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Product photos: Sony

As you may have seen, Sony has just refreshed its full-frame compact, the RX1R, with the mark III coming almost a decade after the last. The new version is packed with Sony's latest technologies but also hews so closely to the original concept that a lot risks looking dated, too.

We've already looked at how the RX1R III stacks up against the cheaper, stabilized a7CR, but that doesn't tell the whole story. Sometimes compactness and the focusedness of purpose of a fixed-lens camera is enough to justify a premium over an interchangeable lens camera. But a list price of €4900, £4200 and, in particular, $5100, is quite a premium.

We take a closer look at what the RX1R III is, what it offers and where it sits relative to its predecessors and rivals.

Basic specs

At its core, the RX1R III is exactly the update you'd expect, if you were familiar with Sony's latest internals. It's built around the excellent 60.2MP sensor that, coincidentally, also underpins the more expensive Leica Q3 and Q3 43 models.

It uses the same 35mm F2 Zeiss-branded lens as all the other RX1 models, with the same stepper-motor-driven focus system.

Like Mark II it has a built-in electronic viewfinder but now fixed into the corner of the body, rather than a pop-up design. The need to keep the camera small has limited Sony to a 2.36M dot (1024 x 768px) EVF panel, which is a jarring spec on a camera this expensive.

Like previous RX1 cameras (and the first five iterations of Fujifilm's X100 series), there's no stabilization system. The body has been redesigned, with a sleeker front panel and dials recessed into the top plate, but the fundamentals of the camera are broadly unchanged.

Updated autofocus

Sony's AF system has been massively improved in the decade since the RX1R II's launch, in terms of both performance and operability, and we've become used to reliable subject recognition and very tenacious tracking. Like Sony's other high-end models, the RX1R III includes a dedicated processor for crunching the added complexity of these machine-learning-derived algorithms.

However, the RX1's focus group isn't the fastest mover, which risks blunting the camera's top-end performance. We'll update this article in the coming days, once we have got a sense for how much of its potential it's able to deliver.

It's something of a shock to realize the RX1R II's clunky "Center Lock-on AF" system was as recent as ten years ago, given the huge advances we've seen since.

Price and positioning The original RX1
Photo: DPReview

The price tag on the RX1R III is somewhat eye-watering, if you compare it to anything other than Leica's Q3 twins, but this series has always been a halo product.

The original RX1 felt like Sony was making the statement "we understand photography" as much as putting out a product that was expected to shift units or make a profit. Even back at a much lower price point, we pondered whether it was trying to be a modern Leica (this is before the Q series showed us how much a real Leica full-frame compact would cost).

The first RX1 pre-dated the company's full-frame ILCs, and cost appreciably more than the higher resolution a7R when it was launched a year later. The RX1R II was priced much closer to the cost of the contemporary a7R II model, but they've always been priced at a premium.

That said, if you compare the RX1's UK launch prices to those of the Fujifilm X100 version available at the time, you'll see the first two RX1 models were 2.3x more expensive than the contemporary X100s, and the RX1R II and III are around 2.6x more expensive. Which, given you get a sensor around 2.4x larger, suggests they're not out-of-keeping with the rest of the market.

Price: US and beyond

The price in the US, though, is punchy, for reasons you may have heard about, in the news. Looking at the launch prices of previous Sony models over the past ten years, we found the UK launch price (incl. VAT) is around 20% higher than the US launch price, if you use the then prevailing exchange rate. This is, in part, because prices soften more readily in the UK market: the apparent premium is essentially an early-adopter tax that fades away after a few months.

However, that same calculation would lead you to expect a US launch price of around $4700, if you simply subtract 20% from the UK price and use the current exchange rate. This, and the 3.2x premium over the X100VI (vs 2.6x for the RX1R II over the X100T), helps explain why the US price in particular looks so high.

Higher-res sensor

Sony has made some critical changes, compared with previous models. The biggest of these is the move from a 42MP sensor to a 60.2MP one. It may be a chip that we've seen before, but it remains one of the best sensors, in terms of image quality, that we've ever encountered.

The first RX1R model was a variant of the RX1 with no low-pass (anti-aliasing) filter. The RX1R II had an innovative design that placed an LCD panel in the middle of the low-pass filter. AA filters work by refracting light differently, depending on its orientation. Engaging the LCD layer would polarize the light and determine whether the second layer of filter doubled or cancelled the effect of the first layer.

The RX1R III has no such cleverness, so you lose the ability to engage an AA filtering effect as you could on the Mark II. However, the higher resolution of the RX1R III's sensor means aliasing will only occur with higher frequency patterns, at frequencies even more likely to be inhibited by the lens, anyway.

Larger battery

The new camera also gains a larger battery, the 7.3Wh NP-FW50 battery, compared to its predecessor. This helps address one of the most sustained criticisms of the series, which was known for offering relatively short shooting durations from its compact 4.5Wh NP-BX1 battery.

The new battery is around twice the depth of the one used in previous models (18.5mm, rather than 9.2mm). Despite this, the new camera isn't appreciably deeper than the existing one, with the body itself measuring just 2.5mm more than its predecessor.

The new camera also has a USB-C socket and is compatible with the USB Power Delivery protocol, allowing it to both charge or be powered over the USB socket if you have a sufficiently powerful external charger or battery pack.

Vs Leica Q3

The most obvious direct competitor to the Sony RX1R III are Leica's Q3 cameras, the original Q3 with its 28mm F1.7 lens and the Q3 43 with its 43mm F2 lens. They let you choose whether you want a wider-angle lens or a normal perspective, rather than the RX1R III's 35mm that splits the difference. They also offer stabilization, which the Sony lacks.

Both cameras are based around the same sensor as the Sony but both have larger format 5.98M dot OLED viewfinders (with greater, 0.79x magnification) and tilting rear screens, where the RX1R III's is fixed. They're also both appreciably larger cameras than the Sony, as the diagram above shows. They are also substantially heavier, with the Q3 tipping the scales at 743g, with a battery and memory card: 49% heavier than the RX1R III.

In addition, they're also both more expensive cameras. If you want to see what premium pricing in this type of camera looks like, then feast your eyes and lock up your wallet when you see the $6735 and $7380 price tags dangling from the Leicas.

A rather more pragmatic alternative might be the a7CR and a suitable prime lens. That's a comparison we looked at in more depth, the other day.

EVF and screen

Two of the greatest points of contention, beyond its pricing, are the specifications of its viewfinder and its rear screen. Both have been dictated by Sony's focus on keeping the size of the camera down.

With the body already a fraction deeper, as a result of the adoption of a larger battery, the company has clearly decided that the additional bulk of an articulated screen would compromise its compactness. There have been several successful fixed-lens cameras with fixed screens (not least the first four X100 cameras), but there are times, particularly for waist-level shooting, when a tilting screen comes in handy. If that's the way you prefer to shoot, you'll need to opt for a larger camera.

Leaf shutter and hotshoe

The other factor worth remembering is that, like most fixed lens cameras, the RX1R III features an in-lens 'leaf' shutter. This gives essentially a global shutter effect, allowing flash sync across the whole shutter speed range, but with the disadvantage that its maximum shutter speed drops as you approach the camera's widest aperture setting. A 1/4000 sec maximum at F5.6 drops to 1/3200 sec by F4 and 1/2000 at F2. There's an e-shutter mode that allows shooting at up to 1/8000 at any aperture, but the 100ms (1/10 sec) readout rate means it's better for static subjects.

The camera has a hotshoe, useful both for mounting a flash but also featuring the multi-interface pins that let you connect mics and channel digital audio into the camera. Like the a7CR, the small body of the RX1R III sees video limited to 4K/30 (the sensor can deliver 8K resolution, though with a lot of rolling shutter). It has all the latest Sony video goodies including uploadable LUTs, S-Cinetone and 10-bit Log capture. The RX1R II, by comparison, topped-out at 8-bit 1080.

Summary

The Sony DSC-RX1R III is the update we weren't sure we'd ever see, and it's a pleasant surprise in many respects. The fixed-position viewfinder is more readily accessible than the pop-up unit in the Mark II, the 60.2MP BSI CMOS sensor has proven itself to be excellent and the new model addresses one of our biggest criticisms of the previous models: battery life. The adoption of a host of Sony's latest features and functions is promising, too.

However, the move to a fixed screen feels like a retrograde step and we're disappointed they couldn't find room for an AF joystick, given the complete redesign of the body.

The RX1 series has always been a halo product that commanded a premium for reasons of prestige as well as miniaturization, but its current pricing, particularly in the US, is brought into stark relief by the existence of the still-quite-small a7CR, elsewhere in Sony's own lineup.

If you like a fixed-lens camera and the compactness is a major benefit to you, then it's hard to think of a camera that promises so much image quality from such a small package. But there's a price, both metaphorical and financial, to be paid for that totability.

Image: Harman

Harmon has released a truly new film stock in an era when many other companies are repackaging existing formulations. The latest offering from the company, which is best known for its black-and-white film products, builds on its Phoenix 200 color film.

Harman released Phoenix 200 in December 2023. It was Harman's first color film made entirely from scratch at its Mobberley, UK site. The film was considered an experimental stock with colors noticeably different from most color negative films. Phoenix 200 II is a brand-new formulation, and while it shares a name with the original, the sample images coming out look like a completely new stock.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Image samples provided by Harman.

Harman says that Phoenix 200 II is improved over the original Phoenix 200 in almost every way. "Each layer and component has been redesigned and reengineered: new dyes, couplers and layer construction," Harman said. "The result is noticeably finer grain, better color reproduction, controlled contrast, increased sharpness and a wider dynamic range."

Because of all the improvements, Harman says the film will be easier to shoot, saying that it's "less bold and unpredictable than the original." The original was known to be quite challenging to work with, in part because of its limited dynamic range and high contrast, so this is a welcome change. Harman also says it will be easier to scan, which will be beneficial for home developers and large labs alike.

Harman Phoenix II is available in 35mm (36 exposures) and 120 formats for $14 and $12, respectively.

Buy now: 35mm format 120 format Images: Harman

That's not the only film Harman has announced this summer, either. In June, the company also released a 120 format version of its Red 125 film. It initially unveiled the redscale color negative film in February for 35mm, so while not a new film stock, it was a new format for those who like the red and orange tones of Harman's Red 125.

Buy now: Harman Red 125 (120 roll film)

Images: Canon

Canon has introduced the Speedlite EL-1 V2, though the changes are extremely subtle. The latest flash shares nearly all specs with the original EL-1, with only two minor differences in flash power and battery life.

The EL-1 V2 offers a slightly lower guide number than the EL-1. The original model's guide number is 14.1m (46.3') at ISO 100 for the 14mm position, while the EL-1 V2 is 14m (45.9') with the same settings. At the 200mm position, the EL-1 offers a guide number of 60m (196.9') at ISO 100, while the EL-1 V2 is 2m (6.6") less.

The new model also offers a small increase in battery life. Canon promises 340 full-power flashes per charge with the EL-1 V2, 5 more than the original EL-1. Given that there's slightly less power, that slight bump in battery life makes sense.

Other than those two things, the EL-1 and EL-1 V2 are identical and looks, size and other specs. Both are designed for professional users and offer 24-200mm coverage, a 0.9 second recycle time, an active cooling system, three flash modes and the same wireless radio control technology. Like the original, the EL-1 V2 is also weather-sealed, making it possible to use the flash in poor weather conditions.

Images: Canon

Hopefully, availability will be the most significant change here, though. Canon's EL-1 has had stock issues for a long time. PetaPixel reported last year that some users had been waiting a year for the flash. Even since then, it's consistently been out of stock at B&H and Canon's website, as is the case at the time of writing. Perhaps Canon addressed some of its production process that will enable it to keep the new model in stock.

The EL-1 V2 also comes with a steeper price tag for US customers. It costs $1349, whereas the EL-1 launched at $1099 in 2021 and currently sells for $1199. That's up 12.5% from the current price of the EL-1, which is roughly in line with Canon's pricing increases related to the US tariffs. It does appear that the cost of the EL-1 V2 outside of the US may be consistent with the current price of the EL-1, coming in at £1229.

You can preorder the Canon Speedlite EL-1 V2 as of today through B&H and Canon. Canon has an estimated arrival date of September 25, though, so you'll still have to wait a bit to get your unit.

Buy now: Preorder at Canon Preorder at B&H

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

The RX1R III is Sony's latest full-frame, prime lens compact. It's a 61MP update of a series that dates back to the original RX1 in 2012 and that hasn't seen a refresh since 2015's RX1R II.

But a lot has changed in that time. The original RX1 arrived a year before Sony introduced its first full-frame photo-focused mirrorless camera, the a7. Since then we've seen four generations of a7, five of the high resolution a7R series and, more recently the introduction of the more compact a7C models. It's these, and the high-resolution a7CR in particular, that draw the RX1R III's specs into sharp relief.

Especially given the a7CR was launched for $3200/€3700/£3200, whereas the RX1R III has a list price of $5100/€4200/£4200.

Does the cheaper, more flexible camera obviate the need for an updated RX1, or is there more to the story? We dig a little deeper.

Buy now:

Buy at AdoramaBuy at B&H Photo Commonality

It's entirely fair that people would look at the RX1R III and wonder whether Sony's budget high-res a7CR model can't do more, for (a lot) less, mainly because of the high degree of commonality between the two cameras' spec sheets.

Both cameras have the same 61MP full-frame BSI sensor at their heart, and combine this with Sony's latest Bionz XR processors and "AI processing unit," meaning the two cameras should provide comparable image quality, speed and AF capabilities. The co-processor is dedicated to running the complex algorithms developed by machine learning to recognize and track a range of subjects.

They also share the same viewfinder: a 2.36M dot unit with optics that deliver 0.7x magnification. That resolution is relatively low by modern standards, but is one of the highest available in the 0.39 Type (∼8 x 6mm display) panel format. Most higher resolution displays are 0.5 Type (10.1 x 7.6mm), which take up more space with a larger panel, surrounding case and optics. In both these models, the EVF panels have been chosen to minimize the amount of camera taken up by the viewfinder.

Size

The key difference between the two cameras is probably size. The a7CR is very small for a full-frame ILC, but that's quite a significant qualifier. The RX1R III's body is significantly smaller, in practice, than the a7CR's.

Add in a lens and the difference becomes even greater. The RX1R III's lens pushes back almost to the point of touching the sensor, whereas the a7CR has to leave room for a mechanical shutter and lens mount between the sensor and the rear element.

For some users, the difference isn't going to be meaningful: once a camera isn't pocketable, the degree to which it's not pocketable isn't as important. But as a carry-everywhere camera or a camera you want to be relatively unobtrusive, the difference may well be critical to some.

In terms of weight, at 498g, the RX1R III is 3% lighter than the a7CR even before you add a lens. Attach the Sigma 35mm F2.0 we used in the graphic above and the ILC comes out as 70% heavier.

Stabilization

Other than the ability to switch lenses, perhaps the most obvious difference between the a7CR and the RX1R III is that the CR has image stabilization.

There's certainly an argument to be made that a bright 35mm lens doesn't need stabilization (hence so few primes historically having the feature), and that the a7CR's stabilization is more valuable when you mount longer lenses on it.

But, even though, in principle, more moving elements risk denting absolute image quality, in practice the extra stability a good IS system brings means more shots that deliver the full capability of the 61MP sensor.

The RX1R III uses the same Zeiss-branded lens as the 2012 version and, in the name of size, illuminates the sensor and very little beyond it: it would need to project a larger image circle to allow sensor-shift IS (making both the lens and body bigger), or would need a complete redesign to have optical stabilization incorporated into the lens itself.

Shutters

As alluded to in the previous slide, the a7CR has a physical shutter in front of its sensor. In this case it only has a series of shutter blades to end the exposure: an electronic first curtain shutter approach. In most respects this works as well as a full mechanical exposure plane shutter with the only risk being misshapen bokeh when used with wide apertures and very short exposures. The a7CR's flash sync is limited to 1/160 sec.

By contrast, the RX1R III has an in-lens, 'leaf' shutter, which closes in from several directions, rapidly creating an ever smaller aperture as it does so. This affects the light level to the entire sensor as it closes and opens, meaning it has a whole-sensor, 'global' shutter action. This allows the RX1R III to sync with flashes up to its maximum shutter speed.

However, it's worth noting that the camera's maximum shutter speed varies with aperture, because the shutter has more distance to cover when the aperture diameter is large. Like the previous model, the RX1R III can shoot at up to 1/2000 sec when wide open, 1/3200 sec at F4 and narrower, and 1/4000 sec when stopped down to F5.6 or beyond.

Batteries

The larger body of the a7CR has enough room for Sony's largest NP-FZ100 battery, a honking-great 16.4Wh unit that powers the a7CR to a CIPA battery rating of 530 shots per charge using the rear screen and 470 through the viewfinder.

The RX1R III makes do with the smaller NP-FW50 battery, which has a capacity of 7.3Wh. This helps give the smaller camera ratings of 300 and 270 shots per charge, respectively. Which aren't as impressive but also aren't terrible. This is big improvement over the 4.5Wh BX1 battery used in the previous RX1 models which, despite ratings of 220/200 shots per charge, were limiting enough that the RX1R II invited jokes about giving such a film-like experience that it felt like you were limited to 36 shots at a time.

Screens

The knock-on effect of the move to the larger battery - the NP-FW50 is twice as deep as the one used in the previous model: taking up 18.5mm of a body that's only around 31mm, front to back - is that Sony has decided a moving rear monitor would add too much additional depth. It features a 2.36M dot (1024 x 768px) panel, but one that can't be moved away from the camera for waist-level shooting.

By comparison, the a7CR has a 1.04M dot (720 x 480px) display but one that's mounted on a fully-articulating hinge, making it more useful for waist-level work, video, selfies and tripod-based photos. On which note, the a7CR also has a multi-shot high res mode (arguably best suited to landscape work), which the RX1R III lacks.

It should, perhaps, be noted that the first four generations of X100 sold quite happily with a fixed rear screen, as did the first two generations of Leica Q and all Ricoh GRs to date. However, there is certainly a part of the audience for fixed-lens compacts that finds it useful as both Fujifilm and Leica have adopted tilting screens in their more recent models.

Summary

Perhaps ironically, several of the decisions that have been most criticized: the small, hence low-resolution, EVF and the fixed rear screen of the RX1R II, were made to keep the body as small as possible, and maximize the size difference between the RX1R III and the a7CR. And yet its these same compromises that will, to many photographers, make the a7CR look more attractive.

Buy now:

Buy at AdoramaBuy at B&H Photo

We believe a fixed-lens camera is thing unto itself: it isn't just an interchangeable lens camera with restrictions. And, much as we love them, we recognize that the greater flexibility of an ILC will often win out over the size and focus of a fixed-lens camera for the majority of people.

We suspect the respective pricing of the RX1R III and the a7CR will reduce the compact camera's appeal still further. But until we've shot with it more, we're not going to just assume that the more flexible camera is inherently better.

A.I. Appreciation Day Image: Mininyx Doodle / iStock / Getty Images Plus via Getty Images

Today, July 16th, is A.I. Appreciation Day. Well, at least it is according to A.I. Heart LLC, the company that invented this "holiday" in 2021. It's intended to be a day to acknowledge the positive impact A.I. has on society, as well as promote discussion about ethics and the responsible development of A.I.

While we recognize A.I.'s potential to revolutionize fields from healthcare to scientific research, we're also more than a little uneasy about the flood of A.I.-generated imagery, much of which is based on training using photographs taken by actual human beings, usually without their permission.

While we're not going to get that particular genie back in the bottle, we've decided to celebrate A.I. Appreciation Day by doing something really appreciative: showcasing real photos by real photographers in the DPReview community. These photos highlight some of our favorite images from our Editors' photo challenge series in 2025. We hope you enjoy them as much as we have.

Oh, and we would be remiss if we failed to mention that July 16th is also Corn Fritters Day, National Personal Chef Day and National Hot Dog Day. Just in case you need an excuse to celebrate.

Girl with llama

Challenge theme: Red, Green and Blue

Photographer: JeffryzPhoto

Description: High up in the Andes Mountains of Peru near the Sacred Valley a girl walks with her pet llama. Even the llama is wearing red, green, blue, and white.

Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR

Mesmerized

Challenge theme: B&W Street

Photographer: Daneland

Description: A young girl watches soap bubbles with a mesmerized expression on Southbank, London. If you look carefully, you can see reflections of the Tate Gallery in the individual bubbles.

Equipment: Leica Q2 + 28mm Summilux

Window frost

Challenge theme: Water

Photographer: Bram Floria

Description: Waiting for the defroster to kick in, Spokane, WA, on January 26, 2025. On a bright, cold morning following a night of ice storms, the water came out to play as leaves of crystal.

Equipment: Google Pixel 6a

Pretty big jump

Challenge theme: Human-Powered Travel

Photographer: Gbeeston

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

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

The secret oasis

Challenge theme: Chasing Summer

Photographer: Giampier

Description: It was one of those July afternoons when the air is still and heavy, and the sun burns your skin. The city seemed to be slumbering under the oppressive heat. For three young friends, boredom was about to take over, until their parents brought them to a park that held a secret. At first, it was just a path like any other, lined by a wooden fence and topped by a pergola of climbing plants. But then, as if by magic, a thick, cool cloud began to descend from the pergola. It was a tunnel of mist. This photo captures the exact moment when shyness turned into pure joy. After a brief moment of hesitation, one of them darted off, and the others followed without a second thought. They are running not just to find relief from the heat, but to cross a portal into another world.

Equipment: Pentax KP + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C

Take off

Challenge theme: Winter Games

Photographer: mmkarb

Description: Heliskiing was a bucket item I thought I'd never get a chance to experience, but I got an opportunity in 2019 and couldn't pass it up. It allowed the group to experience amazing skiing and breathtaking views. One of my favorite views came together with the helicopter dropping us off at the top of the mountain and being able to take in the entire view.

Equipment: GoPro Hero5 Black

Fighting the flow

Challenge theme: Human-Powered Travel

Photographer: Nilesh Trivedi

Description: A kayaker faces up to the ultimate challenge: riding the Grade 5 rapids at the Zambezi River, Victoria Falls, Zimbabwe. These are some of the most intense rapids known to Man.

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

Good afternoon, Mr. Station Master

Challenge theme: Red, Green and Blue

Photographer: Cambrian Coast

Description: Carrog Station is located on the Llangollen to Corwen heritage railway. Here we see the Station Master Platt saying good afternoon to the resident of the station house.

Equipment: Sony a7R IV + Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS

One more time?

Challenge theme: Chasing Summer

Photographer: Martella Media

Description: My daughter was deathly afraid of the "swing swinger" at first. Then, after one ride, she kept asking, "One more time?" We bought an unlimited ride bracelet after that.

Equipment: Canon AE-1 Program + Canon FD 50mm F1.8

Kings of the street

Challenge theme: B&W Street

Photographer: SFStreets

Description: Every year, the San Francisco Low Rider Council holds the "King of the Streets" event, where lowriders cruise along Mission Street. This year I caught a skateboarder come riding by one of the entrants, between 17th and 18th Streets. We all survived the encounter.

Equipment: Sony Cyber-shot DSC-RX100 II

Harris Hill, VT

Challenge theme: Winter Games

Photographer: jshepka

Description: With its 100th anniversary, Harris Hill in Brattleboro, Vermont, is one of the oldest ski jump hills in the US. It is a FIS-approved 90-meter hill that has been around since 1922. This image is a view of a jumper passing in front of the judge's tower on the way down!

Equipment: Canon EOS 70D + Canon EF 16-35mm F4L IS USM

Under

Challenge theme: Water

Photographer: Cliff Connell

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

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

While rainy weather is often seen as a negative, it can allow for stunning photographic moments. However, such conditions also result in a dilemma for photographers. Is it worth getting your camera and lens soaked to get some photos, or should you play it safe and stay inside?

Rain and snow don't have to mean the end or cancellation of a session or outing. With some precautions and the right equipment, you can use your camera in wet conditions. Whether you're caught in an unexpected shower or purposefully getting out there in wet weather, here's what you need to know to keep your gear safe.

Know your gear

In the camera and lens world, you'll come across mentions of weather-sealing or weather-resistance. Put simply, weather-sealing refers to gaskets and rubber rings around buttons, dials, switches, seams and ports to keep moisture out. Unfortunately, companies don't use those terms consistently, and they can mean vastly different things even within one brand. As a result, it can be difficult to decipher what weather-sealing actually means.

High-end cameras and lenses typically offer fairly robust weather-sealing, whereas budget cameras often lack much weather-sealing. OM System and Leica are the only two companies offering a specific IP rating, and only for some of their cameras.

Some companies may share diagrams highlighting where the seals are on their cameras and lenses, though that's not very common. If you can find specific information about your gear's weather-sealing, that may help you make decisions about how much rain it can handle. Some will be fine with longer stays in fairly heavy downpours, whereas others are best kept to short stints in rain.

How to use your camera in the rain Photo: ugis bralens / iStock / Getty Images Plus via Getty Images

Broadly speaking, even cameras with minimal weather-sealing are okay in rain and snow without special gear. You don't need to panic if you get caught in a shower, and it isn't necessary to avoid purposefully going out in inclement conditions.

No matter how much rain you're in, a lens hood will be helpful. It will reduce the number of raindrops landing on your lens, keeping it clearer for your photos. Of course, if there's heavy wind blowing rain around, it won't help much, but it's better than nothing. Keeping your hot shoe cover on (unlike the photo above) in damp conditions is also smart. Water could ruin the electrical contacts there, damaging your hot shoe.

If you want to stay out for longer periods in rainy weather or need to withstand epic downpours, there are additional steps you may want to take. Having at least some cover for your camera could give you better peace of mind, but that doesn't mean you need to buy anything. Things in your environment can block rain, such as dense overhead vegetation, an overhanging cliff or an awning on a building. If you don't like being tied to one spot, an umbrella is a shelter you can take anywhere. Or, if you're wearing a jacket, you can tuck your camera inside, only removing it when you want to take photos.

Rain covers are ideal for especially wet conditions, or for giving you more peace of mind.

Photo: ThinkTank

If you want to be cautious or are in particularly wet conditions, you could pick up a rain cover for your camera. A plastic bag will work in a pinch, but camera-specific covers will offer more protection and make it easier to use your camera. These can be lightweight rain sleeves that are essentially camera- and lens-shaped plastic bags or ones that are more like rain jackets for cameras.

Rain sleeves are ideal to keep on hand in case the weather turns unexpectedly, since they are lightweight and compact. They are also highly affordable, but they aren't all that durable. The more heavy-duty covers are meant for repeated use, which is likely the better option if you know you'll be in wet locations frequently.

Finally, it's smart to have some clean, dry microfiber cloths on hand to wipe raindrops off your lens as they appear.

Don't forget aftercare

What you do after the rainstorm is perhaps more important than preventing your camera from getting wet in the first place. The general "never store anything wet" phrase also applies to camera gear. If your camera gets wet, dry it off as much as possible before packing it in your bag. Otherwise, it will sit in moisture, which isn't great for electronics.

Once you are out of the wet environment, take the camera out of your bag, fully dry off the camera and leave the bag open so both can dry out. You can also use silica gel packets to help dry things out.

Don't let rain hold you back

Shooting in the rain can allow you to create some truly dramatic and amazing images. In fact, some of my favorite photos were taken in the rain or snow. While you shouldn't let rain stop you from getting out there, you still need to know your gear's limits and take care of your camera afterward. With those things in mind, you'll be able to stay creative even in wet weather while keeping your camera safe.

The GR World smartphone app logo.

Graphic: Ricoh Imaging

Ricoh Imaging has announced a new app for its GR series cameras. The GR World app will provide features beyond what's available with the company's existing Image Sync app, unlocking more capabilities for GR users.

Like most companion apps, the GR World app allows users to view and transfer photographs from their GR camera to their smartphone. Once the photos are synced, you can create and organize albums to help keep photos sorted. There's also widget function to display those albums as widgets on the home screen. Additionally, the app can pull a phone's location and record location information from the smartphone directly to images, provided it's connected via Bluetooth.

The left two screenshots show the image import process, while the right shows filter options.

Screenshots: Ricoh

Outside of file storage and organization, users can register and name their GR cameras, which will make connecting to the app faster after the initial connection. With the camera paired, you can check the Bluetooth connection status, whether location information is being recorded, battery level and the remaining number of shots on your memory card.

The app allows users to register and name their cameras and view basic information, such as battery level and memory card space.

Screenshots: Ricoh

The app also unlocks remote shooting, though its functionality is quite limited and is only compatible with GR III series cameras. You can use the app to operate the shutter release or set a basic self-timer, and that's all. There are no controls over exposure settings or anything else, which many other brands offer in their companion apps.

GR World is compatible with all Ricoh GR III cameras, including the GR III, GR III HDF, GR IIIx and GR IIIx HDF. It's also compatible with the GR II. The app is free and available for both Android and iOS. It will be available for download on July 23.

Press release:

RICOH GR series dedicated application “GR WORLD” now available

TOKYO, July 15, 2025 －RICOH IMAGING COMPANY, LTD. is pleased to announce that it will begin offering “GR WORLD,” an application that enables users to transfer images taken with compatible models of the RICOH GR series of high-end compact digital cameras and configure various settings on connected smart devices, from July 23.

Main Features of the “GR WORLD”

• Camera registration function that allows you to register and name the connected camera
• Image import function that allows you to display images stored in the camera on your smart device and transfer them via wireless LAN
• Remote shooting function that allows you to operate the camera’s shutter release and self-timer from an application when connected via Bluetooth
• Location information transmission function that sends the smartphone’s location information to the camera while connected via Bluetooth®* and records the location information on the captured image
• Album and widget compatible functions that allow you to organize imported images into albums and display them as widgets on the home screen of your smart device

App Name: “GR WORLD”

Release date: July 23, 2025

Price: Free

Compatible models： RICOH GR III / GR III HDF: V2.00 or later

RICOH GR IIIx / GR IIIx HDF: V1.50 or later

RICOH GR II: V1.10 or later

Download: Install from Google Play or App Store

Compatible OS: iOS 16-18, Android OS 13-15 * Operation is not guaranteed on all devices..

◇ Please refer to the product page for details of each function.

* Only models equipped with Bluetooth®

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

Sony has just announced the RX1R III enthusiast compact, now with a 61MP BSI CMOS sensor behind the same 35mm F2 lens as previous models.

In addition to the updated sensor, the camera's body has been redesigned, mounting the viewfinder into the top shoulder of the camera, rather than the pop-up unit used by the previous version. It uses the same 2.36M dot (1024 x 768px) panel but the internal finder is smaller, with magnification dropping to 0.7x (from 0.74x)

And, despite the visual similarities, the body has been completely redesigned, with the control dials and hotshoe now recessed into the top plate, so they sit flush with the top of the camera. The rear screen is now fixed, rather than tilting.

The viefinder is now integrated into the top corner of the camera and the rear screen is now fixed, rather than tilting.

Image: Sony

The Mark III includes the company's latest subject recognition AF modes, though the performance is still likely to be hindered by the lens design that has to move relatively large glass elements to focus. These are powered by the company's latest processor and dedicated "AI processing unit."

It has the same leaf shutter as previous RX1 modes, which tops out at 1/4000 at F5.6, is limited to 1/3200 at F4 and 1/2000 at F2, and it can flash up to these speeds. There's an e-shutter mode that extends to 1/8000 available at any aperture.

The camera also gains two additional "film looks" from the FX2, in its Creative Looks menu. It tops out at 4K/30 video but includes the S-Cinetone profile as will as option to upload LUTs. It doesn't have a dedicated record button anymore, though, if you never want to think about video. You'll need to screw in an ND filter if you do want to shoot video, though, as there's no internal option.

It uses the NP-FW50 battery, which is larger than the ones in the previous model. Sony says gives the camera a CIPA rating of 300 shots per charge, up from a rating of 220 on the previous model. It can also power and charge over the camera's USB-C socket.

The RX1R III will be available this month at a recommended price of $5099.99, a 54% increase over the RX1R II, when it launched in 2015. In Europe it'll retail for €4900 or £4200 in the UK.

Various accessories, including a grip, a case and a lens hood will be available separately.

Sony Electronics Introduces The RX1R III: The Flagship Full-Frame Premium Compact Camera With A Fixed Lens

SAN DIEGO, July 15, 2025 – Sony Electronics Inc. announces the RX1R III, the eagerly anticipated third generation of its RX1R series, featuring a 61-megapixel1 35 mm full-frame Exmor R™ CMOS image sensor, the latest BIONZ XR™ image processing engine, and a ZEISS® Sonnar T* 35 mm F2 lens.

"The RX1R III combines Sony’s design savvy with the latest innovations in imaging technology to produce a new flagship in our RX1R camera series that offers uncompromising full-frame quality in a premium compact camera body," said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “The RX1R series has resonated greatly among discerning photographers, and we’re proud to now deliver the next generation of this popular camera model.”

A Focus On High-Quality Photography

The combination of the 61-megapixel1 full-frame Exmor R™ back-illuminated CMOS image sensor and the BIONZ XR™ image processing engine delivers high resolution and sensitivity, with low noise and a wide dynamic range. The sensor surface features AR (Anti-Reflection) coating and omits the optical low-pass filter to achieve superior image quality.

The integrated lens offers excellent image quality. By optimizing the position of the lens and the imaging surface one by one at the micron level, RX1R III achieves high optical performance in a compact form factor.

Dedicated To Creative Freedom

To ensure you always get your shot accurately and without effort, RX1R III is equipped with the latest AI-processing unit, a valued feature of top-of-the-line professional Sony AlphaTM cameras. The AI-processing unit can accurately recognize the shape and movement of subjects, human bodies, heads, and the position of eyes, tracking subjects even when their faces are not visible, and is available for both still images and videos2. Up to 693 densely arranged3 phase-detection AF (Auto-Focus) points cover approximately 78% (for still image shooting) of the image capture’s area.

While the camera has a fixed lens, users can tap into the versatility of three prime lenses thanks to the Step Crop Shooting4 function, which allows users to switch between focal lengths equivalent to 35 mm, 50 mm, and 70 mm5 via assigned buttons or dials. When shooting in RAW format, users can reselect the focal length during post-production. The lens’s macro ring enables instant switching to macro mode, allowing users to get as close as 20 cm (maximum magnification: 0.26x).

For creators who enjoy unique and personalized visuals, RX1R III offers twelve built-in Creative Looks. Adjustments to hue, saturation, brightness, contrast, and sharpness can be applied not only to still images but also to videos. Most notable among the Creative Looks6, FL2 allows the capturing of a nostalgic expression with subdued colors, and FL3 allows for a more vibrant image.

Streamlined Design & Reliable Hardware

Made of lightweight yet highly rigid magnesium alloy, the RX1R III design balances aesthetics and functionality. While maintaining excellent operability, the dials and Multi-Interface (MI) Shoe are embedded into the camera body and the top surface of the body features a flat design. The grip design and surface texture provide a secure and comfortable hold.

RX1R III is equipped with an electronic viewfinder featuring an approximately 2.36 million-dot XGA OLED with high resolution and high contrast, offering a magnification of approximately 0.70x.

RX1R III uses the rechargeable battery pack NP-FW50, allowing the capture of up to 300 still images7. It features a USB Type-C® port that allows rapid charging when connected to USB Power Delivery8 -compatible devices, or the addition of external power sources, such as mobile batteries, for extended shooting sessions.

Social Responsibility

Aligned with Sony's ambitious 'Road to Zero' initiative, this product supports the company's vision for achieving a zero environmental footprint by 2050. The Sony Group’s manufacturing facilities for imaging products, including the RX1R III, are operating at 100% renewable energy. The RX1R III packaging uses Sony's proprietary environmentally friendly Original Blended Material9 instead of plastic10.

The camera system incorporates comprehensive accessibility options, including a Screen Reader function11 and Display Magnification, to support visually impaired users across an expanded range of menu items.

Optional Accessories

TG-2 is a dedicated thumb grip that attaches to the Multi Interface (MI) Shoe to provide stable holding and operability, including when operated with one hand. When attached to the body, the metal material and high-quality paint finish provide exceptional design unity.

LCS-RXL is a compact body case dedicated to this camera model intended to protect the camera from scratches and dirt and enhance its elegance with its refined texture material. The body case allows access to all ports—USB, HDMI, battery, memory card, and tripod attachment—without removal. The grip design improves the holding experience.

LHP-1 is a lens hood made specifically for this camera. It features a robust construction using lightweight and high-strength aluminum material, protecting the lens from impact and dirt. The bayonet mount allows for quick and secure attachment.
Pricing & Availability

The RX1R III will be available in July 2025 for approximately $5,099.99 USD and $6,299.99 CAD. The TG-2 for approximately $299.99 USD and $349.99 CAD, the LCS-RXL for approximately $249.99 USD and $224.99 CAD, and the LHP-1 for approximately $199.99 USD and $249.99 CAD, in August 2025. They will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

1Approximate effective
2Available subject settings are: Auto, Human, Animal, Bird, Insect, Car/Train, and Airplane. Subject types other than the type specified may be erroneously recognized in some cases.
3It is number of AF measurement points during still image shooting. The number of points varies depending on the shooting mode.
4Not available for movies.
5When shooting JPEG images with a 3:2 aspect ratio, the resolution is as follows: At 35 mm: L size (60 megapixels), at 50 mm: M size (29 megapixels), at 70 mm: S size (15 megapixels)
6ST (Standard), PT (Portrait), NT (Neutral), VV (Vivid), VV2 (Vivid 2), FL (Film), FL2 (Film 2), FL3 (Film 3), IN (Instant), SH (Soft Highkey), BW (Black & White) and SE (Sepia).
7When using the viewfinder: 270 shots.
818W (9V/2A) USB PD power source is recommended.
9Paper material made from bamboo, sugarcane fibers, and post-consumer recycled paper.
10Excluding materials used in coatings and adhesives.
11Supported languages differ according to country and region.

Sony DSC-RX1R III specifications PriceMSRP$5100, €4900, £4200Body typeBody typeLarge sensor compactBody materialMagnesium alloySensorMax resolution9504 x 6336Image ratio w:h1:1, 4:3, 3:2, 16:9Effective pixels60 megapixelsSensor photo detectors63 megapixelsSensor sizeFull frame (35.7 x 23.8 mm)Sensor typeBSI-CMOSProcessorBionz XRColor spacesRGB, Adobe RGB, BT.2020Color filter arrayPrimary color filterImageISOAuto, ISO 100-32000 (expands to 50-102400)Boosted ISO (minimum)50Boosted ISO (maximum)102800White balance presets9Custom white balanceYesImage stabilizationNoUncompressed formatRAWJPEG quality levelsExtra fine, fine, standard, lightFile format

• JPEG (Exif v2.31)
• HEIF (MPEG-A)
• Raw (Sony ARW v2.3)

Optics & FocusAutofocus

• Contrast Detect (sensor)
• Phase Detect
• Multi-area
• Center
• Selective single-point
• Tracking
• Single
• Continuous
• Touch
• Face Detection
• Live View

Autofocus assist lampYesDigital zoomYes (2x - 4x)Manual focusYesNumber of focus points693Lens mountSony EFocal length multiplier1×Screen / viewfinderArticulated LCDFully articulatedScreen size3″Screen dots2,359,296Touch screenYesScreen typeTFT LCDLive viewYesViewfinder typeElectronicViewfinder coverage100%Viewfinder magnification0.7×Viewfinder resolution2,359,296Photography featuresMinimum shutter speed30 secMaximum shutter speed1/4000 secMaximum shutter speed (electronic)1/8000 secExposure modes

• Program
• Aperture priority
• Shutter priority
• Manual

Built-in flashNoExternal flashYes (Multi-interface shoe / Sync socket)Flash modesFlash off, Autoflash, Fill-flash, Slow Sync., Rear Sync., Red-eye reduction, Wireless, Hi-speed sync.Flash X sync speed1/4000 secDrive modes

• Single
• Continuous (Hi+/Hi/Mid/Lo)
• Self-timer
• Bracketing (Exposure, Focus, WB, DRO)

Continuous drive5.0 fpsSelf-timerYesMetering modes

• Multi
• Center-weighted
• Highlight-weighted
• Average
• Spot

Exposure compensation±5 (at 1/3 EV, 1/2 EV steps)AE Bracketing±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)WB BracketingYesVideography featuresFormatMPEG-4, XAVC S, XAVC HS, XAVC S-I, H.264, H.265Modes

• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 30p, H.264
• 3840 x 2160 @ 25p, H.264
• 3840 x 2160 @ 23.98p, H.264
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.265
• 3840 x 2160 @ 23.98p, H.264
• 3840 x 2160 @ 23.98p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 24p, H.264
• 1920 x 1080 @ 120p, H.264
• 1920 x 1080 @ 120p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 60p, H.264
• 1920 x 1080 @ 60i, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 30p, H.264
• 1920 x 1080 @ 25p, H.264
• 1920 x 1080 @ 24p, H.264

MicrophoneStereoSpeakerMonoStorageStorage typesUHS-II SDConnectivityUSB USB 3.2 Gen 1 (5 GBit/sec)USB chargingYes (USB PD supported)HDMIYes (Full-size HDMI)Microphone portYesHeadphone portYesWirelessBuilt-InWireless notes802.11ac 2x2 MIMO + Bluetooth 5.0Remote controlYes (via smartphone)PhysicalEnvironmentally sealedYesBatteryBattery PackBattery descriptionNP-FW50 lithium-ion battery & chargerBattery Life (CIPA)300Weight (inc. batteries)498 g (1.10 lb / 17.57 oz)Dimensions113 x 68 x 88 mm (4.45 x 2.68 x 3.46″)Other featuresOrientation sensorYesTimelapse recordingYesGPSNone

The X half is joyously silly. But it was critical to assess it for what it is, rather than trying to review it as a photographers' compact.

We published our full review of the Fujifilm X half yesterday, and it was perhaps the hardest-to-write review I've ever worked on. There were a number of factors that made it uniquely difficult.

The first is that it's not trying to be a serious camera and it's not designed for existing photographers or their needs, particularly. So how do you assess a camera that isn't particularly aiming to be a technically great camera? Harder still, how should DPReview, a publication often known for testing and technical analysis, review a camera whose specs and performance are tangential to its appeal?

Not being serious doesn't make it immune to criticism, by any means, but it means having to focus on where it fails at what it's trying to be, not at what it isn't.

The other big issue is the price. We'd been using the camera for a while before we were told the final price, so we had a blissful period of time when we could enjoy the experience without ever having to wonder whether we'd enjoyed it enough to justify the pricetag.

But, especially in the US, where the final figure was significantly higher than many of the numbers swirling around prior to launch, you can't ignore the price. In fact, it's so jarring as to make it difficult to make sense of the X half at all.

So nearly, yet not at all

Pricing at anything near the price of an enthusiast compact muddies the waters completely. It invites comparisons that seem to make sense if you look at the sensor size and X100-like aesthetic, and squint, but that absolutely don't, once you've try using a camera.

It's been so long since anyone other than Leica launched an enthusiast compact, it's hard to know what a contemporary launch figure would be. But pitching the X half $100 higher than 2019's Stacked-sensor G7X III understandably invites comparison.

The feeds into the pent-up frustration felt by many keen photographers that no one seems to be addressing the enthusiast compact market. But no amount of wishful thinking will make the X half into that camera.

Which is why I haven't listed the lack of Raw capability as a 'Con' in the review. For my own use, I quite like the idea of an X half that could shoot Raw. Not because I think I'd get great results adding masks and adjustments, trying to optimize the output from Adobe Camera Raw, but because it would be nice to be able to switch the film simulation I'd used, after the fact.

But just because I'd like it doesn't mean I think Fujifilm should change the X half. Adding Raw wouldn't make the X half a better camera, it would just mean some enthusiast photographers would find out the hard (cash) way that the X half wasn't designed for them.

If you're already a keen photographer, how often are you really going to use the film advance lever? And if you're shooting Raw, does it matter which film sim you shoot with? Trying to use the X half as an enthusiast compact risks ignoring what makes it good and putting undue scrutiny on what it does badly.

Judged by the standards of enthusiast cameras, the X half is dreadful. It has a slow, not-wholly reliable 9-point AF system. It doesn't have the DR modes or Color Chrome effect options to create 'recipes,' it's really fiddly to tap and swipe to change most settings or adjust the shutter speed. And a 'serious' approach risks both the film advance lever and film simulation window touchscreen that define the camera being rendered vestigial.

Adding Raw wouldn't do anything to fix this, it would just send even more hopelessly mixed messages and would inevitably see the camera get an absolute kicking from people (quite reasonably) judging it for what it wasn't originally designed to be.

On its own terms

Even on its own terms, the X half is a decidedly imperfect camera. Its touchscreens aren't as responsive as they should be. The LED flash means you can't even get the 'retro' bleached-out indoor flash aesthetic that some of its users will want. The autofocus isn't as fast or reliable as you might like to think a modern camera would offer. And, again, it's really quite expensive.

But if you see its competition as the over-priced second-hand CoolPixs, PowerShots, CyberShots and Optios being dredged up on eBay, then the Fujifilm is vastly better. It's cute, to a degree that it attracts comments everywhere it goes, it's silly, gimmicky and joyous in equal measure; doubly so in Film Camera mode. And it's also meaningfully better than the other 'fun'/'retro' cameras with their smartphone sensors (but lacking the smarts) that have sprung up to cater to that audience.

Overall, the X half is a lot of fun: we came very close to giving it a Silver award

Overall, the X half is a lot of fun, and we came very close to giving it a Silver award. But the degree to which it can struggle to take photos of people (even when they're holding a pose for the camera) is a significant flaw in a camera trying to be carefree and fun. Particularly for an audience that isn't necessarily au fait with having to half-press and wait, then try to check whether the focus is on the right thing. And on a camera where, through the viewfinder, you're just having to rely on faith as to what it's focused on.

Like many of our readers, I'd love an updated enthusiast compact: a refreshed, more rugged G7 X, an RX100-like camera with better controls. But it wouldn't have been fair to review the X half on those terms, because that's not what it is. It's a camera whose 'film counter' has to wind back to zero before you can leave Film Camera mode. And I tried to review it on that basis.

Changing lenses outside can feel like a risky endeavor. After all, during the swap, your camera's interior will be exposed to the elements, potentially allowing dust, dirt or moisture to land on your sensor. Those resulting spots can be a pain to edit out, extending your editing time. It may also require a sensor cleaning session. While it may be tempting to avoid it altogether, sometimes you need a different lens, and there's no getting around the swap.

Sensor spots are unavoidable, but some simple habits can help keep your sensor as clean as possible when changing lenses. Whether you’re photographing on a rainy trail, a dusty park or a city street, the key is preparation and quick, careful action. Below, you'll find tips on changing your lenses safely, even in the great outdoors.

How to change lenses outside Keeping the lens mount pointed down will help prevent debris from getting into your camera.

First and foremost, no matter where you are changing lenses, ensure your camera is off before starting. When active, the sensor can have an electric charge, which can attract dust. Plus, some mirrorless cameras have a shutter that protects the sensor when it's turned off; you won't be taking advantage of that feature with the camera on. DSLRs offer some protection by default with the mirror, but it's still a good idea to have the camera off. Then, it's time for some preparation so the swap can be as fast as possible.

Start by preparing the lens you want to put on. Loosen the rear lens cap, but leave it covering the lens. You don't want to expose the rear element to dust or moisture, as it can transfer inside your camera and onto your sensor. Keep it easily accessible so you aren't fumbling for it when it's time to make the change. It could be sitting upright in your open camera bag, on a picnic table or a sidewalk, just so long as it's in a safe location.

Get the lens you are switching to ready by loosening the rear lens cap and having it easily accessible.

With the spare lens ready, turn the camera so the lens mount and sensor are pointing down. That way, you are using gravity to your advantage and preventing anything from falling onto the sensor. Release the lens currently on your camera and attach the other lens as quickly as possible. Finally, put the rear lens cap on the lens you removed to keep it clean.

Other considerations when changing lenses outside

While the general process of changing lenses isn't different if you're outside or inside, there are some additional considerations when outside. If it's windy out, you'll want to find a place that's somewhat protected from the wind. You could try to find a building to stand against, or even a large tree or rock. If nothing else, put your back to the wind and use your body as a shield.

The same technique applies if it's raining, though the risks are significantly higher. Only change lenses in wet environments if there's no dry place you can get to and it's absolutely unavoidable. An umbrella, poncho or rain jacket can help keep things dry while you swap lenses, but only when you have no other option.

Certain locations and environments are riskier than others, of course. Sand is extremely harsh on cameras, so it's best to limit lens changes at the beach or in other sandy locations. In such places, try to choose a versatile lens so that you don't need to swap. That's not to say you can't change lenses there; you'll just need to be extra careful, and it's best to avoid it when possible.