to wonder: how many years will I get out of this? While many consumers expect to replace their phones every few years, it's not unusual for photographers to see their cameras as a long-term investment.

As for how long term, there are a variety of factors involved. In this article, we'll cover some of the things that can lead to a camera expiring and how long they take to manifest.

The short answer: it depends

Unfortunately, there's not one exact answer on how long a given camera will survive. We'll be discussing some average lifespans of various components in this article, but it's worth keeping in mind that those are just averages; some copies will die well before those milestones, and some will last long after. Two cameras built with the exact same parts on the exact same day may have drastically different lifespans.

The way you use a camera will have an impact on its lifetime

It's also worth noting that the way you use a camera will have an impact on its lifetime. Photographers who only shoot in climate-controlled buildings can expect their gear to last longer than someone who chucks theirs in a backpack and heads into the wilderness, subjecting it to a blazing sun and constant sand. Likewise, someone who takes thousands of photos a day will need to buy a new camera more often than someone who only occasionally takes pictures.

With that out of the way, let's take a look at some of the most common points of failure and around how long you can expect them to last.

Mechanical shutters: moving parts don't last forever

Many (though not all) cameras use a mechanical shutter to start and/or stop the process of exposing the sensor to light. These are small, complicated parts that move very quickly, which isn't a great formula for something that you want to last forever.

The shutter mechanism is one of the most complex mechanical parts in your camera.
Photo: Mitchell Clark

While most manufacturers don't provide an estimate for how long the shutter of every camera will last, it's not uncommon for them to provide ratings on their higher-end models. For example, Panasonic rates the S1RII's shutter for 400,000 actuations, while Canon rates the 1DX III's for 500,000.

Again, these are just averages – any particular camera may not reach that number, or it may vastly exceed it – but they provide an upper limit to how many photos you can expect to take with a camera before you have to worry about the shutter breaking. It's also worth noting that lower-end cameras likely have less robust mechanisms with no particular rating, so the manufacturer probably won't fix them under warranty if they break before what feels like their time.

While most cameras can operate in e-shutter only mode, your mechanical shutter breaking is probably a good sign that it may be time to start looking for a new camera.

Other moving parts

If you have other moving parts on your camera, such as an articulating screen, or port covers, those could also eventually wear out after repeated use. Again, if you treat them kinder, you'll generally get more out of them, but even with the gentlest touch ribbon cables that connect electronic components like displays will eventually wear out after flexing enough times.

If you tilt a screen back and forth enough times, the hinge or the ribbon cable (or both) will likely give up.

The same is true for ports. Some ports are more fragile than others – we're looking at you microHDMI – but if you plug and unplug something enough times, it can eventually wear out, making the connection less stable, or having it the port fail altogether. USB-C, for example, is rated to last for around 10,000 insertions.

Neither do electronics

Many photographers won't take hundreds of thousands of photos with their camera, but even the stationary parts have an expiration date. While there have been improvements in electronic components' longevity, they don't necessarily last forever. Given how complicated they are, even one component in your camera failing could spell game over for it.

In most cases, though, even components with limited lifespans like capacitors and solder joints can last for a decade or two, depending on how they're designed. However, it's something worth considering if you're looking to purchase a much older used camera.*

* - This warning brought to you buy the author's now-expired Nikon F3, which has some sort of electronics failure.

New batteries can be a new lease on life

If you have an older camera and it's starting to behave oddly, it may be worth trying a new battery in it if you can get your hands on one. You're probably aware that the lithium-ion batteries that are common in cameras will lose capacity as they're charged, drained, and recharged, but as they near the end of their life, they can also fail to provide the voltages the camera expects under some scenarios. This could lead to it seeming like your camera is broken when the issue is really that it's not getting the power it requires.

Physical life versus useful life? It's okay to outgrow a camera that still has life left in it.
Photo: Dale Baskin

It probably goes without saying, but just because a camera is still kicking doesn't mean it still meets your needs. For some, it can be easy to fall into the mindset of "well, I can't get rid of a perfectly functional camera," even when more recent models may be much better-suited to their needs.

If you find that your gear is holding you back in some way – perhaps the autofocus isn't keeping up with your prefered subjects, or the sensor doesn't quite have enough dynamic range or resolution – it may be worth selling or donating it to someone whose needs it will meet, and looking for a camera that's better suited to you.

In summary: don't worry (too much) about it

If you're buying a camera from a reputable brand, the odds are good that it won't just fall apart during its natural life; we'd expect most cameras to last between 10-20 years before their construction really starts to become a concern. After that, you may need to start thinking about the lifespan of their electronics, plastics and the complicated mechanisms that make them work.

The main factor in how long your camera lasts will be how you treat it. If you take care of your camera it should serve you well for a long time... or at least until you get the itch to upgrade.

Photo: Adobe

Adobe has announced its latest updates for Photoshop, which it says aim to address common pain points for photographers and creatives. They include a few new tools, launching as betas, and improvements to the remove tool.

The most substantial new feature is Harmonize, which promises to make the process of creating composite photos easier and faster. The tool was first previewed as Project Perfect Blend at Adobe Max in October 2024, but it is now ready for testing in beta.

Harmonize uses Adobe Firefly to analyze new objects and the context of the original image. It then automatically adjusts the new object's color, lighting and shadows to create a more natural composite image with a single click. Users will still need to adjust scale and perspective. Still, this tool could be a big time-saver for interior designers creating staged imagery, marketers creating campaign visuals or artists creating composites. Harmonize will be available in beta for Photoshop on Desktop and web, and in Early Access on mobile.

The Generative Upscale feature promises sharp, clear results when upscaling images.

Photo: Adobe

Adobe has also introduced Generative Upscale, which it says has been one of the most requested updates from the community. It's available in Photoshop beta on desktop and web and can increase image resolution up to eight megapixels. Adobe says it will make images look sharper and more detailed. That said, the team's demo of upscaling an old, scanned photo of a couple showed quite a bit of smoothing on the skin and other features, giving it a rather AI-type look. However, its upscaling example of an AI-generated image showed more sharpness and detail.

Adobe has strong competition on this front, given that dedicated AI upscaling programs, such as Topaz Gigapixel AI, offer more settings and control. Still, it could be a good option for those who would like to keep all their editing work in one program and don't need advanced control over upscaling.

Adobe says the remove tool will provide better results in the new beta version. As you can see on the right hand side, though, it still may add new objects.

Photo: Adobe

The Remove Tool is also getting an update thanks to the latest Firefly model. Adobe explained that people have been using Generative Fill to remove things, but it wasn't specifically designed for that, and it would often add random new objects as a result. However, the Remove Tool was designed explicitly for removing items, and Adobe says it won't add new things as often as Generative Fill. That implies there will still be some surprise additions from time to time (indeed, such was the case in the example image Adobe provided), but it should be less frequent. Adobe also says that results will be more precise and natural in the latest iteration.

Both Generative Upscale and Harmonize use Adobe's generative AI credits, which it began enforcing with the new plans rolled out in May this year. Luckily, the newly improved Remove Tool does not use generative credits, so you can remove to your heart's content. That's a relief to hear, since it's such a commonly used feature for Photoshop users.

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Using a camera in a variety of circumstances is a core part of our review process, and we've been taking advantage of the camera's size by taking it pretty much everywhere with us.

Some of the images were taken at the wedding reception described in our shooting experience article.

Read our Sony RX1R III shooting experience

As usual, all images are presented as unedited, out-of-camera JPEGs unless otherwise stated, and Raw files are available to download so that you can run them through your preferred workflow, once support is available.

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It turns out the RX1R III takes the kinds of photos I like to take, and does so in a package I can carry around, without too much inconvenience or intimidating would-be subjects.

Sony DSC-RX1R III | F2.8 | 1/125sec | ISO 160
Photo: Richard Butler

I'll be the first to admit: I love a small camera with a big sensor and a prime lens. They were commonplace in the film era, but had all but died out after the transition to digital, with only Ricoh keeping the faith with its GR Digital models. I remember distinctly when Sigma announced it was developing the DP1, and the excitement when Fujifilm pre-briefed us about its plans to make the type of camera we'd been asking for, for years: the X100.

I want to make that clear, because recognizing this about myself was critical to making sense of my time shooting with the RX1R III. I'd just been writing about how its specs and size compare to the a7CR: an ostensibly a better camera in nearly every respect. So why was I enjoying the RX1R III more?

It was a friend's wedding reception. He'd asked if I'd be willing to DJ for a bit and maybe take some photos, leaving me switching between multiple roles. I agreed on two conditions: that I'd DJ early enough that I wasn't responsible for getting the crowd dancing, and that I wasn't going to be the principal photographer. Both those tasks are highly skilled and specialised, and although I enjoy both, I'm not the best person to turn to, for either.

Having received the Sony earlier in the day, I decided to pack it alongside the Nikon Z5 II I already planned to take (with 24-70mm F2.8 and 85mm F1.8, just in case portrait opportunities arose, since you ask).

Very quickly, I realised that the RX1R III was the better camera for the job. With the Nikon I kept switching lenses, as I vacillated between asking people to pose for photos and trying to capture the uninterrupted atmosphere of the event. With the zoom mounted, I couldn't quite work out what I was shooting, and kept framing too wide and getting photos with a lot of background and venue.

This isn't a photo I was planning to take, but I had the camera on my wrist, just as a friend glanced down at her phone. The camera focused quickly enough for me to take this grabbed shot.

Sony DSC-RX1R III | F2.8 | 1/250 sec | ISO 640
Photo: Richard Butler

The RX1R III was completely different: its size meant I didn't feel I was switching roles from guest to photographer, as I could comfortably leave it hanging off my wrist. It was also it was much less obtrusive than the Mirrorless camera. The Z5 II isn't a big camera, but with the 24-70 F2.8 on the front, it couldn't help but attract attention. By contrast the RX1 let me just pop up over people's shoulders or as I was seemingly walking past. Occasionally someone would spot me, but no one seemed intimidated by the little camera I was wielding.

I also feel the fixed focal length really helped me get my head into the task. The only question I had to ask myself was: 'how many people am I getting in shot, so how close do I need to be?' This simplicity quickly had me seeing the room through a 35mm lens, and working out where I needed to put myself. It's a similar experience to the one I had when reviewing the Leica Q3 43.

Beyond the basic concept of the camera, the thing that really jumped out at me was how well the autofocus performed. I remembered the Mark II feeling like it was being held back by its rather ponderous lens: revisiting the review immediately invoked a memory of how the camera would rumble slightly as it focused, as well as resurfacing a long-buried horror of the phrase 'Center Lock-on AF.'

The RX1R III was better in every regard, and better by a greater degree than I'd expected. You can still feel the lens as its elements are shunted around but it moves more swiftly, either through smarter algorithms minimizing the amount of movement required or some increase in the AF motor's speed. Either way, the RX1R III did a good job of finding and achieving focus, with it feeling more confident than the Nikon, as the light level fell: the opposite result from the one I'd expected.

One detail I noticed was the Auto ISO using a 1/125 sec exposure as its Auto shutter speed threshold. This use of 1/ four-times-focal-length is presumably to maximise sharpness, in the absence of any stabilization but wasn't always enough to get some of my candid shots gallery-sharp.

I didn't once notice the low resolution of the viewfinder: possibly because I've spent the last few years of my life reviewing cameras with low res finders. I tend to find changes in viewfinder resolution much more distracting than consistent low resolution, as in the moment, I'm usually only trying to get a sense for composition and checking where the focus point is, rather than trying to scrutinize detail.

As soon as I started shooting with the RX1R III, I started getting shots that reminded me of this photo: the moment at which I understood the case for the original RX1.

Sony Cyber-Shot DSC-RX1 | F2 | 1/800 sec | ISO 100
Photo: Richard Butler

One of the first shots I got from the evening immediately reminded me of a photo I took with the original RX1. I instantly recalled how much I'd loved the distinction between the sharp regions and the significantly out-of-focus background. I'm not someone who really thinks of 'pop' in photos, but it's this one I always picture, when I try to imagine what people mean by it.

I was, by that stage, already an owner of the ur-X100 and I remember thinking 'this is like the X100, but more so.' But the slow focus, poor battery life and high price (or what I thought was one, back then), significantly undercut the appeal of the camera overall.

Its 35mm lens and relatively small form-factor means I can take exactly the kinds of shots I like to take with an X100, but with more detail and better image quality (albeit for a much higher price).

Sony DSC-RX1R III | F4.0 | 1/125 sec | ISO 6400
Cropped and selectively warmed with Adobe Camera Raw
Photo: Richard Butler

The RX1R III addresses the first two of those issues while still delivering that 'like a super-X100' experience. The dedicated aperture ring and exposure comp dials make it feel much more photo-focused than the otherwise similar a7CR, and much closer to what I enjoy about the X100.

I even found myself thinking that it's almost the photo-only camera that so many people say they want. It can shoot video if you insist, but there's no headphone socket, no tilting screen, no stabilization and no record button, so Sony hasn't exactly gone out of its way to encourage it.

In practice, it's probably the most purely photography-focused camera Sony is ever going to make. And, while its menus and interface aren't as dedicated to that cause as Leica's are on the Q3 series, the experience is still one that puts photography to the fore.

The new brand is called Antigravity.
Image: Insta360

Insta360, a company known for its 360 and action cameras, is entering the drone market. Today, the company announced a new sub-brand called Antigravity and is teasing an upcoming drone that will shoot 360° 8K video.

The company says Antigravity is a "collaboration with third parties" and that it's spent years designing a product that will have "several world-firsts" in drone design. While details are very sparse – an official announcement is due next month – there are a few that sound intriguing. The upcoming drone will have 360°, 8K capture and weigh less than the 249g limit that many countries have set as a requirement for drone registration.

The company has released a marketing video with snippets of footage that may have come from the drone. As with many 360° cameras, the main use isn't necessarily in letting a few people actually view a 360° video, but in letting you capture everything and decide your framing and movement in post.

The company is teasing a small, light 360 drone.
Image: Insta360

The press release announcing the brand makes it seem like it'll be aimed at people who don't necessarily have a lot of experience flying drones, and who are just trying to capture "a family hike, a weekend road trip, or a new perspective on everyday life." In other words, to start, Antigravity's products will be aimed more towards those looking to jazz up their social media feeds, rather than pros using drones for work.

The company also says it'll have a "co-creation program" that lets "enthusiasts and community members" leave feedback and ideas about what they want to see in future products, or what features they'd like to see added.

The US government has been growing increasingly hostile to DJI

It's been a while since we've seen a new player successfully enter the drone market, but Insta360 has a track record of breaking into areas seemingly dominated by one or two major companies. It's had some success taking on GoPro and DJI with its own lineup of action cameras.

The timing may also work in Antigravity's favor. At the moment, DJI is really the only brand that matters in the consumer drone space, but the US government has been growing increasingly hostile to it over the past few years and has continued to threaten to ban it outright. Despite some people snagging units, its latest drone, the Mavic 4 Pro, never officially launched in the US; it's currently not even listed on its US website.

Press Release:

Introducing Antigravity: The Future of Aerial Exploration and Storytelling

Flight reimagined for life.

Today marks the official launch of Antigravity, a new drone brand with a bold mission: to redefine aerial exploration and storytelling.

Incubated by Insta360 in collaboration with third parties, Antigravity isn't content with simply releasing another drone into an already crowded sky. Instead, it’s creating an entirely new category — combining the world’s first 360 drone with true immersive capture. All packed into a sub-249g form factor, with 8K resolution to match.

The brand envisions a future where drones enable immersive and intuitive experiences that reflect the curiosity, creativity, and spontaneity of the people using them. Whether capturing a family hike, a weekend road trip, or a new perspective on everyday life, Antigravity empowers people to explore and create while experiencing life as it happens.

"Today, most drones are tools. With Antigravity, we're aiming higher," says BC Nie, Head of Marketing at Antigravity. "While others compete on specs, we've flipped the script, reimagining what a drone should be able to do. The result is something that empowers real emotion and enables experiences like freedom, creativity, and discovery for everyone."

The Idea: 360 Immersive Flight

At the heart of Antigravity's design philosophy is the concept of 360 immersive flight. The brand aims to own this space completely, and replace the technical complexity inherent in both drone flying and 360-degree videography with expressive, story-first experiences that are easy to master yet exceptionally powerful.

Inspired by You. Made for Everyone.

Antigravity drones are made for the curious and the adventurous. Creators. Travelers. Families. People with bold ideas but with limited time to learn complex flight controls and aerial content creation. It's for anyone who's ever wanted a drone, but felt it would be too big of an investment for something they may never be able to use to its full potential.

Ease of use is the starting point for all Antigravity products. Users don't need experience. They don't need a checklist — the drones are operated intuitively. While the rest of the industry is designing products for experts, Antigravity is building drones for everyone; beginners, experts, and everyone in between.

A Collaborative Approach to Product Design

Antigravity is also redefining how products are designed by making community and collaboration a core part of its ethos. Through the Antigravity Hub, the company's co-creation program, enthusiasts and community members are invited to help shape the future of Antigravity's products and features.

Every idea is read and considered, and those that inspire future products or features will be rewarded accordingly. Every contribution will be helpful in understanding what matters to users. Antigravity products are not designed in isolation. They're inspired by the people who believe in what they can become.

Technology Has Caught Up

Antigravity — and its upcoming first product — launches at a pivotal moment when hardware, software, and user expectations have finally aligned. After years of quiet development, the technology is ready to support a new kind of drone experience. This drone is set to revolutionize the industry, introducing several world-firsts in drone design that enable pilots to experience and capture the world in ways that weren’t possible before.

The drone has been designed to reflect Antigravity’s commitment to building a product ecosystem with unique personality, meaningful features, and a clear sense of purpose. To ensure that Antigravity drones are used solely for exploration and storytelling, all drones will include smart safety features such as payload detection to prevent misuse or unauthorized modifications.

Antigravity's first drone will be unveiled in August 2025. More information is available at www.antigravity.tech.

Checking and adjusting the image fields of the M3 illuminated frame rangefinder, approximately 1953.

Image: Leica Photo Archive © Liesel Springmann

This year marks a historic anniversary for Leica: 100 years have passed since the first mass-produced Leica camera was introduced. No matter your thoughts on the company today, there's no denying its impact on photography as we know it. That legacy can be challenging for a company interested in navigating modern technology, though. To learn more about how it balances tradition and innovation, we spoke to Dr. Benjamin Dück, Global Director of Technology & Innovation; Peter Karbe, Senior Managing Expert Optics and Platform and Mark Shipard, the Head of Design.

The Leica I 1925 Elmax camera.

Photo: Leica

First, a bit of history. In 1925, Leica presented the Leica I – the first mass-produced, readily available 35mm camera – at the Leipzig Spring Fair in Germany. That camera is often credited as being the birth of modern photography, popularizing the 35mm format and putting cameras in the hands of the general public. Because of its compact design, it helped popularize new genres such as reportage, street photography and candid image-making in everyday life.

Leica's willingness to push boundaries remains a key part of its legacy. "One key lesson from Leica's history is the value of long-term thinking and the willingness to take calculated risks," said Dr. Dück. "The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

"The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

Since 1925, Leica has continued to develop and advance photographic technology. Throughout that time, tradition has remained constant. "At Leica, tradition and innovation go hand in hand," Dr. Dück explained. "Our legacy of precision and craftsmanship forms the foundation for technological progress."

Leitz Werke production Leica I, between 1925 and 1932.

Photo: Leica Photo Archive © Nikolaus Befort

Of course, there's a benefit to being around for 100 years: Leica has extensive historical data to look back on, aiding its technological progress. "Our archive of construction and optical design documents can look back on 100 years and is one of our greatest treasures at Leica," explained Karbe. "Today, we still feel obliged to do justice to the traditional standards stored in the archive and to continually enrich them with new requirements. The evolutionary development at Leica always builds on what has already been created."

While it has an eye towards advancement and calculated risks, the company makes it clear that it isn't interested in progress solely for the sake of progress. "Our design goals are oriented towards customer benefit," said Karbe. "What will our customer expect from the product (lens)? What performance parameters must we achieve. The design goals are derived from this."

Left: Max Berek; Right: Oskar Barnack, Wetzlar, 1935

Photos: Leica

Karbe provided a historical example, too. "Oskar Barnack (inventor of the Leica) and Max Berek (optical designer of the first lens for the Leica) defined a sharp photo in postcard format as their goal," he explained. With that in mind, they derived the design objectives for Leica's first lens. Karbe says that their approach today is similar. "We ask ourselves what tasks the new lens to be developed should fulfill, what performance we want to offer the customer," he said. "Based on these assumptions, we define the design goals."

Shipard expanded on this idea, explaining that Leica's heritage is based on clarity, precision and restraint. While technology has changed drastically from the first Leica camera and lens, Leica says those three tenets remain constant. "Every new product reinterprets these principles using today's materials, technologies, and needs," he said.

"Innovation should serve the needs of creators – not just follow technological trends,"

Leica's design philosophy informs not only its own lens design process but also its broader perspective on the future of photography and camera-making. "For future camera makers and photographers, it's important to focus on quality, usability, and a clear understanding of the craft. Innovation should serve the needs of creators – not just follow technological trends," said Dr. Dück.

The Leica ZM 12 watch.

Photo: Leica

In recent years, Leica has moved beyond cameras. The company's name is associated with watches, eyeglass lenses, apps, smartphones and more. While it could seem like a departure from the brand's legacy, Leica doesn't see it that way. "All business areas are based on core competences that stem from Leica's history," said Dr. Dück. He added that the company wants to deliver the Leica experience on both professional cameras and smartphones, highlighting Leica's recognition of the importance of smartphone photography moving forward.

Progress in the digital age and time of artificial intelligence is also a focus for Leica. "We honor our heritage while embracing the future – from pioneering digital watermarking called content credentials in the M11-P to exploring AI-assisted imaging," explained Dr. Dück. He went on to say that Leica believes that AI can never replace the authenticity of a photograph, but "AI can help photographers to achieve an authentic image more quickly." It will certainly be interesting to see how Leica approaches this and what it could mean for content credentials moving forward.

"Progress comes not from adding more, but from refining what matters."

Ultimately, the Leica story is not about clinging to tradition or chasing progress, but about how the two can work together. As Shipard puts it, "Leica's heritage is our great asset moving forward. We don't preserve history, we extend it. Progress comes not from adding more, but from refining what matters."