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President Donald Trump announced on Tuesday evening that the US and Japan have reached a trade deal, CNN reported. The new agreement, which Japanese Prime Minister Shigeru Ishiba confirmed, results in a 15% tariff on Japanese imports. The White House also shared details of a separate agreement with Indonesia that would result in a 19% tariff.

The 15% tariff on Japanese imports is an improvement from the 25% rate threatened earlier this month. While a 10% decrease is better than the alternative for US customers, it doesn't necessarily mean that cameras and lenses will become more affordable.

Most brands, including Nikon, Canon, Sony, Leica and Sigma, have raised prices by roughly 10% in the US because of the increased tariffs. Those price increases occurred during the 90-day pause on full tariffs. During that time, threatened tariff rates were significantly higher than the 10% price increases we saw on camera gear. It appeared that brands were accepting that they would have to take some of the loss instead of passing all of the cost on to consumers.

Given that the new trade agreement doesn't result in tariffs lower than the price increases, it's unlikely that manufacturers will decrease their prices in the US. Instead, those prices are likely here to stay, at least for the foreseeable future. It could, however, mean that there won't be additional jumps in pricing, which was a possibility if the threatened 25% rate became a reality.

Of course, not all (or even most) cameras and lenses are made in Japan or Indonesia. For example, Tamron began operating a factory in Vietnam in February in response to looming tariffs. Earlier this month, President Trump announced a deal with Vietnam that resulted in 20% tariffs on imports from Vietnam, which is substantially lower than the original 46% rate announced in April. Other trade deals are ongoing, so the exact impact of tariffs on photography equipment prices in the US is unclear.

Winners of the 2025 Flow Photo Contest presented by Kodak

The 2025 Flow Photo Contest winners have been announced, highlighting powerful images from around the world. The contest, presented by Kodak, received 16,000 entries from 109 countries. Participants could submit photos in five categories – Water, Human, Travel, Film and Animal – with a total of $50,000 in prizes available.

The photographers ranged in experience from beginners to professionals and could use any type of camera. The panel of judges included Shireen Rahimi, a NatGeo Explorer and underwater storyteller, Shawn Theodore, a visual artist known for his work on Black identity and Alex Stead, a UK-based travel and lifestyle commercial photographer.

"We were blown away by the depth, emotion and technical artistry in the entries. From a single image of a whale mid-breach to portraits that radiate raw humanity, these photographers – many of them amateurs – captured something extraordinary," said Eddie Berrang, Head of Studio at Flow. "This contest reminded us that the most powerful storytelling doesn’t require a big production budget – just vision."

Besides showcasing beautiful imagery, the contest aims to raise awareness and funds for five nonprofit organizations. Re:wild, a group dedicated to protecting and restoring biodiversity, presented the animal category. The Water category highlights the work of Charity: Water, supporting sustainable solutions to bring clean drinking water to communities in need. Hi, How Are You Project, which promotes mental health awareness through art, music and education, sponsored the Human category. The Travel category highlights the work of Surfrider Foundation, which works to protect oceans, waves and beaches. Finally, the Film category is presented by Music Farming to expand access to music education.

The winners and finalists are featured in the 172-page Photo Issue of the Flow Trip magazine, which is only available in print. The magazine also includes judge interviews and a feature on the history of Kodak's Super 8 Camera. You can customize your Photo Issue cover by selecting four different cover images. It's available for purchase for $18 at the Flow website.

Grand Prize Winner: Water

Photographer: Érico Hiller

Instagram: @ericohiller

Category: Water

Photo location: Turmi, Ethiopia

Caption: Climbing up the stairs in this tank holding the gallon is an unimaginable operation that demands balance and strength. Some women do this over and over again, four or five times a day. After leaving the dump area wearing no shoes, the challenge is to avoid scorpions that accumulate around the hole that leads to the ladder one of them showed me a scorpion she had just killed. One small problem leads to another, and the entire chain of water-demand generates challenges these women face every day.

Tell us a little bit more about what led you to capture these humans and their way of life.

As a professional photographer, what has always motivated me is a profound interest in social justice and social impact. I’ve been driven by the desire to connect with others, to understand people’s struggles, and to produce work that might foster awareness and contribute, in some way, to justice. This motivation compels me to leave home, pursue my stories with genuine commitment, and pay true attention to my purpose. It also encourages me to listen carefully and empathetically, striving to be a better listener. Ultimately, I hope this process leads to meaningful photographs that I can share with the world. I believe that one of the essential roles of documentary photography is to make the world a little less unjust — and, in the end, a slightly better place.

How did seeing this way of life alter the way you think about yours?

I believe that through this work I have become a more conscious citizen — more aware of the social structures, the way the world operates, and how, all too often, the digital lens through which we see the world distorts the realities of life as it truly is. Photography allows me to take deeper steps into the lives and real challenges of others. This has given me a greater sense of belonging, while also making me more aware of my role — as a citizen, as a Brazilian, but above all, as a human being. I believe this awareness is reflected in my daily decisions and actions. The world is not an easy place; we live in an era of profound social and human injustices, of unexpected and difficult conflicts. But I believe that by continuing on the path of documentary photography, I am able to find more meaningful answers than if I were to remain a passive observer of the world’s injustices. In this sense, through photography, I strive to improve myself as a person — and in doing so, I hope that I can also contribute, in some small way, to improving my surroundings.

Finalist: Water

Photographer: Jorgito Rivera

Instagram: @jorgitorivera

Image title: Beneath the Lineup

Category: Water

Photo location: Teahupo'o, Tahiti, French Polynesia

Caption: Surfer Kanoa Igarashi slices through the underwater silence with flawless control as a massive wave crashes above him. This shot reveals the raw power of the ocean and the calm precision it takes to master it. 'Beneath the Lineup' is a look into the heart of surfing.

Finalist: Water

Photographer: Mohammed Rimon

Instagram: @mohammedrimon

Image title: Carrying Date Juice

Category: Water

Photo location: Bogura, Rajshahi, Bangladesh

Grand Prize Winner: Human

Photographer: Saurabh Narang

Instagram: @_saurabhnarang

Image title: Ramnath: A Man Who Feeds The Migratory Birds

Category: Human

Photo location: Yamuna Ghat, New Delhi, Delhi, India

Caption: Ramnath Sharma feeds migratory birds at Yamuna Ghat in Delhi, India. Every year between October and March, thousands of seagulls migrate from Siberia to Delhi. Locals come to feed them, believing it is good karma.

Finalist: Human

Photographer: Zay Yar Lin

Instagram: @zayyarlin84

Image title: Golden Moments in the Corn House

Category: Human

Photo location: Mù Cang Chải, Yên Bái, Việt Nam

Caption: Set in the highlands of Mù Cang Chải, this photograph captures a fleeting yet profound moment between a mother and daughter during the corn harvest. The warm shafts of sunlight filtering through rows of drying maize illuminate not only the space but also the joy and intimacy of rural life. This image is a tribute to the enduring strength of family, the quiet poetry of daily labor, and the cultural richness of the country’s ethnic communities. It invites the viewer to pause, reflect, and feel the gentle beauty woven into tradition.

Finalist: Human

Photographer: Pyae Phyo Thet Paing

Instagram: @pyae_phyo_thet_paing

Image title: The Fishing Boys

Category: Human

Photo location: Inle Lake, Shan State, Myanmar

Grand Prize Winner: Travel

Photographer: Evan Wang

Instagram: @evanwongphoto

Image title: Best View in Town

Category: Travel

Photo location: Squamish, British Columbia

Caption: The greatest light show on Earth doesn't usually dance this far south but when it did, we knew exactly how we were going to view it: by climbing under it. Nick Ayers is taking it all in over the Squamish townsite.

How does seeing the northern lights in person, let alone from this perspective, alter your brain chemistry?

The northern lights are such a raw and visceral human experience. They are uniquely special in that they can be appreciated from both your front door or a remote backcountry location. By natural-wonder standards, they’re quite accessible. Seeing them in person rekindles those childlike feelings of wonder that I often find elude us as we grow older. It’s like you’re 5 years old again, gazing up at the sky with all the curiosity in the world, not knowing what to expect next. With this shot, I hoped to evoke those same emotions — no artificial light or image stitching, just the authentic experience exactly as you’d see it with your naked eye.

Finalist: Travel

Photographer: Luba Hristova

Instagram: @lubahristova

Image title: Volcán de Fuego

Category: Travel

Photo location: Volcán de Fuego, Chimaltenango Department, Guatemala

Finalist: Travel

Photographer: Aidan Doyle

Instagram: @fotosaidan

Image title: Fun and Games

Category: Travel

Photo location: Comuna 13, Medellín, Colombia

Caption: At Lake Atitlán, you learn that timing cannot be rushed it is patience, persistence, and being present.

Grand Prize Winner: Film

Photographer: Jacob Paley

Instagram: @jacobpaley

Image title: Eyes on the Palisades Fire

Category: Film

Photo location: Santa Monica, California

Caption: As the flames raged in January, residents of the Pacific Palisades community fled. Some went to the Santa Monica Pier to witness what would later be classified as the most destructive wildfire in the history of Los Angeles.

What were emotions like at the time you captured this image? Explain how you saw this bring the community together.

How do you console the inconsolable? Sometimes, when the chaos is so great, all you can do is sit close by in solidarity. Shock, horror, and perhaps a bit of awe were all palpable feelings that first night. People watched from the safety of the Santa Monica Pier; some came to simply witness the devastation unfold, while others could merely hope their homes were still standing, with those prayers swiftly drifting into the growing plumes of smoke above. As strange as it might be, communities are often most supportive in times of tragedy, when their resilience is tested to the limit and must, in this case quite literally, rise from the ashes. It’s this support from the greater Los Angeles area and beyond that will help those who lost everything to start again.

This image is a powerful one. What do you want viewers to take away from seeing this photo?

Documenting devastation is essential in making sure we never forget our own history. My goal is to provide the audience with an emotional connection to how those who were affected felt, so that we as a society can mourn, support, and reflect on how small we really are in this sometimes unforgiving and unrelenting natural world.

Finalist: Film

Photographer: Ben Dickson

Instagram: @shot.point.blank

Image title: Grind

Category: Film

Photo location: Newcastle, New South Wales, Australia

Finalist: Film

Photographer: L . Chaussée

Instagram: @l.chaussee

Image title: Monument Valley

Category: Film

Photo location: Monument Valley, Oljato-Monument Valley, Utah

Caption: The reflective surface of the windows creates a duality between the landscape and the built environment. And although the image suggests stillness and quiet, in reality, the site was crowded with visitors admiring the view.

Grand Prize Winner: Animal

Photographer: Michele du Plooy

Instagram: @michele.d.p

Image title: Once in a Lifetime

Category: Animal

Photo location: Magdalena Bay, Baja California Sur, Mexico

Caption: This photo was taken in Magdalena Bay during the annual Mexican sardine run. I went on a freediving expedition to see sea lions and marlin feeding on bait balls compact spheres of fish trying to protect themselves and I was absolutely shocked when, on day three, this Bryde’s whale showed up out of nowhere and started feeding on the bait fish right in front of me. Truly the most unexpected, once-in-a-lifetime moment that I will forever cherish and never forget.

How has capturing and witnessing this moment changed your perspective on life above the surface?

Witnessing and capturing this moment with the Bryde’s whale deepened something Iʼve always felt — that so much of what really matters exists quietly, out of sight, and often goes unnoticed by most people. Being in the presence of such a massive, graceful creature reminded me how small we are in the grand scheme of things, and how much wonder still exists beyond the busy surface world we tend to focus on. It reinforced how important it is to slow down, pay attention, and stay connected to the natural world — even when I'm not underwater. It also reinforced my sense of purpose in wanting to share these kinds of moments with people who might never get the chance to experience them firsthand.

What led you to start documenting marine life? What value do you find in showcasing marine life, and what value do you hope your images bring to the lives of others?

I have always been someone who loves capturing memories. Even when I was younger and all I had was a flip phone camera, I was always documenting as much as possible, preserving as many memories as I could. My dad is a scuba diver, so I am very fortunate to have been certified at 13, growing up traveling and doing annual scuba trips with my family. Along with diving, I also grew up with a saltwater tank filled with coral in my childhood home (in landlocked Ottawa), allowing me to really fall in love with the ocean. Upon graduating from University, I made the move from Ottawa down to the Florida Keys to partake in an internship doing Coral Restoration work, and this was when I truly started falling in love with underwater photography. My dad had a small digital underwater camera that he used for our annual dive trips, and despite pointing out every single fish I wanted him to photograph, I never used the camera much myself. When I moved to the Keys, I took the camera with me, and being in the water nearly every day for my internship allowed me to discover my love of underwater photography. From there, I spent as much time underwater as possible, as well as saving any extra money I had for plane tickets, and now I travel as much as I can to witness and capture a variety of marine life. I have always thought of the photos I take as the preservation of my fondest memories, and as someone who’s fallen completely in love with the ocean, capturing these underwater memories has become one of my greatest passions. Personally, the most meaningful part of documenting marine life is being able to share a world that so few people get to see firsthand. I feel incredibly fortunate to have spent time in these remarkable ecosystems, and I want to share that beauty with others. People fight for and protect what they love — and my hope is that by showcasing marine life through my lens, others will also come to care for these animals and the fragile environments they call home. I hope people look at my images and see the amazing wildlife we have in our world. With so many threats currently facing our oceans, I believe that the more people are exposed to its unique wildlife, the more they’ll be inspired to care for and protect this incredible environment.

Finalist: Animal

Photographer: Gabriel Jensen

Instagram: @shallowseasgallery

Image title: Everything's A-Ok

Category: Animal

Photo location: Lauderdale-by-the-Sea, Florida

Caption: This doctorfish looks completely unbothered as a lizardfish does its best to have it for breakfast. Luckily, the doctorfish has spines in its fins that can prevent it from sliding down the lizardfish's throat.

Finalist: Animal

Photographer: Bianca Lewallen

Instagram: @roamtobewild

Image title: Eye Contact

Category: Animal

Photo location: Tiputa Pass, Rangiroa, French Polynesia

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Updated July 23 2025

Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.

Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.

Our picks:

• Best fixed lens camera for patient people: Fujifilm X100 VI
• The full-frame 35mm option: Sony DSC-RX1R III
• Best pocketable fixed lens camera: Ricoh GR III
• The just-for-fun fixed lens: Fujifilm X half
• The Rolls-Royce of fixed lens camera: Leica Q3 43

Best fixed lens camera for patient people: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

Image: Richard Butler

Buy now:

$2259 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.

The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.

The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.

It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.

Click here to read our review of the Fujifilm X100VI

Click here to see the Fujifilm X100VI studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The full-frame 35mm option: Sony DSC-RX1R III

60.2MP Full-frame BSI CMOS sensor | 35mm F2 lens | Compact body with direct controls

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H Photo What we like:

• Excellent image quality
• Genuinely small
• Very responsive

What we don't:

• Very expensive
• Fixed screen limits flexibility
• Low-res viewfinder

The Sony DSC-RX1R III is the company's fourth full-frame, fixed-lens 35mm camera, now using a 60.2MP BSI CMOS sensor.

We're still reviewing the RX1R III, but in many regards it's a full-frame alternative to the X100, providing the same focal length with a bump in image quality that comes from its larger sensor, all in a shockingly compact package. However, we'll have to spend some more time with it to determine whether that justifies its price, which is especially eye-watering in the US.

What about larger formats?

Fujifilm also makes the GFX100RF, which pairs a 28mm equiv. F4 lens with a 102MP medium format sensor. While there's a lot to recommend it, we feel it doesn't quite excel enough in any one area to beat out the rest of the competition on this list. It's small for what it is, but still not particularly compact, and the relatively slow lens and no image stabilization limit the number of situations you can use it in while still getting the most out of its sensor. If you mainly shoot in good light, though, the GFX100RF offers image quality unparalleled for its size.

Best pocketable fixed lens camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

Buy now:

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

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is a compact camera with a 24MP APS-C sensors and a a very sharp 28mm equivalent F2.8 lens in an incredibly small yet well-built body.

The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.

The GR III's image quality is excellent, especially in Raw (we found the JPEG color to be a little drab). The lens is impressively sharp, and in-body image stabilization means you can confidently shoot down to around 1/10 sec. The built-in stabilizer can attempt to shake off dust particles that find their way to the sensor. "Offers direct control and excellent image quality in a pocketable camera" The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

Warning: Ricoh has announced that there's a GR IV coming later this year; if you don't like the experience of buying something only for an updated version to come out shortly after, you may want to hold off for now.

Click here to read our review of the Ricoh GR III

Click here to see the Ricoh GR III studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A different perspective

Ricoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The just-for-fun fixed lens: Fujifilm X half

18MP Type 1 sensor | 32mm equiv F2.8 lens | Film Camera simulation mode

Photo: Richard Butler

Buy now:

$849 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Genuinely compact
• Attractive color modes
• A lot of fun

What we don't:

• Focus rather unreliable
• Touchscreens are laggy
• Expensive

The X half is a JPEG-only pocket camera that shoots vertical images and makes a game of approximating the film experience.

This camera is very different from the others on this list because its entire reason for being is fun. From its separate film simulation window, built-in dyptic feature and film camera mode, the X half is designed to encourage you to play with your photography. If you find yourself scrutinizing its image quality, thinking about it as a miniature X100, or are at all annoyed that it doesn't shoot Raw, you should take that as a sign that it won't be a great fit for you.

It's all a question of whether you want a camera that might be called "adorable" It has direct controls for exposure comp, aperture and a 'film' advance lever. Most other settings are controlled via two touchscreens, one of which pretends to be a film window. AF is the camera's biggest shortcoming: being rather slow and laggy. The camera can detect faces but can't always then successfully focus on them. It's worth being patient with, though. The X half is not a serious camera, but it's tremendous fun. The price and unreliable people focus put us off, but we found it constantly endearing to use. It's all a question of whether you want a camera that might be called "adorable," rather than technically excellent.

Click here to read our review of the Fujifilm X half

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The Rolls-Royce of fixed lens cameras: Leica Q3 43

43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:

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

What we don't:

• Subject recognition system could be better
• Auto white balance can be aggressively neutral/cool
• Significant price premium for the Leica name

The Leica Q3 43 is a variant of the company's full-frame prime lens compact, with a 43mm F2 lens mounted in front of a 60MP BSI CMOS sensor.

While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.

Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The light luminance noise reduction helps preserve detail at high ISOs. The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range. The controls are minimal, but help focus your attention on the fundamental settings of photography. It has the build quality that you'd expect of a luxury product. Autofocus is swift and precise, though the subject recognition system doesn't let you specify an AF point to pre-select a subject and can jump from one subject to another if there are multiple options in a scene. The Q3 43 is an impressive photographic tool, and manages to feel like a first-rate camera, not just a desirable object.

Click here to read our review of the Leica Q3 43

Click here to see the Leica Q3 43 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

Image: Sony

Sony claims its newly-announced PXW-Z300 camcorder is the "world's first" to be able to record industry-standard authenticity metadata with its videos. The tech could help prove that videos were actually captured by a camera rather than generated by AI, so it's no surprise that Sony's debuting it in a camera designed mainly for "news and documentary shooting."

Sony says the feature will comply with the standard set by the Coalition for Content Provenance and Authenticity (C2PA), with the camera embedding a digital signature into the video file. The system is similar to the one found on its mirrorless stills cameras, which has mainly been available to news organizations.

The feature's launch date is TBD

The PXW-Z300 isn't launching with support for content authenticity, and the feature will require a "separate upgrade license," according to a Sony press release. The camera's product page says its launch date is currently "TBD," and that it'll "only be available in specific countries and regions." It'll also be limited to MP4 recording formats, which may limit its usefulness for some operators, depending on their workflows and post-production needs.

Still, it's good that Sony is pushing its content authenticity efforts forward. While this specific camcorder is a specialized tool for professional videographers, we wouldn't be surprised if we see support for content authenticity in video come to Alpha cameras at some point in the future. Earlier this year, the company said it plans to "expand [C2PA] support for video content after fall 2025."

Despite these advancements, it's still clearly early days for content authenticity tools. Many are still in beta, and there are plenty of cameras that can't digitally sign their images. The industry mostly seems to be focusing on news applications to start, where being able to prove how images were captured is more important than in most consumer applications.

Image: Godox

If you've ever found yourself checking out Godox's small, cheap flashes but aren't interested in something you have to manually control, you're in luck. Godox has announced two TTL flash units that are just $50. The Godox iT20 and iT22 are tiny TTL flashes for Sony, Nikon, Canon Fujifilm, Sony, Olympus and Panasonic cameras. They promise long battery life, auto controls and more.

The iT20 and iT22 are identical in every way except size. Both are highly compact, but the iT22 is somewhat taller, allowing it to work better with large lenses or big lens hoods. The iT20 weighs slightly less at 45g (1.6oz), while the iT22 comes in at 52g (1.8oz).

The iT20 (on the left) is slightly more compact than the iT22.

Images: Godox

Both models enable auto TTL metering with compatible cameras or full manual controls with a one-touch mode switch. They offer six output levels from 1/32 to 1/1 in third-stop increments for greater control.

The new Godox flash units feature a built-in lithium battery that charges via USB-C. Godox promises 700 flashes per charge with a 1.5-second recycle time. They also make it easy to modify your light, as they are compatible with magnetic snap-on diffusers, color filters, creative gels and honeycomb grids. Each flash comes with two color filters (1/2 CTO and 1/1 CTO) and a diffuser, with additional modifiers available for purchase separately.

The Hot Shoe Riser adds 90 degrees of tilt to the otherwise fixed iT20 and iT22.

Image: Godox

Neither the iT20 nor the T22 features a hinge, so you can't bounce the light with them. However, Godox also has a small accessory – the TR TTL Hot Shoe Riser – that lifts the flash by 30mm (1.2") and adds 90 degrees of tilt so that you can use it for bounce flash. It retains TTL support as well, so you can still use auto flash functions.

The Godox iT20 and iT22 are available for pre-order for $50.

Buy now: Godox iT20 at B&H Godox iT22 at B&H

Press release:

Mini Flash, Maxi Fun!

iT20/iT22 C/N/S/F/O

iFlash Camera Flash

TTL
Auto Flash 45g
Ultra-compact Magnetic Accessories 700+ Full Power Flashes 1.5s Rapid Recycling Lithium Battery

Introducing iT20/iT22 iFlash Camera Flash. 45g Ultra-compact body with TTL function, perfect for both indoor and outdoor use, easily fits in your pocket for anytime creativity. Innovative magnetic accessories for quick light effect switching, creating unique atmospheres and creative possibilities.

Smart TTL, Effortless Results

Say goodbye to complex setups. Our mini TTL flash delivers perfect lighting instantly, empowering you to shoot faster and smarter.

45g Ultra-Compact Design

Its featherlight build takes up minimal space, ensuring you’re always prepared to seize life’s precious moments.

One-Touch M/TTL Mode Switching

Toggle between manual and TTL modes instantly via a dedicated button. The high-definition display shows clear, real-time settings for rapid adjustments.

Magnetic Accessories: Creativity Unleashed

Equipped with magnetic snap-on diffusers, color filters (CTO/CTB), creative gels, and honeycomb grids, the iT20/iT22 transforms light in seconds. Experiment with atmospheric effects and craft distinctive visual stories.

700+ Flashes & 1.5s Recycling

Shoot uninterrupted with 1.5-second recycle times at full power and a remarkable 700-flash battery endurance.

Precise Power Control

Adjust flash intensity across 6 stops (1/32 to 1/1 power) in precise ±1/3-step increments for total command over your lighting.

Lightweight Lithium Battery

The built-in lithium battery charges swiftly via USB-C—keeping your creativity powered through extended shoots.

Elevate your flash—literally

The Optional TR TTL Hot Shoe Riser lifts your flash by 30mm, ensuring better clearance from the frame edge when using wide or protruding lenses. Compatible with Canon E-TTL II, Nikon i-TTL, Sony, Fujifilm, OM System and Panasonic TTL systems, it supports both auto flash and High-Speed Sync (HSS) functions. A 0-90° tilt adjustment gives you the flexibility to shoot with direct or bounce flash.

*Recommended for use with Godox camera flashes under 300g for optimal balance and stability.

Image: VSCO

VSCO, a company most known for its photo editing and sharing app, has been growing its community support for photographers over the past few years with features like Client Sites, VSCO Hub and more. That mission has taken another step forward, as it announced its acquisition of The Freelance Photographer, an education and mentorship platform.

The Freelance Photographer was founded in 2018 by Paul Weaver. It started with in-person workshops in Minneapolis, Minnesota, but now it is an online-based community and membership platform. VSCO explains that The Freelance Photographer provides a robust business curriculum designed for commercial photographers and videographers. It aims to help creatives grow, pursue paid work and build sustainable client relationships.

Image: VSCO

The Freelance Photographer provides content through webinars, workshops, mentorships and coaching programs. There are also peer-led sessions to offer support and community. Additionally, the platform helps photographers by providing various business tools like contract templates, email scripts, production guides, proposal decks and more. "The Freelance Photographer serves as a long-term career partner to creatives, offering a comprehensive education, a supportive community, as well as the tools and insight they need to turn their craft into a career," said Eric Wittman, CEO of VSCO.

Image: VSCO

Enrollment is currently closed at The Freelance Photographer, but you can sign up for its waitlist. There are two membership tiers with different levels of support. Both give you 12-month access to training, tools, community and mentorship. You can also purchase select trainings and tools à la carte style if you want instant access to smaller portions of the platform for less investment.

VSCO explained that for now, The Freelance Photographer will remain separate from VSCO. It added, "at some point in the future, we intend to integrate elements of The Freelance Photographer offering to VSCO’s membership."

In addition to announcing the acquisition, the recently revealed Capture app is now available globally for iPhone users. The app doesn't require a paid subscription, but you will need a VSCO account. It provides access to 50 real-time VSCO presets, non-destructive edits, Raw and ProRaw formats, manual control and more.

Press release:

VSCO Launches New Camera App Capture, with Coveted Film-Based Presets; Acquires Education and Mentorship Community, The Freelance Photographer

The creative platform deepens its focus on emerging and established professional photographers

SAN FRANCISCO, July 22, 2025 — VSCO, the Visual Supply Company, today announced new offerings to improve the photographer experience, including a standalone camera app and a platform for education and mentorship. Following its recent launch of VSCO Canvas and VSCO Sites, the company is further strengthening its position to support photographers on their journey from casual to professional.

With one of the world’s largest and most engaged communities of photographers, VSCO is uniquely attuned to the needs of today’s creators. Photographers are increasingly drawn to content that feels real and tactile, like film and want to easily share their images with wide-reaching audiences.

Global Launch of VSCO Capture

For the first time in a decade, VSCO has released a new standalone mobile application, a camera designed to help photography enthusiasts capture their creative point of view and refine it in the moment. With over 50 live presets, real-time film effects and manual settings, VSCO Capture gives photographers precise creative controls within an intuitive interface.

“VSCO Capture is a direct response to our community’s desire to get closer to the lens, to reduce editing fatigue and find more joy in the process of making authentic, stylized photography using their phone,” said Eric Wittman, CEO of VSCO."
Early users of VSCO Capture are already embracing the app’s creative potential and impact on their workflow.

“VSCO Capture shifts the entire rhythm of how I work. It’s no longer this two-step process of shoot now, edit later. With Capture, I’m able to see my creative vision unfold live, through my choice of presets, tones, and adjustments all before I even hit the shutter. That changes everything, especially the way I shoot,” said photographer Jared Thomas Tapy.

Key features of the free camera app include:

• 50 real-time VSCO presets, including the latest We The Creator presets, launched in collaboration with renowned VSCO photographers
• Non-destructive presets and edits that retain the original image for further modification
• RAW and ProRAW format options for increased editing flexibility
• Includes real-time bloom and halation effects
• Manual controls, including shutter speed and exposure compensation
• Instant sync with VSCO to easily import images, make additional edits and share

VSCO Capture is available to download today on iOS and on vsco.co/capture.

Acquisition of The Freelance Photographer

With the goal of helping creators grow professionally and pursue paid work, VSCO has acquired The Freelance Photographer, a platform offering education, mentorship, and a thriving peer community.

“There’s a clear gap in the market for business education and industry-specific guidance for emerging photography professionals who are looking to secure sustainable client relationships,” said Eric Wittman, CEO of VSCO. “The Freelance Photographer serves as a long-term career partner to creatives, offering a comprehensive education, a supportive community, as well as the tools and insight they need to turn their craft into a career.”

The Freelance Photographer has built a robust business curriculum specifically designed for commercial photographers and videographers, addressing everything from positioning and pitching to pricing. The training is delivered across webinars and workshops, a mentorship and coaching program. Their active community of accomplished independent and freelance commercial photographers and videographers are dedicated to supporting each other through peer-led sessions.

To explore The Freelance Photographer’s curriculum and mentorship programming, visit thefreelancephotographer.com.

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

Despite having owned a Fujifilm camera for years, I'll admit I'd never really given much thought to the "recipes" that are loved by many of the brand's fans. However, with the X-E5, the company has officially embraced them by letting you assign them to a slot on a physical dial, a change that's completely changed how I think about and use recipes.

What's a recipe?

Some background for those less familiar: many of Fujifilm's cameras have allowed you to adjust several parameters that affect how your JPEGs look. The changes, which are applied on top of a base film simulation (Fujifilm's term for its color modes), range from relatively subtle, like changes to sharpness or contrast, to more complex, like adding grain or a color chrome effect.

Anders Lindborg's HP5 recipe modifies Fujifilm's monochrome film simulation by adding grain and contrast while reducing sharpness and noise reduction.

Fujifilm X-E5 | Fujifilm XF 16mm F2.8 | F2.8 | 1/100 sec | ISO 1600
Photo: Mitchell Clark

For years, the Fujifilm community has found and shared certain combinations of these settings that create a distinctive look or emulate certain film stocks. You could save the recipes to a custom setting to somewhat quickly activate/deactivate them, but they've always been a byproduct of systems that Fujifilm builds into its cameras, not an intentionally supported feature.

Fujifilm has long had several image quality settings that let you change your JPEGs, but the X-E5 gives you three profiles to save them to as a custom recipe.

The X-E5 changes that. Like the X-M5 and X-T50 before it, it has a film simulation dial with custom slots. What's new, though, is that it lets you save not just standard film simulations to the dial, but actual recipes, which you can activate or deactivate on the fly depending on whether you want to use the base simulation or apply your custom changes to it. Fujifilm has adopted the terminology from its community and has added physical control to what used to be a bit of a workaround.

What does this change?

Even before working at DPReview, I was a heavy Fujifilm user. I own an X-T3 and have rented various other cameras for important shoots. But I never really played around with recipes; my thought was that if I were going to go through the hassle of tweaking a bunch of parameters and juggling settings, I might as well just do it in post where I had more flexibility anyway.

While that worked for me, the X-E5 has convinced me that I was missing out. As I've tested it, I've found myself having a lot of fun finding different recipes, picking favorites, and occasionally switching to them using the film simulation dial (a control I previously haven't personally used that much in cameras without the recipe feature). Instead of wondering, "What would this photo look like in black and white?" I've found myself saying, "I bet this shot would look really cool with Anders Lindborg's HP5 recipe, let me quickly switch over to that." I've even challenged myself to shoot with a single recipe for the day, somewhat emulating the (slightly contentious) X half experience.

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This is, I imagine, how some people feel about the built-in film simulations, but those have never really done it for me. I've always stuck to one or two, as I haven't found the other dozen or so to my tastes. Recipes, by contrast, are available in the thousands, and I've been able to find several that I really enjoy and that achieve a wider range of looks.

Would I have given the recipe much thought if it weren't my job to test the X-E5? Maybe not, but I'm glad the review process has finally forced me to think about the system and use it. I've even gone as far as to program a few onto my X-T3 (for the rare occasions I still use it), though the experience isn't as smooth. I suspect I'll end up using them far less than I have with the X-E5, since I have to use up a valuable function button to bring up the custom setting switcher.

Related: Opinion: let me get my hands on the goodies

And that's always been the point, hasn't it? If you're a camera manufacturer and have a feature that makes you stand out from the crowd, you should make it impossible for people to miss. Sure, not everyone will appreciate it, but you may even win over some people who think they won't.

A few limitations

Despite all my praise, there are a few things that make me think that Fujifilm should've given its implementation of recipes just a bit more time in the oven. My biggest gripe is that you can't use saved recipes when reprocessing Raws like you can with the standard film simulations. Of course, the in-camera software does let you tweak all the same parameters on a photo-by-photo basis, but it'd be much nicer if you could tell it to use the recipe you'd saved to one of your FS slots.

It'd be nice if the in-camera converter could use a recipie you'd saved to one of the FS slots

The second is the process of adding the recipes themselves. While there is a new menu associated with the film simulation dial (which, helpfully, lets you quickly toggle your recipe changes on and off), actually setting up the recipe is largely the same process as it's always been: you find a list of the settings online, and manually input them.

The process of inputting a recipe may involve tweaking several parameters, a process that takes a bit of time, and that could be easy to mess up.

The X-E5 lets you adjust about a dozen parameters, so the process can actually take a bit of time, and there's room for error. In an age where Panasonic and Nikon let you browse color modes in their apps and beam them to your camera, it feels like there's probably a better way. If you could download popular recipes to your camera using Fujifilm's Xapp, it'd be an even bigger invitation to experiment with them.

A few smaller nitpicks: the custom "FS" settings on the film simulation dials are just text, which looks dull in comparison to the official film simulation ones, which have a little film canister icon. I also wish you could name and store recipes like you can with the custom settings.

At the end of the day, though, those limitations are relatively minor, and Fujifilm could theoretically improve the system through updates to its app and firmware. For a version one, it's quite well-considered, and it's nice to finally see Fujifilm fully-embracing a fan-favorite feature... and maybe earning some new fans in the process.

As for how the system fits into the X-E5, and how the camera performs as a whole, stay tuned for our full review.

Photo: Mitchell Clark

Summer is in full swing in the northern hemisphere, and with it comes hot weather and plenty of sunshine. It also means road trips and travel for many. While you likely want your camera on hand to document your journey and create photographs along the way, summer trips can introduce risks for your camera gear. Below you'll find some suggestions on how to keep your camera safe and in good working order during your summer road trips.

Don't store your camera in your car Graphic: CDC

Locking your camera in your car can be risky for multiple reasons. One that most people already know is that expensive gear is a perfect target for break-ins and theft. The last thing you want is to return from lunch to discover a broken window and your camera gone. We'd advise against storing your camera in your car solely because of that.

While potential theft is reason enough, summer heat is also very dangerous for your expensive gear. Cars can heat up to extreme temperatures very quickly. According to the Centers for Disease Control (CDC), the temperature inside a car can rise by 20 degrees Fahrenheit in just 10 minutes, even with a cracked window. On an 80°F day, the inside of your car could reach 123°F in an hour.

Extreme heat is hard on things, and leaving your gear in such conditions can cause damage.

Extreme heat is hard on things, and leaving your gear in such conditions can cause damage. The electronics, plastic and rubber components, lubricants, sensor and battery are all susceptible to heat damage. In especially hot locations like Arizona and Nevada, cars can even get hot enough to warp and melt plastic, which your camera has a lot of.

Desert locations can get especially hot in the summer, so take extra care in those places.

Photo: Mitchell Clark

Even if temperatures aren't extreme enough to melt plastic, they can damage components in different ways and shorten the life of your camera. Plus, beyond potential damage, most modern cameras will shut down or go to sleep if they get too warm. You don't want to arrive at an amazing viewpoint and discover that you can't shoot a video clip or take a photo because your camera is too warm from being in the car. To keep your camera safe and to keep shooting, bring it with you whenever possible so it isn't sitting in your roasting car.

If you absolutely must store your camera in your car, consider using an insulated bag or cooler without ice (you don't want to cause water damage instead of heat damage). It's also good to tuck that cooler somewhere it will be out of direct sun, such as under a seat or in the trunk. A well-padded camera bag can also offer some insulation. Then, make sure to keep your time away from the car as short as possible.

Avoid condensation and fogging Photo: Abby Ferguson

If you're traveling in humid environments, condensation and fogging are additional concerns. You've likely experienced your glasses or sunglasses fogging when stepping into or out of heavily air-conditioned spaces during hot, humid weather. The same thing happens to your camera's lenses, which can leave you unable to take photos until it dissipates.

Unfortunately, there's no quick fix for a fogged lens because of rapid temperature changes. To avoid the problem entirely, you'll need to allow your camera to acclimate gradually, which prevents moisture from condensing on (and inside) your camera. Keep your camera in a camera bag when moving from air conditioning to outside, and wait to open the bag until the temperature has equalized. This can take 10 to 20 minutes.

I like to hang onto the silica gel packets that come with purchases and toss them in my camera bags to help keep moisture at bay.

Photo: Abby Ferguson

Alternatively, you can place your camera in a sealed plastic bag (like a Ziploc), which will adjust faster than a padded camera bag. It can also help to store some silica gel packs in your bag (either a camera bag or a plastic bag), as they will absorb excess moisture.

Sometimes, though, you can't wait 10 minutes before taking photos. If you need to use your camera right away, you can wipe the condensation off with a microfiber cloth. It will return fairly quickly until the temperature equalizes, which can take a few minutes or more, but you may at least be able to get a few shots in between wipes without fogging.

Have a comfortable way of carrying your gear

While you'll be spending time in the car, hopefully you also have plenty of time to stretch your legs and use your camera, too. When that's the case, you'll need a safe and comfortable way to carry your camera. Camera straps are great when you don't need anything other than the camera, but a backpack or bag may be necessary when you need to have more with you or don't want the camera out.

That pack doesn't need to be a dedicated camera bag, but having some way to store and protect your camera is smart. If you're hiking during your road trip, you may want to spend a bit more time considering how you'll carry your camera during those hikes.

Don't forget cleaning tools Photo: Abby Ferguson

Summer road trips generally mean plenty of outside time, too, which can expose your gear to all sorts of environmental hazards, such as dust, dirt, pollen, rain and more. A good set of cleaning tools is a must, then. A bulb blower is the first tool we recommend, as it can clear all sorts of debris from your camera (inside and out) and lens without touching anything. That means there's limited risk of scratches or damage from dragging something across the surface.

A lens cleaning pen is also helpful. Most offer a soft brush on one side and a non-liquid cleaning compound on the other for more stubborn debris on your lenses. For more serious messes, I like to have lens cleaning liquid and a microfiber cloth on hand as well.

Take advantage of your car's charging capabilities

Finally, while not a safety tip, don't forget about charging options in your car. All recent camera models charge via USB-C, and most modern cars offer USB ports that can charge your devices. It's a convenient way to top off your camera's charge while spending those hours in the car, making sure you don't arrive at your destination with a dead camera battery.

This video is part of our Intro to Photography series, where we break down some of the fundamental concepts of the image-making process. You can find a written version below.

Intro to Exposure

• What is Shutter Speed?
• What is Exposure?

What is Exposure?

Exposure is perhaps the most important concept in photography. The word 'photography' is derived from words meaning "drawing with light," so the amount of light your camera is exposed to is absolutely fundamental to the process.

What defines exposure?

Three factors define how much light your camera sees, and they're not necessarily the three you might expect:

• Aperture value, or size of the hole through which your camera sees the scene
• Shutter speed, or how long the shutter stays open to let light in
• The amount of light in your scene

These three factors determine how much light hits your sensor. And that's arguably the most significant thing that determines image quality: how much light you captured to describe the scene. That's not quite the end of the story, though.

What about ISO?

Your camera also has a setting called 'ISO' that determines how light or dark your final image looks. So if you’re shooting in low light, you can increase the ISO to make the image look lighter. But be aware that changing ISO doesn’t increase the amount of light you captured: it just tries to make up for the fact you couldn’t capture more.

Pentax K-3 Mark III | Pentax 15mm F4 ED AL | ISO 32000 | 1/30 sec | F8
Edited in Adobe Camera Raw with noise reduction left to default
Photo: Carey Rose

As light levels fall, your images will get noisier, because of the lack of light. ISO can’t really help with that, but it’s not the thing causing the noise.

Shutter speed and aperture each have an impact on what the final image looks like. Once you understand those impacts, you can learn the balancing act required to get as much exposure as you can, then use ISO to try to make up the difference.

Intro to Exposure

• What is Shutter Speed?
• What is Exposure?

The July Editors' photo challenge

For our July Editors photo challenge, we set our sights on "Landscape Photography" and asked you to share your most stunning landscape images.

As always, you delivered! DPReview photographers covered the globe to capture stunning scenes with land, sky and water, including impressive stitched panoramas. We were overwhelmed with many incredible photos – many more than we can present here. Our top picks, showcasing a diverse range of vision and talent, are presented in random order.

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

Alpe di Siusi sunrise

Photographer: dvine photographer

Photographer's statement: One of my favorite shots I took on the first morning of my first trip to the Dolomites. Having had no time to scout (and with the announced weather being marginal), I decided to take the hike to this location that's been on my bucket list for a long time! Following a solitary peaceful hike in the pre-dawn glow, I arrive at the location and start Looking where to set up before sunrise. I found this spot (quite far down the road from a group of (loud) photographers and a forest of tripods), which worked great! The subtle leading line of the orange grass and the patterns in the grass in the foreground lead the eye to the middle and background, where the magic happens. The very well-defined sunbeam created by the shadow of Sassolungo, the faint backlit mist in the valley on the left, with the alpine huts dotting the landscape, create this dramatic and compelling image. The foreground being in shadow draws the viewer's eye into the shot. One of my favorite shots to this day!

Equipment: Sony a7R III +Tamron 28-200mm F2.8-5.6 Di III RXD

The hand of God

Photographer: Juliendelaval

Photographer's statement: I captured this photograph in the heart of the Cirque du Fer à Cheval, in the French Alps. My goal was to find a unique, almost surreal light that would transcend the landscape. That day, after days of observation and perseverance, the clouds and sun rays aligned to create an incredible atmosphere.

Equipment: Sony a7R II + Tamron 35-150mm F2-2.8 Di III VXD

Grand Canyon, South Rim at Desert View

Photographer: PlatinumCharlie

Photographer's statement: This photo was taken just before dawn, so the light was soft (no shadows) but still directional. I am a platinum printer, and this image is perfect for that printing medium -- whites and blacks are never as intense as other printing methods, so there is an emphasis on all the intermediate values in the image's tonal range.

Equipment: Tachihara 8x10 view camera + 300mm Nikkor F9 (view camera lens)

Kilauea

Photographer: fcarucci

Photographer's statement: Kilauea eruption, episode #26, June 2025. A sustained lava fountain erupts from Kilauea’s north vent during episode 26 in June 2025, reaching over 1,000 feet and producing significant volcanic gas and tephra.

Equipment: Hasselblad X2D 100c + Hasselblad XCD 90mm F2.5 V

Whispers beyond the bridge

Photographer: BROWN-AU

Photographer's statement: Hidden deep in Wooroonooran National Park, this moss-covered bridge emerges like a secret invitation. The moment I arrived, the rainforest hushed—birds paused, the stream murmured in riddles, and the air thickened with unseen presence. It felt less like crossing a stream and more like entering a threshold between worlds. I didn’t rush forward. I listened. I waited. In this untouched pocket of Far North Queensland, the landscape doesn’t shout—it whispers. And only those still enough will hear.

Equipment: Sony a7R II + Sony 16mm F2.8 Fisheye

Sunset at Sand Harbor

Photographer: rishabhonnet

Photographer's statement: Stepping onto the sandy shores of Sand Harbor on Memorial Day evening is like entering a living watercolor painting. As the sun lowers toward the Sierra Nevada skyline, its rays dance across Lake Tahoe’s famously blue waters. The sky transforms into a fusion of warm golds, pinks, purples, and molten orange.

Equipment: Sony a7C II + Sony FE 24-50mm F2.8 G

The empire of the midnight sun

Photographer: BasilG

Photographer's statement: Spectacular view of the midnight sun in Senja, Northern Norway. This region, with its mountains rising straight from the sea and the stunning midnight sun, is among my favourites for landscape photography. It took me two attempts to capture this photograph as I had imagined it, as I was caught in a thunderstorm on the first attempt.

Equipment: Nikon Z7 + Nikon Nikkor Z 14-24mm F2.8 S

2023 New Mexico White Sands yucca

Photographer: garyphx

Photographer's statement: Taken late in the day on our way out of White Sands National Monument. I actually stopped to take a different photo. Then saw this lone Soaptree Yucca on top of a large dune. The grain of the "sand" and ripples on top are classic White Sands.

Equipment: Leica Q2 Monochrom

No pink glasses needed

Photographer: supernaut

Photographer's statement: I took this photo during a landscape photo workshop in the beautiful Italian Tuscany. We got up very early just to be in the right place - we wanted some fog in the valleys and a colorful sky during sunset. This shot was taken just before sunset. The sky was darkened a little bit by using the OM-1 II's internal graded ND filter.

Equipment: OM System OM-1 Mark II + Olympus M.Zuiko Digital ED 12-100mm F4.0 IS Pro

Croda da Lago

Photographer: Lemmj

Photographer's statement: Croda de Lago mountains as seen from Cinque Torri near the town of Cortina d'Ampezzo in the Dolomites, Italy. My two daughters and I were on a photo tour celebrating my 83rd birthday.

Equipment: Nikon D850 + Sigma 24-70mm F2.8 DG DN Art

Purple sunrise

Photographer: NMindel

Photographer's statement: Mirror Lake, New Zealand, South Island. I waited for sunrise and did not know what to expect. I had no idea these colors would pop for a few minutes of absolute magic.

Equipment: Sony a7R V + Tamron 35-150mm F2-2.8 Di III VXD

St. John's light

Photographer: TheDispossessed

Photographer's statement: This photo was taken from near the summit of Clough Head, looking towards St John's in the Vale in the English Lake District. Prior to the pandemic, I used to go to the Lake District every couple of weeks for a long (10 hour+) walk, with some of my best images being taken late in the day during the 'golden hour'

Equipment:Canon EOS 80D + Sigma 17-70mm F2.8-4 DC Macro OS HSM | C

Oulu, 2025

Photographer: Black_and_white_FR

Photographer's statement: Oulu, Swedish: Uleåborg, is a city in Finland and the regional capital of North Ostrobothnia. It is located on the northwestern coast of the country at the mouth of the River Oulu. The population of Oulu is approximately 216,000, while the sub-region has a population of approximately 264,000. It is Finland's 5th most populous municipality, and the country's fourth most populous urban area. Oulu is also the most populous city in Northern Finland. I didn't have the bad weather you'd expect in winter: snowfall, fog and other storms. Even temperatures didn't drop below -6 or -7 degrees Celsius. Still, I was able to take a few pictures, and overall, my trip to Finland and Estonia was quite productive.

Equipment: Panasonic Lumix DC-G90 +Olympus M.Zuiko Digital 25mm F1.8

Falling rays

Photographer: sberkley

Photographer's statement: Fiordland is one of the most dramatic and beautiful parts of New Zealand. Carved by glaciers over 100,000 years, the landscape is one where waterfalls cascade hundreds of metres into deep black fiords; where ancient rainforest clings to mountains and where shimmering lakes and granite peaks look as they did a thousand years ago. Fiordland National Park is a World Heritage Site and includes Milford, Dusky and Doubtful Sounds.

Equipment: Nikon Z9 + Nikon Nikkor Z 24-200mm F4-6.3 VR

Glacier's embrace

Photographer: Fabian from Swizzy Land

Photographer's statement: The best time to be in nature is in the evening and in the morning when everybody is gone and all goes quiet. And one of the nicest times to take photos is 30 minutes after sunset, when it gets dark, but there is still a hint of light on the horizon.

Equipment: Sony Alpha a99 + Minolta AF 28-80mm F3.5-5.6 D

Himalayan fog

Photographer: Mazurekphoto

Photographer's statement: This is an image taken on a suspension bridge over the Dudh Koshi river near the small settlement of Phunke Tenga in the Everest Region of Nepal.

Equipment: Leica M10 Monochrom + Leica Summilux-M 24mm F1.4 ASPH

Mt. McKinley 2019

Photographer: marchark

Photographer's statement: Denali National Park in Alaska is home to Mt McKinley, the highest peak in North America, standing at about 20,000 feet. Most days, the cloud cover is so low that the mountain is not visible. But not on this June morning! Lucky for me and my family to get such a splendid view of this natural wonder.

Equipment: Sony a6400 + Sony E 18-135mm F3.5-5.6 OSS

Deep in the forest

Photographer: Meeces

Photographer's statement: Deep in the redwood forest. It's always a great place to spend quiet time with the camera and your thoughts. I like to think of it as one of the wonders of the world.

Equipment: Fujifilm X-T5 + Fujifilm XF 16-55mm F2.8 R LM WR

Trillium Lake at night

Photographer: mike earussi

Photographer's statement: This is a new experiment for me. This is a 30-minute exposure in an attempt to capture star trails, which seemed to work pretty well. I hope you like it. Trillium Lake is in Oregon, just south of Mt. Hood, which is seen in the background.

Equipment: Panasonic Lumix DC-S1 + Sigma 24mm F2 DG DN | C

An epic flight

Photographer: as9107

Photographer's statement: I love panoramas! But it is quite a challenge in turbulent air from a shaking paraglider. Here, on a beautiful summer day, I was flying with my friend Federico along the Gran Sasso chain in central Italy. High in front of the ridges, the view was so immense that I decided to fly a bit away from my flying buddy and try to take several photos, to be stitched together later, with him in the middle. From right to left, the main summits in the clouds are: Corno Grande 2912m, Pizzo Intermesoli 2635m and Monte Corvo 2623m.

Equipment: Fujifilm X-E2 + Fujifilm XF 18-55mm F2.8-4 R LM OIS