Feed aggregator

2025 Astrophotography Prize

The 2025 Astrophotography Prize winners have been announced, highlighting spectacular images of celestial objects and phenomena. The global contest is dedicated to education and "raising the standard of astrophotography for all entrants," and offers a unique judging and scoring system.

The global contest features four categories: Remote Imaging, Deep Space, Solar System and Astro Landscape. Three specialist astrophotographers scored each entry out of 100. Then, the top 25 in each category were debated and re-scored in a live, public finale. The Astrophotography Prize says that the "transparent process offers unmatched insight into the secrets behind award winning composition, technical excellence, and creative impact, inspiring participants and viewers alike."

This year attracted 545 entries from 35 countries. The judging panel featured 20 astrophotographers from the United States, the United Kingdom, France, Germany, Thailand, Singapore, New Zealand, and Australia. You can watch the judging replays for each category on the contest website.

Photographer of the Year & Remote Imaging Winner

Photographer: Ani Shastri

Title: Deep Field Squid Nebula (Ou4)

Location: SRO Auberry, CA

Equipment: PlaneWave CDK350, ZWO ASI6200MM, Chroma SHO

Exposure: Ha: 84x600s, Oiii: 171x600s, Sii: 54x600s

Total integration time: 51.50 hours

Details: A breathtaking image of a nebula six times the size of the full moon. Captured over 51 hours at Sierra Remote Observatories in California with a PlaneWave CDK350 and ZWO ASI6200MM camera, the photograph captivated the judges for its scale and precision.

Remote Imaging Runner Up

Photographer: Steeve Body

Location: Swan Reach, South Australia

Equipment: Player One Zeus-M Pro, FSQ-106EDX4 + 0.72× QE reducer @f/3.6, Antlia LRGB + 3nm SHO filters

Exposure: LRGB 150x300s each, SHO, 150x1200s each

Total integration time: 200h

Entrant statement: A naturalistic widefield view of Vela, colour-enhanced using narrowband mapping: Hα to red, O III to blue, and S II to yellow.

Remote Imaging Top 5

Photographer: Alpha Zhang

Location: Chile, DeepSkyChile

Equipment: Moravian G4-16000, Takahashi FSQ106EDX III, Astrodon LRGB Gen2 HaSIIOIII 5nm, TAK 0.72x Reducer 645RD

Exposure: 2Panels Mosaic, Lum 80×900s=20h, RGB 40×900s each=30h, Ha 120×900s=30h, SII 120×900s=30h, OIII 160×900s=40h

Total integration time: 150h

Entrant statement: Rosette blooms like a rainbow flower, Christmas Tree rises in radiant glow; together they weave romance and wonder, cosmic colors flowing through endless night’s embrace.

Remote Imaging Top 5

Photographer: Jan Beckmann

Location: Trevinca, Spain

Equipment: TS ONTC8 200/800 Astrograph, iOptron CEM70G, ZWO ASI2600m

Exposure: L: 87 x 300 s R: 61 x 300 s G: 30 x 300 s B: 30 x 300 s Ha: 360 x 300 s

Total integration time: 47.3h

Entrant statement: Sh2 126 the Lacerta (Gecko) is a striking dark nebula located in the constellation Lacerta, known for its intricate structures and surrounding Halpha emission clouds.

Remote Imaging Top 5

Photographer: Alpha Zhang

Location: Chile, DeepSkyChile; SiChuan China

Equipment: Moravian G4-16000, Takahashi FSQ106EDX III, Astrodon LRGB Gen2 HaSIIOIII 5nm, TAK 0.72x Reducer 645RD

Exposure: 10m/15m subs per channel: L57/31 R28/16 G23/16 B30/16 Ha139/32 SII151/32 OIII186/34

Total integration time: L17h15m; R8h40m; G7h50m; B9h00m ;Ha31h10m; S233h10m; O339h30m; Tot146h35m

Entrant statement: Spaghetti Nebula threads glow like electric veins, blue-green filaments weaving through dust, a luminous tapestry softly whispering endurance, sorrow, and the beauty of hidden light.

2025 Celestron Prize Winner & Solar System Winner

Photographer: Alessandro Ravegnin

Title: Magnetic Shadow

Location: Romano d'Ezzelino, Italy

Equipment: C11HD Edge f/10 + Baader Astrosolar + Optolong Red filter + ZWO ASI183MM

Exposure: Stacking of 300x10ms

Total integration time: N/A

Entrant statement: "Magnetic Shadow", AR370, one of the most beautiful sunspot groups of this solar cycle, captured with good seeing (0.5" resolution)

Solar System Runner Up

Photographer: Damir Maksan

Location: Williamsdale, NSW

Equipment: Sony a6400 camera mounted on a Meade LX-90 telescope

Exposure: 1/2000th second, ISO 500, 7 frames

Total integration time: N/A

Entrant statement: The International Space Station, captured with a telescope, transiting the moon travelling at 26,000 km/h. The crossing happened in 1/2 second.

Solar System Top 5

Photographer: Dan Bartlett

Location: June Lake, California

Equipment: asi2600 mcPro, Celestron C14 SCT, Hyperstar

Exposure: 26 x 30seconds

Total integration time: 0.217

Entrant statement: On 2024-04-01 the sky cleared enough to allow 13 minutes of imaging time on 12P/ Pons-Brooks. The solar activity has taken its toll.

Solar System Top 5

Photographer: Łukasz Remkowicz

Location: Russellville, Arkansas

Equipment: Canon EOS R, Canon RF 100-500 @500mm, ZWO Am3, ASIAIR,, ASIAIR

Exposure: 9 x 4 frames each) on: 1/200, 1/100, 1/50, 1/25, 1/13, 1/6, 0.3, 0.6, 1.3 seconds

Total integration time: About 0.0028h

Entrant statement: Total solar eclipse in Ruseville, Arkansas in 2024, showing the solar corona and the Moon’s earthshine.

Solar System Top 5

Photographer: Lóránd Fényes

Location: Hungary, Balatonalmadi

Equipment: Player One Ares-M Pro, DIY 400/1820, IR-Pass filter

Exposure: 4 x 500 frames frames

Total integration time: 15 minutes

Entrant statement: Crescent Moon IR mosiac

Deep Space Winner

Photographer: Paul Milvain

Title: The Southern Cross Aflame

Location: Forbes, Victoria

Equipment: ZWO ASI2600MM Pro, Stellarvue SVX80T-3SV telescope, Astronomik deep sky RGB-HA filters

Exposure: 440 X 120 Second each R-G-B, 450 X 300 Second HA

Total integration time: 81.5

Entrant statement: This is a 9 panel mosaic of the Constellation Crux and surrounds, shot over a period of months, in RGB-HA.

Deep Space Runner Up

Photographer: Paweł Radomski

Location: Borchow, Poland

Equipment: ZWO ASI2600MM-C, AZ-EQ6, TS Newton 8" f/5 Carbon, Antlia LRGB Filters

Exposure: L: 514x180sec, RGB: 150x180sec each channel

Total integration time: 48h 12min

Entrant statement: LDN1448 is a very rarely photographed dust region where intense star-forming processes are taking place

Deep Space Top 5

Photographer: Rodney Watters

Location: Glanmire, NSW, Australia

Equipment: Camera: ZWO ASI6200; Lens: Canon 200mm f2.8

Exposure: R: 51 × 300" - G: 50 × 300" - B: 51 × 300" - Hα: 35 × 1200"

Total integration time: 24h 20m

Entrant statement: A widefield image of the Large Magellanic Cloud, our close neighbor galaxy at a distance of 158,200 light years.

Deep Space Top 5

Photographer: Jan Beckmann

Location: Heidelberg, Germany

Equipment: TS Hypergraph 6, Takahashi e130D, Skywatcher NEQ6, iOptron CEM70G, QHY 294m pro

Exposure: L: 89 x 180 s R: 22 x 180 s G: 25 x 180 s B: 30 x 180 s H-alpha: 64 x 300 s OIII: 125 x 300s

Total integration time: 24.3 h

Entrant statement: Comet C/2021 S3 PANSTARRS crossing Cygnus with Weinberger 1-10 (PK086+05.1) to the right.

Deep Space Top 5

Photographer: Joshua Robertson

Location: Coffs Harbour, NSW, Australia

Equipment: ASI2600MM, Antlia RGB Pro, Antlia 4.5nm Ha, Antlia 3nm O3. Takahashi FSQ-106ED

Exposure: 5 Panel Mosaic, for Each Panel: 60x15s each of R, G, B, 48x300s Ha, 48x300s O3

Total integration time: 43hrs, 45min

Astro Landscape Winner

Photographer: Matteo Strassera

Location: Tenerife, Canary Islands, Spain

Equipment: Canon R5, Sigma 14mm f1.4 Art

Exposure: Land: 8*120 sec; Sky: 8*60 sec

Total integration time: 60 sec each frame, 480 sec total

Entrant statement: A 360 panorama showing the arch of the Milky Way stretching across the sky above the volcanic landscape of Tenerife, in the Canary Islands

Astro Landscape Runner Up

Photographer: Matteo Strassera

Location: Namibia, Karas Region

Equipment: Canon R5, Canon 14-35RF f4

Exposure: Land: 7*120 sec; Sky: 7 tiles * 5 frames 15 sec

Total integration time: 75 sec per tile, total 8 min 45 sec

Entrant statement: An abandoned train stop in Namibia’s desert glows softly, embraced by the Milky Way’s arc, captured under one of the clearest skies on Earth

Astro Landscape Top 5

Photographer: Jason Perry

Location: Anmatjere, Northern Territory, Australia

Equipment: Nikon Z7II with Nikkor Z 14-24mm f/2.8 S Lens

Exposure: 2 row pano, 10 exposures total at 60 seconds each.

Total integration time: 0.16 hours (10 min)

Entrant statement: Aboriginal Warrior, with spear in hand, stands watch over his land in a remote area of the Northern Territory.

Astro Landscape Top 5

Photographer: Jason Perry

Location: Valley of Dreams, New Mexico, USA

Equipment: Nikon D850 and Sigma 20mm f/1.4 Art lens

Exposure: 161- 6 second exposures

Total integration time: 0.25

Entrant statement: Located in Navajo Nation land of New Mexico, Alien Throne is a hoodoo which was created over millions of years by wind, rain, and water.

Astro Landscape Top 5

Photographer: Louis Leroux-Gere

Location: Kirkjufell, Iceland

Equipment: Canon EOS 6Da, Sigma ART 24mm f/1.4, Nisi Natural Night

Exposure: 20*4s

Total integration time: 1m40

Entrant statement: Aurora pillars and thunderstorm above Kirkjufell

Image: Viltrox

Most compact flash units look fairly similar, with little to make them stand out. Viltrox has gone a different direction with its new Spark Z3, a TTL on-camera flash. The affordable and compact unit promises lots of power with a "cyber-inspired" design that makes it visually distinct in a crowded field.

The Spark Z3 features a matte metallic body and a "translucent 'light core'" on the top of the device. Viltrox describes it as "futuristic Cyber Mech aesthetic." It comes in gray and green, giving users at least one option slightly different than the typically neutral colors of flash units.

The Spark Z3 comes in black and green.
Image: Viltrox

The Spark Z3 is highly compact, weighing 144g (5.1oz) and measuring 78.4 × 67.2 × 55.9mm (3.1 x 2.6 x 2.2"). It easily fits in a pocket or bag, making it more feasible to bring when traveling or at events. It also won't add much weight to the camera, which is always appreciated.

Despite the compact size, the Spark Z3 provides a fair amount of power with 26Ws output. That's not as powerful as more expensive or larger flash units, and won't serve as a replacement for those. But it is plenty for close-range work, fill flash or casual event photography. It also has a one-second recharge time at full power, allowing photographers to shoot rapidly. It offers a TTL Auto Mode, which is ideal for beginners.

The Spark Z3 comes with a diffuser to soften light.
Image: Viltrox

For those who want more control, there is also a manual mode with seven power levels ranging from 1/64 to full power. It also features built-in optical triggering, enabling off-camera use. The flash supports both Sync Trigger Mode and Anti-Preflash Mode, making it easier to work in multi-light setups. It also comes with a diffuser to soften the light.

Viltrox promises up to 650 full-power flashes per charge, and users can recharge the device via USB-C in 70 minutes.

The Viltrox Spark Z3 is available today for $55. It is available for Nikon (Z3-N) and Fujifilm (Z3-F) cameras, with Sony (Z3-S) and Canon (Z3-C) versions coming soon.

Buy now: Buy at Viltrox

Press release:

Viltrox Spark Z3 TTL On-Camera Flash: ‘Cyber Mech’ Style

26Ws flash with seven power settings, automatic and manual control, versatile triggering modes

Shenzhen, China – September 25th, 2025 - Viltrox proudly announces the release of the Spark Z3 TTL On-camera Flash, a pocket-sized yet powerful lighting solution that fuses cyber-inspired aesthetics with pro-grade performance. Compact enough to fit in the palm of the hand, the Spark Z3 combines intelligent automation, precise manual control, and rapid responsiveness to empower creators to master light in every scenario.

Bold Cyber Mech design

The Spark Z3’s matte metallic body, accented with geometric lines and a translucent “light core,” reflects a futuristic Cyber Mech aesthetic. Available in Gunmetal Gray and Tundra Green, its lightweight yet robust structure blends strength with style, making it both a tool and a statement piece.

Smarter light control: TTL & Manual modes

• TTL Auto Mode (Instant-Response): Pre-flash metering intelligently balances light output for natural fill, letting beginners capture perfect shots instantly.
• M Manual Mode (Creative Control): Fine-tune brightness across a 7-level power range (1/64–1/1) to craft custom lighting effects with cinematic precision.

Whether shooting portraits at golden hour, neon-lit street scenes, or low-light interiors, Spark Z3 ensures balanced illumination that highlights both subject and atmosphere with clarity and depth.

Pro performance in a pocket

• 26Ws output with 7-stop adjustment delivers versatility for stills, portraits, and creative scenes.
• 1-second full-power recycle ensures uninterrupted shooting and decisive moment capture.
• Up to 650 full-power flashes per charge keep inspiration flowing, with USB-C 70-minute fast charging and support for charging while in use.
• Included diffuser softens light instantly for professional portrait textures.

Multi-light freedom: Wireless sync modes

The Spark Z3 features built-in optical triggering for flexible off-camera setups:

• S1 Sync Trigger Mode: Wireless multi-flash triggering for studio-style creativity.
• S2 Anti-Preflash Mode: Prevents pre-flash interference, ensuring stable results in complex lighting setups.

Ultra-light, travel-ready design

Weighing only 144g and measuring 78.4 × 67.2 × 55.9mm, the Spark Z3 slips easily into a pocket or bag, making it the perfect companion for travel, street, or event photography. Compact yet powerful, it redefines what a pocket flash can achieve.

Compatibility across major brands

The Spark Z3 is available in dedicated versions for Nikon (Z3-N) and Fujifilm (Z3-F), with Sony (Z3-S) and Canon (Z3-C) versions coming soon, ensuring broad system compatibility for creators worldwide.

MSRP: $54.99 / €62.99 / £51.99

Where to buy:

Viltrox Official Website: viltrox.com/products/z3-camera-flash

Image: Esquisse Camera

It's a cry echoed throughout comment sections and forums every time we see a new Micro Four Thirds camera: where are the truly small options? Why is no one making a camera that takes advantage of the small lenses available for the system to create a package that's truly pocketable, such as a modern successor to the Panasonic GM5 or Olympus PEN-F?

These are the kinds of questions that drove Côme Courteault to co-found Esquisse Camera, a group working on a "timeless carry-everywhere camera" with a minimalist design that's smaller than a deck of cards. The project, announced today, is still in very early stages, but we sat down with Courteault to talk about what drove him and the team to take on the task of creating the thing that so many people have been asking for.

What is the Esquisse Camera?

While nothing is set in stone yet, Esquisse Camera's website describes the vision: a camera that weighs less than 350g, features just the controls you need for photography, paired with fast autofocus, a 20MP+ Four Thirds CMOS sensor and a rangefinder-style EVF. The design will call back to classic cameras of the past, and some current models, with an aluminum unibody wrapped in leather. That's all at a target price of less than $2000.

Courteault says the team has drawn inspiration from the Panasonic GM5 and Olympus PEN-F, humorously saying that there's frequent debate about which is better. "All of the team wanted to go with Micro Four Thirds for portability, almost pocketability, because the lenses are very small as well. And this is basically the only interchangeable lens platform that offers this with AF and all the modern tech."

A drawing of what the front of the Esquisse Camera might look like.
Image: Esquisse Camera

He also says he drew inspiration from his other main camera, the Leica M11, when it came to materials and feel. "This is also something we want to achieve in a smaller body, at a different price point, of course."

The name, Esquisse, is the French word for a sketch, outline, or preliminary drawing (Courteault says the people working on the project are split between France and China). "This is because this is our first camera. We intend to build a brand on top of it, but right now we understand that it's a rough sketch, so we use the French word for this." He jokes that it's better to have a name, rather than just a mix of numbers and letters.

What makes it special?

Obviously, the size is a big part of the pitch, and the goal is to make it the size of a deck of cards or, as Courteault puts it, a pack of cigarettes. "We always felt there was an underserved market for this kind of street photography, travel, pocketable-ish camera," he says.

The Esquisse Camera site says the goal is to have "all essential photography functions right under your thumb," and shows a design featuring a shutter button, dials for exposure compensation and ISO, a clickable top-plate command dial and two function buttons. It also shows a touchscreen to control the autofocus point.

Another mock-up, this time showing the rear controls. The website says the tentative plan is for a 3" rear screen and a 3.69M-dot OLED EVF.
Image: Esquisse Camera

It also mentions a dust and splash-resistant design – a common ask for highly-portable cameras – and 256GB of internal storage. As the site notes, though, all these specifications could change as the company works with manufacturers and continues development.

Of course, with something this ambitious and small, there will be trade-offs. Courteault is up front in saying that the camera won't shoot video. "We designed not to incorporate video, both for ergonomic reasons... we feel video is completely different and photography is very specific, and we really want to provide a photographic experience." He also cites concerns around the amount of heat video would generate in such a small body.

Building in public

The core team at Esquisse is four people, though there are others with varying levels of involvement. "At the core, we're amateur photographers," Courteault says. "We teamed up with people who have experience in consumer electronics and industrial design, and everything we need to make this camera." Courteault himself comes from the software side.

"We want to see the market feedback before we actually fundraise"

He says the team is currently a group of enthusiasts spending their own money to make the camera that they'd like to use, and that they're still considering how the business will actually run. But a primary focus is making sure potential buyers are included in the process. "In all transparency, we want to see the market feedback before we actually fundraise and incorporate and invest more in this."

Esquisse is hoping to get feedback from the people who sign up to its email list. "We want to be transparent about this, we'll update them with design decisions that we have to make, compromises we have to make, because there will be trade-offs."

"We're really doing this because we are frustrated. We want this camera for ourselves."

When I asked if he was worried about larger companies taking advantage of the transparency to beat them to release, he laughed. "Honestly, if bigger companies want to do this... I'd be a customer, so what can I say?" He thinks Esquisse can make different choices than a large company would, but says, "If they want to get in there, I would do something else and buy the camera and would be happy about it. We're really doing this because we are frustrated. We want this camera for ourselves."

The long road ahead

Courteault admits that it's very early in the process of announcing this kind of project and that there are many steps still to go. The site lists a goal of launching the camera in Q4 2026, which is relatively soon in the world of product development.

We asked where the project was in terms of manufacturing, and he says that the team was "considering several options" when it comes to actually getting it made. "There are things for which we're pretty much set, and things that are still being discussed."

"We don't think customers should be the investors of a company, it's two different jobs"

"We are still open to new companies," he says. "The real challenge is to get the electronics small enough so that it can fit in this very small body." He also says they were discussing pricing with companies, but that he could only go into so much detail since talks were still in progress.

When it comes to getting funding, Courteault says they'll consider fundraising from investors later in the process, but that they don't plan on taking money from customers until there's a working production unit. "We don't think customers should be the investors of a company, it's two different jobs. Investors who are funding this kind of project know the risks and how difficult it is; customers are just buying products, so we shouldn't mix the two."

He did say they'd consider taking pre-orders to get a sense for how many cameras they'll need to make and to ensure they have the money to get them made.

Our take

When we asked Courteault what he's most excited about with the Esquisse Camera, he says it's the form factor. "For anyone who's been using a GM5 or a Sony RX100, this is going to be closer to that than to the other mirrorless cameras." He admits there are a few size compromises to include the EVF. The plan is to make it around a centimeter taller than the GM5, but the goal is still to have a camera that you can carry with you at all times.

I have to agree. I'm on the record saying that I want to see more innovation and variety in the Micro Four Thirds system, and it seems like many people out there agree. However, whether there will be enough to make this project a success could be another story.

The jump between having a finished design and getting products into people's hands is a big one

While Courteault seems confident that the team can deliver the camera through a combination of small production runs and efficient manufacturing and development, it's also a notoriously complex industry. This isn't the first project I've covered promising to fill a much-beloved niche, and not all of them have worked out. The jump between having a finished design (or even a production sample) and actually getting products into people's hands is a big one.

Still, I'll be following this project with interest, especially as it moves into the engineering and manufacturing stage. I want to believe that, some day, you'll get to read our review of the Esquisse Camera.

The Xiaomi 15T Pro features a Leica-branded camera system.
Image: Xiaomi

Xiaomi has announced the latest devices in its T lineup, which is designed to bring flagship features to a more accessible price point. The 15T and 15T Pro smartphones focus on photography as a standout feature, with their Leica co-branded three-camera systems.

The two phones share some camera specs and features, starting with a host of Leica-branded components, including Leica Vario-Summilux lenses. They also offer the Leica street photography mode, which allows users to open the camera from the lock screen for ultra-fast shooting, and Leica Master Portrait tools with bokeh effects. Plus, they provide other Leica-tuned photographic styles, filters and shutter sound.

15T 15T Pro Main camera Sensor resolution/size 50MP
Type 1/1.55 (50mm²)

50MP
Type 1/1.3 (72mm²)

Focal length (equiv.) 23mm 23mm Aperture F1.7 F1.62 Ultra-wide Sensor resolution* 12MP 12MP Focal length (equiv.) 15mm 15mm Aperture F2.2 F2.2 Telephoto Sensor resolution*

50MP

50MP

Focal length (equiv.) 46mm 115mm Aperture F1.9 F3.0 *Xiaomi does not explicitly disclose the specific sensors used in the ultra-wide and telephoto cameras for either device, making it difficult to determine the exact models (and size) used.

Both the 15T and 15T Pro feature the same 12MP, 15mm equivalent ultra-wide camera. The main and telephoto cameras are where things diverge, with the main camera on the 15T Pro offering a larger, Light Fusion 900 sensor and slightly faster aperture. However, the telephoto camera is the most significant difference between the two devices. The 15T Pro offers a 115mm equiv. focal length, while the 15T only offers a 46mm equiv. lens (which isn't really a telephoto offering). The telephoto camera in the 15T Pro also provides significantly more reach than its predecessor, the 14T Pro, with its 60mm equiv. lens.

From a video perspective, the 15T Pro can record up to 4K120 and 8K30, while the 15T tops out at 4K60. Both can record 10-bit log at 4K60 and support custom LUT imports with HDR10+ across all focal lengths.

The Xiaomi 15T
Image: Xiaomi

Outside of camera features, the 15T Pro uses the MediaTek Dimensity 9400+ processor and 12GB of RAM. The 6.83-inch AMOLED display has a 144Hz refresh rate and 3200-nit peak brightness. It supports 90W wired charging and 50W wireless charging.

The 15T uses the MediaTek Dimensity 8400-Ultra chipset with 12GB of RAM. It also features a 6.83-inch display with a peak 3200-nit brightness, though the refresh rate tops out at 120Hz. The charging is slower on the standard 15T, with only 16W wired charging and no support for wireless charging. Both models feature Gorilla Glass 7i and an IP68 rating for water resistance.

The Xiaomi 15T Pro is available in Black, Gray and Mocha Gold at a starting price of €799, while the 15T comes in Black, Gray and Rose Gold and starts at €649.

Press release:

Xiaomi Unveils Xiaomi 15T Series Blending Outstanding Optics with Cutting-edge Technology and Flagship Design

09/24/2025

Munich, GERMANY, September 24, 2025 – Xiaomi today unveiled its latest flagship lineup, Xiaomi 15T Series, including Xiaomi 15T and Xiaomi 15T Pro, at a global launch event in Munich, Germany. This launch marks a bold evolution of Xiaomi T Series from flagship photography and cutting-edge technology built for modern trendsetters to advanced mobile technology, elevated imagery and a refined design. Alongside Xiaomi 15T Series, Xiaomi also unveiled other exciting products, including REDMI Pad 2 Pro Series.

Outstanding optics for next-level imaging

Built for elevated image quality, Xiaomi 15T Series features an advanced triple camera system co-engineered with Leica, consisting of a main, ultra-wide, and telephoto camera on Xiaomi 15T, and a main, ultra-wide, and Leica 5x Pro telephoto camera on Xiaomi 15T Pro. Both camera systems are designed to deliver impressive results across a wide range of scenarios. For versatile composition, both Xiaomi 15T Pro and Xiaomi 15T offer multiple focal lengths for choice. Xiaomi 15T Pro spans focal lengths from 15mm to 230mm, while Xiaomi 15T offers ones from 15mm to 92mm across its three rear cameras, enabling users to frame wide vistas or close in on details with precision.

At the heart of Xiaomi 15T Series' 50MP main camera lies a Leica Summilux optical lens, which captures exceptional detail with an ƒ/1.7 aperture on the base version and an ƒ/1.62 aperture on the Pro variant. Alongside intricate detail, vivid colors and high contrast can also be produced even in low-light environments. This is taken a step further on Xiaomi 15T Pro, which features a high-specification Light Fusion 900 image sensor, boasting a 13.5 EV high dynamic range that significantly enhances clarity and tonal accuracy.

Debuting the Leica 5x Pro telephoto camera in Xiaomi T Series, Xiaomi 15T Pro offers an impressive 5x optical zoom, 10x optical-level zoom, and up to 20x Ultra Zoom, ideal for a wide variety of scenes, from expansive landscapes to detailed shots. Meanwhile, a 32MP front camera is integrated across both devices for selfies and video calls.

Working alongside the series' cutting-edge camera hardware is Xiaomi AISP 2.0, the brand's next-generation computational photography platform. With features such as PortraitLM 2.0 and ColorLM 2.0, Xiaomi AISP 2.0 helps to refine images by enhancing depth perception, tonal range, and color fidelity, resulting in more natural, lifelike photography with minimal post-editing required on both variants.

This is especially helpful for Master Portrait, which builds upon the previous generation's portrait capabilities to introduce all-new bokeh effects for background light, such as Wide and Bubbles, while also giving users the ability to individually adjust aperture effects and focal length. Meanwhile, for capturing spontaneous moments, Leica street photography mode enables quick capture from the lock screen. It provides users with access to iconic focal lengths of 28mm, 35mm, 50mm, 75mm, and, exclusively for Xiaomi 15T Pro, 135mm for close-ups.

Regarding videography, Xiaomi 15T Series delivers pro-level capabilities for creators. Both models support 4K 30fps HDR10+ recording across all focal lengths, thereby maintaining consistent vibrancy and contrast regardless of the lens used. Meanwhile, Xiaomi 15T Pro pushes boundaries further by supporting high-specification 4K 120fps on the main camera, allowing users to produce cinematic clips with precise frame control. For post-production, 4K 60fps 10-bit Log recording with LUT input is provided, thereby offering ample flexibility.

From photography to videography, Xiaomi 15T Series' camera system offers a complete solution for users who want effortless control and memorable results, whether capturing spontaneous moments or creating carefully composed narratives.

Breakthrough connectivity, combined with a brand new operating system

Beyond imaging, Xiaomi 15T Series introduces a leap in mobile connectivity, redefining how users stay connected in various environments. At the heart of this innovation is Xiaomi Astral Communication, a suite of advanced technologies, including the global debut of Xiaomi Offline Communication with Xiaomi 15T Series.¹ This enables direct voice communication between Xiaomi 15T Series devices over distances of up to 1.9km for Xiaomi 15T Pro, and 1.3km for Xiaomi 15T, even without cellular or Wi-Fi signals.² It is ideally suited for open environments such as jungles, deserts, or remote hiking trails, adding an essential extra layer of reliability when traditional networks are unavailable.

For stable and adaptive connectivity across various conditions, Xiaomi Astral Communication also includes Xiaomi Surge T1S Tuner, which flexibly utilizes GPS, Wi-Fi, Bluetooth, and cellular signals. This works in tandem with the Super Antenna Array, which features a high-performance antenna that improves overall cellular performance and AI Smart Antenna Switching to maximize signal performance. Consequently, whether users are streaming, navigating, or gaming, this integrated system helps to ensure connections remain strong and stable.

Aside from communication technology, Xiaomi 15T Series will also receive the latest in software with Xiaomi HyperOS 3.³ Driving an elevated user experience, Xiaomi HyperOS 3 will make its global debut in Xiaomi 15T Series and roll out with enhanced multitasking capabilities,³ quicker app launches, and redesigned interface elements, including lock screens, wallpapers, icons, widgets, and even a brand new notification design. Additionally, system-level intelligence from Xiaomi HyperAI and enhanced interconnectivity across devices will help increase productivity,⁴ enabling users to share and sync content seamlessly.

Bigger, brighter, and more immersive display

Complementing Xiaomi 15T Series' powerful hardware and connectivity is a clear, vibrant, and the largest display yet among Xiaomi Series smartphones. This expansive 6.83-inch display is designed to elevate content creation, reading, and entertainment with immersive visuals.² Furthermore, with a peak brightness of up to 3200 nits, the display maintains clarity even in bright light, helping to ensure visibility across a wide range of environments. Beyond that, its sharp 1.5K resolution renders scenes with exceptional vibrancy and tonal accuracy, bringing photos, videos, and graphics to life in stunning detail.

Xiaomi 15T Pro takes visuals a step further with ultra-narrow 1.5mm bezels on all four sides, made possible by LIPO technology.² These bezels are 27% slimmer than the previous generation,² allowing for an edge-to-edge display experience that feels larger without increasing the overall size of the device. Additionally, Xiaomi 15T Pro's display also boasts an ultra-smooth refresh rate of up to 144Hz,⁵ which enables seamless scrolling and makes interactions feel faster and more responsive. To support comfortable and prolonged use, Xiaomi 15T Pro is equipped with full-brightness DC dimming and advanced eye care technology.

Meanwhile, Xiaomi 15T supports a smooth refresh rate of up to 120Hz for fluid scrolling.⁶ To further enhance eye care, it incorporates 3840Hz PWM dimming, which effectively reduces screen flicker, making the display more comfortable for prolonged viewing, especially during nighttime reading or in low-light environments.

Power meets endurance

A powerful display experience calls for equally capable internals. Xiaomi 15T Series delivers robust performance and efficient thermal management to meet the demands of today's users. Inside both Xiaomi 15T and Xiaomi 15T Pro is a 5500mAh battery, providing sustained power within a slim chassis. While Xiaomi 15T Pro provides charging flexibility with both 90W wired HyperCharge and 50W wireless HyperCharge,⁷ Xiaomi 15T features 67W HyperCharge to help ensure users can top up quickly without long wait times.⁸ Furthermore, built for longevity, the battery can retain up to 80% capacity even after 1600 charging cycles.² It can power on in under four seconds when the battery is flat,² after a charger has been connected.

Xiaomi 15T Pro runs on the MediaTek Dimensity 9400+ chipset, built on a 3nm process, while Xiaomi 15T is powered by the MediaTek Dimensity 8400-Ultra. Both processors deliver a boost in CPU and GPU performance over the respective previous generation, ensuring smooth execution across a wide variety of tasks.²

Alongside strong performance, a stellar thermal management system is essential to help ensure long-lasting comfort during extended sessions. In Xiaomi 15T Series, this is where Xiaomi 3D IceLoop System plays a critical role. Unlike conventional passive cooling systems that slowly transfer heat from internal components to the phone's surface, Xiaomi 3D IceLoop System efficiently separates vapor and liquid, featuring a specially designed 3D bulge for the CPU. This design helps to direct heat away from core sources such as the SoC, and evenly distribute it across the device's surface. Users can therefore experience sustained optimal performance and a more comfortable hold, even during demanding tasks.

Flagship design and durability

All of this cutting-edge performance is housed in a refined, premium design that reflects Xiaomi's continued pursuit of elegance, durability, and comfort in hand. Xiaomi 15T Series' unified glass fiber back and battery cover form a seamless exterior, while the flat frame aligns with modern design principles. Slightly rounded edges contribute to a more sophisticated aesthetic, offering a comfortable grip.

Not only does Xiaomi 15T Series come with a premium look and feel, but it also offers added durability for increased peace of mind. This begins from the Corning® Gorilla® Glass 7i display, which provides 100% improved scratch resistance compared to the previous generation,² and further extends to a durable glass fiber back, blending style with durability. Both models have been upgraded to now withstand depths of up to 3 meters of freshwater,² coming with an IP68 water and dust resistance certification.⁹

Distinguishing itself from the base variant, Xiaomi 15T Pro is framed in high-strength 6M13 aluminum alloy, offering enhanced drop protection and structural integrity. Its color options include Black, Gray, and the luxurious Mocha Gold,¹⁰ designed for users who appreciate elevated detail and resilience. Meanwhile, Xiaomi 15T will be available in Black, Gray, and the standout Rose Gold,¹⁰ a color crafted for users who value fashion-forward expression and subtle elegance.

Price and availability³¹

Xiaomi 15T Pro will be available in three color options: Black, Gray, Mocha Gold¹⁰

Xiaomi 15T Pro comes with three storage variants,³² starting from EUR 799.

Xiaomi 15T will be available in three color options: Black, Gray, Rose Gold¹⁰

Xiaomi 15T comes with two storage variants,³² starting from EUR 649.

Disclaimers

¹ Xiaomi Offline Communication will be available via OTA starting from September 24, 2025. The availability of the feature and the OTA release schedule may vary by country. Xiaomi Offline Communication requires a SIM card and a logged-in Xiaomi account to function. It supports voice calls within a range of up to 1.9km between two Xiaomi 15T Pro devices, and 1.3km between Xiaomi 15T devices in open, unobstructed environments. Actual call quality may vary depending on environmental conditions. Please refer to your actual experience. This feature is not designed or intended for emergency or life-saving communications.

² Data tested by Xiaomi Internal Labs, actual results may vary.

³ Xiaomi HyperOS 3 will be available via OTA starting from the end of October 2025 in select regions. Availability and rollout schedule may vary by region. Please check your local official website for more information.

⁴ Availability of AI features may vary depending on software version, apps, languages, and regions. Please check the official website for more information. An internet connection is also required. Please check responses for accuracy.

⁵ The screen supports a maximum refresh rate of 144Hz. The screen refresh rate may be slightly different under different application interfaces and game image quality. Please refer to the actual experience.

⁶ The screen supports a maximum refresh rate of 120Hz. The screen refresh rate may be slightly different under different application interfaces and game image quality. Please refer to the actual experience.

⁷ Please consult the local seller on the availability of power adapters in the box. Using a Xiaomi 90W power adapter or above is recommended for wired charging. Wireless charger is sold separately.

⁸ Please consult the local seller on the availability of power adapters in the box. Using a Xiaomi 67W power adapter or above is recommended.

⁹ The device is certified to be water and dust resistant exclusively under specific laboratory conditions not corresponding to normal use conditions. The warranty does not cover liquid damage caused by conditions other than test conditions. Ingress protection might deteriorate due to wear and tear, physical damage and/or disassembly needed for repair. For more information, please see Xiaomi official website.

¹⁰ Color availability may vary between markets.

¹¹ REDMI Pad 2 Pro Matte Glass Version sold separately and is only available for a specific model.

¹² REDMI Pad 2 Pro screen size is about 12.1 inches when measured diagonally. The viewable area is smaller due to the curved corners. Measurements between individual products may vary.

¹³ 300% volume compared to the same model at 100% volume. This feature only applies to media sounds, ringtones, and notification sounds, not alarms. It only works with speaker mode, not with headphones. Volume data is sourced from Xiaomi Internal Labs; please refer to your actual experience.

¹⁴ 33W fast charging means the adapter output power is 33W. Actual power output may vary depending on the environment. Please consult the local seller on the availability of the power adapter in the box.

¹⁵ Supports up to 27W wired reverse charging, compatible with devices verified through Xiaomi Internal Labs testing. Actual performance may vary depending on battery conditions and other factors. When using this feature, please ensure your pad has sufficient battery and verify the compatibility of the receiving device.

¹⁶ Phones and tablets need to be upgraded to Xiaomi HyperOS 2 with Bluetooth and WLAN settings activated, log in to the same Xiaomi account, and make sure "Settings-Xiaomi Interconnectivity" is turned on. Availability of specific features and services may vary depending on software version, apps, and product model. Please refer to the actual use.

¹⁷ Availability of Xiaomi HyperOS features, apps, and services may vary depending on software version and product model.

¹⁸ Gemini mobile app available on select devices, languages, and countries. Works with compatible accounts. Internet connection required. Check responses for accuracy. Feature availability varies based on language. Gemini is a trademark of Google LLC.

¹⁹ Available on select devices, and an internet connection is required. Works on compatible apps and surfaces. Results may vary depending on visual matches.

²⁰ Expandable storage card sold separately.

²¹ Accessories sold separately, availability may vary by region.

²² Millisecond-grade ultra-low latency refers to performance achieved within Xiaomi's self-developed apps. Data tested in Xiaomi Internal Laboratory, the actual result may vary.

²³ Xiaomi Pad Mini screen size is about 8.8 inches when measured diagonally. The viewable area is smaller due to the curved corners. Measurements between individual products may vary.

²⁴ Refresh rate can be adjusted to up to 165Hz for supported apps and games. Please refer to the actual experience.

²⁵ The unibody metal design refers specifically to the back cover of the product and does not include the camera deco, buttons, card slots, or other components.

²⁶ AI Writing, AI Speech Recognition, AI Interpreter, and AI Art are available in select languages and device models. Availability is via OTA and may vary based on region and model. Internet connection required. Check responses for accuracy.

²⁷ AI Calculator is available in select device models. Supports coefficient balancing for equations but does not generate chemical symbols. Check responses for accuracy.

²⁸ 67W HyperCharge means the adapter output power is 67W. Both Type-C ports support 67W fast charging. When both are plugged in, the priority is given to the first inserted port. Actual power output may vary depending on the environment. Please consult the local seller on the availability of the power adapter in the box.

²⁹ Data tested by Xiaomi Internal Labs, actual results may vary. 67W HyperCharge and 18W wired reverse charging cannot be used simultaneously. Supports up to 18W wired reverse charging, compatible with devices verified through Xiaomi Internal Labs testing. Actual performance may vary depending on battery conditions and other factors. When using this feature, please ensure your pad has sufficient battery and verify the compatibility of the receiving device. Both Type-C ports support 18W wired reverse charging. However, when both are plugged in, each port's reverse charging power is limited to 5W.

³⁰ USB 3.2 Gen 1 functionality requires a USB 3.2 Gen 1 enabled cable (sold separately). The short-side USB Type-C supports data transmission in HOST mode (for connecting external devices such as mice and USB flash drives). The long-side USB Type-C supports DP1.4 screen projection, while the short-side USB Type-C does not support screen projection.

³¹ Prices for different markets may vary due to VAT, taxes, and other factors.

³² Configurations available may differ between different regions. Available storage and RAM are less than the total memory due to storage of operating system and software pre-installed on the device.

³³ Wi-Fi 6E/Wi-Fi 6/Wi-Fi 7 capability may vary based on regional availability and network support. Wi-Fi connectivity (including Wi-Fi frequency bands, Wi-Fi standards and other features as ratified in IEEE Standard 802.1 specifications) may vary based on regional availability and local network support. The function may be added via OTA when and where applicable.

³⁴ Dual SIM may vary based on region availability. Use of an eSIM requires a wireless service plan. This service plan may be subject to certain restrictions of use on switching service providers and roaming (even after contract expiration). eSIM availability may vary depending on country/region and carrier. For more details, please contact your carrier.

³⁵ The actual use of 5G networks and frequency bands depends on local carrier deployment.

³⁶ eSIM availability may vary by region. Please refer to local network support for details.

³⁷ Wi-Fi 6 capability may vary based on regional availability and local network support. Wi-Fi connectivity (including Wi-Fi frequency bands, Wi-Fi standards, and other features as ratified in IEEE Standard 802.11 specifications) may vary based on regional availability and local network support. The function may be added via OTA when and where applicable.

³⁸ Wi-Fi 7/Wi-Fi 6 capability may vary based on regional availability and local network support. Wi-Fi connectivity (including Wi-Fi frequency bands, Wi-Fi standards and other features as ratified in IEEE Standard 802.11 specifications) may vary based on regional availability and local network support. The function may be added via OTA when and where applicable.

³⁹ Snapdragon and Qualcomm branded products are products of Qualcomm Technologies, Inc. and/or its subsidiaries. Qualcomm and Snapdragon are trademarks or registered trademarks of Qualcomm Incorporated.

This 50x image shows what algae look like in a water dropllet that's in the center of a 50 yen coin. It's probably not something you ever thought to wonder about, but it's visually arresting nevertheless.
Image: Benedikt Pleyer

Nikon has announced the winners of its Small World in Motion competition. The contest calls for videos shot using microscopic lenses, offering a view of the world that we rarely get to see with our bare eyes. This year's winners include footage that shows the self-pollination process of a thymeleaf speedwell flower, a baby sea urchin and what it looks like when you put algae into the hole at the center of a 50 Yen Coin.

Nikon says it puts on the contest, which also has a corresponding stills photography section, to act as a "showcase of the world's most dynamic microscopic imagery." In a press release announcing the winners, Nikon senior communications manager Eric Flem said the winners show off "the extraordinary choreography of life unfolding at a scale beyond ordinary sight."

First place: Jay McClellan Subject: Self-pollination in a flower of thyme-leaved speedwell (Veronica serpyllifolia) at 5x Technique: Time-lapse, Image Stacking According to Nikon, the flower's pollination process is fast and unpredictable, so Jay had to custom-build a motion control system to keep the action in frame. He says he made his own hardware and software to deal with the focus stacking for the time-lapse, a process that he said generated "many terabytes of raw footage for a single shot." Second place: Benedikt Pleyer Subject: Volvox algae swimming in a water drop that has been pipetted into the central opening of a Japanese 50 Yen Coin at 50x Technique: Darkfield Third place: Dr. Eric Vitriol Subject: Actin and mitochondria in mouse brain tumor cells at 40x Technique: Super-Resolution Fourth place: Penny Fenton Subject: A tardigrade moving around a volvox algae colony at 20x Technique: Darkfield Fifth place: Dr. Alvaro Migotto Subject: A newborn sea urchin walking along the seabed at 10x Technique: Darkfield Honorable mentions

Alongside the winners, there were several honorable mentions, including to another video created by Jay McClellan. There are plenty of interesting and visually stunning videos included in the bunch, so be sure to scroll through them as well.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Product photos: Richard Butler 84%Overall scoreJump to conclusion

The Ricoh GR IV is a photographer's compact built around a 26MP APS-C sensor with a fixed 28mm equiv. F2.8 lens. It's the fourth entry in the GR series (though that was preceded by the long-running GR Digital series and film models prior to that), and includes elements from previous GR cameras that had been dropped by its predecessor.

Key Specs:

• 25.74MP APS-C sensor
• 18.3mm F2.8 lens (28mm equiv)
• Magnesium alloy body
• Built-in 2EV ND
• 5-axis image stabilization
• 53GB internal storage and UHS-I Micro SD slot
• 3.0" 1.04M dot LCD (720 x 480 px)
• FullHD (1080) video up to 60p
• 262g with memory card and battery

The GR IV is available at an MSRP of $1499. This price represents a substantial increase from the GR III's $899 2018 launch price, though is less of a jump from the former market rate for the special editions of that camera, which go for around $1100 (when you can find them in stock).

Index:

• What's new
• How does it compare?
• Body and handling
• Image Quality
• Autofocus
• In Use
• Conclusion
• Sample Gallery
• Specifications
• Press Release

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's New Updated sensor

The GR IV uses a 25.74MP backside-illuminated sensor, compared to the 24MP frontside-illuminated one found in the GR III. It seems likely that it's the same sensor Sony uses for its a6700 and Pentax in the K-3 III, which would mean Ricoh is continuing its tradition of using tried-and-true imaging tech in the GR series.

In large sensors, the benefits of BSI tend to have more to do with getting even illumination at the corners of the sensor, rather than having much impact on overall noise.

Redesigned lens

Also getting an update is the 18.3mm (28mm equiv) F2.8 lens. Ricoh has refreshed the formula, adding another aspherical element, which it says should provide better detail and sharpness in the corners. More importantly, the lens barrel is thinner, which means it can extend faster, improving the camera's startup time by 0.2 seconds. This may not sound like much, but it's a 25% improvement.

The company also says it focused on making the lens suck in less dust when it retracts and extends. While it's still not making any claims about weather or dust resistance, it clearly saw users' complaints about their previous GR cameras getting dust on the sensor, as it's also added a new anti-fouling and anti-static coating to the UV/IR cut filter. That should make it easier for the sensor's cleaning routine to shake off any dust that makes it into the body.

New old control layout Left: GR IV. Right: GR III

The GR IV's control scheme reverses several changes made with the GR III, and so more closely resembles the layout of the original GR and GR II. Most notably, it replaces the rear-plate control dial with a multi-directional controller, and regains the "+ / –" rocker switch the III dropped.

It isn't just a complete remake of the GR II, though. The rear jog lever that's been on all of the GR cameras up to this point has been replaced with a clickable command dial. The company has also added a position for the Snap Distance Priority mode, introduced via a firmware update to the GR III, onto the camera's mode dial. It makes the camera's zone focusing system a little more approachable, letting you control your focus distance with one dial, and the depth of field with the other, with the camera setting your other exposure settings accordingly.

The Program auto mode has also received a substantial rework, adopting Pentax's Hyper Program mode in all but name. You can now use the dials to override it to either prioritize aperture or shutter speed, using the command dials, and can reset back to auto with a press of the mode dial's lock button.

Upgraded internals and battery

The GR IV has a new image processor, which the company says can provide more sophisticated noise reduction and more accurate color reproduction in the out-of-camera JPEGs. It's also paired with new autofocus algorithms, which should improve its focusing speed and accuracy, especially in more difficult scenarios, according to Ricoh.

The sensor stabilization system has also been upgraded, moving from a three-axis design to a five-axis one, providing a bump from a 4EV rating of stabilization to 6EV.

Additionally, Ricoh has massively increased the amount of internal storage; while the GR III had around 2GB built-in, the GR IV has 53GB, which, for many users, may be enough to obviate a separate memory card. Which may be a relief, given that Ricoh has chosen to go with a Micro SD card slot, rather than a full-size one, this time around, to make way for other changes.

A flashy accessory The GF-2 is sold separately, but provides a reasonably-priced, compact option for those who miss the original GR's built-in flash.

Alongside the GR IV, Ricoh is launching the GF-2, a sold-separately external flash designed to be compact and to fit the camera's design. It has a guide number of 3 at ISO 100, and has its own battery and charges via USB-C, so using it won't wear down the camera's battery. And while it's not a TTL flash, it is aware of the camera's exposure settings and focus distance, allowing for an automatic mode, though it can also be used manually.

Ricoh says that its customers are split on whether they care about the GR having an internal flash, but that they universally care about it being compact and pocketable. According to the company, the external flash lets the camera be as small as possible while making it so those who don't care about having it don't have to pay for its inclusion.

The flash doesn't power on with the camera, as you may not wish to use it every time, but it is clever enough to power down when you switch the camera off.

The GF-2 flash unit will cost $119.

How does it compare?

Specs-wise, the GR IV is a mild update to the GR III, but there are enough differences to its core specs that we felt it was worth a direct comparison. We've also included Fujifilm's fixed-lens X100 VI; while its 35mm equiv. focal length will likely appeal to a different set of shooters, it's arguably the most famous of the photographer's fixed-lens cameras out there today. And while the RX100 VII's zoom lens and smaller sensor make for a very different shooting experience than the fixed lens APS-C cameras on this list, its size may make it attractive to the same photographers considering a GR.

Ricoh GR IV Ricoh GR III Fujifilm X100 VI RX100 VII MSRP $1499 $899 / £799 $1799 / £1599 / €1799 $1698 Sensor Size APS-C (367mm²) APS-C (367mm²) APS-C (367mm²) Type 1 (116mm²) Pixel Count 25.74MP 24MP 40.2MP 20.1MP Lens (equiv) 28mm F2.8 28mm F2.8 35mm F2 24-200mm F2.8-4.5 Stabilization IBIS, 6EV IBIS, 4EV IBIS, 6EV OIS Burst Rate 4fps 4fps

6fps mech.
13fps elec.

20fps EVF N/A N/A 3.69M dot
0.66x
Hybrid optical / EVF 2.36M dot 0.59x
Pop-up Rear screen 3.0" 1.04M dot
Fixed 3.0" 1.04M dot
Fixed 3.0" 1.62M dot
Tilting 3.0" 0.92M dot
Tilting Built-in flash? No No Yes, fixed Yes, pop-up Weather sealing? No No Yes, w/ optional adapter ring and filter No Built-in ND? 2EV 2EV 4EV No Storage 53GB internal
1x UHS-1 Micro SD 2GB internal
1x UHS-1 SD 1x UHS-1 SD 1x UHS-1 SD Battery life
Shots/charge 250 200 310 EVF / 450 OVF 240 EV / 260 LCD Video max res/rate FullHD 60p FullHD 60p 6.2K 30p (1.23x crop)
UHD / DCI 4K 30p (full width)
4K 60p (1.14x crop) UHD 4K 30p (1.08x crop) USB / Wi-Fi Type C / 2.4 + 5 Ghz Type C / 2.4Ghz Type C 10Gbps / 2.4 + 5 GHz Micro USB / 2.4 GHz Dimensions 109 x 61 x 33mm 109 x 62 x 33mm 128 x 75 x 55mm 102 x 58 x 43mm Weight 262g 257g 521g 302g

While it's certainly not large, the X100 VI is substantially bulkier and heavier than the GR III/IV. However, there are reasons why: you get better battery life, a faster lens and a viewfinder experience that can be very engaging to shoot with. It's not the best option if you're looking for the most pocketable option, but it's still a portable and engaging fixed-lens camera, with features like a built-in flash and weather resistance that some fans of the Ricoh GR series have been asking for.

The RX100 VII is the oldest camera on this list, and that manifests in several ways; while its older autofocus system was once top-of-the-pack (and is still mostly competitive today), Sony's latest versions are even better. The menu system hasn't aged as gracefully, as it arguably wasn't very good to begin with, and the Micro USB port means that most people will have to carry a separate charger for it. However, its zoom lens and stacked sensor make it a more versatile pick for those looking for a camera that can also handle sports and action.

Body and Handling

The GR IV retains the same utilitarian styling that the GR series has always been known for, though it is now slightly slimmer and shorter. The difference is subtle on the spec sheet, but is noticeable in the hand and the pocket.

The heart of the camera are its controls, which can be operated entirely with one hand. The two top-plate command dials are placed near where your thumb and forefinger naturally rest, giving you quick control over your exposure settings.

Pressing the rear dial brings up the 'ADJ' quick settings menu, which is entirely customizable. You can choose up to five categories of settings to be accessible from the menu, from 17 options such as color mode, drive mode, ISO settings, focus mode and so on. One dial switches between the categories, while the other lets you make your selection from them. You can arrange them in whatever order you prefer, so your most-changed settings are immediately at your fingertips.

You can pare the Adjust menu down to contain just your essentials.

By default, the menu will pop back up until you confirm your selection, though you can set the camera to do so with a half-press of the shutter. This customizability carries over to the rest of the camera, too, with over thirty settings for the function button and granular control over what a half-press of the shutter button does.

The menu system is also entirely navigable by touch if you prefer a more direct form of interaction. While it can be set to take a photo when you tap the screen, the menu doesn't live on the liveview display, avoiding the risk of accidentally toggling between touch-to-focus and touch-shutter modes.

In short, the GR IV gives you plenty of room to set it up in a way that suits your shooting style. It's extremely quick to operate once you have it dialed in, letting you change your most-accessed settings on the fly while staying in the moment, and making it easy to focus on the essentials of photography, rather than your camera.

All of this hasn't come about by chance: it's a result of continuous evolution of a well-loved interface, and it can be really quick to operate, once you're got a feel for it.

Display

The 3.0" rear LCD's resolution is unchanged from the previous model, and while it's not particularly high-resolution, it's sufficient for composing and checking focus after the fact (as long as you punch in to 1:1). It now has an auto-brightness setting, which monitors the ambient light through the lens and makes adjustments accordingly. Even when shooting on very sunny days, we found it relatively visible given its fixed placement on the back of the camera.

While the camera doesn't have a viewfinder, it is still compatible with the add-on optical viewfinders released for the GR III. The company says it plans on releasing new models more suited to the new camera's reduced depth, but that the older models should still fit reasonably well.

Ports and connectivity

The GR IV has a USB-C port hidden under a flap, which you can use to charge the camera even while in use and to offload images from its internal memory and Micro SD card.

It also gains 5Ghz Wi-Fi in regions where the standard is allowed, making offloading images to your phone via the GR World app even faster.

Battery

The GR IV uses a 6.9Wh DB-120 battery, which has around 40% greater capacity than the 4.9Wh DB-110 used by the GR III. The CIPA battery life rating receives a more modest bump; the GR IV is rated for 250 shots versus the GR III's 200, a 25% improvement. It's a physically larger battery, which is almost certainly why the GR IV has had to adopt a Micro SD slot.

CIPA ratings tend to be lower than what you'll actually get in real-world conditions, and are more useful as a common point of comparison between cameras than a literal number of shots that you can expect to get. With that said, it wasn't uncommon for the GR III to run out of power well before hitting 200 shots, and we found we could actually hit around 250 per charge with the IV, so it's a bigger jump than the ratings suggest.

Image Quality

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

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

At base ISO, the GR IV's Raws capture a good amount of detail, though not noticeably more than its predecessor (though that's not particularly surprising, given the tiny bump in resolution and limitations of how closely we can match focus). The higher-resolution X100VI captures a touch more detail, but both capture more than the lower-resolution sensor and zoom lens in the RX100 VIII. Compared to its contemporaries, low ISO noise performance follows sensor size, with the GR IV and X100VI performing similarly, though the GR IV appears to have noticeably less than its predecessor, which is somewhat suspicious.

At high ISOs, however, it's clearly applying noise reduction to its Raws, like the Pentax K-1 II does. Thankfully, the cross-hatching pattern that shows up in that camera's Raws doesn't make a return here, but it's still disappointing to see, as it means the camera is throwing away some of the detail it's capturing.

We find the GR IV's standard color mode to be more pleasing than the one on the GR III.

The GR III's JPEG engine doesn't do a great job of expressing fine details at base ISO, and unfortunately, that's true of the GR IV, too. The trend continues at higher ISOs, with the noise reduction further reducing the amount of detail while still falling behind the Fujifilm in terms of graininess. We find its colors a bit more pleasing than the GR III's, though, and, realistically, this is an enthusiast camera, so we expect many owners to be working with its Raws to better control sharpness (or choosing to make it even softer with the grain effects in custom color modes).

Lens performance

Our studio test scene isn't designed to test lenses, and we had to shoot it from quite close, thanks to the 28mm equiv. lens. However, our working distance was still enough that the results mirror what we saw in the shots we took with it.

Compared to its predecessor, the GR IV doesn't have a significant lead in center sharpness. Move out towards the edges, though, and the story changes; the GR IV has some of the strongest performance we've seen in this class of camera, delivering noticeably better results than its peers, and more consistent performance across the frame than its predecessor. When you get to the corners, it's a bit soft, similar to the GR III, but Ricoh's use of a unit-focus lens design means it doesn't suffer nearly as much as the Fujifilm or Sony.

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Speaking of the corners, you've likely noticed the heavy vignetting. While it's a touch better than the III, compared to cameras like the X100VI and the RX1R III, the GR IV's lens is noticeably darker in the periphery, even at F5.6. It doesn't get much worse when you open it up to F2.8, though, so the camera's built-in correction profile doesn't have to do a bunch of extra brightening for wide-open shots. It deals with the vignetting very nicely in JPEGs, though the corners getting less light means you'll see the extra noise there upon correction.

That consistency applies to its sharpness, too. At the edges, the lens is almost as good at F2.8 as it is at F5.6. The very corners are definitely softer with the lens wide-open, but performance improves as soon as you stop down.

Overall, we're impressed with the GR IV's lens. The GR III was already impressively sharp at the center, and Ricoh has done an admirable job stretching that performance out towards the edges of the frame. It's also quite consistent, so opening it up to let in more light doesn't come with a heavy cost.

Dynamic Range F4 | 1/800 sec | ISO 100
Underexposed to protect highlights, brightness raised 2EV in Adobe Camera Raw.

The GR IV uses a sensor we're familiar with, and, as expected, has great dynamic range performance. It adds very little read noise, which means you have room to take a picture at its base ISO of 100 to capture the maximum dynamic range, and then boost it in post.

It also performs well when you're boosting shadows, letting you expose to preserve highlights, as seen above.

Exposure Latitude | ISO Invariance

Autofocus F2.8 | 1/500 sec | ISO 200 | Macro mode

The GR IV has a variety of autofocus area modes, including auto, which samples the whole frame, zone, which has a single size that covers roughly a quarter of the frame, a single, small AF point, and a pinpoint option. These autofocus selection options are single AF only; they'll focus when you half-press the shutter, but there's no way to get them to continuously update to account for movement.

This is more separated than most contemporary cameras, which typically let you use many of their selection point options in either continuous or single AF mode. With the GR IV, continuous is restricted to the Continuous and Tracking modes, both of which have small, non-resizable points. This somewhat limits your options for shooting moving subjects, especially ones where you don't know where exactly they'll enter frame, or ones that move erratically.

The facial recognition on the GR IV didn't reliably recognize people wearing sunglasses as humans.

The GR IV's face/eye detection mode works almost exclusively on humans (sorry, pet owners) and is available in the single focus modes. It's nowhere near as advanced as most manufacturers' systems; it generally only recognizes people who are close to and facing the camera. When it recognizes a face or faces, it automatically selects it, and you can choose between multiple recognized faces by tapping on the screen or using the directional controller. You can also tap elsewhere on the screen to get your AF selection point back and to ignore the recognized face.

You can move your focus point or zone using the four-way controller, though it's generally more expedient to do so via the touchscreen.

Autofocus performance

You can capture fast-moving objects with the GR IV, with a little pre-planning.

F2.8 | 1/60 sec | ISO 800

We found that the GR IV was generally quick and accurate when focusing in its single autofocus modes, though it would still occasionally hunt in darker, lower contrast scenarios, even with the help of the AF assist lamp.

Continuous autofocus performance was weaker. The camera was far more likely to hunt for a bit, then show a red box indicating that it couldn't focus on the subject. It would also occasionally seem to acquire focus on a subject, turning the box around it green, only to start hunting for focus again in the moment before we pressed the shutter, frustratingly leading to a completely out-of-focus shot.

Its tracking performance is also well off the pace for modern cameras. In ideal scenarios, it does a reasonable job of staying with your selected subject, allowing for track and recompose shooting, as long as you don't move too fast. However, with less favorable conditions, it would frequently wander off target, not keep up with a moving subject, or give up on tracking entirely.

But who needs it anyway?

Of course, many GR-series die-hards don't buy the camera for its autofocus capabilities. The line is famous for its zone focus-emulating Snap Focus system, which lets you specify a pre-determined distance. When you press the shutter button, it'll immediately focus to that distance and take a picture.

The Snap Focus priority mode, which now gets its own place on the mode dial, makes it even easier to use by giving you direct control of focus distance via a command dial (when shooting Snap Focus in other modes, you have to press a button and turn the dial to change your distance). It also lets you change your aperture setting by telling the camera how deep you want your field of focus to be, though it doesn't give you direct control over shutter speed, unless you work around it using the auto ISO minimum shutter speed setting.

Snap Focus priority mode, added via firmware update to the GR III, has graduated to having its own spot on the mode dial.

The mode (and zone focusing in general) takes time to get used to, but once you do, it can be a powerful tool, especially for street photography. However, you don't have to be all-in on the mode to benefit from it. In Snap Focus mode, you can touch the screen, and the camera will autofocus on your selected point, overriding the set focus distance. You can also set the camera to shoot at your selected Snap Focus distance even in your autofocus modes, provided you press the shutter all the way down immediately, with no half-press in between.

The GR IV is also one of the very rare compacts that retains your manual focus position even when you turn it completely off, letting you set the focus where the action will happen, then turn the camera off until just before the moment happens to conserve battery. As in all its focus modes, the camera's manual focus mode also does a good job of visualizing what the depth of field will be, given your aperture setting.

It has a dedicated infinity focus mode as well, where the camera will always focus to infinity when you press the shutter button (though as with Snap Focus, you can override it with a tap on the screen).

In Use

The GR IV isn't a revolutionary change to the series' formula, so there aren't that many surprises when it comes to what it's like to use. It's still a camera that can fit in a pant or jacket pocket, offers a lot of manual control and customizability, and is booted and ready to take a picture as soon as you take it out.

I find the return to the GR II's control scheme is a welcome one; the +/– rocker is a much nicer control point than a fiddly rear-plate dial, and the multi-directional controller is better for accessing your custom functions. Ricoh also doesn't make you waste time diving through menus; for example, if you use the on-screen display to adjust ISO, you can toggle auto mode with a press of the Fn button.

The GR IV (front) returns to a more traditional control scheme for the series, after the III (rear) departed a bit from it.

Of course, you could also do so using the extensively customizable Adjust menus, which feel like this camera's secret weapon. They put the controls that matter most to you right at your fingertips, making it so you rarely have to dive into the menus while shooting. The fact that you can zip through them using the two dials and have the option of confirming your choice with a half-press of the shutter button means it's very friendly to one-handed use, which is great for when you want to quickly grab a snapshot of whatever's happening in front of you.

The menus are, thankfully, entirely operable by touch for the rare times you have to dive into them. Of course, if you prefer the dials or multi-directional controller, those will work as well. The GR IV, characteristically, also gives you several options for choosing what a tap on the touchscreen does in live view, and there's no easily-brushable on-screen button that will change that choice on you.

Battery life still isn't exceptional, but you don't have to constantly worry about it

While battery life still isn't exceptional, it is now at least to the point where you don't have to constantly worry about it. I found I didn't feel the need to charge it after a light outing, where I'd only shot around 50-60 images; I was confident the camera could make it through another similar outing without dying.

The GR III lets you manually boost the screen's brightness to make it easier to see outdoors, but you can now set the GR IV to do so automatically, which is a nice touch. It appears to still be the same panel, though, so it will wash out in really bright conditions, making it a bit hard to compose and review your images.

Conclusion

By Mitchell Clark

Pros Cons

• Great image quality
• Lens performs great wide-open
• Actually fits in your pocket
• Well-considered controls
• Standard JPEG colors are much improved
• Built-in storage is extremely convenient
• IBIS works well in lower light
• Good built-in color modes with customization
• Updated Hyper Program Auto mode is actually useful

• JPEGs aren't as sharp as they could be
• Dated autofocus performance
• Pricey (even more with flash)
• Screen could be brighter
• Battery life is still just fine
• MicroSD slot mildly annoying
• Video mode feels like an afterthought

Reviewing a camera like the GR IV is tough; it has a lot of dedicated fans who use it in a very particular way, and Ricoh has put a lot of effort into making sure the camera caters to that style of shooting. But at the same time, there's clearly a lot of interest in photographers' compacts outside of that core audience, and those buyers will likely value very different parts of the experience.

This divide is likely at its deepest when it comes to autofocus. I'm sure there will be GR IV owners who would never even consider using the camera's tracking mode, but if you're coming to the camera with experience from modern mirrorless systems, you'll likely find its continuous autofocus modes a letdown. Even compared to those on the X100VI, they're a fair way behind what we've come to expect, and the rest of the camera is absolutely good enough to justify a better class of autofocus.

If you can look past that, though, there's so much to like here. The user interface, both hardware and software, is pitch-perfect for the type of shooting you're likely to do with the GR IV. The better battery life makes it easier to take with you, without having to worry if it's fully charged. The Raw image quality is great, it has plenty of highly customizable and pleasing JPEG color modes, and the lens is shockingly good given the body it has to fit into.

That size is, increasingly, the star of the show, and it's impressive that Ricoh managed to make the GR IV even smaller (the difference is subtle, but definitely there). While the GR series has long provided some of the best image quality available in a pocketable camera, there used to be at least some competition.

Now, though, that's not really the case, and that brings us to what will likely be a big sticking point: price. Value is rarely as distinctly in the eye of the beholder as it is with this camera, because there aren't other options that provide this much image quality in a package this small. If you're willing to budge on either of those points, you can get something cheaper or with more bang for the buck. If you're not, your only real option is to pay what Ricoh is asking, even if it is substantially more than it asked for the previous model.

If the GR III were still available, we suspect there'd be customers who went for it to save some money... but they'd be missing out.

Ricoh perhaps could have softened that blow by packing in the flash (or at least making a slightly discounted kit available), or by improving the autofocus or making a noticeably bigger leap in image quality compared to the (still quite good) III. But as we've said before, we can only review the camera that the company actually made, and despite its price, the GR IV is still a very fun camera to carry, and an even more fun one to use.

While the autofocus performance keeps it from getting a Gold Award, we feel it handily deserves its silver thanks to its image quality, user interface and the subtle but important improvements it makes compared to its predecessor.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Ricoh GR IVCategory: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe GR IV offers the most image quality you can get in a camera this size, alongside an engaging user interface.Good forStreet photography Travelers People who want a truly pocketable fixed lens cameraNot so good forSports/Action Videographers84%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"ricoh_griv","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

For some, a comparison to the Fujifilm X100VI will be a non-starter, thanks to its 35mm equiv. lens and noticeably larger body that won't fit in most pockets. If you're fine with the focal length and size, though – and are somehow lucky enough to find one for sale – its extra features like weather resistance, viewfinder, and flash could be quite enticing. While Fujifilm's continuous and tracking autofocus is more reliable than Ricoh's, it's not at its fastest in the X100VI, thanks to the unit-focus lens.

As for the Sony RX100 VII, it's a hard camera to recommend today, and is in some ways the GR IV's polar opposite; rather than giving you hands-on, engaging controls, it fights against you if you try to use it as anything other than a point-and-shoot. Its zoom lens makes it undeniably more versatile (at the cost of the focused style of photography that comes with a fixed prime), and its built-in flash and pop-up viewfinder will make some GR fans jealous, as will its autofocus. But even if you're willing to accept the lower image quality that comes from its smaller sensor, its antiquated menus, microUSB port, and absurdly inflated price tag are all reasons to avoid it in 2025.

Compared to its predecessor, the Ricoh GR III, there's no one standout spec that makes the GR IV the obvious winner. Rather, it's the compound effect of all the little improvements: the more consistent lens, improved autofocus, nicer user interface, bigger battery and more storage all add up to make it a noticeably more enjoyable camera to use.

Sample Galleries

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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

Image: MirageC / Moment via Getty Images

Welcome back to our 'Question of the week' series, where we ask our community to share their thoughts on a photography-related topic in our forum! Thus far, we've asked you about buying advice for cameras and lenses, and asked for your thoughts on smartphone cameras. While there were some unconventional answers for each of those questions, we are shifting gears slightly this week and looking for potentially controversial opinions.

What is the one camera you hate on paper but love in real life?

This week, we want some hot takes. We're curious what cameras you hate on paper, yet love in real life. Or, perhaps the opposite is true: you love a camera on paper but can't stand it in real life.

Was there a time you reluctantly picked up a camera you thought you'd hate, only to be pleasantly surprised? Or maybe one you were convinced would be perfect, but let you down on a shoot? We want to know the cameras that defied expectations – either in a good way or a bad way – and why that may have been the case.

We're open to even the most unpopular or off-the-wall opinions, so don't hold back. Head over to the post in the Open Talk forum to share your thoughts.

Click here to answer the Question of the week

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

Panasonic has announced the Lumix S 100-500mm F5-7.1 OIS, a full-frame ultra-telephoto lens that the company says is made to be approachable to people who wouldn't necessarily consider larger, more expensive models.

The lens is made up of 19 elements in 12 groups, with two UED lenses, two ED lenses and two UHR elements. It has an 11-bladed aperture to provide circular bokeh. Panasonic says it worked to make sure the lens's minimum focus distances were manageable, so you won't have to be extremely far away from your subject at the short end. At 100mm, the lens can focus as close as 0.8m (2.6'), though that extends to 1.5m (4.9') at 500mm.

As its name implies, the lens is also optically stabilized. When working in tandem with a camera's IBIS system, Panasonic says you can achieve up to 7EV of stabilization, allowing for relatively long handheld exposures, even when you're zoomed in.

This lens isn't small by any means, but it's surprisingly compact for what it is.
Image: Panasonic

Despite all this, the lens is fairly small and light for its reach. It weighs 1285g (2.83lb) without the removable tripod collar, and is 196mm (7.7") long when it's not extended. It takes 82mm filters, and is water, dust and freeze-resistant.

The lens has a programmable function button, and, like the company's 24-60mm F2.8, lets you program the manual focus ring to control other parameters and features when you're in autofocus mode. It also features a switch that allows you to adjust the manual focus ring's tension, making it easier or harder to turn. There's also a focus limiter switch and switches to control the focus and optical stabilization mode.

Image: Panasonic

Panasonic says that several technologies that it introduced in other lenses helped make this lens possible. This includes the dual-phase linear autofocus motor it launched with its 100mm F2.8 macro, and the optical encoder that can help the autofocus system and account for things like heat deformation. Panasonic told us the encoder is one of the reasons why it didn't feel the need to paint the lens with a reflective white paint.

The company also says it took design cues from its 100-400mm Micro Four Thirds lens to make the 100-500mm compatible with teleconverters. Even though the rear element is very close to the back of the lens, it has a mechanism that allows you to attach a teleconverter after you zoom in to 150mm and set that as the zoom limit with a switch. There won't be any damage if you forget to do that and then close the lens down to 100mm, but your camera will warn you that you can't take pictures until you zoom in a bit.

Image: Panasonic

The company says the lens is made for people interested in getting into telephoto photography, but who don't want to spend a ton of money on a high-end lens or get something that will take up their entire backpack. For example, Sigma's 60-600mm F4.5-6.3 is around the same price, but is over 1kg (2lb) heavier and 80mm(3.1") longer.

Unsurprisingly, the company is also pitching it as a good option for videographers, especially those who are shooting or live-streaming events or concerts, potentially from the sound booth. Panasonic says the lens does a good job of optically compensating for focus breathing.

The Lumix S 100-500mm F5-7.1 OIS will go on sale September 25th for a retail price of $2099. It is available for L-mount.

Buy now:

Buy at B&H Photo

Press release:

Panasonic Introduces the First*1 Ultra-Telephoto Zoom Lens in the LUMIX S Series

LUMIX S 100-500mm F5-7.1 O.I.S. (S-R100500)

Newark, N.J. (September 24, 2025) – Panasonic is proud to introduce the new LUMIX S 100-500mm F5-7.1 O.I.S. (S-R100500) interchangeable lens based on the L-Mount system standard.

As the first*1 ultra-telephoto zoom lens in the LUMIX S Series lineup to cover a focal length of up to 500mm, this lens supports lens teleconverters*2 (sold separately), enabling ultra-telephoto shooting with a combined focal length of up to 1000mm. It delivers high resolution and beautiful bokeh across the entire zoom range, enabling photographers and videographers to capture stunning images and footage in a wide variety of shooting scenarios, including wildlife, motorsports, and landscapes.

With an optimized lens element arrangement and Dual Phase Linear Motor, the lens achieves a remarkably compact design with an overall length of just 196.1mm, while delivering impressive ultra-telephoto performance. High-speed, high-precision, and silent autofocus, combined with Dual I.S. 2 image stabilization supporting up to 7.0 stops*3, ensures exceptional portability and handheld shooting support, expanding creative possibilities in the field.

The lens is also designed for intuitive operation, featuring a customizable focus ring and a focus button. The focus ring can be used as a control ring, by assigning preferred settings such as aperture or other customizable parameters*4, while the focus button allows users to assign their preferred functions, enabling a highly personalized and responsive shooting experience. To meet the growing demand for video production, the lens also incorporates features such as focus breathing suppression and micro-step aperture control for smooth exposure transitions, supporting high-quality video performance.

With this product, Panasonic aims to expand the creative scope by providing a compact yet powerful ultra-telephoto shooting experience for both enthusiasts and professionals.

Main Features 

1. The First*1 Ultra-Telephoto Zoom Lens in the LUMIX S Series Covering Up to 500mm

• Maintains high resolution across the entire zoom range, delivering sharp detail and beautiful bokeh even at maximum aperture
• Covers focal lengths from 100mm to 500mm; compatible with lens teleconverters*2 (sold separately) for ultra-telephoto shooting up to 1000mm

2. Powerful 7.0-stop Dual I.S. 2 for Unshakable Stability and Enhanced Mobility

• Achieves highly effective image stabilization with 7.0-stop*3 Dual I.S. 2
• Ultra-telephoto zoom reaches in a remarkably compact 196.1mm design
• High-speed, high-precision AF powered by a Dual Phase Linear Motor

3. Intuitive Operability for Focused Shooting

• Focus ring can be assigned to control shooting settings such as aperture (Control Ring function) *4
• Focus button can be assigned to support intuitive operations such as Hybrid Zoom*5

Price and availability

The new LUMIX S 100-500mm lens will be available for pre-order on September 25th for $2099.99 at valued channel partners.

*1 As of September 24, 2025. Among interchangeable lenses for AF compatible full-frame mirrorless cameras.

*2 With optional teleconverter DMW-STC20 attached. The maximum aperture becomes two stops slower. When a teleconverter is attached, the focal length of this lens is limited to 150–500mm.

*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=500mm. When LUMIX S1RII is used.]

*4 Compatible cameras: DC-S1M2, DC-S1M2ES, DC-S1RM2 (Firmware version 1.2)

*5 This function combines optical zoom and crop zoom, allowing you to extend the telephoto range using only the zoom ring without changing the focal length at the wide end.

Panasonic Lumix S 100-500mm F5-7.1 OIS specifications: Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length100–500 mmImage stabilizationYesCIPA Image stabilization rating7 stop(s)Lens mountL-MountApertureMaximum apertureF5–7.1Minimum apertureF29–40Aperture ringNoNumber of diaphragm blades11OpticsElements19Groups12Special elements / coatings2 UED, 2 ED, 2 UHRFocusMinimum focus0.80 m (31.5″)Maximum magnification0.36×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter5m-InfinityPhysicalWeight1285 g (2.83 lb)Diameter92 mm (3.62″)Length196 mm (7.72″)SealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockUnknownFilter thread82 mmHood suppliedYesTripod collarYes

Image: DJI

DJI has announced the Osmo Nano, a tiny, wearable action camera. The latest device from DJI competes with Insta360's Go lineup, comprising a standalone camera that connects magnetically to a dock for extended functionality. DJI promises pro-level quality from the tiny camera, with 4K video, advanced stabilization, 10-bit color and more.

The DJI Osmo Nano boasts a Type 1/1.3 (9.6mm x 7.2mm) sensor with a 2.4μm pixel size. It promises 13.5 stops of dynamic range for better performance in more lighting conditions. Despite the relatively large sensor, the camera portion of the device is tiny, weighing 52g (1.8oz) and measuring 57 x 29 x 28mm (2.3 x 1.1 x 1.1"). The compact design allows users to wear or mount the Osmo Nano in a variety of ways, including on helmets, hats, lanyards and more.

You can wear or mount the DJI Osmo Nano in many different ways.
Image: DJI

The camera can record up to 4K60 video and 4K120 for slow-motion. However, the HorizonBalancing and RockSteady 3.0 stabilization modes are only compatible with up to 4K60. It supports 10-bit and D-Log M, which DJI says is a first for wearable cameras of this size. Users will have access to multiple recording modes and tools, such as SuperNight Mode, pre-recording, hyperlapse, timelapse, gesture control and more. It's also capable of 35MP still photos.

The Osmo Nano features two built-in microphones for stereo recording. Like DJI's other recent releases, it can also connect to two DJI microphone transmitters without a receiver, allowing users to get improved audio quality. The camera is also compatible with the company's ND filter set.

The camera connects to the dock magnetically.
Image: DJI

Unlike the Insta360 Go series, the Osmo Nano's camera doesn't slot into the middle of the dock. Instead, the camera magnetically attaches to the top of what DJI calls the Multifunctional Vision Dock. It can be mounted in either direction, making it easier to swap between selfies and POV recording. The dock portion measures 59.1 x 42.2 x 22.3mm (2.3 x 1.7 x 0.9"), so it's still a compact device even when both components are together.

The Multifunctional Vision Dock functions as a display, remote trigger, charging station and file-transfer station. It features a 1.96-inch OLED touchscreen to help frame your shots or review your recordings. The dock can charge the main camera up to 80% in 20 minutes and, when fully charged, promises up to 200 minutes of 1080p/24fps recording. DJI also created an "Endurance" mode that promises 4K30 recording for up to 60 minutes. The standalone camera promises up to 90 minutes of battery life at 1080p.

The Osmo Nano main camera is waterproof to 10m (32.8'). The dock, however, only offers an IPX4 rating for splash resistance. It's meant to handle sweat and rain, but isn't designed to go underwater with the main camera. The camera comes in 64GB or 128GB versions, though the dock is compatible with microSD cards for expanded storage.

Image: DJI

As with other recent DJI announcements, the Osmo Nano will not be officially available in the US. However, as with those previous launches, the camera may be available through unofficial retailers in the US, but that is not guaranteed. For customers outside the US, the Osmo Nano is available today at a starting price of CA$309, £239, or €279 for the standard 64GB combo.

Press release:

DJI Launches Osmo Nano, A Hands-Free Wearable Camera with Unmatched Image Quality

Next-Gen 1/1.3″ Sensor Captures Professional-Level Visuals Through Hands-Free Shooting

September 23, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Nano. This lightweight, wearable action camera can be mounted anywhere - from hats and helmets to pet collars - with a dual-sided magnetic design. It is also equipped with a next-gen 1/1.3-inch sensor and a high-performance image processor, offering up to 13.5 stops of dynamic range. Together, the Osmo Nano empowers creators to capture creative, hands-free visuals that are on par with professional cameras.

Effortlessly Wearable – Anywhere You Go

With its ultra-compact design, easy magnetic mounting, and versatile accessory options, Osmo Nano can be mounted anywhere. The smallest of DJI’s action cameras, the Osmo Nano camera weighs just 52g and measures approximately 57mm×29mm×28mm. Offering attachments for headbands, helmets, lanyards, hats, and more, creators can bring the Osmo Nano with them to capture content wherever they go. For water sports and outdoor adventures, the Osmo Nano camera is waterproof up to 10 meters without any additional housing, and, when paired with the Multifunctional Vision Dock, it offers IPX4-rated splash resistance, protecting against sweat, rain, and minor splashes. Shots can also be controlled remotely with the built-in OLED HD touchscreen on the Multifunctional Vision Dock. The perspectives are endless, providing another dimension of creativity and versatility to any video captured.

Image Quality Beyond Imagination

The 1/1.3-inch sensor delivers the best image quality possible for compact action cameras, and the high-performance image processor offers a superior dynamic range of 13.5 stops1 to ensure impressive low-light performance. Osmo Nano captures every scene in crisp detail, with up to 4K/60fps video2 and 4K/120fps slow motion. Osmo Nano’s 143° ultra-wide field of view fits more into every frame, so no part of the moment is ever cropped out. Osmo Nano is the only wearable camera of this size to offer 10-bit and D-Log M color performance. The 10-bit video allows the capture of up to one billion colors and 72% more color space than 8-bit standard video, providing stunning visuals not previously possible with compact action cameras. Meanwhile, the D-Log M mode preserves color and brightness information, offering greater flexibility for post-production and creative editing. In low light conditions, Osmo Nano's SuperNight mode3 enhances image quality with noise reduction algorithms. For image stabilization, HorizonBalancing maintains the horizon level, correcting tilts within a ±30° range, and RockSteady 3.0 reduces camera shake.

Versatile Dock Supports Remote Control, Battery Charging, and File Transfer

Osmo Nano’s Multifunctional Vision Dock acts as a display screen, a remote photo trigger, a charging station, and a high-speed file transfer station. The magnetic design allows the camera to be mounted to the dock in any direction, making it easy to switch between selfies and portraits. The dock can fast charge the main camera up to 80% battery level in only 20 minutes1. When docked and fully-charged, the camera can record up to 200 minutes of 1080p/24fps video, and the new Endurance mode allows for the recording of up to 60 minutes of 4K/30fps (16:9) video. The Multifunctional Vision Dock features a built-in microSD card slot. It can also connect mobile devices or computers using a PD fast-charging cable for transfers up to 600 MB/s4.

Various Audio Options for Premium Sound

Osmo Nano features dual built-in microphones for stereo recording, delivering clear, vivid audio for an immersive first-person audiovisual experience. OsmoAudio™ Direct Microphone Connection allows users to capture studio-quality sound by connecting the Osmo Nano directly to two DJI microphone transmitters without a receiver5.

Creative Freedom with Flexible Shooting Modes

• Creators have a number of Osmo Nano shooting modes and features that offer versatility, interesting composition, and the opportunity to stay in the moment:
• Horizontal & Vertical Shooting - easily switch between horizontal and vertical shooting
• Auto Recording - set shooting intervals and clip durations for automatic recording
• Gesture Control - start shooting with a nod gesture or tapping the device in auto recording mode
• Pre-Rec - automatically saves footage from just before the record button is pressed

For more information6, please refer to: www.dji.com/nano

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.

2 4K/60fps is not supported when filming in 4:3 aspect ratio.

3 SuperNight mode only supports 8-bit color depth and frame rates up to 30fps. It does not support the 4:3 aspect ratio.

4 To achieve a 600MB/s transfer speed, use the 128GB version of Osmo Nano with the included USB-C to USB-C PD cable (USB 3.1), and transfer data from the camera's built-in storage. The 64GB version of Osmo Nano supports transfer speeds of up to 400MB/s. Make sure your computer supports USB 3.1 high-speed transfers; actual transfer speeds may vary depending on the computer model.

5 Direct connection to the first-generation DJI Mic is not supported. DJI microphones are sold separately.

6Not available officially in the U.S. market on official websites.

Image: GoPro

GoPro says it's entering a "new era of fun and creativity" and has launched the long-awaited successor to its 360-degree camera. The Max2 promises significant changes from the original Max, including 8K 360-degree video, pro-grade recording options and better audio.

The Max2 follows a six-year wait from the release date of the original Max. The new 360-camera offers what GoPro emphasizes is "true" 8K 360-degree video. The company says it doesn't count any overlapping, black or unusable pixels and only considers effective pixels. GoPro also says it isn't upscaling footage or using AI to help reach 8K.

That 8K resolution is for the spherical 360-video, though, which isn't viewable all at once. The real benefit of higher resolution is that it allows for higher quality reframing during the editing process. It provides more control over what you show in your video after the fact, instead of needing to record multiple clips with different angles. GoPro says that the Max2's 8K footage will blend more seamlessly with the resolution of traditional cameras, making it easier to create a cohesive video from multiple cameras.

The new 360 action camera features two Type 1/2.3 (6.17mm x 4.55mm) sensors. GoPro's representative was upfront about the sensors being smaller than the newly released DJI 360 camera, adding that the Max2 is not as good in low light. GoPro said it made this decision to keep the compact design, explaining that making a replaceable lens camera with a large sensor becomes challenging if you also want to keep it small. GoPro decided that the camera size was most important and sacrificed performance after dark in light of user data.

As with all GoPro cameras, the Max 2 is made to be durable.
Image: GoPro

As with most GoPro cameras, the Max2 provides multiple framerate options. In 360-mode, it can output 8K30, 5.6K60 or 4K100 videos. GoPro is also calling the Max2 the "Bitrate King." The stock firmware offers 60Mbps as the standard, but it can be increased up to 120Mbps. Users can also use GoPro Labs, the company's beta firmware program, to increase the bitrate up to 300Mbps and gain greater control over every aspect of the camera.

On the color side, the Max2 offers 10-bit color in 8K, along with GP-Log and GoPro LUTs. The company has also announced that a new Davinci Resolve plug-in for GoPro Reframe will be coming soon. It will join the existing Adobe Premiere and After Effects plug-ins.

While the Max2 offers plenty of pro-level features, it also includes tools for more casual users. The camera has plenty of recording presets, such as POV and Selfie modes. In those settings, the camera records 360-degree video, but when you bring it into the Quik editing app, it will default to the video pointed in a specific direction. The data is there for you to change it if you'd like, but it's also ready to go based on the setting you chose for recording.

Image: GoPro

The Max2 features six microphones for sound recording. In Single Lens Mode, GoPro says that the camera automatically adjusts for accurate directional audio. That means the camera should automatically adjust which mic(s) are used based on your recording direction. It also offers advanced wind noise reduction, and you can connect wireless Bluetooth microphones, including ones built into headsets such as AirPods.

From a photo standpoint, the Max2 can create 29MP 360-degree photos. As with the 360-video footage, you can then crop, zoom and reframe in the Quik app to choose which angle you want. GoPro carried over its long list of photo and video modes found on its traditional action camera lineup, including Interval Photo, Burst Photo and Night Photo modes. For video modes, users will have access to the company's Night Effects such as Star Trails and Light Painting, along with TimeWarp, multiple time-lapse modes, scheduled recording and more.

GoPro also announced multiple new accessories for the camera.
Image: GoPro

The GoPro Max2 promises all-day battery life and features a larger touchscreen than the original Max. Like the other cameras in the GoPro lineup, there are three mounting methods: magnetic mounting, fold-down mounting fingers and 1/4-20 thread for mounting invisible-pole recording. Along with the camera, GoPro also released lots of new accessories, including a 2.7m (9') carbon fiber pole, an 80cm (32") floating extension pole and a new ski pole mount. Finally, GoPro designed the Max2 with easy-to-replace lenses, with no tools or calibration required.

The GoPro Max 2 is available for pre-order now for $500, with full availability on September 30.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

Image: GoPro

Along with the release of the Max2, its long-awaited 360-degree camera follow-up, GoPro has also announced an ultra-compact action camera with a built-in light. The action camera company has dubbed the new Lit Hero a "lifestyle" camera that allows for "Whatever, Whenever" video and photo capture.

The Lit Hero camera builds on the compact Hero camera released last year, adding a light for greater convenience. GoPro says the light enables a "a very fun 'retro vibes' look." The integrated quad LED offers three levels of brightness and the camera comes with a diffuser for when users want a softer look.

A sample image from the GoPro Lit Hero.
Image: GoPro

The camera features a Type 1/2.8 (5.44mm x 3.09mm) sensor and offers 4K video up to 60p, or 4K30 video for 4:3 footage that can be cropped to a vertical social-ready 9:16 aspect ratio. The Lit Hero can take 12MP 4:3 still photos, giving users more room to crop for social media.

The light adds some weight compared to the Hero, but the Lit Hero still comes in at just 93g (3.3oz). It's still durable, too, with a rugged design and waterproofing down to 5m (16'). It supports three mounting methods via magnetic mounting, mounting fingers and 1/4-20 mounting threads. It uses an Enduro Battery that GoPro says will support continuous recording for over 100 minutes at the highest video setting.

The GoPro Lit Hero comes with a diffuser for the light.
Image: GoPro

The Lit Hero is available for pre-order today for $270, which is $70 more than the light-free Hero. It will be widely available on October 21.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

Image: GoPro

Along with two new cameras, GoPro has announced a multi-camera gimbal made for creators. The Fluid Pro AI is the company's second take on a gimbal, though this iteration offers subject tracking and stabilization for more than just GoPro cameras.

The Fluid Pro AI gimbal features interchangeable mounts that make it compatible with GoPro cameras, smartphones and point-and-shoot cameras. It can only support cameras up to 400g (14.2oz), so don't expect to stick your full-frame mirrorless camera on the rig.

Image: GoPro

GoPro's latest device offers three-axis stabilization with nearly 360 degrees of rotation. It features AI subject tracking for both forward and rear-facing subjects. GoPro says it's able to lock onto a person's face or body and then automatically and precisely track them in the frame.

The gimbal also offers an integrated fill light to help with content creation in dark conditions. GoPro promises 18 hours of runtime and says the Fluid Pro AI doubles as an external power bank as well.

The Fluid Pro AI will be available for $230 on October 21.

Press release:

GoPro Announces Three New Products MAX2: 360 Camera with True 8K Resolution and Twist-and-Go Replaceable Lenses LIT HERO: Miniature 4K Lifestyle Camera with Built-In Light for ‘Whatever, Whenever’ Capture Fluid Pro AI: Gimbal for Stabilizing GoPros, Phones and Other Cameras

New MAX2 360 Camera featuring Emmy® Award-Winning 360 Technology Captures True 8K 360 Video with up to 21% More Resolution Than the Competition, Easy to Replace Lenses—No Tools or Calibration Necessary—10-Bit Color in True 8K and GP-Log, Category-Leading 6 Mics, Up to 300Mbps Bitrate with GoPro Labs, Invisible Pole Mounting and MoreGoPro Quik App’s AI-Enhanced Features Make it Easier Than Ever to Edit and Share Engaging 360 Content and Traditional Videos

New Waterproof, Ultra-Compact LIT HERO Camera Features a Built-In Light for "Whatever, Whenever" Lifestyle Capture, 4K60 Video, 2X Slo-Mo Playback, Magnetic Mounting and Weighs only 93 Grams

New Fluid Pro AI Gimbal Stabilizes and Enables AI Subject Tracking for GoPro Cameras, Smartphones and Point-and-Shoot Cameras up to 400 grams, Meeting the Advanced, Multi-Camera Gimbal Needs of Today’s CreatorsGet the Most out of the 2025 GoPro Lineup with a GoPro Subscription and GoPro Labs

San Mateo, Calif., Sept. 23, 2025 – Today, GoPro (NASDAQ: GPRO) announced three exciting new products that diversify GoPro’s lineup like never before:

• MAX2 – the highly anticipated next-generation GoPro 360 camera featuring Emmy® Award-Winning 360 Technology for $499.99
• LIT HERO – the miniature lifestyle camera with a built-in light that enables "whatever, whenever" capture for $269.99
• Fluid Pro AI – an AI Subject Tracking gimbal for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams, for $229.99

"This year’s new products diversify GoPro’s lineup like never before, delivering exciting new capabilities to today’s demanding content creators, adventurers and enthusiasts," says GoPro Founder and CEO Nicholas Woodman. "MAX2 is the world’s best, most durable 360 camera—with its market leading True 8K video resolution, superior colors and overall image quality, industry-leading six microphone audio performance and convenient twist-off replaceable glass lenses. Our new LIT HERO camera enables fun ‘whatever, whenever’ 4K60 video and 12 megapixel photo capture with its built-in ‘retro-vibes’ light. And our new Fluid Pro AI gimbal enables today’s multi-camera owning creators a powerful but simple to use AI Subject Tracking gimbal for any GoPro camera, smartphone or point-and-shoot camera up to 400 grams."

MAX2 – The World’s Most Durable, True 8K 360 Camera

MAX2 is a powerful, durable, yet easy-to-use 360 camera designed for professional-quality image capture and action. MAX2 is the only True 8K 360 video capture camera on the market, capturing up to 21% more resolution than the competition for superior detail and sharpness. This combines with MAX2’s superior colors and overall image quality to enable the most professional-looking 360 content in the industry. Additional MAX2 features include:

• Full Range 10-Bit Color in True 8K + GP Log encoding captures over 1 billion colors for more realism and smoother gradations in your videos. Advanced users can use GP-Log to maximize dynamic range, details and post production flexibility with their MAX2 footage.
• Twist-and-Go Replaceable Lenses are made from extremely durable, water-repelling optical glass. These lenses are twist-and-go easy to remove and replace, no tools or calibration necessary.
• 29 Megapixel 360 Photos provide all the ultra high resolution you need to crop, zoom and reframe for the exact shot you want via the GoPro Quik App.
• Enhanced Capability with GoPro Labs unlocks up to 300Mbps bitrate and additional advanced camera settings with MAX2’s free, optional GoPro Labs firmware update. GoPro Labs provides advanced users with features and capabilities that go beyond what most average users may want.
• Industry-Leading 6 Microphones deliver true-to-life 360 audio. Improvements include wireless Bluetooth functionality, "Audio Field-of-View" and 360 stereo audio with advanced wind-noise reduction. Plus, 360 ambisonic audio support coming soon.
• AI-Powered Software for easy 360 editing. From AI Object Tracking to MotionFrame editing of 360 content by simply panning your phone to edit, the Quik app makes 360 editing simple and fun.
• Cloud-Based Editing for GoPro subscribers to enjoy unlimited cloud storage of their 360 footage, making it simple to use the Quik App to edit your footage in the cloud without worrying about downloading your footage or taking up storage space on your phone.
• New In-Camera POV and Selfie Video Modes make it fast and easy to capture your point-of-view or perfectly framed selfie-shots during your favorite activities. No editing required, just capture what you want in-camera and then share the shot.
• Invisible Mounting with 16 new mounts and accessories designed specifically for GoPro’s 360 cameras, including MAX2. Enable invisible mounting, drone-like footage and more iconic 360 perspectives with ease.
• Industry-Leading Durability and Design. MAX2’s low-profile, more aerodynamic design is ideally suited for pole, helmet, body and vehicle mounting. MAX2 is waterproof and designed for high impact use in a wide range of conditions with its convenient twist-and-go replaceable glass lenses.
• 1960mAh Cold-Weather Enduro Battery delivers exceptional performance in a wide range of temperatures, ensuring you get the shot no matter the conditions.
• Built-in GPS. MAX2 is the only 360 camera with built-in GPS.

MAX2 is available for preorder today for $499.99USD on GoPro.com. Shipping of preorders and global on-shelf availability at retail stores will begin on September 30. We will have a variety of activity-specific bundles available exclusively on GoPro.com on September 30.

LIT HERO: ‘Whatever, Whenever’ Lifestyle Capture with a Built-In Light

LIT HERO is an ultra-compact lifestyle camera featuring a built-in light that enables fun, immersive "Whatever, Whenever" video and photo capture with a unique 
"retro vibes" look. LIT HERO captures 4K resolution video at up to 60 frames per second, 2x slo-mo, convenient magnetic mounting and only weights 93 grams. Additonal features include:

• Rugged Design + Waterproof to 16ft (5m) and built with legendary GoPro durability, HERO is ready to capture the fun no matter the activity—whether you're ripping snow, dirt or water or enjoying a night out on the town with friends.
• Built-in Light enables "Whatever, Whenever" capture during any time of day, even in complete darkness. The built-in light expands your creative options and allows for a very fun "retro vibes" look to your photos and videos compared to the sometimes "too stark" look of smartphones.
• Stunning Image Quality and Immersive POV. Capture the action in ultra HD 4K video while bumping the frame rate up to 60 frames per second for smooth video play back in 2x slow motion. And LIT HERO’s optional 4:3 aspect ratio delivers a more immersive experience field of view that provides the option for cropped-down 9:16 social posts.
• Social-Ready 12 Megapixel Photos in 4:3 aspect ratio allowing for a wide range of creative cropping options for social posts.
• Long-Lasting Enduro Battery can record continuously for over 100 minutes at its highest video setting on a single charge.

LIT HERO is available for preorder today for $269.99USD on GoPro.com. Shipping of pre-orders and global on-shelf availability at retail stores will begin on October 21.

Fluid Pro AI: Multi-Camera Gimbal for All Creators

Fluid Pro AI is an AI Subject Tracking gimbal designed for GoPro cameras, smartphones and point-and-shoot cameras weighing up to 400 grams. Engineered to meet the needs of today’s multi-camera owning content creators, Fluid Pro AI’s features include:

• Robust 3-Axis Gimbal with interchangeable mounts that works with GoPro cameras, mobile phones and some compact point-and-shoot cameras weighing up to 400 grams.
• Forward or Rear-Facing AI Subject Tracker that locks onto a person’s face or body to automatically track them in the frame with precision.
• Integrated Fill Light to help balance the light in your shots for more professional results.
• 18 hours of runtime and doubles as an external power bank.

Fluid Pro AI will be available for $229.99USD on GoPro.com and on-shelf at retail stores on October 21.

To learn more about GoPro’s new cameras, accessories, GoPro Subscription and Quik App, please visit GoPro.com.

The a9 III is now extremely expensive in the US.
Image: Sony

Sony has once again increased the prices of many of its imaging products in the US. This follows an increase in US prices across most of its lineup in May and July due to tariffs.

The recent price increase for US customers isn't across the board, but it does impact many of the company's cameras, as Sony rumors initially spotted. The a7CR, which was a great deal at launch, is now $3400 at Sony's website. That's up $400 from its launch price and $200 from the price increase earlier this year. The a9 III also got substantially more expensive, with a $400 increase from July, now coming in at $6800.

It's not just high-end models that are more expensive, either. The Sony ZV-E10 II is now $1200, or $200 pricier than the launch price. The Sony ZV-1 II didn't see as substantial an increase, but it now costs $1050.

Lenses weren't left out of the latest round of pricing adjustments, either.

Lenses weren't left out of the latest round of pricing adjustments, either. The Sony FE 16-35mm F2.8 GM II is now $350 more expensive than in July, coming in at $2650. The Sony FE 50mm F1.2 GM was also impacted with a new price of $2300, up $300 from July. Not all lenses saw increases this time around, though. The Sony FE 24-70mm F2.8 GM II is still priced the same as it was in July (though it was part of the first increase), as is the 70-200 mm F2.8 GM OSS and many of the company's more budget-focused lenses.

The latest adjustment aligns with the 19% tariff rate that took effect on August 7th on imports from Thailand, where Sony makes many of its US-bound cameras.

When Sony adjusted the rates in July, the tariffs were set at a temporary 10% rate, so it seems to be adjusting now that the higher rates have gone into effect. Sony isn't the only company raising US prices in light of the updated rate. Both Nikon and Fujifilm have already done so a second time, and Canon said that it's considering another price increase later this year.

Image: MirageC / Moment via Getty Images

Our last 'Question of the week' asked the members of our forum community which phone they prefer from a photography perspective. We wanted to know which phones you're drawn to, not necessarily because of operating systems, but because of the cameras or photography-related features. Here's what you all had to say.

Most referenced smartphones

Naturally, many of you mentioned a small handful of phones. Clearly, there are crowd favorites among photographer-friendly phones.

• Apple iPhone Pro series: iPhones were the most common among those who commented, with a preference for the Pro models. Many of you said that the connectivity with the broader Apple ecosystem is a primary reason, though there's also a preference for the iPhone image quality.

• Google Pixel series: Pixel phones were also very common. You value Pixel phones for their quality out-of-camera results that don't require additional post-processing and integration with Google Photos.

Less common but still popular

• Samsung Galaxy S Ultra series: Though slightly less common, Galaxy users praised the image quality of the series, especially from the JPEG files.

• Sony Xperia 1 IV / V: The Xperia lineup is popular with many of you who want camera-like controls on a phone with more natural, less processed-looking photos.

• Vivo X series: You like this series because of its Zeiss optics and strong image quality that looks more natural than other phones.

• Xiaomi Ultra: Finally, there were some of you who preferred the Xiaomi phones, especially the 14 Ultra, in part because of the Leica co-branding and associated app.

General smartphone camera thoughts

Many of you pointed out that the brand of the phone is only part of the process. There are other critical features and considerations that make a smartphone ideal (or not) for photography.

• Wide-ranging focal lengths: The range of camera focal lengths is an important consideration on smartphones, with preferences for getting closer with optics rather than relying on digital zoom. Manmachine242 said, "For me, 4..5x zoom is unacceptable if the main camera has to solve this important range with digital zoom."

• Ultra-wide performance: A quality ultrawide camera is sometimes preferred over the main sensor, as many of you use your smartphone for panoramas and sweeping landscapes. For example, Jagganatha says they primarily use their iPhone for landscapes "because under the right conditions it produces impeccable detailed sweep panoramas with perfect exposure and colour balance."

• Existing ecosystems: Integration with other ecosystems is also important to many of you. Whether it's being able to transition from phone to tablet to laptop or using familiar editing programs across devices, you want a phone that can seamlessly connect with other ecosystems. Pavel Vishniakov said "Maybe some Android phones have better cameras, but given that I'm fully in Apple ecosystem, I see no reason to switch phones for a 'maybe'."

• Raw capture: A number of you seek phones that allow for robust Raw capture or editing and the ability to use third-party camera apps, particularly Adobe's Project Indigo or Halide. Robgendreau is among those, explaining that "I often use Lightroom to shoot raw, if I need a good photo. If I am more serious then Halide, and their raw. But lately it's been Adobe's Project Indigo, which does some major stacking magic. It's in beta, so it heats my phone up like crazy, but worth it."

• Older phones: The desire to hold on to older phones was a common sentiment. Some of you simply don't see the need to upgrade until there's something seriously wrong with your current phone, or a major upgrade with the new model. For example, Jefenator says, "I'll continue buying iPhones with the best camera hardware, but I won't be accelerating my update plans for just any old incremental change." Others prefer older features or specs and stick to those models for as long as possible.

Entertaining replies

As always, some of you shared some entertaining answers and anecdotes. For example, A74Me shared about how most will have a smartphone on them, but cameras get left behind. "Your going to have a laugh at this one, the other night it was our Photography club AGM and the new committee was asked up for a group photo, No one had a camera with them and the image was shot on a phone. times are changing," they said.

Many of you expressed a dislike for smartphone photography in general. For example, Dem Bell said "It is a bit like asking 'what's your favourite Microsoft Office application?' I don't really like any of them but I have to use them."

If you haven't had a chance to answer yet, or just want to see what others had to say, the post is still open. Head on over to the forums to share your opinion on smartphones for photography!

Click here to answer the Question of the week

Used gear is more affordable, but it comes with risks.
Photo: tupungato / iStock Editorial / Getty Images Plus via Getty Images

If you're in the market for new photography gear, you'll have to decide between buying new, used or refurbished. Each option has advantages and drawbacks, and which is best comes down to a balance of cost, reliability and your individual needs. Understanding the differences between new, used and refurbished can help you make a purchase that fits your budget and long-term needs.

New gear Photo: Extreme-Photographer / E+ via Getty Images

Many people prefer new gear because it comes in pristine shape with no wear and tear. You don't have to worry about how the person who previously owned the camera or lens treated it, as it's never been used before. That means that you can, in theory, get the maximum lifespan and optimal performance.

New gear also comes with all the original packaging and accessories, which is a draw for some. Additionally, buying new means you get the benefit of warranties, giving you some protection if something goes wrong.

However, purchasing brand-new gear comes with a higher upfront cost. The higher expense can be a limiting factor for many. Additionally, there may be limited availability for some new models, making it harder to get your hands on it.

Used gear Photo: zoranm / iStock / Getty Images Plus via Getty Images

Used gear usually comes at a much lower cost than new, making it a more affordable option for building out your kit. The more affordable prices could mean that higher-end items are now accessible, whereas they wouldn't be if buying new. It also opens up the options of what's available. You'll have access to discontinued or vintage models that simply aren't available new. Likewise, high-demand products may only be available used, even if they are still in production.

However, there are risks when buying used gear. Those risks vary based on where you are shopping, as purchasing from a flea market or Facebook Marketplace is much different than a camera-specific marketplace like KEH, Adorama or MPB (our sponsor). With the former, you don't know if the item will be as described, and could end up with a non-functional piece of gear. Most camera-specific marketplaces will at least inspect gear to ensure it is listed accurately. With all used marketplaces, though, you never know how the camera or lens was treated before your purchase, which adds risks related to longevity.

Depending on where you purchase, there may be no protections or guarantees in place, leaving you out of your hard-earned money if the item isn't as listed. You also won't get the warranties that come with new equipment. Some of the third-party camera-specific marketplaces may offer limited warranties on the used gear they sell, but you'll usually pay a bit higher price than what's available on sites like eBay or Facebook Marketplace. That added cost may be worth it, though, as it takes some of the risk out of buying used.

Refurbished gear Photo: onuma Inthapong / E+ via Getty Images

Refurbished gear gives you the benefit of the lower cost of used gear, but with some added guarantees in place. Refurbished gear is inspected and repaired by the manufacturer or a reseller, giving you better peace of mind that what you are purchasing is as described and it will be in working order. Plus, many companies selling refurbished gear will have some sort of warranty (though not as extensive as that of new equipment). That way, you have protection if something goes wrong soon after your purchase.

Refurbished gear also has drawbacks, naturally. Like used gear, it likely won't come in the original packaging or with original accessories. You also still don't know the original usage or history, which could lead to a shorter lifespan, no matter how good the refurbishing was. Finally, while some third-party refurbishers will do work up to the quality of the original manufacturer, that won't be the case for all of them. So do your research before buying refurbished from a third-party company.

Shop smart

There's no right or wrong answer when it comes to shopping new or used, as it simply comes down to your budget, needs and preferences. For some, shopping for used or refurbished equipment is always the best option, whereas others will prefer to only buy new. Either way, make sure you are doing your research to ensure you are getting the best deal and only purchasing expensive items from trusted sources.

Many cameras offer a mode dial for easy access to different modes.

Many aspiring photographers are led to believe that manual mode is the gold standard and the only setting that "real" photographers use. However, manual mode is just one tool a camera provides, and excluding the others can slow you down or lead to missed opportunities. Modern cameras offer advanced automatic modes and multiple semi-automatic ones like aperture and shutter priority, providing more flexible options without sacrificing complete creative control.

Mastering when to choose manual – or when to embrace other modes – is a sign of expertise, not a limitation. In this article, we will explain what the different modes are, and when you might want to rely on each, helping you embrace your and your camera’s full potential.

Auto

Auto mode is usually displayed on the top dial in green, either with the word "Auto" or a green "A." In Auto mode, the camera sets all core settings automatically. That includes aperture, shutter speed, ISO and white balance, but many cameras also adjust creative factors like color mode, noise reduction and more. Canon mirrorless cameras, for example, offer a Scene Intelligent Auto setting, which aims to detect the type of scene you are photographing and optimize all settings for that situation.

Auto modes typically don't allow for any manual override of settings. You simply point and shoot, fully relying on the camera's judgment. It's ideal for casual shooters, beginners and moments where speed is essential and creative control isn't. However, it will limit creative control and may not always choose the best settings for tricky conditions.

Program

Program mode, marked on the top dial by a "P," is similar to Auto mode but allows for some control. In Program mode, the camera will automatically choose aperture and shutter speed for proper exposure, but you can adjust other settings like ISO, exposure compensation and white balance, which are unavailable in full Auto mode.

Additionally, most cameras give you some room to adjust the exposure settings they've selected by "shifting" the program. Doing so will keep the brightness consistent, but will change the shutter speed, aperture, and/or ISO together, which can help if you want to prioritize a deeper depth of field or faster shutter speed. Each camera brand handles this slightly differently, however, so be sure to consult your camera's manual for the full details of what it does and doesn't allow.

Program mode is good for situations where you want a little more control than full Auto, but still want the camera to set core exposure settings for you. Street photography, everyday shooting, travel and other unpredictable situations are all situations where Program mode may come in handy.

Scene

Scene modes are typically labeled as "SCN" on the top dial. In Scene mode, you can choose various pre-programmed scenes, each optimized for different shooting scenarios, such as portraiture, action, landscapes, macro, sunset, night scenes and more. When you select a scene, the camera optimizes all settings for that situation. It goes beyond simply covering exposure settings, also adjusting white balance, metering mode, color profiles and more.

Scene mode is helpful when you need quick, reliable results and don't have the time or experience to adjust settings for specific situations manually. It can choose the appropriate settings to blur the background when taking portraits or close-up photographs, or capture images in challenging lighting situations where manual mode may not produce the best color or exposure.

Aperture Priority

Aperture Priority mode is marked as "A" or "AV" on your camera dial. In this mode, you select the desired aperture to control depth of field, and the camera will adjust shutter speed to produce a well-exposed image. It also allows full manual control of other settings like ISO and white balance, or you can individually set those to automatic.

Aperture Priority is perfect for situations where depth of field is the main creative priority, but the lighting is prone to changing. For example, if you're creating portraits outside, you may want to ensure that you have a shallow depth of field to blur out the background. On the other hand, if you're taking photographs of landscapes, you may want a consistently deep depth of field to have the entire scene in focus.

Shutter Priority

Shutter Priority is marked as "S" or "TV," depending on your camera. It is similar to Aperture Priority, but instead of controlling aperture, you control shutter speed. Then, based on the shutter speed you select, your camera will automatically adjust aperture for you.

Shutter Priority is perfect for situations where you need to control how motion is rendered (either frozen or blurred) but aren't as concerned with depth of field. It's commonly used when photographing sports, wildlife and other action situations where motion is the priority and you need to be able to react quickly.

Manual

Manual mode puts you in full control of everything. You select aperture, shutter speed and ISO (though you can generally set ISO to automatic and still be in Manual mode). Manual mode is best for when you want full creative control and have the time to manually adjust each parameter. It's also useful in tricky lighting situations where your camera may not know what specifically you are after.

Use what's best for you and a given situation

Some manufacturers have specialty modes in addition to the ones mentioned above, so be sure to check your manual for information on those. It's also important to remember that each camera mode is ideal for different situations and people; there is no single right mode. The goal of using your camera is typically, at least in part, to create nice photographs, and whichever mode helps you achieve that goal is the correct one.

2025 Audubon Photography Awards

The National Audubon Society has announced the winners of its 2025 Audubon Photography Awards competition.

This year, the organization is doing its "annual celebration of outstanding bird visuals" a little differently: there's one set of awards in its various categories (which include Birds in Landscapes, Conservation, and Plants for Birds) for the US and Canada, and another set for Chile and Colombia. The Audubon Society says it did this to expand the talent – and species of birds – that the contest showcases.

You can see the complete list of winners, as well as the honorable mentions, on the Audubon Society's website.

Chile and Colombia "Grand Prize" Winner: Felipe Esteban Toledo Alarcón

From the photographer: While looking to photograph frogs’ mating rituals at a lagoon in Parque Saval, my friend and I noticed a pair of Ringed Kingfishers hunting fish, completely submerging themselves in the water. No one can ignore such a scene. While the female was far away, the male dove unsuccessfully time and time again—and with each try, he moved closer to us. Even though the sun was not in the perfect position, I set up my camera in burst mode with a high shutter speed, moderate ISO, and “zone” focus. I was ready. After the bird made six dives, I got the image that I’d been chasing: a kingfisher explosively rising out of the water, displaying its beauty, elegance, and power.

Species: Ringed Kingfisher

Camera: Sony a7 IV, Sony FE 200-600mm f/5.6-6.3 G OSS

US and Canada "Grand Prize" Winner: Liron Gertsman

From the photographer: Frigatebirds are a common sight in many coastal towns in Mexico. As a kleptoparasitic species, they may look to steal a meal from other seabirds—or from local fishermen. I photographed these birds as they passed a stunning halo in the sky. These rings of light form when millions of tiny ice crystals in the atmosphere refract sunlight, often when there are high-altitude cirrus or cirrostratus clouds. I utilized a small aperture to ensure both the birds and sky would be sharp and to get a “starburst” effect on the sun in the middle of the frame.

Species: Magnificent Frigatebird

Camera: Canon EOS R5, Sigma 14mm F1.8 DG HSM Art EF

US and Canada "Birds in Landscapes" Winner: Joe Subolefsky

From the photographer: I wanted to photograph Northern Gannets against the Milky Way, so I studied the moon phases and planned a trip. Forecasters predicted rain and fog for all three nights I was in Newfoundland, so my chances were limited. I hiked to the colony and waited for clear skies. I used only the rotating light from the nearby lighthouse, which washed over the colony every 30 seconds. Then, for a mere 20 minutes, most of the clouds parted, bringing the stars and Milky Way to life.

Species: Northern Gannet

Camera: Canon EOS R5, Canon RF 15-35mm F2.8L IS USM

Colombia "Birds in Landscapes" Winner: Shamir Shah

From the photographer: On this day, I was documenting trees above a bike path along a busy road and climbed a pedestrian bridge to get a different angle. That’s when I saw these Blue-headed Parrots peeking out from a hollow. This image tells an interesting story: Down below, people in cars and buses are going about their daily business; above, the parrots observe the humans, who, in their rush to progress, miss out on all kinds of expressions of life.

Species: Blue-headed Parrot

Camera: Nikon D750, Nikkor AF-S 24-120mm F4G ED VR

Chile "Birds in Landscapes" Winner: Caro Aravena Costa

From the photographer: Despite very few daytime hours, the sunlight in Patagonia is exquisite in winter. After arriving in Puerto Natales, my group walked along the waterfront as the sun began to set and spotted these backlit flamingos. I got my camera, and we walked carefully to the snow- and ice-covered shore. In subfreezing chill, I lay down on the cold ground to take photos. The warm sunlight, which enveloped everything, created a magical atmosphere.

Species: Chilean Flamingo

Camera: Sony a7 IV, Sony FE 100-400mm F4.5-5.6 GM OSS

Chile and Colombia "Birds Without Borders" Winner: Jacobo Giraldo Trejos

From the photographer: Capturing this image required patience, attention to detail, and, above all, enduring the sun’s intense heat. The adult Royal Tern flew tirelessly, looking for fish to feed its young, which patiently waited on a railing. Many people think that dedication and affection for our young is exclusive to humans, but nature, as usual, proves us wrong. I feel a deep respect for these birds’ efforts: Photographing this moment was a privilege worth every second—and every drop of sweat.

Species: Royal Tern

Camera: Canon EOS R50, Sigma 150-600mm F5.6-6.3 DG OS HSM Contemporary

US and Canada "Birds Without Borders" Winner: Yoshiki Nakamura

From the photographer: Every winter, tens of thousands of Snow Geese migrate from Siberia to Washington’s Skagit Valley, where they stay from October to April. Massive flocks—some numbering more than 10,000 birds—take off together in breathtaking, synchronized motion. When danger nears, the first few birds flap their wings, sending a cascading signal that triggers a collective launch. Although they move as one, each bird follows its own rhythm and direction, creating a mesmerizing mixture of order and chaos. To express this ephemeral choreography, I used a slow shutter speed. The result is what I call a “melting flight”: a blend of motion, form, and instinct. What I find most beautiful is how this chaos has coherence. There are no collisions, no commands—just a shared sense of movement.

Species: Snow Goose

Camera: Nikon D850, Nikon AF-S 600mm F4E FL ED VR w/ Nikon AF-S Teleconverter TC-17E-II

Chile and Colombia "Conservation" Winner: Luis Alberto Peña

From the photographer: I was photographing birds in a rural area when I came across this fire, which started as a controlled burn to clear rice crop residues but got out of hand. For many people who grow rice in this area, fires are a necessary practice for subsistence. However, these burns can also harm air quality and habitat, especially if they aren’t controlled. As I watched the flames, I noticed a Savanna Hawk. Attentive and patient, this bird never strayed from the dense smoke and heat; in fact, it returned again and again hoping to hunt disoriented animals fleeing the flames. I, on the other hand, eventually had to retreat. Before I left, I captured this visual testimony to one of the many ways that wildlife survives and adapts in the face of extreme environmental conditions.

Species: Savanna Hawk

Camera: Nikon Coolpix P900

US and Canada "Conservation" Winner: Jean Hall

From the photographer: As a volunteer with the Audubon of the Western Everglades’ Owl Watch program, I’ve spent hours and hours photographing Burrowing Owls. Initially, I was only interested in beauty and behavior shots. Over time, I realized I needed to take a journalistic approach to demonstrate the vulnerability of this imperiled species. I took this image near a construction site. This defiant guy decided to use a huge lumber pile as his roost for days. I returned several times because I never knew if or where he might pop out. Burrowing Owl habitat is almost gone, especially on Marco Island, but the birds’ toughness is hard to defeat.

Species: Burrowing Owl

Camera: Canon EOS 5D Mark IV, Canon EF 24-105mm F4 L IS USM

Chile and Colombia "Plants for Birds" Winner: Cristian Valencia

From the photographer: I was blessed to work as a bird guide at the Hotel Termales del Ruiz, near Los Nevados National Natural Park. The area is home to a sub-páramo ecosystem, a cool forest rich in biodiversity. I wanted to photograph the Purple-backed Thornbill, so I approached flowers they pollinate. One day, I suddenly saw this specimen up close; I just had to wait patiently to capture its colorful beauty as it fed. I like to share such photos to raise awareness: When we cut down a forest, we also risk losing species like this one.

Species: Purple-backed Thornbill

Camera: Sony a7 II, Sigma 100-400 F5-6.3 DG DN OS Contemporary

US and Canada "Plants for Birds" Winner: Barbara Swanson

From the photographer: I visited La Jolla’s cliffs three times in January, when cormorants were building nests, and with each visit my photos improved. The birds fly in low over the ocean, then swiftly gain altitude, making it hard to predict where each bird will settle. From the moment I spotted this bird flying in from some distance on my third visit, I had only six seconds to focus and snap this image as it prepared to land. I was in the right place, and my camera’s “bird focus” setting helped me keep the cormorant sharp in the frame. The bird carried not only the usual seagrass but also a strand of red grape algae, which glowed like translucent jewels.

Species: Brandt’s Cormorant

Camera: Nikon Z8, Nikkor Z 600mm F6.3 VR S

Chile and Colombia "Youth" Winner: Camilo Sanabria Grajales

From the photographer: On our way to this year’s Colombia Birdfair, my dad and I pulled over for lunch at the Neblinas restaurant. A little warbler crept up as I walked along the nature trail in the high-altitude cold. Suddenly, the bird caught a moth and shook it vigorously. Astonished as I was, I captured the precise instant of this predator-and-prey interaction in detail as the moth’s scales floated midair, released by each flick of the bird’s beak. To me, this photo reveals the vital relationship between migratory birds and ecosystems that support them.

Species: Blackburnian Warbler

Camera: Canon EOS Rebel T7, Sigma 150-600mm F5-6.3 DG OS HSM Contemporary

US and Canada "Youth" Winner: Parham Pourahmad

From the photographer: When I heard of a rare Long-eared Owl sighting at Coyote Hills Regional Park, I went to check it out. When I arrived before sunrise, I saw the owl looking for rodents in the park’s grasslands and marshes. It hunted on and off for the next hour, giving me ample time to take photos. The sun rose, shining beautiful colors all over the marsh. When the owl flew by, I framed it with its habitat to demonstrate the connection between the owl and its home. I appreciated the warm lighting and how the owl stood out despite appearing small in the frame.

Species: Long-eared Owl

Camera: Nikon D3500, Sigma 150-500mm F5-6.3 DG OS HSM Contemporary

Chile "Coastal Birds" Winner: Francisco Castro Escobar

From the photographer: I enjoy birding every weekend in the coastal area of my city. Urban sprawl has affected shorebird habitat, but even so, in summer it is common to see some species strolling among rocky outcrops or the shore. On this occasion, an American Oystercatcher chick and its mother came toward me. I hid, patiently waiting for them to get closer, until I was able to capture this beautiful moment of the mother feeding a mollusk to her chick. The tenderness of an image like this helps raise awareness about the importance of protecting these “coastal warriors,” as I call these birds, who struggle to survive day by day.

Species: American Oystercatcher

Camera: Sony a7 IV, Sony FE 200-600mm F5.6-6.3 G OSS

"Female Bird Prize" Winner: Sean Pursley

From the photographer: I decided to head to cooler temperatures in the mountains, about an hour’s drive from Boise. I arrived as the early morning light started to hit the side of the mountain. I made my way on the trail as the filtered light shone through the canopy. It was absolutely magical: I could hear bird sounds all around, feel the cool air, and smell the pines. I then saw two Chipping Sparrows flitting around the bushes. One, carrying nesting material, flew onto a perfectly lit branch. She posed for about 15 seconds. The gifts the universe gives us are so special.

Species: Chipping Sparrow

Camera: Sony a1, Sony FE 200-600mm F5.6-6.3 G OSS w/ Sony FE 1.4x teleconverter

The Viltrox AF 9mm F2.8 lens.
Image: Viltrox

Viltrox has announced two new lenses in its Air lineup: the AF 14mm F4.0 Air for full-frame and AF 9mm F2.8 Air for APS-C cameras. These join Viltrox’s growing series of lightweight, compact and affordable lenses, offering an ultrawide perspective for both full-frame and APS-C users.

The Viltrox AF 14mm F4.0 Air lens.
Image: Viltrox

The AF 14mm F4.0 Air lens is available for E and Z mount full-frame cameras and provides a 112° field of view. The lens features an STM autofocus motor that Viltrox says is accurate, smooth and quiet enough for video use. It can focus as close as 0.13m (5.1") and offers a 0.23x maximum magnification, making it useful for detail shots as well as sweeping views.

The 14mm lens uses an optical design comprised of 12 elements in 9 groups, which includes 4 ED, 2 HR and 2 aspherical elements. The front element also features an anti-glare coating to minimize flare and ghosting. It is compatible with 58mm filters.

As part of the Air series, Viltrox designed the lens to be lightweight and compact. The E-mount version weighs just 170g (6oz), while the Z-mount model weighs 185g (6.5oz). The E-mount lens is 56.4mm (2.2") long, and the Z-mount is 58.4mm (2.3") long.

The Viltrox AF 9mm F2.8 lens.
Image: Viltrox

The AF 9mm (13.5mm equiv) F2.8 Air lens offers nearly the same view as the full-frame lens. The APS-C lens shares other similarities with the full-frame offering as well, such as the STM motor for autofocus that promises to be smooth and silent for video recording and a 0.13m (5.1") minimum focusing distance. Its maximum magnification is slightly lower, coming in at 0.15x.

The 9mm F2.8 lens uses an optical design with 13 elements in 11 groups and includes 3 ED, 3 HR and 2 aspherical elements to minimize chromatic aberration and manage distortion. It's available for E and Z mounts, with the E model weighing 175g (6.1oz) and the Z mount lens weighing 190g (6.7oz). Despite Viltrox's recent announcement that it's joining the L-mount Alliance, the lenses don't appear to be available for that mount.

Both new Air lenses, the AF 14mm F4.0 Air and AF 9mm F2.8 Air, are now available for purchase for $199.

Buy now: Viltrox AF 9mm F2.8 Air Viltrox AF 14mm F4 Air

When you use DPReview links to buy products, the site may earn a commission. Canon EOS R5 II | Canon RF 85mm F1.4 L VCM | F5 | 1/640 sec | ISO 3200
Photo: Richard Butler

Last week, Canon announced the RF 85mm F1.4 L VCM, a new telephoto lenses made for portraits and video work. The company also invited our editor Richard Butler to Japan, to take a tour of their factory (so keep an eye out for some exciting stuff coming down the line), and on the trip he got the opportunity to take several portraits with it, along with other images that fit the focal length.

We processed the samples using our standard Capture One workflow, which includes digital geometric distortion corrections. However, unlike with some of the wider lenses in Canon's current F1.4 lineup, the company says those aren't required for this lens, and indeed we've found them to be relatively subtle.

Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Canon EOS R5 II | Canon RF 85mm F1.4 L VCM | F8 | 1/200 sec | ISO 500
Same file, exported from Adobe Camera Raw with and without distortion correction.

As with other lenses in this line, we found the declicked aperture ring to be somewhat unsatisfying for photography; the lack of discrete stops meaning it doesn't give any sense of feedback when you change your aperture setting, so we tended to leave it in its locked position and control the lens from the camera's command dials.

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Canon

See the sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.

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

When you use DPReview links to buy products, the site may earn a commission.Hasselblad X2D II 100C vs Fujifilm GFX 100 II

Hasselblad recently announced the X2D II 100C, the latest camera in its medium-format lineup, and the first to be capable of continuous autofocus. That feature makes it a much closer competitor to Fujifilm's medium format cameras, the GFX 100 II and 100S II. Fujifilm's two models have a lot in common, but we'll mainly be comparing the former in this article because of its higher magnification viewfinder, CFexpress storage and price tag that's closer to Hasselblad's.

While both the X2D II and GFX 100 II use very similar 100MP BSI CMOS sensors, they're surprisingly different in several key areas. Let's go over what those are.

Design

The X2D II is designed to be sleek and minimlaist, and Hasselblad says it makes the bodies out of a single block of machined aluminium. The GFX 100 II, meanwhile, has a very utilitarian design, with a hatched rubber grip that uses a proprietary pattern called Bishamon-Tex. The X2D's grip feels like a rubber version of leather; one of our editors described it as looking a bit like washi, a Japanese paper.

The GFX 100 II isn't substantially larger or heavier than the X2D II, but it still feels like a more substantial piece of equipment, with its grip fully filling your hand. Hasselblad's grip isn't small and we never felt at risk of dropping it, but its sleeker; it's like holding a modern glass sandwich smartphone compared to a Nokia 3310 (though the two cameras are much closer in capabilities than the two phones).

Handling / Controls

The GFX 100 II's more industrial appearance is helped by the several switches and knobs that you use to control its shooting and autofocus modes and power. While the X2D II has a generous number of programmable buttons, including one under the newly-added joystick, and two customizable top-plate command dials, you'll probably find yourself changing settings via the touchscreen more often than you would with the GFX.

With that said, Hasselblad's UI is very simple and clean. Its Settings screen is limited to the essentials, and the live view UI mainly focuses on the basics of photography. Our only real gripe with the controls is that the autofocus point moves quite slowly in response to the (four-direction) joystick, taking a long time to go from one edge of the screen to the other, which could be frustrating if you're trying to photograph a moving subject.

The GFX's UI is, for better and worse, very similar to what you'll find on Fujifilm's other cameras. You can configure the live view display to show just a few key statistics, but when you dive into the menus, you'll be greeted by several tabs, each with nested pages containing dozens of options. Once you learn the system, it's generally easy to get around, but it certainly isn't minimalist.

EVF and Display

The GFX 100 II has a versatile EVF and screen setup. The 9.44M dot EVF can be removed from the camera if you don't need it, or attached to an adapter that lets you tilt and swivel it. You can also choose whether you want it to run at 1x magnification at 60Hz for the highest quality, or at 0.77x and 120Hz for maximum responsiveness. It has a 3.2", two-way tilting rear screen that can move up or down and to the right, which gives you more flexibility when shooting in portrait or at low angles like you would when photographing architecture.

The X2D II's EVF has a lower-resolution 5.76M dot panel, but still provides a 1x magnification. While its rear display can only tilt up and down, it uses a larger 3.6" OLED panel that can get exceptionally bright, up to 1400 nits. That's important because...

HDR stills Ultra HDR JPEG taken with the Hasselblad X2D II. To see the effect, open the photo in a supported browser on a device with an HDR-capable display.

One of the X2D II's main features is its "end-to-end" HDR, where it outputs Ultra HDR JPEG or HEIF files, and lets you review them on the camera itself. Viewed on a device with an HDR-capable screen and compatible software, the images' highlights can be rendered with a wider range of brightness, creating a more life-like rendering.

While most other camera manufacturers have varying levels of support for HDR output files, Fujifilm doesn't, outside of video. If you have a Raw-based workflow, you can create comparable HDR images with the Fujifilm using software like Adobe Camera Raw, but the Hasselblad helps you expose correctly for HDR in its auto modes by analyzing the scene to determine how much headroom it needs to capture the highlights correctly. You'll also be able to check its work, as the rear display shows the output images in HDR.

Speed

Neither the X2D II nor the GFX 100 II are sports / action cameras, but if you're trying to capture moving subjects, the Fujifilm will be the better pick. It can shoot at 8fps with its electronic shutter, though doing so will require dropping down to a 12-bit readout. The Hasselblad, meanwhile, tops out at 3fps using 14-bit readout.

Both cameras have relatively snappy user interfaces, though the Hasselblad can sometimes take a beat to start up. That won't be an issue in the studio, but it could be frustrating if you're trying to use it for more documentary or street photography work.

Stabilization

While both cameras have very good IBIS systems, the X2D II's provides up to 10EV of stabilization compared to the GFX 100 II's 8EV. While Hasselblad tells us that 10EV of stabilization is possible with just the camera, its site says that you'll need to sync it with the company's Phocus app every few hours or whenever you change location to get the most out of the system. This is because the system can compensate for the Earth's rotation, but to do so, it needs your latitude and longitude. Unfortunately, Phocus isn't available for Android; the mobile version only runs on iPhones and iPads.

In practice, without syncing with Phocus, we found it worked well but didn't leave us thinking it was appreciably better than the Fujifilm.

Autofocus

Both the GFX 100 II and X2D II have autofocus systems that would've been unthinkable for a medium format camera just a few years ago, with continuous autofocus augmented by AI-derived subject recognition. The X2D II can recognize humans, pets and vehicles, and the GFX 100 II supports those plus birds, trains, planes and motorcycles/bikes.

Both can track arbitrary subjects as well, though we've found the Hasselblad to be ever so slightly more accurate when doing so, perhaps because of its LiDAR sensors that augment its more traditional phase detect focus points. The fact that it vibrates to confirm when it's locked on is also an excellent touch.

The X2D II's continuous autofocus mode also comes with the critical caveat that it only works with select, faster-focussing lenses and, currently, that list only has seven entries. Fujifilm's, meanwhile, is compatible with most of its lenses.

Lenses

Fujifilm and Hasselblad both have a robust ecosystem of prime and zoom lenses available for their medium format systems, but there are some important differences between the two systems. Hasselblad's lenses use leaf shutters, meaning they can sync with flash up to their maximum shutter speeds (typically around 1/2000 or 1/4000 sec). This mechanism can't always deliver a circular aperture, which can lead to oddly-shaped specular highlights and bokeh in some shooting situations.

The GFX system, meanwhile, uses a focal plane shutter built into the camera, meaning it can only sync flash at 1/125 sec or slower. In most studios, that will be sufficient, but outdoors, it could make it difficult to shoot with flash unless you have powerful strobes with High Speed Sync modes capable of overpowering the sun. However, it means you don't have to rely on the extremely slow electronic shutter for adapted lenses like you would with the Hasselblad, so you can use old or third-party lenses to shoot a wider variety of subjects.

Not requiring a leaf shutter means that Fujifilm's first-party lenses can be faster, cheaper, or both. For example, Fujifilm's 55mm lens is an F1.7 and costs $2599, while Hasselblad's tops out at F2.5 for $3699.

Video

If you need to shoot video, the X2D II is a non-starter; it doesn't even have a mode for it. The GFX 100 II, meanwhile, is packed with video features to the point where Fujifilm is making a dedicated cinema camera out of it. It can shoot 8K with a 1.53x crop, 4K up to 60p, and has modes for shooting with several types of lenses, including ones made for full-frame cameras and anamorphics. It also has waveforms, vectorscopes, ProRes recording (to an external SSD, if you'd like) and a full-size HDMI port with support for Raw output.

Despite Fujifilm clearly pushing the GFX 100 II as a video camera, its rolling shutter performance is quite poor. In its highest resolution modes, it takes up to a glacial 33.2ms to read out the portion of the sensor it's using. It can achieve much better times – around 15ms – in most of its 4K modes, but to do so, it either has to skip lines or bin pixels, which will lower the amount of detail captured.

Ports and connectivity

The GFX 100 II is bursting with ports. It has 10Gbps USB-C, dual 3.5mm sockets for headphones and microphones, full-size HDMI, one CFexpress and one SD card slot for storage, Ethernet and a flash sync terminal. There's no internal storage, though, so you'll be using a slower SD card for overflow or backup recording, rather than a fast CFexpress card like with the Hasselblad.

The X2D II's ports, meanwhile, can best be described as "minimal." It has a 10Gbps USB Type-C port for charging and data transfer, a 3.5mm port for Hasselblad's shutter release cable, and a CFexpress Type B slot to augment the built-in 1TB SSD (which should theoretically be lightning-fast, but the camera occasionally took longer than we felt it should to write images in our testing). It also has a hot-shoe mount for connecting Nikon-compatible flashes and triggers.

Both can be shot tethered in a studio, though the Fujifilm gives you more flexibility when it comes to workflow. The X2D II can be tethered to a Mac or Windows computer with a cable, or wirelessly with the Phocus mobile app, though, again, it's iOS/iPadOS only. The Fujifilm can also be tethered to various computer and mobile apps, but it also offers the option to automatically upload your images straight from the camera to Frame.io or an FTP server via Wi-Fi or wired internet. That could make it easier to get your images to an editor or other stakeholders.

Battery

While battery life may not be as big of a concern in the studio where power leads and spares are readily at hand, both cameras are viable options for shooting out-and-about. Here, the Fujifilm wins handily, as its battery should last for all but the longest shoots. It's CIPA-rated for around 540 shots, and we've found it can last for several sessions. Even a wedding photographer may be able to scrape by with a single charge, though they also have the option of topping up with a USB-C battery bank.

The X2D II's battery is rated for 327 shots per charge, though you can extend it by turing off HDR. It too can be charged via USB-C. While these ratings aren't usually an indicator of the literal number of shots you'd get, they do work as a common point of comparison between cameras. After a casual day of shooting, we'd almost certainly put the Hasselblad on to charge, but probably wouldn't think about it with the Fujifilm.

Price

The GFX 100 II is, in general, more expensive than the X2D II. It costs $8500 in the US, £7000 in the UK, and around €7999 in Europe, while the Hasselblad costs $7400, £6400 and €7200, respectively. However, buyers should take the (often substantial) extra cost of Hasselblad's leaf-shutter lenses. It's also worth noting that you can get the same image quality and autofocus as the GFX 100 with the $5699 GFX 100S II, at the cost of a fixed viewfinder with lower resolution and magnification, and fewer video capabilities and ports.

The X2D II is $800 cheaper than the original X2D, which appears to be an explicit bid to compete more with the GFX lineup. It now falls between the two models, rather than coming in above the GFX 100 II's pre-tariff price as its predecessor did.

Summary

Both the GFX 100 II and the X2D II have outstanding image quality and are extremely capable for studio work and shooting outside. That doesn't make choosing between them easy, but largely the decision will likely come down to your aesthetic preferences and whether you need certain capabilities. If you're looking to produce HDR images straight out of camera or need to be able to sync flash at 1/1000 sec and above, the Hasselblad is the obvious choice. But if you want to shoot the occasional video or high-speed burst, the Fujifilm is likely the better option.

In practice, it's a consideration of the systems as a whole that will win the day, but with the X2D II 100C, Hasselblad has made that decision significantly more difficult.