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

Nikon has announced firmware version 2.0 for the Z6III, adding a dedicated bird mode autofocus mode, in-camera focus limiter, focus shift shooting and more. As part of the firmware update, the camera will also open up the ability to sign photos with C2PA-compliant Content Creditals to everyone, not just pros.

V2.0 features

If you've read our coverage on the Nikon Z8's latest firmware, most of the features in this update will likely sound familiar. Perhaps the most exciting for Z6III owners, though, is the addition of bird mode autofocus.

While the Z6III could recognize birds as a subject, its algorithms weren't as advanced as the ones from the Z9 and Z8 when it came to picking them out against high-contrast backgrounds, or keeping up with them in flight. The updated bird detection should increase the Z6III's accuracy when it's tracking small, fast birds, or species that don't look all that similar to other birds.

The Z6III is finally getting the more advanced bird autofocus that's been available in not just the Z8 and Z9, but the Zf and Z50II as well.
Image: Nikon

The absence of bird mode autofocus on the Z6III was especially odd since cheaper, lower-performance cameras like the Nikon Zf and Z50II had it, leading to Nikon pre-announcing that it would be coming to its capable all-rounder by the end of 2025. Now, it's finally here, a fair bit ahead of the deadline.

Another update to the autofocus system is the addition of in-camera focus limiter settings, which let you add precise distance limits on how close and/or far away you want the camera to search for a subject. While some lenses have a similar feature built in, being able to set limits in software lets you use the feature with any lens, which can help make the autofocus even more precise, as it can ignore anything outside of the window you've specified.

The camera also gains the ability to shift focus while taking high-resolution multi-shot images with its pixel shift function. That allows you to get a deeper depth-of-field in your images, though the feature unfortunately doesn't work in camera; like with regular pixel shift images, you'll have to process the focus stacking using Nikon's desktop NX Studio software.

The Z6III is also getting the 'Auto Capture' feature

The Z6III is also getting the 'Auto Capture' feature from the Z8 and Z9, which lets you set up the camera to automatically take a burst of pictures when certain conditions are met. For example, you could set it to release the shutter when the camera detects something moving in a specific direction, or when something enters the scene a certain distance away. It can also be combined with bird mode, taking a burst of photos when the autofocus system recognizes a bird in your selected area of the frame.

While we've covered the headline features, there are still many other things the update brings to the Z6III; Nikon told us there were over 70 features that have been added, enhanced or upgraded with V2.0. For example, you can now use the camera as a USB webcam without the need for extra drivers or software, thanks to UVC, and it's also compatible with Nikon's NX Field software, letting pro shooters control multiple cameras at once.

Nikon Authenticity Service Image: Content Authenticity Initiative

While the V2.0 update brings the Z6III up-to-date with the rest of Nikon's lineup in terms of features, it also introduces something new: widespread support for C2PA Content Credentials. While Nikon has piloted support for the cryptographic metadata on the Z6III, it's only been available to pros, similar to Sony's implementation.

Now, though, even Z6III owners who don't work for press agencies will be able to use Content Credentials to verify that their photos were shot with a camera rather than generated by AI. You'll need to generate a certificate and install it to your camera via Nikon's Imaging Cloud, but the process is free (though Nikon did say that was "for now").

Nikon promised this update late last year, but it's exciting to see that it's finally here, and that it won't just be limited to a select group of users.

You can see a complete run-down of all the features included in the update on Nikon's website. You can download it for free now.

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Press Release:

NIKON RELEASES FIRMWARE VERSION 2.00 FOR THE NIKON Z6III FULL-FRAME MIRRORLESS CAMERA

Support for a dedicated [Birds] mode for subject detection and the “Nikon Authenticity Service” that increases the credibility of images

MELVILLE, NY (August 27, 2025) – Nikon Inc. is pleased to announce the release of firmware version 2.00 for its full-frame/FX-format mirrorless camera, the Nikon Z6III. This marks the first major update since the launch of the Z6III and introduces several features equivalent to those found in the flagship Nikon Z9 and Nikon Z8.

With its already incredible high-speed performance, this firmware update adds the long-awaited [Birds] mode to subject detection, offering an enhanced shooting experience for both still and videos. Plus, the Auto Capture function now enables automatic shooting under pre-configured conditions, supporting flexible shooting styles tailored to various situations.

Additionally, for the first time for a Nikon product, the Z6III supports the Nikon Authenticity Service*1 – a solution primarily aimed at media organizations and creators who require a high level of trustworthiness in their work. The service is compatible with the C2PA (Coalition for Content Provenance and Authenticity) standard, clearly recording provenance information from shooting through to editing to ensure greater transparency and reliability of content.

Nikon will continue to enhance its products through firmware updates that address user needs, while also fostering an environment in which all photographers and creators can engage in creative and professional activities with confidence and peace of mind.

Improved Subject Detection with Dedicated [Birds] Mode

A dedicated [Birds] mode has been added to the Z6III’s subject-detection options. When [Birds] mode is selected, the camera automatically tracks birds in flight with great precision, keeping them in focus even against complex, high-contrast backgrounds such as forests and rocky mountains. This allows photographers to concentrate on framing images, helping to meet their expectations. There is also a [Focus limiter setting] that can be assigned to a custom control to limit the shooting distance range, for more accurate focusing on the desired subject. In addition, the [JPEG fine] image quality setting can now be selected when Pre-Release Capture, which records images for up to one second before the shutter-release button is fully pressed, is used during full-frame shooting at 60 fps. This makes it possible to capture the moment a bird takes flight with superior image quality.

C2PA Compliance With Image Provenance Function

Nikon is committed to developing an image provenance function that supports confirmation of image authenticity, aiming to protect individuals and enterprises in the imaging industry from any unfavorable results caused by falsification and/or image manipulation, and to realize a society in which creative and business activities can be conducted with greater peace of mind. Z6III firmware version 2.00 includes an image provenance function that complies with the C2PA standard and is part of the Nikon Authenticity Service. By making a prior request through Nikon Imaging Cloud, users can load the digital certificate necessary for recording provenance data onto the Z6III.

The image provenance function adds metadata – such as information about the equipment used and data that makes it easy to verify whether the image has been tampered with, including a digital signature – to captured image files. This enables users to prove that a photo was taken with a Nikon camera.*2 If the image is then edited repeatedly using C2PA-compliant editing software, additional provenance information can be embedded in the image alongside the original shooting data, making it possible to prove that no misleading edits have been made.*3 In addition, image provenance data can be viewed in Nikon Imaging Cloud.

*1 There are some restrictions on shooting when the image provenance function is enabled.
*2 Provenance information is not embedded in images that are edited in-camera.

Auto Capture Function Expands Shooting Possibilities in Any A Variety Of Situations

Firmware version 2.00 adds the Auto Capture function, which enables automatic shooting with pre-configured conditions. This allows users to specify the subject type, direction of movement, and shooting distance range*4 to capture previously difficult scenes, such as those that require shooting in places or positions where photographers would disturb their subject. The function is also equipped with a scheduling feature that allows the user to specify the day and time to initiate Auto Capture in advance, reducing battery consumption between camera setup and the start of shooting. In combination with a USB-to-Ethernet adapter*5, it enables high-speed data transfer even to remote destinations, meeting the high demands of professional environments.

Expanded Functions and Improvements to Operability

• An [Automatic monitor display switch] function for disabling the eye sensor when the vari-angle monitor is deployed has been added, a first for the Nikon Z series.
• A function that allows users to exit the zoom view with a half-press of the shutter-release button when the focus mode is set to manual has been added.
• Pixel shift shooting can now be used in combination with focus shift shooting or AE bracketing settings for more precise photographic expression than ever before.
• A [Recall shooting functions] option that allows users to recall previously stored settings – including shooting mode, shutter speed, aperture value, and ISO sensitivity – with the press of a button has been added to the roles that can be assigned to a custom control.
• Adds support for USB streaming (UVC/UAC), which allows the camera to be used as a webcam by simply connecting it to a computer or smartphone.
• By default, firmware updates are now installed automatically after the camera connects to Nikon Imaging Cloud (a note about setting the camera’s date and time has been added to the instructions for connecting to the cloud to prevent connection errors between Nikon Imaging Cloud and the camera).
• Operation has been simplified by automatically displaying an update confirmation dialog on the camera monitor after registering an imaging recipe in Nikon Imaging Cloud.

Nikon Z6III owners can visit the website here to learn more about the new firmware. Nikon will continue to enhance its products through firmware updates that address user needs, while also fostering an environment in which all photographers and creators can engage in creative and professional activities with confidence and peace of mind.

*1 To use the service, registration with Nikon Imaging Cloud and an application for the use of a digital certificate are required. Also, it may not be available in some countries or regions.

*2 There are some restrictions on shooting when the image provenance function is enabled.

*3 Provenance information is not embedded in images that are edited in-camera.

*4 The [Advanced: Distance] feature can be used when a NIKKOR Z lens is attached. It may not function with other lenses.

*5 Commercially available USB-to-Ethernet adapter with a USB Type-C connector is required. Please refer to the user manual for a list of USB-LAN adapters that have been confirmed to work correctly.

Image: Laowa

Earlier this year Laowa introduced the 8-15mm F2.8, a fisheye zoom lens for a variety of full-frame mounts. Now, it's bringing the lens to medium format mounts, introducing a version of it for Fujifilm's GFX mount and Hasselblad's XCD.

The lens is a unique offering for creative shots. When it was first announced, the company pitched it as an option that would allow users to select between a circular image with black edges at the wide end, and a diagonal fisheye image that fills the entire rectangle of the image when zoomed to 15mm. It also offers a fast F2.8 aperture for low-light use.

Left: the GFX mount version of the lens at 8mm, shot using a Fujifilm GFX 50R. Right: the lens at 15mm.
Images: Laowa

However, it's a bit of a different story with the new medium format versions. While the mounts may fit on cameras with larger sensors, the optics are still designed for full-frame. As a result, it will not fully cover the image circle of the medium-format cameras. even when at 15mm. At 8mm, there is a lot of space around the circular fisheye image. At 15mm, where the full-frame versions fill the frame, the medium format versions will still have black corners.

Laowa says that the new mount versions are still compact and lightweight. Both versions weigh roughly 650g (1.4 lbs). The FFX model is 101.2mm (3.98") long, while the XCD version is 96.36mm (3.79") long.

The Laowa 8-15mm F2.8 FF Zoom Fisheye lens for GFX and XCD mounts are available for purchase for $699.

Buy now: Buy at Venus Optics

Press release:

Laowa Expands Compatibility: GFX and XCD Mounts Now Available for 8–15mm f/2.8 FF Zoom Fisheye

Anhui, China, August 26, 2025 – Laowa is thrilled to introduce GFX and XCD mount options for its 8–15mm f/2.8 full-frame zoom fisheye lens. Originally crafted for full-frame systems, this lens now brings its signature circular fisheye effect to Fujifilm GFX and Hasselblad XCD medium-format cameras. While the image doesn’t fully cover the larger sensor area, photographers can creatively crop to achieve their desired composition—unlocking fresh possibilities for imaginative framing and bold visual storytelling.

Overview of the Laowa 8–15mm f/2.8 FF Zoom Fisheye Lens

The Laowa 8–15mm f/2.8 FF Zoom Fisheye is a full-frame lens designed to deliver exceptional creative flexibility through its dual fisheye capabilities. Offering both a 180° circular fisheye and a diagonal fisheye effect, users can effortlessly switch between two distinct visual styles to suit their artistic vision. With a constant f/2.8 aperture throughout the zoom range, the lens performs brilliantly in low-light environments and enables faster shutter speeds—ideal for capturing dynamic scenes such as sports or action shots. Its close 16cm (6.3") minimum focusing distance empowers photographers and videographers to get up close and personal with their subjects, producing dramatic compositions with bold fisheye distortion and immersive visual impact.

Previously available in full-frame mounts including Sony E, Nikon Z, L mount, and Canon RF, the lens is now expanding its compatibility with the addition of GFX and XCD mount options for medium-format users. Despite the new mounts, the lens remains lightweight and compact, measuring 101.2mm × Ø76.4mm (GFX) and 96.36mm × Ø76.4mm (XCD), with a weight of approximately 650g.

Performance on Medium Format Cameras

When paired with medium-format systems like Fujifilm GFX or Hasselblad XCD, the Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers a unique visual experience—producing a bold circular fisheye image at 8mm and a broader diagonal fisheye effect at 15mm. As the lens was originally designed for full-frame cameras, its image circle doesn't fully cover the larger medium-format sensor, resulting in a circular or partially cropped frame. Photographers can embrace this dramatic aesthetic or crop the image to suit their desired composition, unlocking fresh opportunities for playful framing and creative exploration on medium-format platforms.

The Laowa 8–15mm f/2.8 FF Zoom Fisheye delivers its most complete circular fisheye effect at 10mm.

Creative Cropping Possibilities

In addition to its distinctive fisheye rendering, the Laowa 8–15mm f/2.8 FF Zoom Fisheye opens up a world of creative cropping options for medium-format users. One standout choice is the XPan-style 65:24 panoramic crop, a favorite among GFX and XCD shooters for transforming circular fisheye images into cinematic, widescreen compositions. Photographers can also experiment with classic aspect ratios like 4:3, 1:1, and 16:9—each offering a unique interplay of scale, framing, and perspective.
Thanks to the high-resolution capabilities of modern medium-format sensors and the lens’s superb optical performance, these crops retain remarkable detail while inviting fresh interpretations of fisheye photography. Whether aiming for dramatic panoramas or balanced square frames, users can craft visuals that are both technically sharp and artistically bold.

Pricing & Availability

LAOWA 8-15mm f/2.8 FF Zoom Fisheye (GFX and XCD Mount) are available to purchase via Venus Optics official website (Home - LAOWA Camera Lenses) and authorized resellers from the 26th August, 2025.

The US price is $699. Pricing varies in different countries.

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Product Photos: Mitchell Clark

The Hasselblad XCD II 100C is a medium format mirrorless camera, built around a 44mm x 33mm, 100MP BSI CMOS sensor. It's designed to deliver a high-dynamic range image workflow, and gains continuous autofocus supported by Light Detection and Ranging (LiDAR) sensors and more effective image stabilization.

Key Specifications

• 100MP 44x33mm BSI CMOS sensor
• HDR output (HEIF or Ultra HDR JPEG) by default
• IBIS up to 10EV
• Continuous autofocus
• 3.6", 2.36M dot tilting rear OLED display w/ 1400 nit peak brightness
• 5.76M dot 0.79x EVF
• Human, animal and vehicle AF subject detection
• LiDAR for autofocus
• 1TB internal SSD + CFexpress Type B slot

Despite the significant upgrades, the X2D II 100C sees the body-only price fall to $7399 / €7200 / £6400, an $800 reduction, compared with the existing X2D 100C.

Index:

• What's new
• How it compares?
• Body and handling
• In use
• Initial impressions
• Sample gallery
• Specifications
• Press Release

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This image, captured as an Ultra HDR JPEG, makes the chrome of the car's wire wheels shine much more convincingly when viewed on an HDR display.

Hasselblad XCD 35-100mm F2.8-4.0 @ 60mm | F3.5 | 1/500 sec | ISO 100
Photo: Mitchell Clark

Hasselblad claims to be the first company to make a medium format camera with "end-to-end" HDR and has equipped the X2D II with a high-brightness viewfinder and rear screen, so that you can see some of the wider brightness range as you shoot. Its default output is in the HEIF format but it can also create 'Ultra HDR JPEGs' which have an embedded brightness map to let them convey a wider tonal range on compatible devices, while still maintaining backward compatibility. The company says this gives images with up to three additional stops of dynamic range compared to standard sRGB JPEGs, using a technique adopted by Google in its Pixel phones, and by Sigma in its BF Mirrorless camera.

The camera supports the P3 color gamut throughout the shooting and editing experience, in addition to making fuller use of the wide color range, as well as the wider tonal range, of its large sensor. It says it doesn't use either the HLG or PQ response curves used by other brands, and instead uses gain maps with linear response and a roll-off in the highlights to give a natural look. The system appears to be utilizing the highlight data that's usually clipped in the JPEG output, rather than reducing exposure to capture any additional highlight information.

HDR images are only captured in P, S or A modes, where the camera has some control over exposure. The company says it assumes people setting exposure manually may be trying to capture a very specific look that may not lend itself to HDR, so disengages the feature, rather than producing a potentially unnatural-looking image that the photographer didn't want.

Embedded in the above image is this 1/4 resolution brightness map, which tells compatible devices which parts of the image to display with addtional brightness.

The X2D II's rear display has also been substantially upgraded to support HDR, going from a TFT LCD to an OLED panel that can display up to 1400 nit peak brightness. That lets it provide the HDR experience when you're reviewing your images, giving you a better idea of what you've captured.

Hasselblad has also updated its Phocus Mobile 2 app to allow for editing the X2D II's HDR files, and even reprocessing Raws from some of its other cameras, such as the original X2D and the CFV 100C, into HDR output files.

Continuous autofocus

While the original X2D was limited to single autofocus and manual focus, the II gains continuous autofocus, making it easier to capture moving subjects. Like many modern cameras, the system also includes AI-derived subject recognition for humans, animals and vehicles, and support for tracking arbitrary subjects.

At first seven of the company's more recent lenses will support continuous autofocus, and each will require a firmware update before they can access the feature.

The supported lenses are the XCD 35-100mm F2.8-4.0E zoom, launched alongside the camera, along with the 25mm, 38mm, 55mm and 90mm V-series lenses, and the 28mm and 75mm P lenses.

Even more AF improvements

To feed the autofocus system with information, Hasselblad has not only increased the number of phase detect autofocus points – 425 versus 294 on the original X2D – but added an entirely new type of sensor as well. The X2D II also uses Light Distance and Ranging (LiDAR) to judge how far away a subject is, with this input fully integrated into the AF system.

It's reasonable to assume this technology comes from DJI, which owns a majority stake in Hasselblad, as the company already uses the technology in several of its cinema tools. The camera also now has an AF illuminator lamp on the front, which doubles as a self-timer countdown indicator.

Improved IBIS

The camera's in-body stabilization allows the capture of images at slow shutter speeds, and boosts the frequency with which you'll get the full resolution out of the camera.

Hasselblad XCD 35-100E @ 35mm | 0.3 sec | F8 | ISO 800
Photo: Richard Butler

The original X2D had an IBIS system rated for up to 7 stops of stabilization, but the X2D II takes it even further, with Hasselblad promising up to 10 stops. In real-world use, your results will depend on how still your subject is and how steady you can hold the camera, but in the right conditions, you can definitely use it to push your exposure times past where you'd be able to with an unstabilized system.

Updated controls

Hasselblad has updated the controls, adding a joystick that can be used for controlling the autofocus selection point or scrolling through menus and a customizable button on the back plate. Additionally, the front control dial can now be pressed in to access yet another custom function.

The camera also gains a vibration motor to provide haptic feedback for certain operations, such as confirming that the camera has acquired focus or that you have both your spirit levels centered.

How it compares

While medium format cameras are most often associated with high-end studio work (a task the X2D II is fully capable of), the X2D series has always clearly been designed to be taken outdoors and used in a wider variety of conditions. The company suggests that the addition of C-AF expands its audience to include subjects such as "landscapes, daily, portraits and street photography."

Fujifilm targets a very similar audience with the GFX 100S II, which uses a very similar sensor and also comes complete with IBIS and continuous autofocus. (The higher-end GFX 100 II is also comparable, but has faster burst rates, more video features and nicer ergonomics.) We've also included the Sony a7R V, since its full-frame sensor uses the same 3.8µm pixels, just fewer of them.

Hasselblad X2D II Fujifilm GFX 100S II Sony a7R V MSRP $7399 / €7200 $5499 / £4999 / €5499 $4199 / £3999 / €4500 Sensor size Medium format
(44 x 33 mm) Medium format
(44 x 33 mm) Full-frame
(36 x 24 mm) Pixel count 102MP 102MP 60MP Stabilization 10EV 8EV 8EV Flash sync speed Dependent on lens (Typically 1/2000 - 1/4000 sec) 1/125 sec 1/250 sec HDR output HEIF
Ultra HDR JPEG N/A (Shoots SDR HEIF or HDR video) HLG HEIF* Burst rate 3fps 7fps 10fps (compressed Raw) Viewfinder res / mag 5.76M dot
1.0x 5.76M dot
0.84x 9.44M dot
0.9x Rear screen
Size / Res / movement 3.6"
2.36M dot
Tilting OLED 3.2"
2.36M dot
Tilting 3.2"
2.1M dot
Fully-articulated/Tilting Storage 1TB SSD
1x CFexpress Type B 2x UHS-II SD 2x UHS-II SD / CFexpress Type A Battery (CIPA rating) 327 shots 530 shots 440 shots EVF
530 shots LCD Dimensions 149 x 106 x 75mm 150 x 104 x 87mm 131 x 97 x 82mm Weight 840g 883g 723g

*Cannot shoot Raw and HLG HEIFs simultaneously

Fujifilm and Sony don't have the same focus on HDR that Hasselblad does; while the a7R V can shoot HDR HEIFs, doing so comes at the cost of your ability to save Raw files, which is a serious downside for high-end work. The Fujifilm can shoot HEIF images and HLG video, but can't combine the two to offer HDR stills.

Another big difference is that the GFX 100S II and a7R V both have focal plane shutters, while the X2D II uses leaf shutters built into each lens. This comes with the benefit of being able to sync flash at any speed, but means that Hasselblad lenses will be significantly more complex and expensive than similarly-speced counterparts from Fujifilm and Sony. Another side effect: if you want to use a third-party lens with the X2D II, you'll be stuck with the very slow electronic shutter.

While high-resolution cameras have always been more suited to stills, the GFX100S II and a7R V both have relatively complete suites of video features as well, with Log profiles, 10 bit video and headphone and microphone jacks. By contrast, the X2D II doesn't shoot video at all; something to consider if your work ever requires motion pictures.

Body and Handling

The X2D II feels extremely sturdy and well-crafted in the hand, and the grip instills confidence, even when you're using a relatively large zoom lens. The controls are laid out well, with the essential buttons and dials within easy reach.

The camera has two top plate control dials and several customizable buttons. Two – one on the back and one on the front – are unlabeled, while another two can be accessed by pressing down on the joystick and the front dial. The top-plate M and WB/ISO buttons can also be resigned if you choose, with a choice of 35 options.

The joystick is a four-direction control and can be used for moving your autofocus point (though we found it somewhat slow, and often significantly quicker to just tap on the screen) and to navigate through the menus. Both tasks can also be achieved directly using the touchscreen, which has its own selection of buttons for controlling playback and accessing the menu.

Viewfinder and Screens The camera's rear screen tilts out, and there's a sensor to ensure the camera doesn't switch to using the viewfinder when the screen is extended.

The X2D II's viewfinder is large, bright and responsive, providing an excellent preview for composing and exposure. The low-profile rubber eyecup doesn't do the best job of sealing out light, but it'll be sufficient in most cases, and less likely to snag when you're taking it in and out of a bag than some other designs.

While the screen's 1400-nit peak brightness allows it to properly display HDR images, you won't get the full effect until after you've taken a photo and the camera has generated your HDR output file. It is, however, still very effective for composing your images and is easy to see, even in direct sunlight. Its hinge allows you to pull it out and position it at a 90° angle for waist-level shooting unobstructed by the viewfinder.

While shooting, the screen provides plenty of resolution for the camera's excellent punch-in manual focusing experience.

The X2D II also has a 1" color display on the top plate, which shows your battery life, exposure settings, and a light meter when the camera is on. It's typically blank while the camera is turned off, though a quick tap of the power button will get it to display your remaining charge.

Ports

The X2D II's minimal selection of ports is hidden behind magnetically latching doors, which feel great to open and close. It has a 10Gbps USB-C port for charging and offloading data, and a 3.5mm for use with Hasselblad's somewhat eccentric cable shutter release.

It also has an CFexpress Type B slot, which can be used for backup or as an overflow, should you fill the internal storage. It's worth noting that the internal storage has capacity for over 4000 16-bit Raw and JPEG/HEIF pairs.

Battery

The battery is rated as delivering 327 shots per charge, if tested to CIPA's standards. This can be increased, depending on the camera's configuration. These numbers tend to underestimate how many shots you'll actually get, with double the rated figure not being unusual, depending on how you shoot.

In practice, a rating of over 300 shots per charge will let you shoot for a good period of time, especially if you're shooting occasional, considered shots, rather than rattling off hundreds of snaps at a time. We suspect it's few enough to start to be of concern for professional wedding shooters, who'll definitely want to develop a system for ensuring they have spare batteries charged and ready to go. But with the option to charge over USB-C, the X2D II should be relatively comfortable, away from the studio.

In Use

The X2D II can seem a little daunting at first, with four buttons marked with potentially unfamiliar glyphs down the right-hand side of the screen, Playstation style. Their functions turn out to be pretty self-evident once you start using the camera: Play, Ok, Cancel/Delete and Menu.

Most other functions can be assigned to one of four customizable buttons (one of the front of the camera, one on the rear and the Mode and WB/ISO buttons on the top plate), or to a press of the front command dial, rear command dial or press of the AF joystick.

Press the Menu button once and you are presented with a settings panel. Some settings, including drive mode, AF mode and ISO can be set by tapping on the screen your using the joystick. Some exposure parameters can be changed from this screen, but not exposure comp, which tells you to use the dial instead.

The camera offers Auto ISO, including in manual exposure mode. You can set the threshold shutter speed that the system will try to maintain, either by selecting a specific shutter speed or by choosing a relationship to the current focal length, with the choice of: 4f, 3f, 2f, 1.5f, f or f/2, if you're very steady.

Press the Menu button a second time, or swipe your finger left across the screen and you reach the main menus. It's a simple and well-arranged system with eleven named icons arrayed around the screen. Within each category (exposure, focus, connection...) are a handful of settings, often with explanatory text if their function isn't obvious. Swipe upward from this menu page or the settings page and you'll find yourself back in live view, ready to shoot.

It's a quick and easy-to-learn system that lets you just get on and shoot.

Our experience of the autofocus has left us impressed. There are occasions where it would erroneously confirm focus, but most of the time it focused quickly and accurately, with eye detection in particular giving us a level of performance we'd associate with some of the better mass-market cameras. Combined with the up-rated image stabilization, the X2D II is one of the easiest-to-shoot medium format cameras we've encountered.

Initial impressions

By Richard Butler

The X2D II 100C in many ways still looks a lot like the original X1D launched back in 2016, but the reality of using the two cameras couldn't be more different. The original camera looked great, and was capable of delivering excellent images, but its short battery life and lack of responsiveness meant that it wasn't nearly as comfortable untethered from the studio as its small body would imply.

It's worth noting, though, that the original X1D was launched just a few months after DJI first took a stake in the company, so its development would have started long before. The X2D II can perhaps be seen as what happens when a well-established photography company and an ambitious, advanced tech company come together. The X2D may still resemble the original camera but it's worlds away in terms of performance and usability.

The introduction of LiDAR (already used in products such as the Ronin 4D gimbal camera) is the most overt sign of input from DJI, but it's hard to imagine Hasselblad's cameras would have developed so far, so fast, without DJI's contributions. Continuous autofocus with highly effective eye detection autofocus was not on the cards for the contrast-detect X1D, yet here, and in conjunction with in-body image stabilization it allows you to use medium format like it was a point-and-shoot.

The X2D II will shoot HDR unless you go out of your way to stop it

Then there's the decision to lean into HDR photography, something that's becoming increasingly common in modern cameras but poorly supported and even more poorly communicated or promoted to photographers. Most modern mirrorless cameras can capture HDR HEIFs that can make use of the wide dynamic range and wide color gamut of modern displays, but very few cameras give you a good preview of its impact or make much effort to encourage its use. The X2D II will shoot HDR unless you go out of your way to stop it.

The X2D II has an excellent screen that can give an impression of how much more vibrant and lifelike your images can look. And, in addition to HEIF files, which can still be awkward to share and view reliably, the Hasselblad can capture JPEGs with brightness map embedded in them: giving full backward compatibility with just about every viewing device imaginable, but giving HDR vibrancy on devices that support it.

In the right conditions, HDR can make it feel less like you're looking at a photo, and more like you're looking through a window to the world, with much more realistic representation of the way light reflects from objects. To get the effect, open the photo in a supported browser.

Hasselblad XCD 35-100mm F2.8-4 E @ 100mm | F10 | 1/160 sec | ISO 50
Photo: Richard Butler

By letting you see the benefits of well-judged HDR as you shoot the images, the X2D II encourages you to make use of the capability and start thinking about how to ensure your customers and viewers are able to see those results. We regularly found ourselves as impressed by the way the camera uses its greater DR output as we were by the stunning amounts of detail it captures.

What's all the more impressive is that Hasselblad is launching the X2D II 100C at a lower price than the previous model. In fact, it's at a lower price in money terms than the original X1D 50c, despite the vast improvements that have been made in the intervening nine years. The XCD lenses, with their leaf-shutter designs, tend to be more expensive, and often slower, than the rival Fujifilm system, but the X2D II 100c brings a level of performance and usability that makes the system as a whole look more competitive than it's ever been.

Buy now:

Buy at AdoramaBuy at B&H Photo 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 (in conjunction with this review); we do so in good faith, so please don't abuse it.

All out-of-camera JPEGs in this gallery are Ultra HDR JPEGs: please click "Original" link on the right of the preview to download the original file, if you're viewing on an HDR-capable device.

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

Hasselblad has announced the XCD 35-100mm F2.8-4 E, a medium format zoom lens with a range roughly equivalent to a full-frame 28-76mm. Its range and speed make it similar to the popular 24-70mm "standard zooms" on full-frame systems, making it a versatile option for the system.

The lens is made of 16 elements in 13 groups, with three aspherical lenses and five extra-low dispersion elements. It has a minimum focusing distance of 0.4m (15.7") at the wide end, and 0.5m (19.7") at the long end.

Hasselblad says the 35-100mm F2.8-4 is the second entry to its 'E' series, which it says "perform exceptionally well across all focal lengths." It follows the wide-angle 20-35mm zoom the company released last year.

The lens supports the continuous autofocus mode of the X2D II 100C it's launching alongside

It has a stepper motor for autofocus, and supports the continuous autofocus capabilities of the X2D II 100C that it's launching alongside. Its built-in leaf shutter can shoot and sync with flash at up to 1/4000 sec. It has a control ring for changing your aperture setting, along with its zoom and focus rings.

At 894g (31.5oz), the 35-100mm isn't ultra-lightweight, especially if you compare it to the latest-generation full-frame 24-70mm F2.8s from the likes of Sony and Nikon. However, given that it covers a larger image circle and provides depth of field equivalent to a faster lens at the short end (2.2 - 3.2), its weight is surprisingly similar to those companies' first-gen mirrorless standard zooms. It's a similar story when it comes to its physical size, too.

Weight Length (retracted) Diameter Hasselblad XCD 35-100mm F2.8-4 E 894g 138mm 90mm Nikon Z 24-70mm F2.8 S / II 805g / 675g 126mm / 150mm* 89mm / 90mm Sony FE 24-70mm F2.8 GM / II 886g / 695g 136mm / 120mm 88mm / 88mm Canon RF 24-70mm F2.8L IS USM 900g 126mm 89mm

The XCD 35-100mm F2.8-4 E will retail for $4599 in the US. It will cost around €4800 in Europe, including tax, and £ 4100 in the UK.

* - The Nikon Z 24-70mm F2.8 S II features an internal zoom design, rather than the extending one used by the rest of the lenses in this comparison.

Buy now:

Buy at AdoramaBuy at B&H Photo

Press Release:

XCD 2,8–4/35–100E: A COMPACT STANDARD ZOOM LENS WITH FLAGSHIP PERFORMANCE

The new XCD 2,8–4/35–100E is a versatile standard zoom lens that seamlessly bridges wide-angle to medium telephoto focal lengths. With approximately 3× optical zoom, it delivers a 28–76 mm full-frame equivalent focal length and an aperture range of f/2,8 to f/4. Effectively combining the range of seven Hasselblad prime lenses into one, it excels in capturing sweeping landscapes, intimate portraits, dynamic street photography, and spontaneous travel moments with confidence.

At its widest aperture of f/2,8, the lens delivers exceptional low light performance, while producing smooth, creamy bokeh and distinct background separation.

The “E” in XCD 2,8–4/35–100E stands for “Exclusive” and represents the top-tier optical performance, delivering the same edge-to-edge image quality as Hasselblad’s XCD prime lenses. Its advanced optical design comprises 16 elements in 13 groups, including three aspherical and five ED elements, ensuring sharp resolution and authentic colour that meet the demands of a 100-megapixel sensor.

The XCD 2,8–4/35–100E is powered by the fastest stepping motor in the XCD lens lineup. This compact internal focusing group, paired with optimised control algorithms, enables smooth and accurate autofocus. When paired with the X2D II 100C’s AF-C system, it confidently tracks moving subjects and ensures precise focus in action shots.

The integrated leaf shutter offers full flash synchronisation from 1/4000 second to 68 minutes, allowing photographers to balance fill flash in bright light or shoot wide open without compromise.

Despite its bright aperture and extended zoom range, the lens remains remarkably compact, measuring just 138 mm in length and weighing just 894 grams. It features the highly praised control rings from XCD V Series lenses, allowing quick adjustments to shutter speed, aperture, ISO, exposure compensation, and subject switching. The engraved “H” logos and subtle “V” insignia on the control rings reflect Hasselblad’s commitment to minimalist design and enduring quality, creating a lens that performs as elegantly as it appears.

AVAILABILITY AND PRICING

The Hasselblad X2D II 100C is priced at $7,399 / €7 200.
The XCD 2,8–4/35–100E lens is priced at $4,599 / €4 800.
The Vandra Backpack is priced at $469 / €429.
The UV 86mm Filter is priced at $299 / €259.
The ND8 86mm Filter is priced at $329 / €289.
The CPL 86mm Filter is priced at $559 / €469.

Please consult your nearest Hasselblad Flagship Store, authorised dealer, or the Hasselblad online store for purchasing details. For more information, visit www.hasselblad.com.

XCD 35-100 F2.8-4 E Specifications: Principal specificationsLens typeZoom lensMax Format sizeMedium Format (44x33mm)Focal length35–100 mmImage stabilizationNoLens mountHasselblad XApertureMaximum apertureF2.8–32Minimum apertureF4–32Aperture ringNoOpticsElements16Groups13Special elements / coatings3 asph., 5 extra-low dispersionFocusMinimum focus0.40 m (15.75″)Maximum magnification0.25×AutofocusYesMotor typeStepper motorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight894 g (1.97 lb)Diameter90 mm (3.54″)Length138 mm (5.43″)MaterialsMetalColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread86 mmHood suppliedYes

Photo: DPReview

Less than a week ago, Ricoh announced the GR IV, the next iteration of its highly popular compact line. Now, six years after its launch, Ricoh has discontinued the predecessor, the GR III.

The move shouldn't come as much of a surprise, since when Ricoh initially teased the GR IV earlier this spring, it also said that production of the GR III would end in July 2025. That's now official, as the Ricoh GR III is listed as discontinued on the Ricoh Japan website as well as at B&H. The Ricoh US site and other retailers still have the camera marked as backordered at the time of writing, however.

Even though Ricoh had announced its plans, it still may be a disappointment to those hoping to pick up the GR III at a discounted price. That is, after all, what happened with the last changing of the guard: when Ricoh launched the GR III in 2019, the GR II got a price cut. At that time, the company was likely selling through existing stock, though. The GR III, on the other hand, has been backordered since roughly the beginning of 2024, suggesting there is much less stock available.

The GR IIIx is still available, as there is currently no replacement for it. Ricoh also said in its May teaser that it will continue to produce and market the GR IIIx for now. Unfortunately, that device is also listed as out of stock, so while it isn't discontinued, getting your hands on one may not be straightforward. Likewise, Adorama has the GR III Street Edition listed, though also on backorder.

Image: Canon

Retro compact cameras are a hot ticket item at the moment. Some of these pocketable devices have gone viral on social media, driving up interest and demand, leading to steep prices. Many used to sell for $5 at garage sales, but now have seen prices of $500 or more on the secondhand market. While they have their appeal, most retro point-and-shoots are running on borrowed time.

Cameras have limited lifespans Many things can break on older cameras, especially if they aren't stored or cared for properly. In this case, the battery compartment of this compact film camera is corroded.
Image: delihayat / iStock / Getty Images Plus via Getty Images

Every electronic device has a limited lifespan, and cameras are no different. Electronic components do eventually fail. Capacitors, flexible flat cables and LCD screens are common points of failure on compact cameras. The LCD may go dim, lose segments or flat out stop working. Flex cables like those used for moving lens assemblies can crack and disconnect. Additionally, moving components like sliding lens covers, pop-up flashes, or even shutter buttons can all develop issues and break with repeated use.

Most compact cameras were designed to last between 3 and 7 years. Some are able to reach 10 years with gentle use. The issue here is that many of the popular models came out in the early 2000s or 2010s, meaning they are now well beyond their expected service life. Making matters worse, if you're buying a used camera on eBay, you have no clue how it was handled before you get your hands on it. It may not have had the careful treatment that would allow it to have a longer lifespan.

Many compacts aren't repairable Photo: vavlt / iStock / Getty Images Plus via Getty Images

You may think that a broken camera is just something that could be repaired. Unfortunately, it's rare for manufacturers to provide service or spare parts for devices that are more than 5 to 10 years old (and that's even assuming the company that made the camera is still around). That's even more true for consumer-level devices like point-and-shoot cameras. That means you can't send the camera to the brand for repairs, and repair businesses won't have spare parts.

Beyond being outside their service window, compact cameras are, as the name suggests, designed to be very small. To do that, companies created densely packed and non-modular builds. Replacing an LCD screen, then, isn't as simple as just popping the old one off and replacing it. It generally involves a complete disassembly. Such a repair job requires highly specialized skills, lots of time and parts that were not meant to be serviced by a consumer or general repair tech.

As an example, I was at a local camera repair shop recently and saw someone bring in two point-and-shoots that weren't working. One would turn on but the LCD didn't work, and the other wouldn't turn on despite the person replacing the AA batteries. The repair tech looked at both cameras, but pretty quickly said that they weren't repairable and were essentially paperweights. Once the customer left, they told me that people looking for compact camera repairs is a very common occurrence these days, but that most of the time, they can't be fixed.

Don't forget obsolete accessories Older memory cards, like the MMC on the left, can be hard to find.
Image: Multicherry, CC BY-SA 4.0, via Wikimedia Commons

Even if you picked up a camera in fantastic working order, you also need to consider that some accessories may be obsolete. For example, some older point-and-shoots may use obscure memory card formats that are difficult or impossible to find. Finding a card reader for them could be just as tough. Likewise, it may be challenging or impossible to source batteries or battery chargers.

Without those items, your camera won't be functional. As a result, it's important to look at what batteries, chargers, memory cards or other accessories are necessary to use the camera.

Keep in mind longevity when buying

Old compact cameras can be a nice change of pace from today's highly technical and precise cameras or the overly processed images from smartphones. However, they can also be a risky purchase for the above reasons. If you're picking one up for $5 to $20, that's a lot different than $500, of course. But you may not want to pay a significant bit of money for a device that is already long past its predicted lifespan and could be nothing more than an artifact in a short amount of time.

The August Editors' photo challenge

The theme for our August Editors' photo challenge was "Road Trip," and we asked you to share your favorite moments on the open highway or road trip adventure.

You took us on a wild ride, with photos from across the globe, ranging from the vast expanse of the Arabian Peninsula to a frozen Mongolian lake. Each image is a testament to the spirit of adventure that fueled your journeys. As usual, we were overwhelmed with great photos – many more than we can present here. Our favorites, 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 other photo challenges, visit our Challenges page to see currently open or upcoming challenges, or to vote in a recently closed challenge.

Avenue de Baobab in Madagascar

Photographer: Kjeld Olesen

Photographer's statement: Traveling around Madagascar, most people make a stop at Avenue de Baobab to take in the scenery of majestic baobabs lining the dirt road between Morondava and Tsingy De Bemaraha National Park.

Going in 2001, this was our first trip with a digital SLR camera, the Canon D30, with its 3 megapixel sensor, which was considered fantastic at the time, along with a voluminous IBM 340 MB Micro CF drive and a Minds@Work 6 GB DigitalWallet, allowing for some 2000 images to be stored – comparable to the usual 1800 images from 50 rolls of Kodachome. It is fun to see how much more detail and clarity can be extracted from those old Raw files using modern software.

Equipment: Canon EOS D30 + Canon EF 28-105mm f/3.5-4.5 II USM

Heading into the storm

Photographer: LokeshS

Photographer's statement: Storm clouds brew overhead as the straight road to Leh, India, stretches across the wind-swept, barren land and disappears into the horizon. This picture was taken a few kilometers before the confluence of the Indus and Zanskar rivers. Rain had stopped, though angry clouds gathered overhead for another assault on the land. Having seen numerous pictures of the Leh highway with an empty road stretching into the horizon, I too was inclined to take one. I purposely kept the BRO tents in the frame to highlight their presence amidst the tough conditions and desolation of the landscape.

Equipment: Canon PowerShot G1 X Mark II

Making his own road

Photographer: Nilesh Trivedi

Photographer's statement: An intrepid explorer gamely finding his way through the majestic dunes of the Rub Al Khali (or The Empty Quarter), one of the most desolate places on the planet.

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

Driving on frozen Lake Khovsgol

Photographer: SemK

Photographer's statement: In 2012, I traveled to the Northern part of Mongolia, to Khovsgol Lake, to see the Mongolia Winter festival. Crossing the lake was very strange because it was a very silent drive, and wherever we looked, all we saw was ice, snow and no signs or anything to read. This picture was taken when we stopped for a break while crossing the lake.

Equipment: Pentax K-5 + Pentax smc DA 18-250mm F3.5-6.3

Driving the S-bend

Photographer: Jill Hancock

Photographer's statement: We were on a road and rail trip through China and visited the Rainbow Mountains, where you get around by bus. Here we were looking down on the road as it wound its way around the mountains as a bus drove along.

Road dogs, Hot Springs, SD

Photographer: jaberg

Photographer's statement: Gigi and I waiting for pack member JP. She’s provisioning. Dinner will be thick steaks cooked over the fire, but we have another hour to our destination and camp yet to make. Day ten or so of this trip. I’m loving it, but it’s taking its toll.

Equipment: Apple iPhone 5s

Equipment: Canon EOS R6 Mark II

High Atlas road trip

Photographer: Mark B Willey

Photographer's statement: The windy road up and over the High Atlas Mountains in Morocco, this stitch panorama was taken on the day of the disastrous 2023 earthquake and near its epicenter. Fortunately, we were out in the Sahara Desert when it hit just before midnight!

Equipment: Nikon D500 + Nikon AF-S DX Nikkor 18-300mm F3.5-6.3G ED VR

The storm

Photographer: Andreas Glindemann

Photographer's statement: On a road trip close to Jasper Forest National Park in Arizona, we saw this pick-up perfectly fitting the landscape. Will the road guide it away from the storm? Probably.

Equipment: Olympus OM-D E-M1 + Olympus M.Zuiko Digital ED 12mm 1:2

Togwotee Pass highway

Photographer: McFrost69

Photographer's statement: A mid-October 2023 morning view of the Grand Teton as seen from just below the Togwotee Pass Lodge on US Highway 26-287 between Dubois and Moran, Wyoming. It was the beginning of my road trip down to Utah to see the annular eclipse of the Sun that month.

Equipment: Canon EOS 90D + Canon EF 70-200mm F4L USM

Scotland backroads

Photographer: poppyjk

Photographer's statement: My wife and I did a 24-day road trip through Ireland, Scotland and England. Poignant because her ancestors immigrated to the US from Scotland, and mine from Ireland. Both of us felt deep-rooted emotional connections. Close to Glencoe in Scotland, this flock of Scottish Blackface sheep delayed our driving for 45 minutes. Two Border Collies were tending the flock, but had no urgency to herd them off the road.

Equipment: Canon EOS 30D + Canon RF 24-105mm F4L IS USM

Where the pavement ends

Photographer: Star Geezer

Photographer's statement: One of a dozen glacial lakes my wife and I canoed and tent camped during a 5700-mile road trip covering over 20 states. This lake, about 10 miles from the Canadian Border, was one of over 30 lakes and a dozen rivers we paddled. This road trip celebrated our 43rd wedding anniversary in 2014. At the time, we were both in our late 60s, and one of dozens we took together over 50 years. Life's too short, go out and do something!

Equipment: Nikon D800 + Nikon AF-S Nikkor 14-24mm f/2.8G ED

Box of rain

Photographer: MCHammer

Photographer's statement: I was heading home across the Snake River Plain in Idaho when this rainbow appeared across the road. I couldn't get the entire scene into one frame, so I took six shots and merged them as a panorama in Photoshop. I also corrected the perspective as much as I was able.

Equipment: Canon PowerShot G7

Heading home after a long day

Photographer: WSmith_798

Photographer's statement: My husband and I were visiting Yellowstone National Park. At the end of one day, we were heading back to our campsite in stop-and-go traffic when a bison cut in line in front of us with such ease we wondered if it was his routine. Captured through the windshield with my first DSLR, a Canon 70D, and a Canon EF-S 15-85mm lens.

Equipment: Canon EOS 70D + Canon EF-S 15-85mm f/3.5-5.6 IS USM

Mongolia

Photographer: JeffryzPhoto

Photographer's statement: While stopping to hit the outhouse, we saw this car out of gas at a tiny gas station in the middle of nowhere in Western Mongolia. (Everything seems to be in the middle of nowhere outside the capital city of Ulanbaatar, where half the population resides.) They were waiting to fill up, and the car wouldn't start when the one in front of it pulled away.

Equipment: iPhone 15 Pro Max

Driving through the highlands

Photographer: JohnnyBE

Photographer's statement: This photograph was taken around 1:00 AM during an all-night road trip through the Highlands of Iceland. Experiencing and photographing such a remote place with no one else around was truly unforgettable.

This photo was taken from a drone, with the main challenge being to find the right composition to capture this epic location, while at the same time including my car for scale and perspective. The blue light worked beautifully with my exposure settings, allowing me to convey the mood of the moment, from the dark volcanoes to the distant blue sky.

Equipment: Hasselblad L3D-100C

On our way to Monument Valley

Photographer: IFRPilot

Photographer's statement: This is the first time we visited Monument Valley. Even before arriving at the park, we saw impressive formations of rocks. It was also nice to meet some of the local people there.

Equipment: Sony a7R + Sony FE 24-70mm F4 ZA OSS Carl Zeiss Vario Tessar T*

On Iceland's ring road

Photographer: Phantogram

Photographer's statement: In spring this year, I was chasing the northern lights in Iceland. When the weather was not promising, I was hitting the road for a better location. However, bad weather often gives the nicest shots. This picture was made close to Djupivogur, a small town in the east fjords, with blistering winds and between rainstorms.

Equipment: Sony a7 III + Sony FE 24-105mm F4 G OSS

Way up to the Col du Lautaret

Photographer: alexolph

Photographer's statement: Beautiful scenery in the French Alps with the majestic Ecrins massif in the background. Bicycle trip with a dear friend heading to Col du Galibier. Panorama composed of six single images using ptGUI and Lightroom post-processing.

Equipment: Ricoh GR III

Nepal van Java

Photographer: Myles Baker

Photographer's statement: Every year, my wife's extended family goes on a road trip somewhere in Indonesia. I hadn't been able to go for the last two years due to work, but I was able to make this trip. We rented a bus (complete with mini-bar & karaoke, because, why not) and headed from Jakarta to Yogyakarta, taking in sites like Borobudur & Prambanan. This photo of a few of the cousins was taken on a side trip to Nepal van Java, a small mountain village near Magelang, Jawa Timur.

Equipment: Canon EOS R8 + Canon RF 24-105mm F4L IS USM

On cue, a red convertible

Photographer: Ranger 9

Photographer's statement: It was a hot, hazy August day, and I had driven up the old Lincoln Highway route through Harrison County, Iowa, to climb the steep, grassy trail up the bluffs to the Murray Hill Scenic Overlook. At the top, it was quiet except for the wind; I was possibly the only human within half a mile. The panorama of the Missouri River valley spread out at my feet, fields dappled by clouds, a winding asphalt road directly below me.

Looking down at the scene, I thought: "This is almost too perfect. All it needs is a red convertible." I was pondering the scene when I heard the hum of tires, looked down, and saw... a red convertible. The brake lights blinked on for an instant as it slowed for the sharp left-hand curve. I had just enough time to drag the camera to my eye and make one shot.

Equipment: Panasonic Lumix DMC-G1 + Olympus M.Zuiko Digital 45mm F1.8

When you use DPReview links to buy products, the site may earn a commission. Canon EOS R7 | Sigma 12mm F1.4 DC | F1.4 | 1/2000 sec | ISO 100

Earlier this week, Sigma announced the 12mm F1.4 DC, an ultra-wide prime lens for APS-C systems. We were able to spend some time with it pre-launch to get some sample images in a variety of situations.

One note about these images: while we typically process our lens sample galleries in Capture One to get maximum control over lens corrections, we had to process the samples for this lens using Adobe Camera Raw to apply the distortion correction profile. We've taken care to match the settings as closely as possible.

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.

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

This week, Ricoh announced the GR IV, the latest in its lineup of photographers' compact cameras with an 18.3mm (28mm equiv) lens and APS-C sensor. The company seems to have made an attempt at addressing several concerns raised by GR III users, including the camera's proclivity to get dust on its sensor, its battery life, lack of flash and control setup.

Dale Baskin, Mitchell Clark and Mykim Dang sat down to talk about the camera in more depth than we could fit into our initial impressions video. You can watch the discussion below.

From Left to right, the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold.
Images: Google

Earlier this week, Google announced its latest Pixel phone lineup, unveiling the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. With any new lineup, there are likely questions about how the devices stack up against each other or how they compare to the old models. While we covered the basics of the Pixel 10 series at the time of launch, here we'll be diving into a more detailed look at what makes the devices stand apart regarding cameras, video features and special shooting modes.

Camera differences Image: Google

The two 10 Pro phones and the 10 Pro Fold kept all of the same camera specs as the 9 Pro devices, so there's nothing terribly exciting there. The Pixel 10, on the other hand, has some notable changes. It added a telephoto camera to a line of devices that traditionally had only two (the wide, main camera and ultrawide). Unfortunately, the addition of that third camera resulted in downgrades (on paper) in the other two.

The primary camera on the Pixel 10 isn't a substantial change resolution wise, but that's not the story with sensor size. The Pixel 9 featured a Type 1/1.3 (72mm²) sensor, while the Pixel 10 uses a Type 1/2 (30.7mm²). That's quite a notable downgrade, and it is now the same as the primary camera in the Pixel 9a, Google's budget device (which also used a smaller sensor than its predecessor). We'll have to do some additional testing on the cameras to see what the impact is in the real world, but it certainly doesn't look good on paper.

The ultrawide camera is also significantly impacted, going from 48MP to 13MP. It also features a smaller sensor and a smaller aperture. The newly added telephoto camera on the Pixel 10 is a little lackluster compared to the non-folding Pro models.

We asked Google Gemini why Google says the Pixel 9 can take 50MP photos, but we can't find a setting to use that resolution (the same thing the Pixel 10 does), and this was its response.
Screenshot: Dale Baskin

It's also worth noting that, while Google's spec sheet says the Pixel 10's main camera uses a 48MP sensor, users will only be able to get binned 12MP images from it. This was also the case with the Pixel 9. The Pro model, meanwhile, offers a setting that allows users to select between 12MP and 50MP outputs, but this option isn't available for the standard Pixel.

Camera Spec Pixel 9 Pixel 10 Pixel 10 Pro / Pro XL Pixel 10 Pro Fold Wide (main) Sensor

50MP

Type 1/1.3 (72mm²) Octa PD

48MP

Type 1/2 (30.7mm²) Quad PD

50MP

Type 1/1.3 (72mm²) Octa PD

48MP

Type 1/2 (30.7mm²) Quad PD

Aperture F1.68 F1.7 F1.68 F1.7 Field of view 82° 82° 82° 82° Ultrawide Sensor

48MP

Type 1/2.55 (23mm²) Quad PD

13MP

Type 1/3.1 (16.1mm²) Quad PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.5MP

Type 1/3.4 (13mm²) Dual PD

Aperture F1.7 F2.2 F1.7 F2.2 Field of view 123° 120° 123° 127° Telephoto Sensor N/A

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

Aperture N/A F3.1 F2.8 F3.1 Field of view N/A 23° 22° 23° Front camera Sensor

10.5MP

Type 1/3.1 (13mm²) Dual PD

10.5MP

Type 1/3.1 (13mm²) Dual PD

42MP

Type 1/2.94 (17mm²) Dual PD

10MP

Type 1/3.4 (13mm²) Dual PD

Aperture F2.2 F2.2 F2.2 F2.2 Field of view 95° 95° 103° 87°

The downgrades might make a little more sense when you consider that the telephoto camera used to be the main differentiator between the base and pro model cameras. After all, the Pixel 9 shared the same wide and ultrawide camera specs as the Pixel 9 Pro. If that stayed consistent with the addition of the telephoto camera, Google would have three devices that were essentially the same in terms of rear cameras.

The other difference between the Pixel 10 and 10 Pro cameras comes from the selfie camera. The 10 Pro and 10 Pro XL feature a higher-resolution selfie camera than the Pixel 10, so if you want really sharp selfies, you'll be better off with the Pro models.

The 10 Pro Fold uses the same main and telephoto cameras as the Pixel 10. The ultrawide camera, though, features a slightly lower resolution and smaller sensor than the Pixel 10.

Video features Video Spec Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Rear video max res/FPS

4K at 24/30/60 fps

1080p at 24/30/60 fps

4K at 24/30/60 fps

1080p at 24/30/60 fps

8K at 30 fps*

4K at 24/30/60 fps

1080p at 24/30/60 fps

4K at 24/30/60 fps

1080p at 24/30/60 fps

Slow-motion video Up to 240 fps (1080p) Up to 240 fps (1080p) Up to 240 fps (1080p) Up to 240 fps (1080p) HDR 10-bit HDR 10-bit HDR 10-bit HDR 10-bit HDR Supported formats H.265 (HEVC), H.264 (AVC) H.265 (HEVC), H.264 (AVC), AV1, VP9 H.265 (HEVC), H.264 (AVC), AV1, VP9 H.265 (HEVC), H.264 (AVC), AV1, VP9 Stabilization OIS, Fused video stabilization, Cinematic Pan, Locked, Active OIS, Fused video stabilization, Cinematic Pan, Locked, Active OIS, Fused video stabilization, Cinematic Pan, Locked, Active, Video Boost OIS, Fused video stabilization, Cinematic Pan, Locked, Active, Video Boost Video zoom Digital up to 7x Digital up to 20x 'Super Res Zoom' up to 20x 'Super Res Zoom' up to 20x

On the video side of things, there aren't any substantial changes from the previous generation. Most of the settings and modes remain the same. Google promises some improvements, however. For example, it says it enhanced the optical and AI-based stabilization in the Pro models, even going so far as to say it's the best of any smartphone (unsurprisingly). Google also says it improved Night Sight (the video mode for recording at night) performance.

Naturally, the Pro models promise better video capabilities than the base Pixel 10. It's important to note, however, that the 8K video isn't native 8K. It relies on Google's Video Boost setting that uses cloud-based AI processing to upscale 4K footage to 8K. It also promises to improve lighting, color, dynamic range and stabilization while reducing noise and grain.

* - 4K footage upscaled to 8K via post-processing

Shooting modes and settings Mode / Setting Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Zoom settings 0.5x, 1x, 2x 0.6x, 1x, 5x, 10x 0.5x, 1x, 2x, 5x, 10x 0.5x, 1x, 5x, 10x Super Res Zoom Up to 8X Up to 20x Up to 100x Up to 20x Pro Controls No No Yes Yes High-Res (up to 50MP) No No Yes Yes Hi-Res Portrait Mode (up to 50MP) No No Yes Yes Auto Unblur No Yes Yes Yes Auto Best Take No Yes Yes Yes A comparison of the camera modes and settings for still photos. There are a ton of other modes not listed here that are available on all of the models.

The camera hardware in phones is just part of the equation. What modes and settings they offer also make a difference in usability and quality. The Pixel 10 only gains a few settings over the Pixel 9. Naturally, the Pixel 10 provides more optical zoom options, since there is a telephoto lens.

Beyond updated camera array are some software changes, including Auto Best Take and Auto Unblur. The 9 offered Best Take and Unblur settings, but both were accessed during the editing process. Now, Google can handle those tasks automatically using Gemini AI. Auto Best Take is able to automatically find and combine group photos, selecting the best version of each person for the combined photo. Auto Unblur uses AI to detect and sharpen blurry photos, whether the subject is a face or not.

The Pixel 10 Pro.
Image: Google

There are a few differences between the Pro and base models as well. The Pro devices offer Pro Controls, or the ability to adjust settings like ISO, shutter speed, white balance and focus in photo and video settings. The base models do not provide Pro Controls, so if you want to manually set your exposure, you'll need a third-party app.

As already discussed, the Pro models offer High-Res modes (standard images and Portrait Mode) for producing images up to 50MP, whereas the Pixel 9 and 10 do not and top out at binned 12MP images as a result. Finally, the 10 Pro and 10 Pro XL offer extra reach from the Super Res Zoom, which uses a combination of cropping and generative AI to, in theory, maintain image quality even when zooming up to 100x. The Pro Fold and Pixel 10 only support Super Res Zoom up to 20x, while the Pixel 9 topped out at 8x.

Mode / Setting Pixel 9 Pixel 10 Pixel 10 Pro / 10 Pro XL Pixel 10 Pro Fold Video Boost No No Yes Yes Pro Controls No No Yes Yes Night Sight Video No No Yes Yes A comparison of video-specific modes and settings. There are a ton of other modes not listed here that are available on all of the models.

In terms of video settings, there are a few notable differences as well. The Pixel 9 and 10 lack Google's Video Boost mode, while all the Pro models provide access to the AI tool. The Pro models also offer manual controls, just as in photo mode. Finally, only the Pro models offer Night Sight video, Google's low-light video mode that uses AI and multi-frame computational photography techniques. The mode promises less noise, increased brightness and more shadow detail while maintaining natural colors and contrast.

Choose your device From left to right: Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold
Images: Google

For most people, there are plenty of other considerations when choosing a phone beyond the cameras alone. However, if that's a deciding factor for you, the information above should help clarify what the differences are between the Pixel 10 series and what is different from the Pixel 9 series.

To summarize, there are very minimal camera updates when comparing the three devices in the Pixel 9 Pro lineup to the Pixel 10 Pro lineup. Some processor upgrades promise to improve various photography and videography features, but camera-specific specs remain the same. The Pixel 10 does have substantial camera changes, but they may not be to everyone's liking.

The differences between the base model and Pro devices, at least in terms of cameras, primarily come down to higher image and video quality and more control on the Pro devices.

World Photography Day mini-challenge

For World Photography Day on August 19, we gave our readers a simple mission: go out and photograph the world around you, wherever you happen to be, all on the same day. Mission accomplished.

The DPReview community is filled with incredibly talented photographers, as we've learned from our Editors' Photo Challenges. This time was no different; you all delivered some truly stunning work. While we can't feature every entry here, we encourage you to check out the forum thread to see all the great photos your fellow readers submitted.

You'll find our editors' favorite photos on the following pages, presented in no particular order. And if your photo wasn't chosen, don't be discouraged. We'll be holding more spontaneous mini challenges in the future, so keep an eye out!

Birds and blossoms

Using a Nikon D7100, Larry Khan captured this image of a juvenile Ruby Topaz hummingbird as it fed from a Chaconia flower in Trinidad and Tobago.

Ominous clouds

When Ryan Schwartz saw our call for photos, he went outside to shoot the first thing he came across, gravitating toward the clouds as he likes to shoot skyskapes, thunderstorms and aurora. To make World Photography Day even more fun, he decided to use his first DSLR, a Nikon D5000, that's still going after 15 years.

Yellow infrared

After two years of research, JeanPierre Martel developed a new style of infrared photography called "Yellow 3629 infrared." Its unique feature is that it reveals the secondary pigments of the plant kingdom responsible for the vivid colors that deciduous trees adopt in autumn, resulting in a unique vegetal polychromatism in infrared photography. This photo was taken using a full-spectrum infrared Olympus OM-D E-M5.

Everton

ian_harris had spent the entire day shooting headshots of his colleagues for a company website. At the end of the day, the company cleaner, Everton, came in and asked what he was doing. When Everton told Harris, "I haven't had my photo taken in 20 years," Harris put him in front of the camera and captured this powerful photo using a Nikon Z7 II.

Lilly macro

HemingJ108 wanted to shoot a landscape or a seascape, but got off work late and couldn't go far. The lily in the front yard was at its peak, providing a perfect subject. To capture this stunning beauty, the photographer took 15 frames using focus stacking with a Nikon Z7 II.

A gray day

Stuck at home on a gray World Photography Day, Eduard began goofing around on the patio, capturing this colorful leaf with a Fujifilm X-E5 and a Viltrox 15mm lens.

Abby Road

Photographer Bob Janes used World Photography Day to channel The Beatles. Friends visited on the anniversary of the last day of recording the Beatles' Abby Road album, and three of them recreated the album cover.

Stunning still life

Frenchfx recently took a still life master class and captured this painterly image on World Photography Day using a Canon R6 Mark II.

Sensual harvest

Farmers' markets are full of amazing fresh produce, including this interesting specimen above, but as User7201588310 explains, big ugly tomatoes don't have to be ugly; if one looks carefully, they can be quite sensual, as evidenced by this image inspired by the works of Group f/64, captured on a Sony a7 IV.

Complimentary

DPReview Editor Abby Ferguson belongs to a local photography group that celebrated World Photography Day with an evening photo walk. The orange glow of these lights, contrasted with the blue hour light and water, caught her attention and became the perfect target for her Sony a7 III.

A beautiful day!

Par Mims Books captured this impromptu selfie using a Samsung AG13 smartphone to celebrate World Photography Day. We can't argue with the title.

Crag Hotel

Despite rumors of being haunted, DixonLau felt picturesque vibes upon entering this old abandoned building called Crag Hotel in Penang Hill in Malaysia, and captured this perfect morning sunlight filtering through this room using a Sony a7R III.

Fifteen-love

DPReview Managing Editor Dale Baskin was inspired by other photographers who shared photos captured with older digital cameras, so he grabbed his trusty Panasonic LX7 for an evening walk around his neighborhood. Determined to get a picture on World Photography Day, and with light fading quickly, he framed the shapes and colors on this tennis court to create an abstract shot.

Green lizard

DrummerJim caught this small lizard peaking its head out from the undergrowth and captured it with an Olympus OM-1.

Alps view

This World Photography Day image of the Alps was captured by Serieux on a flight from Paris to Milan using an iPhone 15.

Owl in flight

CheeYong took this photo during an evening walk using a Sony a1 to capture this great horned owl leaving a barn.

Simple street

Thirdmort didn't even know about our World Photography Day challenge when taking this photo, where clear lines in the sidewalk and street to draw the eye. We love the colors and the evenly spaced trees, which create a sense of rhythm and order. Captured with a Fujifilm X100V using a Kodak Portra 160 film recipe.

Aerial arts

World Photography Day came at just the right time for hschnee, the official volunteer photographer for Upside Aerial Arts & Fitness in Burlington, NC. Unsatisfied with photos captured using basic lights in the studio, the photographer brought in a recently acquired pair of monolights and softboxes to try out. If this photo is any indication, those lights passed the test with flying colors.

Right side of the tracks

DPReview Editor Mitchell Clark headed for the Spokane River in Spokane, Washington, searching for inspiration but found nothing special. Thinking he had run out of time, he packed up his camera, climbed back up the embankment and got on his bike just in time to notice a train about to cross this bridge. He pulled the OM System OM-5 II back out of his bag just in time to catch the train cross.

It's a dog's world

Having the time of its life while hunting in beach grass, a dog named Blue became the central character of this photo by sbruni, creating an image of subtle light and story.

This Film Friday, we're taking a look at film in the cinema world. The Tested Team YouTube channel has produced two videos touring the American Society of Cinematographers museum. Emmy Award-winning cinematographer, director and producer Steve Gainer is the curator of the museum, and takes the host of the show through the museum, discussing some of the cameras that are on display.

Gainer has an incredible wealth of information about the cameras, sharing in-depth information on how the cameras work, how and when they were used and more. He starts the first video, above, with a 1890 Lumière camera, which was essentially an all-in-one camera system that Gainer says still works today.

The video also tells stories of the problems with the original wood cinema cameras and how bugs loved the glue used to hold them together. Gainer says that cinematographers would wake up a day after arriving at a shoot in the jungle to discover their camera in pieces because the bugs ate all the glue. The Bell Howell 2709 camera was a big step forward since it was a metal body. The model that the museum has on display was purchased in 1918 by Harry Warner and was used to shoot Warner Bros.' first motion picture.

If the above video isn't enough fun information for you, there's also a second episode looking at even more cameras, this time large-format ones.

The museum has the large-format Todd-AO cinema camera that was used to shoot The Sound of Music and Cleopatra. Gainer walks through how it works and why large-format film came about. He explains that it was an answer to people staying home to watch TV since they were only seeing small, square pictures. The wide format provided something new that viewers couldn't get at home.

Both episodes are absolutely fascinating, with an incredible amount of information and history shared. It's clear how knowledgeable and passionate Gainer is, and the museum has quite the collection of items from cinema history. If you're interested in old cameras, history or cinema (and especially all three), they are well worth a watch.

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

Nikon is updating one of the Z-mount's core lenses, just six-and-a-half years after the release of the current version. The Nikon Nikkor Z 24-70mm F2.8 S II will replace the company's flagship standard zoom and promises improved image quality and autofocus speed over the already impressive Mark I.

The 24-70mm F2.8 S II features an internal zoom design, allowing it to be better weather-sealed than the current version. The unchanging length of the new lens also allows its use on gimbals or video rigs without the need for rebalancing or reconfiguration. The new lens is 150mm long: 24mm longer than the existing lens it its retracted state, but 14mm shorter when compared at their fully zoomed-in positions.

The lens is 136g lighter than its predecessor

It uses a completely new optical design made up of 14 elements in 10 groups and including 3 aspherical elements and 2 ED elements. This compares with 17 elements in 15 groups, with 2 aspherics and 4 ED elements in the older lens. This simplification helps make the lens lighter, overall: at 675g, it's 130g (16%) lighter than its predecessor. The new lens features 11 aperture blades, rather than 9, for more consistently circular bokeh.

Buy now:

Buy at AdoramaBuy at B&H Photo

Minimum focus distance drops to 0.24m at wide-angle and 0.33m at full zoom, an improvement on the 0.38m of its predecessor. This sees the maximum reproduction ratio increase from 0.22x to 0.32x, achieved at the long end of the lens.

The Mark II accepts the same 77mm filter thread as the Z 70-200mm F2.8, rather than the larger 82mm filters used by the existing 24-70mm.

Nikon also says the "Silky Swift" voice-coil autofocus motor is around 5x faster than the previous version, with scan time reduced by 40% and tracking while zooming improving by 60%.

Image: Nikon

Other changes include a duplicate lens function button, so that there's one within reach for portrait, as well as landscape shooting, and switch to de-click the lens control ring. The Mark II loses the display screen on the top of the lens, so there's no longer any depth of field or distance indication on the lens.

The Nikkor Z 24-70mm F2.8 S II will be available starting in mid-September, and will retail for a recommended price of $2799, excluding tax, $300 more than the original lens launched for in 2019. Taking inflation into account, the Mark 1's launch price is equivalent to over $2900 in today's money.

Press release:

NIKON ANNOUNCES THE NIKKOR Z 24-70MM F/2.8 S II LENS DELIVERING THE FASTEST AF AND LIGHTEST WEIGHT IN ITS CLASS

Engineered for Reliability and Agility, This Next-Generation Zoom Lens Sets a New Benchmark for Performance in the NIKKOR Z Lineup

MELVILLE, NY (August 22, 2025) – Nikon Inc. has announced the release of the new NIKKOR Z 24-70mm f/2.8 S II, a standard zoom lens that is compatible with full-frame/FX format mirrorless cameras. This second generation of the acclaimed NIKKOR Z 24-70mm f/2.8 S brings enhancements to image quality, speed and handling, further improving upon a lens that was already a popular choice for all types of imaging professionals.

As part of the S-Line*1 of NIKKOR Z lenses, the NIKKOR Z 24-70mm f/2.8 S II is a standard zoom lens with a constant maximum aperture of f/2.8, covering the versatile focal length range from wide-angle 24mm to medium-telephoto 70mm for full-frame/FX format cameras. It features a first in its class*2 internal zoom mechanism, and it’s also the lightest in its class*2, weighing approx. 675g (1.49 lbs.). Additionally, the internal zoom mechanism increases zooming stability as well as dust- and drip-resistant performance.

It is the first zoom lens to adopt Silky Swift VCM (SSVCM)*3 motors for the AF drive, achieving the fastest*4 autofocusing in Nikon history with extremely precise and quiet AF control. Autofocus is approximately 5x faster than that of the NIKKOR Z 24-70mm f/2.8 S, and AF tracking performance during zooming has been enhanced by approximately 60%, making it even easier to capture decisive moments with fast-moving subjects such as athletes in action.

As a new-generation f/2.8 standard zoom lens that combines outstanding image quality and superior agility, the NIKKOR Z 24-70mm f/2.8 S II is the lens for those seeking high levels of performance in both still image and video recording, even when shooting in a variety of conditions or harsh environments.

Primary features

• The multi-focusing system*4, incorporating Silky Swift VCM (SSVCM) technology for the first time in a zoom lens, achieves the fastest*5 autofocusing in Nikon history, delivering extremely precise and quiet AF for both still image and video recording.
• A compact design with the lightest weight (approx. 675g) in its class*6 and a 77mm filter attachment size makes it easy to carry and reduces fatigue when shooting handheld.
• The first lens in its category*6 to feature an internal zoom mechanism that prevents dust and debris from entering the lens during zooming, providing superior dust- and drip-resistant performance*7. Even when zooming, it maintains its balance for flexible use of a variety of video accessories.
• A newly developed 11-blade diaphragm enables very circular bokeh.
• Optimized for video recording with a design that suppresses focus breathing.
• Equipped with a control ring clicking switch, allowing the tactile “click” of control ring operation to be turned on or off as needed.
• The lens supports a minimum focus distance of 0.24 m at the wide-angle end and 0.33 m at the telephoto end, with a maximum reproduction ratio of 0.21× at the wide-angle end and 0.32× at the telephoto end, allowing users to get closer to their subjects for dynamic expression.
• Includes Meso Amorphous Coat, which offers the best anti-reflection performance in Nikon history, and ARNEO Coat for effective suppression of ghosting and flare, resulting in clear images.
• The lens hood features a filter adjustment window, enabling users to adjust circular polarizing and variable ND filters without removing the lens hood.

Price and Availability

The new Nikon NIKKOR Z 24-70mm f/2.8 S II lens will be available in mid-September for a suggested retail price of $2,799.95*. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.

1 The S-Line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.

2 Among interchangeable zoom lenses for full-frame/FX format mirrorless cameras with a focal-length range from 24mm at the wide-angle end to 70mm at the telephoto end, and a constant maximum aperture of f/2.8, available as of August 22, 2025. Statement based on Nikon research.

3 An AF drive actuator that combines a Voice Coil Motor (VCM) and a guide mechanism developed by Nikon. The VCM is a motor in which a coil reciprocates in a strong magnetic field created by a powerful magnet.

4 Multiple AF drive units work together to control the position of multiple focus lens groups with great precision for superior image formation performance regardless of shooting distance.

5 When used with a camera equipped with the EXPEED 7 image-processing engine. Measured in accordance with Nikon standards.

6 Among interchangeable zoom lenses for full-frame/FX format mirrorless cameras with a focal length range from 24mm at the wide-angle end to 70mm at the telephoto end, and a constant maximum aperture of f/2.8, available as of August 22, 2025. Statement based on Nikon research.

7 Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Buy now:

Buy at AdoramaBuy at B&H Photo Nikon Nikkor Z 24-70mm F2.8 S II specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length24–70 mmImage stabilizationNoLens mountNikon ZApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades11OpticsElements14Groups10Special elements / coatings3 aspherics, 2 EDFocusMinimum focus0.24 m (9.45″)Maximum magnification0.32×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight675 g (1.49 lb)Diameter90 mm (3.54″)Length150 mm (5.91″)Zoom methodRotary (internal)Power zoomNoZoom lockNoFilter thread77 mmHood suppliedYesTripod collarNo

Blurry photos are always disappointing.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/5 sec | ISO 2500
Photo: Mitchell Clark

We've all been there: you're excited about an image you took, only to pull it up on your camera or computer and realize it's blurry. If you're new to photography, though, you may not know the cause of that blur, making it hard to prevent such problems in the future. Your photo may be blurry for multiple reasons, with different solutions for each.

Before diving into the details, it's important to know that there are primarily two types of blur you'll encounter: blur from movement and blur from focus issues. Movement blur appears as streaks, trails or ghosted outlines with a clear sense of directionality. Blur related to focus, on the other hand, is a more even, uniform softness with no directionality.

Slow shutter speeds

One of the most common causes of blurry images is related to shutter speed and movement. Shutter speed (which you can learn more about here) determines how long your camera's shutter is open, allowing light to hit the sensor. Slow shutter speeds mean the shutter is open for a longer period, which can result in blur caused by either movement of the camera or of the subject. Moving the camera with a slower shutter speed will typically result in complete image blur, while motion blur related to subject movement only causes specific portions of an image to be blurry.

Camera movement

If your photo looks streaky all over, like this image, that's because your shutter speed was too slow to hand-hold the camera.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/20 sec | ISO 2500
Photo: Mitchell Clark

If your entire image is blurry, that's likely a result of camera movement while using a slow shutter speed. This type of blur is also called camera shake. Camera shake can be subtle with small streaks that are only noticeable when zoomed in, or dramatic, with everything in the image streaking together. The key is that it is blurry across the entire image, not select portions of it. That's because, as steady as you may try to hold your camera, your body will always have some movement, which will transfer to your camera, producing blur.

There isn't a hard and fast rule of what shutter speed is necessary to avoid blur, though the long-standing rule of thumb is to use a shutter speed that is at least the same as your focal length (or the full-frame equivalent focal length for crop sensor cameras). So, for example, if you're using a 50mm lens, you should use a shutter speed of at least 1/50 sec to keep your image sharp.

"The shutter speed that is necessary depends on your camera, lens and how steady your hands are."

However, the shutter speed that is actually necessary depends on your camera, lens and how steady your hands are. Some modern cameras and lenses feature built-in stabilization that can help prevent camera shake at slightly slower shutter speeds. Turning on your stabilization settings while using slow shutter speeds can help you prevent camera shake.

However, stabilization can only do so much, and many cameras don't offer it. Blur may simply be unavoidable if you're trying to hand-hold your camera at a shutter speed that is too slow. In those situations, an easy way to prevent blur is to use a tripod (or another solid surface). The key is to use a sturdy tripod, as shutter shock (movement from the shutter), or mirror slap in the case of a DSLR, can cause vibrations that result in camera shake. Fimsy tripods can even introduce movement on their own. Using the self-timer on your camera is also useful so that the action of pressing the shutter button doesn't result in blur.

Subject movement

If only your subject is blurry, your shutter speed is too slow for their movement. In this case, the cat rolling around was too fast for the shutter speed, so he's completely blurred.

OM System OM-5 II | OM System 20mm F1.4 Pro | F5.6 | 1/2.5 sec | ISO 500
Photo: Mitchell Clark

Sometimes, only some elements in the frame, such as people, animals or cars, will be blurry, while the rest of the image is sharp. If that's the case, the blur is caused by a shutter speed that's too slow for the subject's movement. Slow shutter speeds, even if you're using a tripod, will blur any movement in the image, so moving subjects will end up blurry. Additionally, photographing fast-moving subjects will require especially fast shutter speeds to ensure they are clear and sharp.

There is no silver bullet shutter speed that will freeze (or purposefully blur) movement. Multiple factors are involved, including the speed and direction of the movement and how close it is to the camera. For example, a Formula 1 car will require a much different shutter speed than a child playing. If you notice that your subject is blurry and you are in a situation where you can retake the image, use a faster shutter speed to freeze that movement.

Focus issues

Another very common type of blur isn't caused by shutter speed but by focus issues. This type of image issue is often referred to as 'out of focus' instead of blur, as it helps to differentiate between the two problems. Unlike motion blur, out-of-focus images are soft without blur in a defined direction. However, like shutter speed, multiple problems can arise to cause out-of-focus images that either impact the entire image or only select areas.

Completely missed focus

This image is completely out of focus, which is different than blur from motion.

Canon EOS Rebel T3 | Canon EF-S 18-55mm F3.5-5.6 IS II | F5.6 | 1/160 sec | ISO 160
Photo: Mitchell Clark

If your entire photo is soft-looking but not streaky (caused by motion blur), it's out of focus. This can happen because your camera (or lens) was set to manual focus and you didn't realize it, or because your camera was substantially off in finding a focus point.

To remedy this, double-check your autofocus settings. Ensure that autofocus is on (if you want it to be), and that you know which autofocus setting is appropriate for your situation. An entirely out-of-focus image could also be caused by being too close to your subject. Every lens has a minimum focus distance, or a limit to how close it can focus. If your lens won't autofocus correctly, try backing up to see if that helps.

Missed focus point or too shallow a depth of field

I accidentally focused on the brick wall in this image, leaving the cityscape, my desired subject, out of focus.

Sigma BF | Sigma 35mm F2 DG DN Contemporary | F5.6 | 1/1000 sec | ISO 125
Photo: Abby Ferguson

If only a portion of your image is out of focus, such as the foreground or background, that's a result of either missing the focus point or using too shallow a depth of field. For example, if you're taking a portrait, and the person is out of focus but the background is sharp, that's caused by the focus point not being on top of your subject. To remedy that, you simply need to change where your camera is focusing by manually focusing or changing the placement of the focus point.

Sometimes, you may have the focus point in the right spot, but some of your subject is out of focus, and you may not want that. When that's the case, it's because your depth of field is too shallow. Depth of field – the amount that's in focus in a scene – is controlled by multiple factors, one of which is aperture (which you can learn more about here). If you want a deeper depth of field so that more of your subject is in focus, use a smaller aperture (larger aperture number). Just be sure to adjust your shutter speed to maintain a correct exposure.

Lens issues

A fogged-up lens will make your images very blurry.

Photo: Abby Ferguson

Finally, sometimes blurry photos are caused by lens issues. Some lenses don't provide sharpness all the way to the edge of the frame, so your images may have blurry-looking corners.

Another potential issue is that you may have a smudge, water spots or condensation on your lens, creating blurry areas in your images. It's smart to keep a microfiber lens cloth or other lens cleaning items on hand to keep your lens clean for sharp photos.

Parting thoughts

As you now know, blurry photos can result from many issues. Unfortunately, blurry or out-of-focus images can't usually be fully corrected after the fact, so it's important to pay attention and address what's causing the blur while out photographing. Alternatively, some of the above items can be used intentionally to create creative, meaningful images. Blur doesn't always have to be a bad thing.

The Insta360 Go Ultra, like the rest of the Go series of cameras, features a standalone camera that slots into a base, called the Action Pod.
Image: Insta360

Insta360 has announced the Go Ultra, its latest miniature action camera. The device keeps the Go lineup's modular design, consisting of a standalone, display-free camera that can be used with or without the Action Pod. It's aimed at being an even more flexible and approachable action camera for casual users. The camera gains quite a list of upgrades, including a larger sensor, increased still photo resolution, slightly wider lens, more flexible storage and more.

The Action Pod features a flip-up display, making the device more like a traditional action camera.
Image: Insta360

The most noticeable change is the updated shape of the standalone camera. It ditches the pill-shaped design of its predecessor, the Go 3S, in favor of a square. Measuring 46 x 45.7 x 18.3mm (1.8 x 1.8 x 0.7"), the standalone camera is still noticeably smaller than a GoPro Hero 13 and GoPro's mini offering, the Hero. In the Action Pod, it's nearly identical in size to the GoPro Hero 13 camera.

Insta360 Go Ultra Insta360 Go 3S GoPro Hero13 GoPro Hero Sensor Type 1/1.28 (9.6 x 7.2mm) Type 1/2.3 (6.2 x 4.6mm) Type 1/2.3 (6.2 x 4.6mm) Type 1/2.8 (5.6 x 3.2mm) Dimensions

Standalone camera: 46 x 45.7 x 18.3mm (1.8 x 1.8 x 0.7")

With Action Pod: 70.4x48.8x33.3mm (2.8x1.9x1.3")

Standalone camera: 5.6x54.4x24.8 mm (1.0x2.1x1.0")

With Action Pod: 63.5x47.6x29.5mm (2.5x1.9x1.2")

71.8 x 50.8 x 33.6mm ( 2.83 x 2.00 x 1.32") 56.6 x 47.7 x 29.4mm (2.23 x 1.88 x 1.16") Weight

Standalone camera: 53g

With Action Pod: 108.5g

Standalone camera: 39.1g

With Action Pod: 96.3g

159g (5.6oz) 86g (3.03oz)

Along with the slightly larger device size, Insta360 also increased the size of the sensor in the Go Ultra. It uses a Type 1/1.28 (9.6 x 7.2mm) sensor, which is larger than the GoPro Hero13, despite being in a much more compact body. An integrated AI chip supports the company's PureVideo feature, which uses AI algorithms to reduce noise and improve brightness in low-light conditions. Combined with the larger sensor, it should provide better image and video quality even in lower light. The camera also features a new ambient light sensor to reduce flickering and calibrate colors in real-time.

The standalone camera can be worn or mounted in a wide variety of ways.
Image: Insta360

The Go Ultra can record up to 4K60p video or 1080p at 240fps for slow-motion captures. That's slightly higher than the GO 3S, which topped out at 4K30p and 1080p at 200fps. Still photo resolution sees a more substantial improvement, with the Go Ultra capable of up to 50MP photos. On paper, that's a significant increase from the 12MP max resolution in the Go 3S, but it remains to be seen how much it will matter in the real world.

Another significant change comes in the form of battery life. The new device's battery life is nearly double that of the previous model. Insta360 promises a run time of 70 minutes from the standalone camera and up to 200 minutes with the Action Pod. It also supports fast charging for up to 80% battery in only 12 minutes. Additionally, Insta360 opted to ditch the Go 3S's integrated storage in favor of a microSD slot compatible with cards up to 2TB.

The back of the standalone camera is magnetic.
Image: Insta360

The standalone camera portion of the Go Ultra features a built-in magnetic base, allowing you to attach the camera to any metallic surface. It uses a Bluetooth connection to broadcast footage in real time to the Action Pod, so you can see what is being recorded remotely. It's also compatible with a vast number of accessories, as is the Action Pod for when you want longer battery life.

Image: Insta360

As an action camera, it's made to be durable. The standalone camera offers an IPX8 rating and is waterproof down to 10m (33') without a case. The Action Pod, however, is now waterproof, so you'll need the dive case if you want to use the full setup underwater.

The Insta360 Go Ultra is available for purchase today. The standard bundle, which costs $450, includes the Go Ultra, Quick Release Safety Cord, Magnetic Easy Clip, Magnet Pendant, USB-C cable and a Lens Guard.

Press release:

Insta360 Unveils GO Ultra: The Pocket Camera for Capturing Life as You Live it

Insta360 is proud to reveal GO Ultra, the latest evolution in the world of compact cameras. Still tiny, still hands-free, now with serious power for superior image quality.

"GO Ultra takes the camera advancements made with the Ace and X series cameras, and puts them into the type of compact, pocket camera our GO Series creators enjoy," said Insta360 Co-Founder and VP of Marketing, Max Richter, "opening up new creative opportunities without sacrificing portability."

The 1/1.28" sensor, which is 221% larger than its predecessor, and new 5nm AI chip deliver imaging previously impossible in the GO series. Ultra-smooth, ultra-crisp 4K60fps video is the new cinematic standard for pocket cameras, and creative limits are pushed even further by PureVideo, which uses cutting-edge AI algorithms to reduce visual noise and enhance brightness in low light.

At just 53g and the size of a smartwatch, the built-in magnetic base lets you mount the GO Ultra Standalone Camera anywhere, capturing angles other cameras can only dream of. With an upgraded Magnet Pendant and a vast array of new accessories, from the peel-and-use Sticky Tabs to the wholly original Toddler Titan Hat Clip, a new world of immersive shooting awaits.

Just as intuitive is the upgraded Insta360 app, with powerful AI tools to instantly turn your footage into shareable content. Transitions, effects, music, and more can be added with just a few taps. Cyclists can add their data—GPS, heart rate, speed—from Strava or a third-party device that syncs in real-time to their footage. The new AI Family Moments feature collates all your loved ones' magic moments into a virtual album to cherish forever.

GO Ultra’s blend of heavyweight power, lightweight portability, and ease of use makes it essential for vloggers with active lifestyles, families sharing milestones, or travelers searching for new horizons—people who live in the moment.

Insta360 GO Ultra launches worldwide on August 21, 2025, via store.insta360.com, Amazon, and select retailers, priced at US $449.99.

GO Hands-Free

Capture the moment as you live it with GO Ultra. Attach the Standalone Camera to the Magnet Pendant or Magnetic Easy Clip to record your POV totally hands-free. This is wearable tech that's sleek and simple to use.

The Standalone Camera's built-in magnetic base can be used on any metallic surface and combined with the Pivot Mount, Flexi Strap Mount, and more, opening a whole new range of creative third-person angles.

GO Ultra uses Bluetooth to broadcast in real time from the Standalone Camera to the Action Pod. Give it to your little ones to play with and see the world as they do on the 2.5" flip touchscreen.

GO Wherever You Want

GO Ultra is so compact, it can be put in a pocket, kept in a handbag, and added to hand luggage without tipping the scales. The Standalone Camera weighs just 53g and is as small as an Oreo.

But don't let the size fool you, GO Ultra is designed to be used anywhere. From your baby's birthday bash to getting strapped to the front of a BMX for a gnarly downhill, it can handle anything, even a raw dive down to 33ft (10m) underwater, thanks to its IPX8 waterproofing. Shoot up in the mountains, down in the city, and deep under the waves all in one day.

GO with Unbeatable Clarity

GO Ultra's huge 1/1.28" sensor vastly increases the amount of light captured by the lens, and the new ambient light sensor reduces flickering and calibrates colors in real-time for more authentic footage. The powerful 5nm AI chip reduces visual noise while still improving processing time for smooth 4K60fps shooting.

This doesn't only guarantee cinematic vaycay videos, the addition of Active HDR and PureVideo, modes for enhancing low-light performance, means your shooting doesn't have to stop when the sun sets. From the beachfront to the bonfire, GO Ultra captures it all.

GO All the Way

Your life doesn't stop—why should your camera? GO Ultra banishes battery life and storage woes with the latest in battery tech and customizable storage.

The Standalone Camera has a run time of 70 minutes on a single charge, and a whopping 200 minutes when combined with the Action Pod. When you finally do hit zero, the fast charging system can get GO Ultra back to 80% in only 12 minutes; essential for catching every step of a marathon or all the sights on a leisurely weekend away.

And unlike GO 3S, which has fixed internal storage, GO Ultra uses removable microSD cards. Not only does this instantly give you up to 2TB of storage space, but when the card gets full, you can pop it out and replace it with a new one in seconds. Say farewell to awkward file transfers.

Upload, Edit, and GO

You hit that PR, cut the cake, saw the sunset—now it's time to share it with the world. Using the free Insta360 app (available on iOS and Android), you can upload your clips in seconds and edit however you want with intuitive controls. Need it now? Use Auto Edit to automatically find your highlights and turn them into a masterpiece in moments.

Availability

Insta360 GO Ultra goes on sale August 21, 2025, at the Insta360 Store, Amazon, and select retailers worldwide. The Standard Bundle is priced at US $449.99 and includes GO Ultra (Standalone Camera and Action Pod) in either Midnight Black or Arctic White, a Quick Release Safety Cord, Magnetic Easy Clip, Magnet Pendant, USB-C cable, and a Lens Guard.

The Nikon Z5 II has been a great value since it launched, but can it stay that way?
Image: Nikon

Nikon has announced that it will carry out another "price adjustment" in the US, set to take effect on September 1st. This follows the company previously raising prices across its lineup on June 23rd in response to tariffs.

In a statement to DPReview, Nikon said:

"At Nikon, we remain committed to providing the highest quality imaging products and value to our customers. As we continue to navigate the impact of tariffs, a further price adjustment will take effect September 1, 2025. We are closely monitoring tariff developments and the evolving market conditions and are taking every possible step to minimize the impact on our community. We wish to thank our customers for their understanding. Customers with order inquiries should contact their authorized retailer for support."

The company has not said which of its products will be impacted, and what pricing will look like next month. However, its previous adjustment saw lens and camera body prices go up by an average of around 10%. We'll be sure to keep you updated on the pricing changes once they go into effect.

"We are closely monitoring tariff developments and the evolving market conditions"

Nikon isn't the first company to make this kind of announcement. Earlier this week, Fujifilm announced that it, too, would be raising its US prices at the end of the month; its second time doing so in August. Canon has warned that it may need to do the same at some point, and GoPro told investors it was raising prices on its action cameras to help recoup some of its tariff costs, according to Digital Camera World.

The US's policies around tariffs have essentially been in flux since they were announced, likely making it hard for companies to plan their pricing. Currently, imports from China face a minimum 30% tax, but they were set to balloon to 145% earlier this month before a last-minute executive order moved the deadline to November. And while those tariffs have been on the table for a while, the administration has all but admitted that it's willing to change them in response to other countries' actions, whether or not they're related to trade with the US.

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

The Ricoh GR IV is a photographer's compact built around a 26MP APS-C sensor with a fixed 28mm 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)
• 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 will be available from mid-September 2025 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 current 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
• Initial Impressions
• Specifications
• Press Release

Buy now:

Buy 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. The bump in resolution will be essentially irrelevant, and we'll have to test it more to see if it provides any noticeable improvements in areas like noise performance, dynamic range or readout speed. 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 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 is 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 accessible from the menu, with 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 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 live view display, making it all too easy to accidentally toggle 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.

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, so it's possible the GR IV will provide greater gains than its rating suggests. We'll be sure to check back in once we've spent more time with a production model.

Initial Impressions

By Mitchell Clark

There's a reason the GR series is so beloved by its devotees: they fill a niche that very few other cameras even aim for. That's more true than ever in 2025; point and shoots may be making a comeback, but none are as focused on pocketability and giving you direct control over the photographic process.

The GR IV carries on that legacy as the smallest APS-C camera on the market today, with controls optimized for one-handed use. It lets you put the settings you find most important right at your fingertips, making it easier to get shots of moments you may have otherwise missed with a less responsive camera, or one that was too big to bother carrying around.

While its spec sheet and design look very similar to those of its predecessor, those don't tell the whole story. It's clear that Ricoh put a lot of work into generally making the camera even better at its job, and that it also specifically focused on some of the biggest complaints people had with the GR III.

If you understand the GR IV's controls, you understand the GR IV.

Perhaps the most exciting upgrade is the higher-capacity battery, though we'll have to see if it offers substantially longer life than the III's in our real-world testing. The + / – toggle, brought back from the original GR and GR II, is also a welcome addition, giving you yet another easy-to-reach control point. And while we'll have to see how the new lens performs, it's nice to hear that Ricoh specifically considered reducing dust ingestion when designing it.

Those changes may seem small, but there are a lot of small tweaks and refinements that add up to some big differences. The improved processing power for autofocus, faster start-up time, more usable Program mode, bigger internal storage and better stabilization probably wouldn't be huge news on their own, but together they make the IV feel that bit more modern and responsive when you're actually using it.

The story is familiar from that of the Sony RX1R III

If this all sounds familiar, it may be because it's a very similar story to Sony's recently released RX1R III, a large-sensor compact that also gained much-needed battery and autofocus upgrades. Like that camera, the GR IV has become more expensive (though what hasn't?), and the flash being brought back as an add-on accessory rather than an integrated component won't make that pill any easier to swallow. Unlike the Sony, though, it's still priced within reach of mere mortals.

Ultimately, we'll have to do more testing to see how big a difference the updated autofocus algorithms and new lens make. But it's nice to see Ricoh building on top of the solid foundation provided by the previous GR cameras, and listening to users to make sure it's keeping what worked and tweaking the things that need improvement.

Buy now:

Buy at AdoramaBuy at B&H Photo

We weren't able to use the photos we took with a prototype GR IV for a sample gallery, but stay tuned...

Image: Google

Google has announced its latest lineup of Pixel phones, the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold. The four new devices feature some camera updates, upgraded Qi charging and, as should be expected, plenty of AI-related features.

Pixel 10 series cameras

The Pixel 10 Pro.
Image: Google

The most notable change to the Pixel lineup's cameras is the addition of a telephoto camera on the Pixel 10. The base model Pixel has traditionally only offered two cameras (wide and ultrawide), so this is a bump for that device. It also gives it an edge over the base iPhone, which only features a wide and ultrawide camera, and puts it on par with the Samsung Galaxy.

However, to fit that third camera, Google made some substantial sacrifices. First, the main camera was downgraded. The Pixel 9 used a 50MP 72mm² main camera, but the 10 uses a 48MP 30.7mm² sensor. The main camera on the Pixel 10 is also the same as that used in the budget-focused Pixel 9a.

The ultrawide camera on the Pixel 10 also gets a significant downgrade. The Pixel 9 features a 50MP ultrawide camera with an F1.68 aperture and 24mm² sensor, but the Pixel 10 only offers a 13MP ultrawide camera with an F2.2 aperture and 16.1mm² sensor. The newly added telephoto camera also isn't anything spectacular with its 15.5mm² sensor.

Pixel 10 Pixel 10 Pro/ Pro XL Pixel 10 Pro Fold Wide (main) Sensor

48MP

Type 1/2 (30.7mm²) Quad PD

50MP

Type 1/1.3 (72mm²) Octa PD

48MP

Type 1/2 (30.7mm²) Quad PD

Aperture F1.7 F1.68 F1.7 Field of view 82° 82° 82° Ultrawide Sensor

13MP

Type 1/3.1 (16.1mm²) Quad PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.5MP

Type 1/3.4 (13mm²) Dual PD

Aperture F2.2 F1.7 F2.2 Field of view 120° 123° 127° Telephoto Sensor

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

48MP

Type 1/2.55 (23.5mm²) Quad PD

10.8MP

Type 1/3.2 (15.5mm²) Dual PD

Aperture F3.1 F2.8 F3.1 Field of view 23° 22° 23° The camera specs for all four phones. The Pixel 10 Pro and Pixel 10 Pro XL share camera specs.

The other Pixel models all keep the same specs as the previous generation. However, Google says it made improvements to color, focus, detail, noise, zoom, portrait mode and more across all devices, promising better image processing across the board.

Another noteworthy addition is compatibility with the Coalition for Content Provenance and Authenticity (C2PA). Google says it is the first phone with C2PA Content Credentials built in, allowing for secure on-device metadata. It will record if AI is used at the time of image creation or during the editing process, and also specify if non-AI tools were used.

The Google Pixel 10.
Image: Google

On the video front, the Pro models are both capable of 8K 24/30p video or up to 60p at 4K. That isn't native 8K video, though. Instead, it's a result of Google's Video Boost mode, which uses cloud-based AI processing to upscale to 8K and improve lighting, color, dynamic range and stabilization while reducing noise and grain. Google does say, however, that it improved the optical stabilization on the main camera with the Pro models, so you should get smoother video even without AI. The Pixel 10 tops out at 4K 60p video and does not get the benefit of Video Boost.

Additionally, the Pro models offer "Pro Res Zoom" up to 100x (the Pixel 10 maxes out at 20x). Google says it relies on a combination of cropping and generative AI using the phone's Tensor G5 chip to refine details. Google also specified that it's best used on landscapes and landmarks, but special tuning is applied when people are in the frame to avoid any odd results. The Pro models also provide a High-Res and High-Res Portrait Mode for images up to 50MP.

The Google Pixel 10 Pro Fold.
Image: Google

Unsurprisingly, there are many additional AI-related features for the cameras on all four devices. That includes the Camera Coach, which is powered by Gemini models built into the camera. The coach will help guide your framing and composition and suggest changes like getting your friend's attention. There's also a "Get Inspired" option that will suggest completely new shots and guide you through how to create them.

The Auto Best Take feature can automatically find and combine group photos to make sure everyone looks their best in one shot. That builds on the previously released 'Best Take' tool, which required some manual selection of which shots you wanted to combine. Google improved the Add Me feature for adding the photographer to group shots, promising better results with bigger groups. There's also a Guided Frame tool that describes what's on the screen to help blind and low vision individuals take photos more confidently.

Pixel 10 series hardware and build

The Pixel 10 series sees an upgrade to the Tensor G5 processor, which Google says is the "biggest leap in performance yet." It also says that Tensor G5 benefits from a Tensor Processing Unit (TPU) that is up to 60% more powerful for on-device AI-reliant tasks. Additionally, Google claims the CPU is, on average, 34% faster.

Pixel 10 Pixel 10 Pro Pixel 10 Pro XL Pixel 10 Pro Fold Display 6.3" Actua 6.3" Super Actua (LTPO) 6.8" Super Actua (LTPO)

External: 6.4" Actua

Internal: 8" Super Actua Flex display

Brightness Up to 2000 nits (HDR) and
up to 3000 nits (peak
brightness) Up to 2200 nits (HDR) and
up to 3300 nits (peak
brightness) Up to 2200 nits (HDR) and
up to 3300 nits (peak
brightness)

External: Up to 2000 nits (HDR) and up to 3000 nits (peak brightness)

Internal: Up to 1800 nits (HDR) and up to 3000 nits (peak brightness)

Dimensions and weight

152.8 x 72.0 x
8.6mm (6.0 x 2.9 x 0.3")

204g (7.2oz)

152.8 x 72.0 x
8.6mm (6.0 x 2.9 x 0.3")

207g (7.3oz)

162.8 x 76.6 x
8.5mm (6.4 x 3.0 x 0.3")

232g (8.2oz)

Folded: 155.2 x 76.3 x 10.8mm (6.1 x 3.0 x 0.4")

Unfolded: 155.2 x 150.4 x 5.2mm (6.1 x 5.9 x 0.2")

258g (9.1oz)

Memory and storage 12 GB RAM
128 GB / 256 GB 16 GB RAM
128 GB / 256 GB / 512 GB 16 GB RAM
256 GB / 512 GB 16 GB RAM
256 GB / 512 GB Wireless charging Up to 15W, Qi2-certified Up to 15W, Qi2-certified Up to 25W, Qi2.2-certified Up to 15W, Qi2-certified

All of the new devices feature Corning Gorilla Glass Victus 2, with the exception of the interior display on the Pixel 10 Pro Fold, which uses Ultra Thin Glass. They also all offer an IP68 rating for dust and water resistance, including the 10 Pro Fold, which is a first for a foldable phone. The Galaxy Z Fold 7 offers an IP48 rating, but that's the closest to what the Pixel 10 Pro Fold provides. Additionally, all models include seven years of OS, security and feature updates.

All of the Pixel 10 lineup offers IP68 ratings.
Image: Google

Google says each device in the Pixel 10 series offers up to 30-plus hours of battery life. Additionally, in Extreme Battery Saver mode, Google promises up to 84 hours from the Pixel 10 Pro Fold and 100 hours from the other phones in the lineup. They all support fast charging, though the Pro XL gives the most substantial boost on that front with a promised 70% in 30 minutes with support for 45W chargers. All of the new models are compatible with wireless charging and gain support for Qi2 (and Qi2.2 for the Pro XL), allowing for magnetic alignment similar to Apple's MagSafe. That's an upgrade from the previous generation's Qi1 support.

The other notable change is that Google upgraded the speakers in the Pro XL. It says the new speakers are the loudest and most powerful of any Pixel phone.

The Pixel 10 comes in more vibrant colors than the Pro models. From left to right: Indigo, Obsidian, Lemongrass and Frost.
Images: Google

Less substantial, but still exciting, is that there are new color options. The Pixel 10 comes in Frost (pale blue), Indigo (blue), Lemongrass (yellow-green) and Obsidian (dark gray). Those hoping for a vibrant color on their Pro model may be let down. The three Pro models are all available in Porcelain (off-white), Obsidian, Moonstone (bluish-gray) and Jade (pale green).

Availability

The Pixel 10 series phones will be available for pre-order on August 20. The Pixel 10 starts at $799, the Pixel 10 Pro starts at $999 and the Pixel 10 Pro XL starts at $1199.

Image: C2PA

Google announced its Pixel 10 series of phones today, and part of that announcement marked a big step for content authenticity. During the Pixel 10 launch, the tech giant also announced that it is introducing support for the Coalition for Content Provenance and Authenticity (C2PA) Content Credentials on its phones.

Google says photos taken with any Pixel 10 series phone using the Pixel Camera app will have "secure metadata" attached to them that "documents the full journey of that photo from creation to edits." The Content Credentials will be applied to unedited, and "AI modified images" alike.

People can view that metadata in tools that support the C2PA standard, such as Google Photos, to get a cryptographically-signed breakdown of how the image was created and changed after it was taken. The process of verifying images is still in its early days, but it's a big step forward to have a consumer-grade device that attaches Content Credentials to every image it takes, for free.

"It's a big step forward to have a consumer-grade device that attaches Content Credentials to every image it takes, for free."

For those unfamiliar, C2PA is a joint industry initiative founded in 2021 to tackle challenges related to digital misinformation. With the rise of advanced AI-created and edited imagery, it is becoming more difficult to understand the reliability and authenticity of images. C2PA aims to promote a standard that allows publishers, creators and consumers to verify the origin and history (including any edits) of digital content via secure metadata automatically attached to images at various stages.

Thus far, adoption has been trickling out to professional-grade cameras, though only for newsrooms. Some Leica models come with support for Content Credentials unlocked out of the box, but Nikon and Sony have only made their authenticity features available for news agencies. Most recently, Sony announced the PXW-Z300, which it said will be the first video camera to record C2PA content credentials. But again, it is meant for news organizations.

Content Credentials will be available on the Pixel 10, Pixel 10 Pro, Pixel 10 Pro XL and Pixel 10 Pro Fold.
Image: Google

Another sticking point for the broader adoption of C2PA standards is that most of the cameras with content authenticity features built in require a separate upgrade license. Users will have to take extra steps to implement Content Credentials and, even more significantly, they will have to pay for it. For most general consumers, that's not going to happen.

C2PA on a phone is a substantial step for content authenticity, especially as mobile photography adopts an increasing number of AI-powered features, some of which are applied automatically when you take the photo. Phones also come with a litany of accessible, easy-to-use AI editing tools. Google was already adding a metadata flag if you used AI on your photos, but now it will add that information from when the image is created. That makes it easy to show that your photo doesn't use AI, with an auditable path back to when it was taken, which is just as important.

International Photography Awards 2025 Category Winners

The 2025 International Photography Awards (IPA) has announced the winners of its Category Awards. The annual competition is open to professionals and non-professionals across the globe. There are 11 categories, including advertising, analog, architecture, book, editorial, event, fine art and more.

A panel of judges comprised of gallerists, photo editors, directors, art collectors and other photography luminaries selected this year's category winners. Each category winner receives a cash prize, travel support and international exposure through exhibitions, screenings and publication. Two grand prize winners, the International Photographer of the Year (Professional) and Discovery of the Year (Non-Professional), will be announced at the IPA gallery on October 5 at the Benaki Museum in Athens.

Most of the winners below submitted multiple images as part of a series. You can see the full bodies of work and learn more about the contest at the IPA website.

Architecture Photographer of the Year (Professional)

Photographer: Romain Thiery

Title: Requiem pour Pianos

Technical info: 1/6 sec, F9.0, ISO 320; Fujifilm GFX100S with GF 23mm F4 R LM WR lens

See the full series

Details: Romain Thiery (Bergerac,1988), is a photographic artist and amateur pianist. Romain has combined these two arts in his Requiem pour Pianos series, which explores abandoned pianos around the world. For him, the piano is "deeply rooted in the depths of our culture" and never ceases to retain its nobility. Since 2014, he has discovered more than a hundred abandoned pianos, leaving the place as it is. The Requiem pour Pianos series has become the core of his artistic work, symbolizing both decadence and resilience and transforming pianos into silent witnesses to their era.

Book Photographer of the Year (Professional)

Photographer: Autori Multipli

Company/Studio: Percorso Perbellini

Title: Fragili Equilibri

See the full series

Details: Our photography project chronicles the particularities of a country through the everyday experiences of ordinary people, often ignored and seen as “the last ones.” For us, they are authentic and fundamental voices, symbols of resilience and hope. The images reveal faces, smiles and intense expressions, showing their humanity and their crucial role for a more just and inclusive future.

Editorial / Press Photographer of the Year (Professional)

Photographer: Abdelrahman Alkahlout

Title: Echoes of Genocide: Gaza’s Civilian Suffering

Technical info: 1/80 sec, F2.8, ISO 2500; Canon EOS 5D Mark IV with EF 16-35mm F2.8L III USM lens

See the full series

Details: Since October 2023, Gaza has become a bloody scene of genocide: brutal airstrikes tearing apart peaceful neighborhoods; children’s bodies pulled from rubble into overcrowded hospitals overwhelmed by agony. Heartbreaking scenes of mothers losing their children instantly, families displaced by relentless bombings into hunger and fragile tents. Mosques reduced to rubble, yet worshippers uphold their faith amid destruction. Homes emptied of life, childhoods stolen—children deprived of limbs but not hope, their eyes defiantly resilient, challenging the world.

Event Photographer of the Year (Professional)

Photographer: Savadmon Avalachamveettil

Title: MahaKumbh - World's Largest Gathering

Technical info: 1/200 sec, F2.8, ISO 100

See the full series

Details: A once-in-144 years phenomenon. Ash-smeared Hindu holy men (Naga Sadhus) charged into India's most sacred river Ganges at dawn on the first most significant bathing day of the Kumbh Mela festival. An extraordinary display of human unity, spiritual energy, and collective consciousness.

Fine Art Photographer of the Year (Professional)

Photographer: Julia Fullerton-Batten

Title: Frida - A Singular Vision of Beauty & Pain

Technical info: 1/160 sec, F13, ISO 200; Hasselblad H6D-100c with HCD 35-90mm F4 lens

See the full series

Details: I came to Mexico City in 2022 and fell in love with everything Mexican. The people, colours, and the rhythm of life; and so much of what I fell in love with came from Frida Kahlo, her influence is everywhere, she seems to pulse through the veins of Mexico. Frida Kahlo's art transcends the confines of the canvas and becomes a testament to female unity & empowerment. By embracing her own vulnerabilities and sharing her painful human experience with unabashed honesty, she shattered the boundaries of what art could be and became an icon of hope and inspiration for generations of women artists.

Nature Photographer of the Year (Professional)

Photographer: Sho Otani

Title: The Beautiful of Floating Babies

Technical info: 1/160 sec, F22, ISO 64; NIkon Z9 with Nikkor Z MC 50mm F2.8 lens

See the full series

Details: This portfolio consists of beautiful sea babies about 5mm~10cm. Many of the underwater creatures have glass-like bodies, bright colors, and mysterious shapes that are only found when they are babies. Because they float in the ocean, they can be photographed from a variety of angles. Floating in the background of the sea at night, they are as beautiful as stardust floating in space. In the cover photo, the reflection of the subject on the surface of the water makes it look as if there are two of these beautiful deep-sea fish. I hope many people will see this beautiful underwater story.

People Photographer of the Year (Professional)

Photographer: Natasha Pszenicki

Title: Family In Vitro

Technical info: 1/200 sec, F13, ISO 400; Nikon D850 with AF-S Micro Nikkor 60mm F2.8G ED lens

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Details: Historical boundaries have often dictated belonging. Jade & Grace’s story offers a quiet subversion, presenting family as a boundless, evolving art form. As a queer interracial married couple, they reclaim spaces shaped by exclusion and assert their right to be seen and celebrated as women with equal rights to parenthood. Each portrait in this series not only reimagines the traditional family tableau but also evokes a sense of timelessness. Through this lens, Jade & Grace illuminate the transformative power of love, inviting viewers to reflect on their own definitions of family & embrace a broader vision.

Special Photographer of the Year (Professional)

Photographer: Pedro Luis Ajuriaguerra Saiz

Title: Damselfies from Another Planet

Technical info: Sony a7R V

See the full series

Details: There are worlds we don't see, not because they're far away, but because they're too small. Damselflies From Another Planet is an invitation to immerse ourselves in that hidden universe, where insects—silent inhabitants of our environment—reveal themselves as creatures of a beauty as disturbing as it is fascinating. Through extreme macro photography, this series transforms the everyday into the extraordinary. Each faceted eye, each antenna, each tiny hair is exalted until it becomes a work of art in itself. The objective isn't scientific, it's aesthetic. It's not about classifying.

Sports Photographer of the Year (Professional)

Photographer: Todd Antony

Title: Buzkashi

Technical info: 1/1250 sec, F8.0, ISO 100; Phase One IQ3 100MP with Schneider Kreuznach 55mm LS F2.8 lens

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Details: Buzkashi, meaning “goat pulling” in Persian, is the wild sport of Tajikistan and its neighboring ‘Stans.’ Think polo - but with a headless, eviscerated goat instead of a ball, hundreds of riders, and no formal teams. Rooted in the nomadic cultures of Central Asia and played for hundreds of years, riders battle for control of the goat while dodging rivals (and the occasional whip or elbow) in scenes reminiscent of a Napoleonic battle painting. The rule book is a mere couple of sentences, with the match often overflowing into the fleeing crowd. Games can last for hours.

Advertising Photographer of the Year (Professional)

Photographer: Jonathan Knowles

Title: Colour Has A New Chapter

Technical info: 3 sec, ISO 64; Hasselblad H6D-100c

See the full series

Details: We were commissioned to shoot a series of images for the covers of a curated collection of classic novels produced by paint company Dulux Heritage. Each was painted using the Heritage hue that it evokes to deliver the campaign line: Let the feelings of your favourite books become the colours of your favourite rooms. The images are intended as transient paint patterns that may emerge during the decorating process, each characterising the book on which it features.

Analog / Film Photographer of the Year (Professional)

Photographer: Piotr Zbierski

Title: Solid Maze of All That's Left Untold

Technical info: Mixed: Black and white negative and polaroids

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Details: Based on an intuitive, surreal narration the photographic series of Piotr Zbierski are constantly asking questions on relationships between nature and culture as well as between memory and narration. What happens between experience and the act of telling a story about it? Where does memory end and diary begins? His photography also connects the material reality with the wider spiritual understanding of the world. The works, very poetic and full of pure emotions,the depths of the human soul and the mysteries of life and death. Time feels like a place a house in constant renovation and expension.

Advertising Photographer of the Year (Non-Professional)

Photographer: Natalie Vorontsoff

Title: Porcelain Petals

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Details: "Porcelain Petals" explores the resilience of the human spirit through the art of mending. Inspired by the Chinese and Japanese technique of repairing broken porcelain with gold, this fine art photography series captures the beauty in imperfection, symbolizing strength, healing, and grace. Each image weaves delicate fragility with luminous resilience, transforming past wounds into gilded scars of wisdom. This project is a visual meditation on pain, renewal, and the quiet power of embracing one’s history with compassion.

Analog / Film Photographer of the Year (Non-Professional)

Photographer: Yehor Lemzyakoff

Title: Misplaced Childhood

Technical info: Large format photography; Sinar P2 (8X10" format); Kodak TXP 320, Ilford HP5, FP4

See the full series

Details: "Misplaced Childhood" explores the theme of early maturity among children growing up in rural Poland. This documentary series captures the moments where innocence intertwines with responsibility, freedom with constraints, and childhood with the inevitability of growing up too soon. Through a series of black-and-white portraits, the project reflects on the lived realities of children who, while still engaged in play, are already confronting the structures of adulthood—be it through the responsibilities imposed by their environment, economic circumstances, or cultural expectations.

Architecture Photographer of the Year (Non-Professional)

Photographer: Mohammad Awadh

Title: Icon of Architectural

Technical info: 1/200 sec, F10, ISO 100; Sony a1 with FE 12-24mm F2.8 GM lens

See the full series

Details: Heydar Alive Center in Baku in Azerbaijan one of the unique and beautiful building in the world.

Book Photographer of the Year (Non-Professional)

Photographer: Markus Naarttijarvi

Title: A Surrender

See the full series

Details: The haunting stillness of Swedish winter serves as the inspiration and backdrop for Markus Naarttijärvi’s debut monograph A Surrender. Shot over 1,000 consecutive days, Naarttijärvi navigates spaces stuck in a liminal twilight — somewhere between death and rebirth, where human industry dissolves into nature’s embrace. Each photograph is a step in a journey of appreciation between growth and decay, society and wilderness, resistance and surrender. With patience and persistence, Naarttijärvi transforms collapse and new growth into a meditation on impermanence.

Editorial / Press Photographer of the Year (Non-Professional)

Photographer: Sebastian Piorek

Title: The overflowing earth

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Details: I have documented Poland’s expanding landfills, capturing images that reveal waste piling up at an alarming rate. These views expose the unsettling reality of a world consumed by trash. What once seemed like isolated dumps now spread endlessly, forming landscapes where refuse dominates. The abstract beauty of patterns contrasts with the grim truth they hold. As the project progresses, the images become increasingly claustrophobic, mirroring a future where nothing remains but waste. This series is a call to rethink consumption and sustainability before our world is buried under its own excess.

Event Photographer of the Year (Non-Professional)

Photographer: Yu Ling Ho

Title: South Island Group Wedding

Technical info: 1/400 sec, F8 , ISO 200; Nikon D5 with 70-200mm F2.8 lens

See the full series

Details: This photo series documents the vibrant and deeply meaningful aboriginal collective wedding held annually in Pingtung. From the formal engagement and betrothal gift ceremonies to the final wedding day, every step is rich with ancestral customs passed down through generations. The couples are dressed in stunning traditional attire, each design reflecting tribal identity, family heritage, and cultural pride. Elders bless the unions, families gather in celebration, and the air is filled with music, dance, and heartfelt joy.

Fine Art Photographer of the Year (Non-Professional)

Photographer: Marie Sueur

Title: Murmures de l'âme

Technical info: 1/15 sec, F11, ISO 800; Canon EOS 5D Mark II with EF 50mm F1.4 USM lens

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Details: In a world that monitors, analyzes, and controls everything, I am drawn to the shadows, to those pockets of mystery that even the most advanced technologies have yet to colonize. Among these untamed territories lies the unconscious: a vast continent of ambiguity and vertigo, whispering its truths through the language of symbols and dreams. I set out to explore this mental space where reason gives way to instinct. A realm where words falter and images take over. An invitation, not to understand, but to feel. A descent into what we are, in the most secret part of ourselves.

Nature Photographer of the Year (Non-Professional)

Photographer: Ilene Meyers

Title: Iowa Storm Cell

Technical info: 1/15 sec, F10, ISO 80; OM Digital Solutions OM-1 with Olympus M.7-14mm F2.8 lens

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Details: This was a wild and crazy day searching for just such a storm cell. Quite the adventure!

People Photographer of the Year (Non-Professional)

Photographer: Ilona Schong

Title: Inside Romania

Technical info: 1/160 sec, F2.8 ISO 800; Nikon Z8 with Nikkor Z 24-70mm F2.8 lens

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Details: This series contains images of life in the still traditional, authentic Romanian homes where I was so warmly welcomed by each of the residents during my travels through Romania. The encounter behind each photograph is still vivid in my mind, and I often left moved and overwhelmed with prayers for myself and my family. It was a truly emotional journey for me and a life worth documenting, because it will soon disappear.

Special Photographer of the Year (Non-Professional)

Photographer: Monia Marchionni

Title: Emotive Snapshots

Technical info: 1/1250 sec, F2.0, ISO 32; Samsung Galaxy A51

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Details: Italy, Summer 2023 "Emotive snapshots" is a body of work born suddenly on an early summer day, while I was observing my daughter relating to the sea and the bathers. All summer I captured moments of "magical realism" with my smartphone because I felt particularly inspired, transforming every day into a little fantastic story with soft colors and a retro atmosphere. Poetic visions that show how summer is not just a season but a feeling.

Sports Photographer of the Year (Non-Professional)

Photographer: Kohei Kawashima

Title: Piercing the Rainbow

Technical info: 1/4 sec, F9.0, ISO 200; Canon EOS R1 with RF 100-500mm F4.5-7.1 L IS USM lens

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Details: This image was captured at the first hairpin of Tsukuba Circuit. As the rider accelerated through the corner, his silhouette cut sharply across a swirl of colors, like a comet streaking through a rainbow. I created this photograph in the spirit of "Suisei Nagashi", a technique that expresses not only motion, but the tension, energy, and fleeting beauty found within it. I hope this moment of speed and color speaks to the viewer as strongly as it did to me.