Photo News

When you use DPReview links to buy products, the site may earn a commission. Sony a7R V | Sigma 200mm F2 DG OS Sports | F2 | 1/250 sec | ISO 320
Photo: Mitchell Clark

This week, Sigma announced the 200mm F2 DG OS Sports, a fast telephoto lens that the company says is the first of its kind for full-frame mirrorless cameras. We were able to test it out in a variety of conditions to see how it performs, especially when it comes to portraiture. (Though, sadly, we didn't have the chance to take it to one of the indoor sports games it was made to capture.)

You can see our samples down below, and download the Raws if you want to take a closer look.

Buy now:

$1339 at Amazon.com

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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Image: ngupakarti / iStock / Getty Images Plus via Getty Images

Attention photographers: Tuesday, August 19th, is World Photography Day!

World Photography Day is a global celebration that honors Louis Daguerre's invention of the daguerreotype. After presenting his invention to the French Academy of Sciences in 1839, Daguerre arranged to transfer the rights to the process to the French government in exchange for a lifetime pension for himself and Isidore Niépce, son of Nicéphore Niépce, with whom he had collaborated in earlier years. On August 19, 1839, the government of France presented the invention as a gift "free to the world."

We've decided to celebrate World Photography Day by taking pictures, and we're challenging you to do the same. What's more, we want to see the photos you take so we can share them on our homepage. Think of this as a mini photo challenge.

How to participate

• Take a photo today*
• Post your photo to this forum thread. Tell us something about it (at least 25 words), along with what camera you used.
• Post your photo by 12pm Pacific Time on Thursday, August 21st, to be considered for inclusion in our honorary slideshow.

That's it! We'll pick our favorites and publish them in a slideshow on the DPReview homepage later this week, along with similar photos taken by DPReview's staff.

You can use any camera or technique, but if you manage to shoot a daguerreotype between now and then, we can pretty much guarantee your photo will be selected.

Bring on the photos!

*Or later this week. As long as you take the photo any time after this article is published, we'll accept it.

Post your photo in our World Photography Day forum thread

Image: ngupakarti / iStock / Getty Images Plus via Getty Images

Attention photographers: Tuesday, August 19th, is World Photography Day!

World Photography Day is a global celebration that honors Louis Daguerre's invention of the daguerreotype. After presenting his invention to the French Academy of Sciences in 1839, Daguerre arranged to transfer the rights to the process to the French government in exchange for a lifetime pension for himself and Isidore Niépce, son of Nicéphore Niépce, with whom he had collaborated in earlier years. On August 19, 1839, the government of France presented the invention as a gift "free to the world."

We've decided to celebrate World Photography Day by taking pictures, and we're challenging you to do the same. What's more, we want to see the photos you take so we can share them on our homepage. Think of this as a mini photo challenge.

How to participate

• Take a photo today*
• Post your photo to this forum thread. Tell us something about it (at least 25 words), along with what camera you used.
• Post your photo by 12pm Pacific Time on Thursday, August 21st, to be considered for inclusion in our honorary slideshow.

That's it! We'll pick our favorites and publish them in a slideshow on the DPReview homepage later this week, along with similar photos taken by DPReview's staff.

You can use any camera or technique, but if you manage to shoot a daguerreotype between now and then, we can pretty much guarantee your photo will be selected.

Bring on the photos!

*Or later this week. As long as you take the photo any time after this article is published, we'll accept it.

Post your photo in our World Photography Day forum thread

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

Sigma has announced the 200mm F2 DG OS Sports, a fast telephoto prime aimed at sports and portrait photographers, available for L mount and Sony E mount. The company says it's the first of its kind for full-frame mirrorless cameras, though it harkens back to some classic pieces of glass that are still sought after today.

The lens is made from 19 elements in 14 groups, with two FLD and two SLD elements. It has an 11-blade aperture and a minimum focusing distance of 1.7m (5'6"). It can accept 105mm filters. The lens is dust and splash-resistant, and has a water and oil-repelling coating on the front element.

Autofocus duties are handled by a linear motor, and the lens has optical stabilization that the company says can provide 6.5EV of improvement. There are two optical stabilization modes, one for general use and one for panning shots, and it can also be turned off.

The 200mm F2 DG OS Sports has plenty of buttons and switches

As with many professional-grade lenses, the 200mm F2 DG OS Sports has plenty of buttons and switches for controlling it. There are three AF-L buttons, which should make them easy to reach no matter what orientation you're using the lens in, and two focus limiter settings. It also has two custom modes, which can be configured to control the lens' AF speed, focus limiter settings and OS mode using the optional Sigma USB dock.

The lens' aperture ring can also be locked, and toggled between clicked and declicked modes. The tripod foot is a new design too; it can be mounted directly to Arca-Swiss tripod heads, and has clicks at 90° increments. Sigma says it's also slightly longer than its other tripod feet, making it nicer to use as a carrying handle.

Sigma says the white paint on the lens is meant to minimize how much sunlight it absorbs, making it so the lens doesn't get hot, causing slight thermal expansion that could affect image quality.

This is currently the only full-frame 200mm F2 prime made by a major manufacturer

It's currently the only 200mm F2 prime lens being made by a major manufacturer for full-frame mounts, but we wouldn't be surprised if it becomes relatively popular among its target audience. Canon and Nikon both made 200mm F2 lenses for their respective DSLR mounts, which are still loved by certain types of shooters and fetch high prices on the used market to this day.

The Sigma 200mm F2 DG OS Sports will be available in early September, just in time for basketball season in the US. It will cost $3299.

Buy now:

Buy 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; we do so in good faith, so please don't abuse it.

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Press Release:

Sigma Announces World’s First 200mm F2 Telephoto Prime Lens for Full-Frame Mirrorless Cameras

Ronkonkoma, NY, August 19, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the Sigma 200mm F2 DG OS | Sports lens for full-frame mirrorless cameras, available in early September 2025. It is the world's first 200mm F2 telephoto prime lens designed for full-frame mirrorless.

The Sigma 200mm F2 DG OS | Sports is a large-aperture, telephoto prime lens ideal for shooting portraits and indoor sports. The F2 maximum aperture facilitates faster shutter speeds for capturing fast action, and it creates remarkable bokeh, the artistic effect that beautifully blurs backgrounds and foregrounds, drawing attention to the subject and creating a greater sense of depth. Sigma is renowned for its large-aperture lenses that combine these qualities with exceptional sharpness and high resolution. And as a part of Sigma’s Sports line, this new lens also features rugged build quality and weather resistance that lets users work in challenging environments without worrying about their equipment.

Outstanding edge-to-edge resolution is achieved, even at maximum aperture, by adopting an optical design of 19 elements in 14 groups, including 2 FLD and 2 SLD glass elements. Aberrations are thoroughly corrected, and flare and ghosting are kept to a minimum.

Swift, accurate autofocus is driven by Sigma’s HLA (High-response Linear Actuator) motor, allowing for fast subject acquisition and tracking. Plus, built-in optical stabilization utilizing Sigma’s OS2 algorithm makes it possible to shoot handheld and maintain sharpness, even in fast-moving sports scenes.

Additionally, the ultra-tough build quality of Sigma’s Sports line is evident with a dust and splash-resistant structure, a water and oil-repellant coating on the front element, thermal insulation paint, and a newly-designed tripod socket for mounting to Arca-Swiss type tripods.

The Sigma 200mm F2 DG OS | Sports lens will be available in early September at authorized Sigma dealers in the US for Sony E-mount and L-Mount for a retail price of $3,299 USD.

Sigma 200m F2 DG OS Sports Specifications: Principal specificationsLens typePrime lensMax Format size35mm FFFocal length200 mmImage stabilizationYesLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF2Minimum apertureF22Aperture ringYesNumber of diaphragm blades11Aperture notesRounded diaphragmOpticsElements19Groups14Special elements / coatings2 FLD, 2 SLD, water and oil-repelent coatingFocusMinimum focus1.70 m (66.93″)Maximum magnification0.13×AutofocusYesMotor typeLinear MotorFull time manualYesFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiter1.7-3m, 3m - infinityPhysicalWeight1800 g (3.97 lb)Diameter119 mm (4.69″)Length203 mm (7.99″)SealingYesColourWhitePower zoomNoFilter thread105 mmHood suppliedYesHood product codeLH1139-01Tripod collarYes

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

Sigma has announced the 12mm F1.4 DC, an APS-C prime for Sony E, Fujifilm X and Canon RF mount. Its 18mm equiv. (19mm equiv on Canon) focal length makes it the widest APS-C prime the company offers, and it not only features the company's sharp new branding, but a few other features that are new to its lineup of APS-C primes.

The lens is made up of 14 elements in 12 groups, with two SLD elements and three aspherical elements. It has nine aperture blades and a minimum focusing distance of 0.17m (6.8").

It can accept 62mm filters, and the Sony version weighs 225g (7.9oz). Sigma says that makes it the lightest lens in its Contemporary prime lens lineup, and also says it was able to make it even shorter than its 16mm DC prime, despite its wider focal length.

It's the first dust and moisture resistant prime in Sigma's DC series

It's also the first prime in the series to gain dust and moisture resistance. Perhaps more excitingly, it's the first of Sigma's APS-C primes to have an aperture ring on the E and X mount versions, which is replaced by a multi-function control ring on the RF version.

These improvements make us wonder if there's room for Sigma to make second-generation versions of the rest of the primes in its APS-C lineup. The 16, 23, 30 and 56mm F1.4s are still quite good lenses, but it's hard not to wish for lighter, more compact versions with aperture rings and weather sealing now that we know it's possible.

The Sigma 12mm F1.4 DC will be available in early September at an MSRP of $629.

Buy now:

Buy 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; we do so in good faith, so please don't abuse it.

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Press Release:

Sigma Announces Compact, Ultra-Wide 12mm F1.4 DC | Contemporary Lens for APS-C Format Mirrorless Cameras

Ronkonkoma, NY, August 19, 2025 – Sigma Corporation of America, the US subsidiary of Sigma Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan), is pleased to introduce the 12mm F1.4 DC | Contemporary lens for APS-C format mirrorless cameras, available in early September 2025.

The 12mm F1.4 is the smallest and lightest of Sigma’s five DC Contemporary prime lenses, weighing in at only 7.9 ounces, ideal for travel and everyday use for both photography and video. The ultra-wide angle of view is perfect for landscape and night sky photography, as well as video and vlogging where it’s necessary to record yourself and your surroundings at the same time. The large F1.4 aperture provides great performance in low light, and also helps blur backgrounds to eliminate distracting elements while making the subject pop. As part of Sigma’s Contemporary line, this portable powerhouse combines simple operation with outstanding image quality, plus the latest in technical innovations to keep the lens as compact as possible. All of the photographic notes are hit with this lens.

In fact, this lens features the widest angle of view of any F1.4 lens designed for APS-C cameras, and offers exceptional optical performance across the entire frame, even wide open, making it an excellent choice for low-light situations. With three double-sided aspherical lenses and two SLD glass elements, sagittal coma flare is well-corrected, ensuring crisp, clear images when photographing starry skies.

In addition, the 12mm F1.4 DC | Contemporary is a great choice for video, with minimal focus breathing, a manual aperture ring (control ring on Canon RF Mount), and smooth, responsive autofocus, ideal for tracking moving subjects. Its compact size makes it perfect for handheld or gimbal use, particularly vlogging, streaming, and other settings where a wide angle of view is essential.

Furthermore, the lens features a dust and splash-resistant structure, plus a water and oil-repellant coating on the front element, to ensure high performance in virtually any conditions.

The Sigma 12mm F1.4 DC | Contemporary lens will be available in early September at authorized Sigma dealers in the US for Sony E-mount, Fujifilm X Mount, and Canon RF Mount for a retail price of $629 USD.

Sigma 12mm F1.4 DC specifications: Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length12 mmImage stabilizationNoLens mountCanon RF-S, Fujifilm X, Sony EApertureMaximum apertureF1.4Minimum apertureF16Aperture ringYesNumber of diaphragm blades9OpticsElements14Groups12Special elements / coatings2 SLD, 3 asph.FocusMinimum focus0.17 m (6.69″)Maximum magnification0.12×AutofocusYesMotor typeStepper motorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight225 g (0.50 lb)Diameter68 mm (2.68″)Length69 mm (2.72″)ColourBlackFilter thread62 mmHood suppliedYesTripod collarNo

Image: MirageC / Moment via Getty Images

Last week, we kicked off a new series in the DPReview forums to spark conversation and get people thinking. The Question of the week series will ask a new question in the Open Talk forum most Wednesdays, covering a wide range of photography-related topics.

Our inaugural query asked what five questions you should ask yourself when buying a new camera. We were excited to see how many of you responded, providing lots of responses and things to think about when purchasing your next camera. In fact, we initially planned on highlighting five responses from the community, but decided to showcase 10 because of all the great responses.

There were some general trends, with most of you highlighting the importance of knowing your budget, what genre(s) you would like to photograph and what size you'd prefer. Here are some of the other questions that popped up.

Does it work with the lenses you need?

Many of you pointed out the importance of lens selection. Whether you're choosing a first camera or an upgrade, knowing what lenses you'll be able to use is important. For example, NiVoak said, "Should my new camera be compatible with my current lenses, or will I need to upgrade my lenses too?" Needing to upgrade lenses can add a significant cost, so that's a great reminder to folks.

Do you actually need a new camera?

Most of you also suggested asking yourself whether you truly need the new camera or if you are suffering from Gear Acquisition Syndrome (GAS). For example, user danijel973 suggested, "Is something really wrong with my current camera, or am I just having gear acquisition syndrome?" In that same vein, many of you pointed out that it's essential to ask yourself if a new camera would address issues with your current one or offer anything new. Gato Amarillo asked, "What specific advantage(s) do I gain? Stress on 'specific' - list it or them."

Is it for fun or for business?

Some of you differentiated between professionals and enthusiasts, which is a worthwhile consideration. For pros, Bobapingu suggested that there needs to be a "cost/benefit analysis (by numbers) to ensure the investment will benefit the business and pay for itself." Others pointed out that enjoyment is also an important thing to consider. For example, hampshirejohn only had one question: "Will it increase my enjoyment of photography, either in the process of taking photos or in improved images, to an extent that justifies the cost?"

What else could you do with the money?

We also enjoyed that some of you considered what else the money could be spent on instead of that new camera. TXforester suggested asking yourself, "What could I do if I spent that money another way? Such as take a trip to photograph something on my bucket list." If your current camera is largely meeting your needs, spending that money on a trip or a new lens may be the better move.

Less common questions

We also appreciated the less common responses. For example, motormatic had the unique suggestion to consider support after your purchase: "How well is the new camera supported by local dealers and repair shops?" Some of you also pointed out that there will likely be more than five questions to ask. Maoby listed five questions with instructions to answer without lying and followed up with this advice: "If you honestly answered these five questions, you are ready for the next five."

Of course, there were some entertaining responses, too. Horshack asked, "Do I have any kidneys left to sell?" We all feel the high prices of cameras, so this one made us chuckle. There is also BobsYourUncle's single question: "Does this camera look almost the same as my 25 others so my wife won't notice?" Lastly, Myles Baker had a very important consideration: "Will I get torched in the DPR comments sections for buying the 'wrong' camera?"

The thread is still open if you haven't had a chance to share your questions yet but would still like to participate. Thank you to everyone who chimed in, and we can't wait to hear your responses to this week's question come Wednesday.

Click here to answer the Question of the week

Image: Fujifilm

Just over two weeks after retailers announced price increases for many of Fujifilm's products in the US, it's happening again. The news comes directly from the company itself this time, which put out a statement saying it will "further adjust prices" in light of "volatile market conditions."

The new pricing will go into effect on August 30th. Fujifilm hasn't said how many products will be impacted, though it tells DPReview that it will affect most of its lineup, with two notable exceptions. The recently released X half and X-E5 will keep their respective launch prices, with the rest of the company's lineup moving around them.

The company set the X half and X-E5 prices to avoid nasty surprises

While those cameras may have appeared relatively expensive at launch, it seems like Fujifilm left room for precisely this kind of situation. Victor Ha, the Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, explained that the company set the prices of those two cameras to ensure there wouldn't be any nasty surprises for customers who had pre-ordered them. "New camera day is awesome, we get that. It can be such a rare and exciting occasion, we don't want anything to spoil that enjoyment, so that their first thought is to run outside and take a picture."

Those with the infamously difficult-to-get X100 VI on backorder may not be as lucky. That camera will be affected by the price changes, so retailers will have to decide how they handle people who placed their order prior to the price increases but haven't received it yet.

X-100 VI hopefuls may not be so lucky

As with the increases we saw earlier this month, the changes likely won't be the same for each camera, though we're told its general pricing scheme should stay the same. That makes sense, given the ever-changing nature of the current US tariffs and Fujifilm's recent tactic of moving manufacturing for some of its US-bound cameras back to Japan.

The company doesn't directly lay blame on those tariffs, though, and we were told the current round of increases factored in other manufacturing circumstances and is meant to be a long-term solution to various uncertainties. Hopefully, this will avoid another scenario where the company has to make two pricing increases in quick succession.

We'll be sure to keep you updated when we get the new pricing details, and we'll keep an eye out for any other companies following suit in the coming weeks and months.

Fujifilm press release:

The global marketplace continues to present business challenges, driven by the volatile market conditions facing manufacturers, retailers, and consumers alike. With these changes and the instability of the marketplace, we have made the business decision to further adjust prices to accommodate for these global changes. As we navigate the current market situation, Fujifilm is doing all we can to work with our retailers and consumers to weather this storm together. We appreciate your continued support.

Image: Lensrentals

If you've been around the online world of cameras for any appreciable time, you've undoubtedly run across one of our favorite things on the web: a Lensrentals camera teardown on the Lensrentals Blog.

And recently, we got a happy surprise. To celebrate Lensrentals' 19th birthday, company founder Roger Cicala came out of retirement to do another one. Were we excited? To quote Lewis Carroll, "O frabjous day! Callooh! Callay!” He chortled in his joy."

He's joined in the teardown by his partner in crime, Lensrentals' Aaron Closz; together, the two have torn apart many a camera and lens. But before jumping into the teardown, Roger gives us a quick update on his retirement, acknowledging that, "While not working much was frustrating at first, well, with some practice, I've gotten really good at it."

This particular teardown dives into the guts of a Sony PTZ camera, which, according to Roger, breaks fairly often. While maybe a little different than the cameras we cover here on DPReview, it's still a fascinating tour inside a camera, especially for those of you who would tear one apart yourself out of sheer curiosity if you had the luxury of potentially bricking a $6000 piece of hardware. (You know who you are.)

"By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it."

The teardown is every bit as detailed and entertaining as we would expect from Roger. You'll get to see things like an internal counterweight that weighs more than the rest of the camera combined, shims under the sensor assembly to properly align it with the lens mount, gearing for internal neutral density filters and the "Cable of Immense Cost."

By the time he's done, you get a pretty good sense of why Sony's approach to repairing this particular camera is often just to replace it.

In conclusion, he observes that he had forgotten how much fun these teardowns are, and that he might do "another one or two." Here's hoping he sticks to that prediction.

If you love a good camera teardown, we recommend heading over to the Lensrentals blog to give it a read.

See Roger Cicala's latest camera teardown

When you use DPReview links to buy products, the site may earn a commission. Nikon Z5II | Nikkor Z 24-70mm F2.8 S | 70mm | 1/80 sec | F5 | ISO 500 | Raw reprocessed in-camera: WB warmed, D-lighting Normal
Photo: Richard Butler

This week, we published our full review of the Nikon Z5II, naming it one of the best value cameras available for under $2000. As always, our review process involved getting out with a production sample of the camera and taking a bunch of pictures to see how it performs in a variety of settings.

The Z5II uses a familiar sensor, so there aren't many surprises when it comes to image quality, though that's frankly part of the appeal. It produces remarkably good results for a fully-featured camera at this price point.

You can see the sample gallery below, and download the Raws to see how they fare with your editing workflow.

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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If you're somehow feeling nostalgic for rainy winter days, you can also check out the samples we took during our time with a pre-production copy of the Z5II.

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Image: Viltrox

If you use your camera, you will eventually need to clean it and your lens(es). That's especially true if you are traveling with your camera or spend a lot of time in the outdoors. Viltrox aims to make keeping your gear clean a little bit easier with its affordable, all-in-one lens cleaning kit. The kit is aimed at those on the go, with all components stored inside a carrying case.

The cleaning kit includes essentials like a bulb blower, lens cleaning spray, microfiber cloths and a lens pen.

Images: Viltrox

The Viltrox Camera Lens Cleaning Travel Kit comes with all the essentials to keep your lens free of debris and smudges. The silicone bulb blower is perfect for gently blowing away dust. It's one of the cleaning tools we recommend for all photographers, and is useful for cleaning lenses, your camera body and safely removing dust from a sensor.

The kit also features a dual-ended carbon lens pen, another useful tool for cleaning your gear because of its versatility. The brush side helps softly brush away materials, while the carbon side lets you remove smudges without damaging your glass. The kit also includes 10 microfiber lens cloths and alcohol-free lens cleaning fluid for more stubborn spots. Finally, there are eight individually wrapped cleaning swabs with non-shedding tips for hard-to-reach spots.

Image: Viltrox

All of the items come in a hard carrying case to keep the tools together. The hard-sided design also keeps the materials protected and clean, preventing you from making things worse. Additionally, the case features a carabiner for clipping it onto your pack so that you have it on hand when you need it. It's not as small as other cleaning kits, nor as a DIY kit could be, but it is a convenient option.

At $13, the Viltrox lens cleaning kit is also very affordable. It doesn't come with any sensor cleaning items, but that's not something you should typically be doing in the field, anyway.

Buy now: Buy at Viltrox

2025 iPhone Photography Awards

The iPhone Photography Awards (IPPAWARDS) has announced the winners of its 18th annual photo competition, showcasing photos shot entirely on iPhones. This year's contest received submissions from more than 140 countries, and winners were selected across 14 categories, ranging from people to cityscapes, in addition to the overall Grand Prize and 1st, 2nd, and 3rd Prize winners. We're sharing the overall contest winners and the 1st Prize winners of each category, but you can see the complete portfolio of winners, including 522 Honorable Mentions, on the contest's website.

The iPhone Photography Awards, founded in 2007, is the world's 1st and longest-running iPhone photography competition.

Photographer of the Year: Grand Prize

Photographer: Jarod Peraza (USA)

Title: Viajero Nocturno

Equipment: iPhone 16 Pro Max

Location: Villa de Leyva, Colombia

© IPPAWARDS - Jarod Peraza

Photographer of the Year: 1st place

Photographer: Carol Addassi (USA)

Title: Passage

Equipment: iPhone XS

Location: Central Park in Manhattan, New York City

© IPPAWARDS - Carol Addassi

Photographer of the Year: 2nd place

Photographer: Thiago Bernardes de Souza (Brazil)

Title: Moto Cães

Equipment: iPhone 15 Pro Max

Location: Brasília, Distrito Federal

© IPPAWARDS - Thiago Bernardes de Souza

Photographer of the Year: 3rd place

Photographer: Martha Nance (USA)

Title: Foggy morning on the Corrotoman

Equipment: iPhone 15 Pro

Location: Merry Point, Virginia

© IPPAWARDS - Martha Nance

Abstract: 1st place

Photographer: Sunny Hsiao-Mei Cheng (Taiwan)

Title: Liminal

Equipment: iPhone 12 Pro

Location: San Francisco, California

© IPPAWARDS - Sunny Hsiao-Mei Cheng

Animals: 1st place

Photographer: Jayne Parker (New Zealand)

Title: Close Encounter

Equipment: iPhone 15 Pro

Location: Vava’u Island group of Tonga

© IPPAWARDS - Jayne Parker

Architecture: 1st place

Photographer: Aleksandra Debiczak (United Kingdom)

Equipment: iPhone 13 Pro

Location: Burano, Italy

© IPPAWARDS - Aleksandra Debiczak

Children: 1st place

Photographer: Julia Zyrina (The Netherlands)

Title: When the chestnut trees bloom

Equipment: iPhone 11

Location: Blitterswijck, the Netherlands

© IPPAWARDS - Julia Zyrina

Cityscape: 1st place

Photographer: Adrian Beasley (United Kingdom)

Title: The Timeless Tyne Bridge

Equipment: iPhone 13 Pro

Location: Newcastle upon Tyne

© IPPAWARDS - Adrian Beasley

Landscape: 1st place

Photographer: Jens Petersen (Germany)

Title: Lübeck Amazonas

Equipment: iPhone 15 Pro

Location: Trave River, Lübeck

© IPPAWARDS - Jens Petersen

Lifestyle: 1st place

Photographer: Leo Huang (Taiwan)

Title: Who lost the elephant balloon?

Equipment: iPhone 14 Pro

Location: Yilan, China

© IPPAWARDS - Leo Huang

Nature: 1st place

Photographer: Mark Sarmiento (Australia)

Title: Winter Bamboos

Equipment: iPhone 14 Pro

Location: Japan

© IPPAWARDS - Mark Sarmiento

People: 1st place

Photographer: Karolina Zielony (United Kingdom)

Title: Vibrant Colours of The Neighbourhood

Equipment: iPhone 14 Pro Max

Location: La Boca, Buenos Aires, Argentina

© IPPAWARDS - Karolina Zielon

Portrait: 1st place

Photographer: Valeria Cammareri (Italy)

Title: I am the King

Equipment: iPhone 12 Pro

Location: La Boca, Buenos Aires, Argentina

© IPPAWARDS - Valeria Cammareri

Series: 1st place

Photographer: Dominic Dähncke (Spain)

Title: Puzzle

Equipment: iPhone XS

Location: La Palma, Canary Islands

© IPPAWARDS - Dominic Dähncke

Other: 1st place

Photographer: André Skagervik (Sweden)

Title: Winter Lines

Equipment: iPhone 12

Location: Norrköping, Sweden

© IPPAWARDS - André Skagervik

Last week, we shared that a company is creating a new folding instant camera inspired by the iconic Polaroid SX-70. It's quite nice timing, then, that shortly after we saw that news, we stumbled on Mr. Polaroid, a Public Broadcasting Service (PBS) documentary about Polaroid and its creator, Edwin Land.

The documentary provides a fascinating look into Land's background, the history of Polaroid and the cultural importance of instant photography. It touches on how Land enrolled in Harvard at 17 but dropped out after only one semester. He moved to New York City in 1927, and soon after, developed polarizing filters intended to reduce headlight glare – though they were never used for that purpose.

Those polarizing filters were of significant importance to the military during WWII, which led to success for Polaroid. But Land knew he would need something new when the war effort was over. Photography became his new focus, and he dreamed of a camera that could give people a printed photograph on the spot, instantly. So, in 1943, he launched a secret project nicknamed SX-70. However, it wasn't until 1969 that the prototype of what we now know as the SX-70 was created because of the project's complexity.

Edwin H. Land, founder, Polaroid Corp.

Photo: Library of Congress, Prints & Photographs Division, photograph by Bernard Gotfryd, [Reproduction number e.g., LC-USZ62-12345]

The documentary takes us through the company's history, including the public reveal of the first instant photograph (taken with an 8x10 view camera) and the camera models that came with further development. It was interesting to learn a little about Meroë Morse, a pioneering chemist at Polaroid, and how Polaroid was hiring women at a time when there weren't many jobs available for women. It was also fascinating to learn that Land was closely involved with the CIA and the US military during the Cold War.

There's a lot of information packed into the hour-long documentary, including where the Polaroid shake came from and some of the science behind instant photography. It doesn't shy away from some of the controversy surrounding Land and Polaroid, either. It's well worth a watch for instant photography fans and history buffs alike.

Image: Antigravity

Last month, Insta360 announced its new sub-brand, Antigravity, with a teaser for its foray into the drone market. Now, details about the company's first drone – the Antigravity A1 – are here. Besides the drone, Antigravity is also releasing the Vision goggles and Grip controller for more immersive flight experiences.

As initially teased, the A1 drone will offer 8K 360-degree capture, which Antigravity says is a first for a drone. "We didn't want to just build another drone. We wanted to create an entirely new way to fly," said BC Nie, Head of Marketing at Antigravity.

Of course, 360 cameras aren't new, and the Antigravity drone builds on what Insta360 has created with its X series of cameras. As with 360 action cameras, the drone uses a dual-lens camera system for 360-degree capture. The lenses are mounted on the top and bottom of the drone, which Antigravity says results in complete capture with no blind spots.

The system then uses "advanced stitching technology" to make the drone invisible in the final footage and when flying with goggles. Insta360 cameras (and DJI's new Osmo 360 camera) have a similar process to make selfie sticks invisible for uninterrupted captures, but having that ability with real-time video is extra important. After all, if you're flying with the goggles on, you don't want any distractions in footage that could make flying more of a challenge or lead to a crash.

Antigravity says the Grip controller responds to hand gestures.

Photo: Antigravity

Antigravity says that the A1 uses its FreeMotion technology and responsive head tracking for more immersive flight. Its Grip controller enables drone control with "natural hand movements," doing away with stick controls like other drones use. The Vision goggles allow for an FPV flying experience.

One of the main benefits of 360 video is greater flexibility when editing, since it provides every viewpoint from the drone instead of having to record separate takes. Antigravity says that it will have its own app that integrates much of the technology and features of Insta360 Studio and the Insta360 app, though with features specific to drone footage. That likely means there will be plug-and-play templates to make editing the 360 footage quick and easy, even for those without extensive editing experience.

The A1 folds down to be quite compact.

Images: Antigravity

The A1 weighs 249g, falling just under the 250g limit that exempts it from requirements like registration or Remote ID for recreational flyers in the US, as well as similar regulations in other countries. The relatively compact size also makes it easier to pack when traveling. It promises to be an accessible option for seasoned drone pilots and those with zero drone experience alike.

Questions remain about some of the Antigravity A1 specs, including still photo capabilities, battery life, price and more, but Antigravity says those won't be available until closer to launch. The company says the drone is scheduled to launch in January 2026. We do know that the A1 will be launched globally, including officially availability in the US, unlike DJI's latest products.

Outside of the drone and its accessories, Antigravity has also opened applications for its "co-creation project." Selected individuals will receive a pre-production Antigravity A1 to test and provide feedback, which could be integrated into the retail version. There's even a financial reward on the table, with contributors eligible for part of the $20,000 reward pool.

Press release

Antigravity Unveils A1: The World's First 8K 360 Drone

Los Angeles – [August 14] — Antigravity, a drone brand incubated by Insta360 and third parties, has today unveiled its first product: Antigravity A1, the world's first drone¹ equipped with 8K 360-degree capture. A1 redefines what drones can do by combining an immersive flying experience with intuitive controls.

360 Capture, Reimagined for Flight

At the heart of Antigravity A1 is a dual-lens camera system that captures everything around it in 360 degrees. The lenses are mounted on the top and bottom of the drone's fuselage, enabling complete environmental capture with no blind spots.

Advanced stitching technology renders the drone invisible when viewed through the goggles and in the final footage. The result is immersive, clean video that places drone pilots directly inside the scene without distractions.

360 Immersive Flight

A key feature of Antigravity A1 is its unparalleled level of immersion. The drone, the Vision goggles, and the Grip controller work together to enable a new way to explore the skies.

With Antigravity's unique FreeMotion technology and responsive head tracking, pilots can look freely in any direction while flying the drone using intuitive hand gestures. This separates flying the drone from viewing the surroundings, allowing pilots to look in one direction while flying in another. The result is a level of immersion that makes it feel as if you're really there — turning Antigravity A1 into a tool for aerial exploration.

The 360 immersion doesn't end when the drone lands — recorded footage can be viewed in 360 degrees over and over again, letting users discover new angles every time they watch.

Designed for Limitless Creativity

Antigravity A1 is built to fit into everyday life. Its dual-lens setup mirrors the capabilities of Insta360's popular X Series, making it easy for anyone to capture stunning 8K 360 footage — this time in the sky.

Every angle is recorded, giving creators the power to reframe their footage in post and make sure they never miss a shot. This enables powerful new editing possibilities like dynamic camera moves, Tiny Planet effects, and horizon flips. Creating cinematic FPV-style footage is now more accessible than ever. This technology also allows users to export multiple angles from a single clip in any aspect ratio without losing quality.

Lightweight and Travel-Ready

Weighing only 249g, Antigravity A1 meets regulatory requirements in most countries and regions. It's the perfect drone for creators, families, travelers, and first-time pilots seeking a powerful yet accessible tool for aerial storytelling. Its compact size makes it easy to pack, carry, and launch in seconds.

A New Standard in Ease of Use and Safety

Antigravity A1 is built with simplicity in mind. Pilots fly using the Grip controller, which responds to natural hand movements, eliminating the need for traditional stick controls. Paired with the Vision goggles, users can freely explore their surroundings in real time with full 360-degree visibility. To ensure that Antigravity A1 is used solely for exploration and storytelling, it includes a payload detection to prevent misuse or unauthorized modifications.

"We didn't want to just build another drone. We wanted to create an entirely new way to fly," said BC Nie, Head of Marketing at Antigravity. "A1 is the first step in reimagining flight as something anyone can enjoy — something that is safe, intuitive, expressive, and endlessly creative."

Antigravity A1 Key Features

• 8K 360-degree capture with top-and-bottom lens configuration.
• Compact and lightweight at 249g for license-free flying in most countries and regions.
• Invisible drone effect through advanced image stitching.
• Intuitive point-to-fly controls with the Grip controller.
• 360 immersive live view and head tracking via the Vision goggles.
• Never miss a shot with easy post-flight reframing and editing.
• Safety features including return-to-home and a payload detection system.

Availability

Antigravity A1 is scheduled to launch globally in January 2026. Final pricing, bundle details, and regional availability will be announced closer to launch.

In the meantime, applications are now open for the first-ever Antigravity co-creation project. We're inviting creators from around the world to join the journey and help shape the future of Antigravity products.

Selected participants will receive a pre-production Antigravity A1 to test, explore, and share their ideas. The best ideas will be integrated into the retail version, and contributors will have a chance to win a share of the US$20,000 reward pool.

Applications are open at www.antigravity.tech.

Image: MirageC / Moment via Getty Images

Our community here at DPReview truly is a wealth of information. We see all of the helpful knowledge shared in the forums on a daily basis, along with the passionate opinions on gear, trends, techniques and more. To help spark those conversations and give you all another place to share your thoughts, we're kicking off a 'Question of the week' series in the forums. It's your chance to share your insight, and an opportunity to be showcased in the forums or on the homepage.

Question of the week

As the name suggests, the forum's 'Question of the week' will highlight a new question every Wednesday in the Open Talk forum. We'll throw out one thought-provoking question each week, and you all get to comment with your own take.

These questions may come from the DPReview team, or could come from you in the community as well. If you have an idea for a question, please share it in a forum post response. We'll be sure to recognize those whose queries we use.

Week one: What five questions should you ask yourself when buying a new camera?

To kick this series off, we were inspired by our recent conversation with Mathew Anderson, our new Community Manager. Last week, some of the DPReview team sat down to chat with Mathew about what his new camera should be. Instead of keeping that in a private Slack channel, we recorded it so you all could hear our thoughts, too. It was a great chat, and you can watch the full video on our YouTube channel.

Importantly, though, that discussion highlighted that for anyone buying a new camera, there are some critical questions you should ask yourself first. So, we're curious, what five questions do you think are most important to ask when buying a new camera? Head on over to the 'Question of the week' post in the Open Talk forum to share your take.

For this kick-off question, we'll be highlighting five distinct answers on the homepage. We'll make those selections on Monday and update this post with the results, so be sure to get your thoughts in before then!

Click here to answer the Question of the week

Photo: jorge mata / iStock / Getty Images Plus via Getty Images

Capturing memorable moments with your camera is always a special feeling, but the process doesn't end there. If you want to edit or share your photos in some capacity, you'll also need to get them off your camera and onto your phone or computer. With so many cameras – both new and retro – on the market, figuring out the best way to transfer your images can be confusing. In this guide, you'll find the various options for moving photos off your camera so you can share them with the world (or just your close circle).

Wireless transfer options From left to right, the Sony, Canon and Nikon apps all allow wireless transfer.

If you have a relatively new camera, there are likely some wireless options for transferring photos that can be very convenient. First, many camera companies have developed apps, including Canon Camera Connect, Sony Creators App, Nikon SnapBridge, Panasonic Lumix Lab and Fujifilm XApp. The apps connect your mobile device to your camera via Wi-Fi or Bluetooth, allowing you to move files to your phone wirelessly.

Unfortunately, those apps can be very hit or miss. Essentially every brand's app has issues with unstable connections, leading to interrupted transfers. Slow transfers are also a common complaint, as are frequent app crashes and issues with transferring Raw files. Additionally, there may be an app for your camera brand, but it may no longer support your particular camera. Some are better than others, and issues may be device-dependent, but they can lead to frustrating experiences.

Outside of apps, some cameras support direct-to-cloud uploads, meaning you can send your images from the camera to a cloud service without first going through your phone or computer. Depending on your camera, you may be able to connect to services like Google Photos, Google Drive, Lightroom, Frame.io and more. It's a convenient option for backups, but like the above apps, reviews of direct-to-cloud features are mixed in terms of reliability. In most cases, you'll need Wi-Fi connectivity to use this option, which may not always be available, such as when shooting in remote areas.

Plug your camera in

Most recent cameras feature a USB-C port that can be used for data transfer.

Photo: Mitchell Clark

While wireless connections are ideal, their unreliability means you may have to use another method. Plus, if you have an older camera that doesn't support wireless transfers, you'll need a different way to transfer images.

Modern cameras feature USB ports that allow you to connect to a computer. USB-C has become the standard on recent cameras, though some older models may rely on Micro USB or Mini USB. This transfer method is simple but requires a USB cable that supports data transfer (some are charge-only).

With the right cable, once you plug into both your camera and computer, you generally only need to turn your camera on. Then, the camera will show up as a removable drive so that you can copy your images to your computer. However, very old digital cameras may not support transfer without a driver or software, which may not be supported anymore.

Use a card reader Image: OWC

A card reader is one of the most reliable and fastest methods for transferring images from your camera to a computer or phone. That's especially true if you have a camera that doesn't work with the methods mentioned above.

Card readers are separate devices that plug into your computer or phone, though some computers may feature an integrated SD card slot. Some card readers are only compatible with one type of memory card, such as SD format, while others offer multiple slots for different types of cards.

The key is to know what type of card your camera uses so that you can get the correct card reader. A CompactFlash card, for example, won't fit in an SD card slot. Luckily, card readers are available for just about every format, including outdated ones like Memory Stick and xD.

Another thing to consider is that a card reader will impact the speed of file transfers. If you invested in fast memory cards and frequently need to transfer lots of files, especially large files, you'll also want to pay for a high-quality card reader with fast transfer rates. Budget readers are fine for more casual use, but will be slower.

Eastman Kodak warned investors on Monday that there is "substantial doubt" it will be able to continue to operate. The news came in the company's second-quarter earnings report, as CNN reports.

Kodak currently has roughly $500 million in debt that is due within the next 12 months. The company ended the quarter with a cash balance of $155 million. It also reported a 1% year-over-year decrease in revenue and a GAAP net loss of $26 million for the quarter.

Kodak added that these losses were primarily due to weak sales and higher costs. Jim Continenza, Kodak’s Executive Chairman and CEO said that "tariffs did not have a material impact" on its business in Q2 because it is "committed to US manufacturing" and makes a range of its products in the United States. However, the company added that it is assessing the potential impact of new tariffs moving forward.

Kodak's management says it is seeking ways to manage debt, which includes terminating its US pension plan to redirect cash. It's also focused on "the efficiency of our operations and investing in growth initiatives in our [Advanced Materials & Chemicals] group." That group, in part, helps produce ingredients for generic drugs domestically, for which it received a $765 million government loan in 2020.

"These conditions raise substantial doubt about the Company’s ability to continue as a going concern"

While Kodak warned about its financial status, it explained that its plan to reduce debt is moving forward. "The termination of our U.S. Kodak Retirement Income Plan and subsequent reversion of excess funds to pay down debt is progressing as planned," said David Bullwinkle, Kodak’s CFO. It added that "these plans are not solely within Kodak’s control and therefore are not deemed 'probable' under U.S. GAAP accounting rules," which raises "substantial doubt about the Company’s ability to continue as a going concern." Despite that, Bullwinkle says the company "will continue to focus on reducing costs today and converting our investments into long-term growth."

The historic company, founded more than 130 years ago, is no stranger to financial troubles. It entered Chapter 11 bankruptcy in 2012 and sold off all its consumer-facing photo businesses as a result. While the brand is still associated with photography products, it has largely shifted focus to other industries, such as industrial printing and chemicals. Currently, Kodak is largely a B2B organization, meaning it primarily conducts business with other businesses, not consumers. For example, while it still manufactures film, its still photography film is distributed by Kodak Alaris, a separate entity.

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. 91%Overall scoreJump to conclusion

Product photos: Mitchell Clark

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor. It's an update to Nikon's entry-level full-frame Z5 and is essentially a version of the Zf that trades retro styling for a more conventional design.

Key Features

• 24MP BSI full-frame CMOS sensor
• In-body image stabilization, rated up to 7.5EV
• Autofocus subject detection with support for 9 subject types
• 11 fps Raw w/ mechanical shutter
• 30fps JPEG-only mode with pre-release capture
• 3.69M dot 60Hz EVF with 3000-nit peak brightness
• 4K/30 full-width, 60p w/ 1.5x crop
• 10-bit N-Log or N-Raw capture
• Dual UHS-II card slots
• Downloadable color mode presets via Imaging Cloud

The Z5II is available for $1699 – a $300 increase over its predecessor in absolute terms, though a very similar price when considering inflation and its greater ambitions. Kits will also be available with a 24-50mm f/4-6.3 lens for $1999, or with a 24-200mm f/4-6.3 VR for $2499.

Index:

• What's new
• How it compares
• Body and handling
• Image quality
• Autofocus
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

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

• Apr 3: Initial review published
• Aug 11: Image quality, AF, video and conclusion added. Body and handling updated, review gallery added.

What's new A new old sensor

The Z5II's sensor is one we know well, as it features in cameras like the Zf and Z6 II. While it's certainly not state-of-the-art, it's historically performed excellently and offers noticeably faster readout speeds than the non-BSI sensor found in the original Z5, which hailed from the early 2010s.

That'll be most noticeable in video modes – its readout speeds are still slow enough that you likely won't want to use e-shutter mode unless you really need to shoot silently or are doing JPEG-only bursts where it drops to its faster, 12-bit readout mode. However, the Z5II supports much faster burst rates than its predecessor, shooting in Raw at up to 11fps with its mechanical shutter, where the original topped out at 4.5fps.

Hybrid abilities

The Z5II is a much more capable video camera than its predecessor, which could only manage shooting at 4K/30 with a substantial 1.7x crop. The new model, meanwhile, can shoot full-width 4K at up to 30fp and 120fps in 1080p for slow-motion shooting, double what the Z5 was capable of.

It also has a slate of advanced video features such as a product-priority focus mode, electronic stabilization, 10-bit N-Log, waveform monitors and even N-Raw. While the Z5II's target audience likely won't find much use for those later modes, it's hard to complain about their inclusion.

However, while its sensor has good readout speeds, it isn't anywhere near as fast as the one on the more expensive Z6III. That means you'll see more rolling shutter in full-width 4K, and will have to deal with a 1.5x crop if you want to shoot 60p, though the Z5II is at least capable of the higher framerate.

Latest-gen processor

The Z5II has Nikon's latest processor, the same one that powers cameras like the Z8 and Z6III. That means it largely has the same autofocus capabilities as those more expensive models. It supports the same subject recognition types – the Z5 only recognizes humans and animals, while the Z5II can also detect birds, cars, bicycles, motorcycles, trains and planes.

It also gains a 30fps JPEG-only mode, which supports pre-burst capture. The Z6III's faster sensor gives it a leg up in this area, though: it can shoot full-resolution JPEGs at up to 60fps and can hit 120fps by dropping down to an APS-C crop.

The company also claims the Z5II supports more advanced noise reduction, putting out cleaner JPEGs at high ISOs, and has added an AF-A mode, where the camera decides whether to use single or continuous autofocus.

A bright viewfinder and a more flexible screen

Nikon says the Z5II's viewfinder can reach a brightness of up to 3000 nits, which should help when shooting in harsh daylight. The company doesn't quote brightness figures for the Z5's EVF, though it otherwise has similar specs – both cameras use a 3.69M dot display running at 60Hz.

There are also some changes to the Z5II's LCD. At 3.2", it's the same size as the Z5's, but it's higher resolution and fully articulated, while the original's screen was limited to tilt adjustments.

How it compares

While the Z5II isn't as cheap as its predecessor, it is still among the least expensive full-frame ILCs ever released. Some other cameras on that list, like the original Z5 and Canon's EOS R8, are among its competitors.

At $2000, Panasonic's S5II has a substantially higher MSRP than those cameras and, before the Z5II, offered a more complete package than any full-frame camera in the sub-$2000 range. The S9, which is based around the same sensor, is closer in price to the Z5II but is aimed at a more video-focused audience, as it lacks both an EVF and a mechanical shutter. Given that, it didn't feel as appropriate for this list. While the S5II frequently goes on sale, street prices for cameras drop relative to their MSRPs – a camera that starts off at $1700 is likely to end up significantly cheaper than one that started life at $2000.

The one exception to that rule is if a camera sticks around long enough to get a permanent price cut to reposition it when its replacement arrives. That's essentially what's happened with Sony's a7 III, which was originally released in 2018. It shows its age in many ways but is still in a similar class to the other cameras in this comparison.

Nikon Z5II Nikon Z5 Canon EOS R8 Panasonic S5II Sony a7 III MSRP $1699 $1399 $1499 $1999 $1799 (Originally $2000) Pixel count 24MP 24MP 24MP 24MP 24MP Stabilization IBIS IBIS No IBIS IBIS Max burst rate (Mech / E-shutter)

11fps Raw
30 JPEG-only

4.5fps 6fps elec. first curtain
40fps e-shutter 7fps mech.
30fps e-shutter 10fps Pre-buffer Yes, JPEG No Yes, Raw, 0.5 sec Yes, Raw, 0.5 sec No Autofocus recognition subjects People
Birds
Animals
Vehicles Human
Animal People
Animals
Vehicles Human, Animal, Car, Motorcycle, Airplane, Train Eye AF Max video resolution 4K 60p w/ 1.5x crop
4K 30p full-width 4K 30p w/ 1.7x crop 4K 60p full-width

6K 30p open gate
4K 60p w/1.5x crop
4K 30p full-width

4K 30p w/ 1.2x crop
4K 24p full-width 10-bit options N-Raw
N-Log
HLG N/A C-Log3
HDR PQ V-Log
HLG S-Log 3
HLG Headphone / Mic jack Yes / Yes Yes / Yes Yes / Yes Yes / Yes Yes / Yes Viewfinder res / mag 3.69M dots
0.8x 3.69M dots
0.8x 2.36M dots
0.7x 3.68M dot 0.78x 2.36M dots
0.78x Rear screen 3.2" 2.1M dot fully articulated 3.2" 1.04M dot tilting 3" 1.62M-dot fully articulated 3" 1.84M-dot fully articulated 3" 921.6K tilting Storage formats 2x UHS-II SD 2x UHS-II SD 1x UHS-II SD 2x UHS-II SD

1x UHS-II SD
1x UHS-I SD

Battery life (CIPA) 330 shots 470 shots 290 shots 370 shots 710 shots Dimensions 134 x 101 x 72 mm 134 x 101 x 70 mm 133 x 86 x 70 mm 134 x 102 x 90 mm 127 x 96 x 74 mm Weight 700g 675g 461g 740g 650g

With the upgrades it gains over its predecessor, the Z5II has become one of the most complete full-frame options for under $2000. You're not giving up IBIS, battery life and an autofocus joystick like you would be with the EOS R8, and you're not giving up an EVF and dual top-plate control dials like with the Panasonic S9. It's relatively evenly matched with the S5II, though we've generally found Nikon's autofocus performance to be more reliable.

The a7 III may still seem like a worthy competitor on paper, especially considering that Nikon and Canon can't match E-mount's wide range of lenses. However, other brands have caught up to its once class-leading autofocus system, and its menus were dated and annoying to use even back in 2018. The once enthusiast-focused Sony is really showing its age.

Body and Handling

The Z5II's design is relatively unchanged from its predecessor, though that isn't a complaint. It has a standard mode dial with three custom slots, as well as two top-plate dials for controlling your exposure settings. The camera also comes with a wide variety of buttons, including two customizable ones on the front near the lens mount.

Nikon has added its Picture Control button, which debuted with the Z50II and lets you easily control your JPEG color mode. While the Z5II comes with Nikon's classic range of color modes built-in, you can also download more via the company's Nikon Imaging Cloud service and create or customize your own using the company's desktop software.

Out of camera JPEG, shot using the 'Deeptone Monochrome' color mode.

Nikkor Z 50mm F1.8 S | F5.6 | 1/2000 sec | ISO 100
Photo: Mitchell Clark

This setup provides a fair amount of flexibility and control over the look of your out-of-camera JPEGs, though it doesn't come with the freedom and enormous back-catalog of the industry-standard LUTs that companies like Panasonic let you use.

Handling

The Z5II is a solid camera with a deep grip, which fits well in the hand. It's sturdy – Nikon says the front, back and top covers are made from magnesium alloy – and sealed against moisture and dust. We shot our sample gallery in light to medium rain with no issues.

The control layout is the same one that Nikon has used across much of its Z lineup – anyone familiar with the original Z5 or Z6 series will be instantly familiar with it. Most of the buttons on the back are generally easy to access while shooting, as is the autofocus joystick. The Z5II also supports using portions of its touchscreen to control the autofocus point. The one button that can be difficult to reach in general use is Picture Control, as its position on the top plate will likely require you to re-adjust your grip to reach it.

A good number of the buttons are customizable, but there are some odd limitations to which settings you can apply to them. For instance, we find it can be useful to have quick access to the shutter speed threshold for Auto ISO, but this can't be assigned to a button. It also can't be assigned to MyMenu, so you can't use the old workaround of putting it there and assigning 'Top item on MyMenu' to a custom button. It's a strange omission from a modern camera.

There's also no way of dismissing the on-screen button that switches between positioning the AF point, touch AF and touch shutter, so expect to tap it occasionally and find you've touch-shuttered some pictures of your feet. The Z5II also lacks a sensor indicating that the rear screen is extended, so its a bit prone to blacking-out the rear screen if you shoot at waist level, unless you switch it to LCD only mode.

Viewfinder

The Z5II's viewfinder is high-resolution and has a relatively high magnification, but where it really sets itself apart from the crowd is in brightness. It has a peak brightness of 3000 nits, which means it should still be clearly visible, even on a bright, sunny day.

The panel runs at 60Hz. While that's not as fast as the 120Hz mode found on Nikon's higher-end cameras, it should be responsive enough for all but the most fast-paced situations.

Screen

The Z5II features a large, high-resolution, fully-articulated display. While it doesn't provide stills shooters with the ability to tilt up or down in a single motion, once you flip it out, you can use it at pretty much any angle. It also lets you monitor video you're taking of yourself, an essential feature for anyone looking to try their hand at vlogging.

Ports and slots

Again, the Z5II's port selection remains largely unchanged from its predecessor's. It retains the dual UHS-II SD card slots, headphone and microphone jacks, USB-C socket and micro HDMI port. Overall, it's hard to find fault with this selection.

Battery

The Z5II uses the same 16Wh EN-EL15c battery as many of Nikon's other full-frame cameras. It's CIPA-rated to get around 330 shots on a single charge. While you can generally expect to get a fair bit more than the literal number of rated shots, the rating provides a consistent benchmark we can use to measure cameras against each other.

We'd consider a rating around 300 to be acceptable for a day of shooting or a weekend where you're occasionally taking photos, but anything more, and you'll probably want to keep an extra battery or USB-C battery bank at hand.

If you routinely have marathon shooting sessions, the Z5II can be fitted with the sold-separately MB-N14 battery grip, the same that's used for cameras like the Z6 II and Z6III. It should roughly double your battery life and lets you hot-swap in a fresh battery without cutting power to your camera.

Image quality

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

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The test scene throws up no surprises at all: detail capture is consistent with other 24MP full-frame cameras, as is noise performance at high ISO. Default JPEG color is the usual Nikon response: on the punchy side of accurate, which is a result a lot of people like.

JPEG sharpening pulls out a lot of fine detail, though false color isn't as well suppressed as in the Canon's files. Noise reduction smoothes away a little more detail than its peers, but overall, the results are very solid.

This is a well-known sensor, so the results aren't surprising, but until recently, you had to spend a fair amount more than this to get the same combination of IQ, handling and autofocus performance.

HDR photos

Like many recent cameras, the Z5II can capture HDR images using the HLG response curve and 10-bit HEIF files. The process for switching is pleasantly simple: just select HLG, rather than SDR in the menus and the camera jumps from recording 8-bit standard DR JPEGs to 10-bit high-DR HEIFs. Base ISO jumps from 100 to 400, so that exposure gets reduced in order to capture up to 2EV of additional highlight information.

Unlike, say, Sony cameras, you can shoot Raw + HLG HEIF files and use the in-camera options to reprocess the Raw as a HEIF while changing some settings. However, that can only be done with Raws that were originally shot in HLG mode: the camera needs to have exposed for HDR capture (using at least ISO 400 exposures) to capture the additional highlights that the files contain.

This is a JPEG produced in-camera from a Raw/HEIF pair. Viewed on a compatible display, the rose's petals and the upward facing leaves 'glow' in a way that's much closer to how the scene really appeared, in the HEIF version, which you can download by clicking here.

Nikkor Z 28-70mm F2.8 S @ 70mm | F4 | 1/1600s | ISO 400
Photo: Richard Butler

There's also a separate 'HDR overlay' mode that takes two images and combines them into an standard DR image. The results aren't terrible but they're not nearly as impressive as the 'true' HDR mode that captures more realistic highlights for viewing on wide-gamut, high brightness displays.

Autofocus

The Z5II's eye detection doesn't always put the focus precisely on the iris, but it gets the eye area in very good focus so often that you can just think about composition and timing of your photo, without having to worry about focus.

Nikkor Z 24-70mm F2.8 S @ 45mm | F5.6 | 1/125 sec | ISO 100
Photo: Richard Butler

The Z5II has the same autofocus interface as the company's range-topping sports cameras. You can choose from a variety of AF area modes, with a '3D Tracking' area that follows whatever's under the target area, in continuous AF. On top of these, the Z5II has a range of subject recognition modes, including an 'Auto' mode that will look to engage human, animal or vehicle recognition. These can be used with Wide AF areas, 3D Tracking and All-area AF.

AF performance

In terms of performance it works very well and is a big step up from the previous generation of cameras, meaning the sub-$2000 Z5II is an easier-to-use and more dependable camera than the Z6 II that used to sit one step further up the range.

"The Z5II is an easier-to-use and more dependable camera than the Z6 II that used to sit further up the range"

The performance isn't quite on the same level as its more expensive contemporary Nikons, as all of those use sensors that read-out faster. In particular, we noticed the camera was a little prone to picking something near the object we were trying to select, then focusing on that instead, necessitating the disengagement of subject recognition.

These experiences were reinforced by our standardized basic test, where tracking with subject recognition turned off could sometimes lose its subject.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Generic Tracking Rollover 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Face Recognition Rollover

Turning subject recognition on boosted tracking reliability but it still wasn't as responsive as the Nikon Z6III, which was a little better at maintaining focus as the rate-of-approach changed.

As light levels fell we found it got a little less good at finding eyes and faces (we were shooting alongside a camera that was doing very well, in that regard). But overall it's very competitive, relative to its immediate peers. Which is to say: light years ahead of any camera made more than a few years ago. The range of activities to which the Z5 II can adapt is really quite striking.

Video

Nikon's video has improved significantly in the past few years and the Z5II gains the majority of those benefits, making it a much more capable video camera than its predecessor.

The 24MP BSI sensor isn't the fastest to read out, so it has a reasonable amount of rolling shutter if your camera or subject moves too quickly, but this is the same sensor around which Panasonic built its video-focused S1H and S5IIX models, so it's not a bad performer, even if this is an area in which technology is improving.

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The addition of options such as 10-bit capture in SDR, HLG HDR or Log is a major step foward over the Z5, which had to crop-in to even offer 4K. The Z5II also offers N-Raw video, which produces files no larger than the 10-bit capture but appears to be sub-sampled, rather than downscaled, so captures less detail and more is more prone to moiré and hasn't had any sharpening applied. Editing support is currently rather limited, though Adobe has said it's working on it. It's worth noting that it doesn't give anything like the same increase in flexibility that moving to Raw stills does, vs JPEG shooting.

Autofocus isn't quite as dependable as in stills but, especially for recognized subject types, it does a good job of staying on your chosen target. Autofocus speed can be adjusted depending on whether you want smooth transitions or rapid, attentive autofocus on a single subject. Image stabilization works pretty well, with electronic stabilization improving smoothness in return for an addition 1.25x crop.

E stabilization Off E stabilization On 4K/30/25/24
10-bit 1.00x crop
(22.2ms) 1.25x crop
(17.8ms) 4K/60/50
10-bit 1.52x crop
(14.6ms)

1.90x crop
(11.7ms)

4K/30/25/24
12-bit N-Raw 1.00 crop
(22.2ms)
1.52x crop
(11.6ms) N/A

Interestingly, the full-width Raw footage is two-thirds the sensor's full resolution (and has aliasing suggesting it may be line-skipped), yet takes as long to read-out as the downscaled, processed 4K footage. By comparison, the N-Raw footage taken from the cropped region is read-out faster than the 4K/60p taken from the same area, suggesting it's further line-skipped at the point of being read.

Conclusion Pros Cons

• Excellent image quality
• Very good autofocus, for a range of subjects
• Excellent handling and ergonomics
• Strong feature set, including image stabilization, interval shooting, etc...
• Impressive range of video modes and support features
• Simple-to-use HDR stills and video capture
• Snapbridge App works pretty reliably (at least on Android)

• Menus rather long and featureless
• Subject recognition can sometimes distract the camera from the thing you'd asked it to focus on
• Video autofocus less dependable
• Video somewhat prone to rolling shutter
• Needs to crop to deliver 4K/60
• Battery life reasonable, rather than great
• No sensor to stop the camera switching to viewfinder mode with rear screen extended
• Lens choice limited by Nikon

The Nikon Z5II is almost unimaginably good for a camera priced under $2000. Previous models in this price range have tended to be significantly cut-down versions of more expensive cameras, assembled from elderly tech or simply been rather aged models re-positioned downmarket, past their best-before dates. That's not the case with the Z5II.

The Z5II is an impressive all-rounder that delivers excellent image quality and good video, underpinned by very good autofocus in a body that's well-designed and comfortable to use. As with any full-frame camera, many of the lenses are quite large (and expensive) but that's the price you pay for the image quality benefits.

The Z5II hasn't been shorn of control points or card slots to distinguish it from its more expensive siblings. So you get plenty of custom buttons, a joystick and two UHS-II slots, despite the lowly position in the lineup.

In part it benefits because the last generation of sensor was already so good that it still gives a solid foundation for a modern camera (Panasonic's newer, more expensive S1IIE is based on the same chip). But also, with Nikon's latest Z6III getting a major speed boost, the Z5II can be very capable without treading on its toes. So it can offer very credible video without undercutting the even better Z6III.

Like many mainstream cameras, the Z5II's menus would benefit from some pruning and reworking (as an aperture priority shooter I'd love to more easily access the Auto ISO shutter speed threshold settings), but the ability to customize the 'i' menu and neat touches like the custom settings menu memorizing which setting you last used within each section can help mitigate the challenges, somewhat.

The Z5II shoots quickly and accurately enough that you can use it for an extremely wide range of shooting. From wildlife to landscapes, portraits to sports, it'll be rare that the camera will hold you back, rather than your abilities and experience.

Nikkor 24-70mm F2.8 S @ 70mm | F5.0 | 1/80 sec | ISO 500
Raw reprocessed in-camera: white balance warmed, D-lighting increased to 'Normal'
Photo: Richard Butler

Part of that complexity comes from the fact the Z5II tries to do so much. Each may be of niche appeal but focus bracketing, interval shooting, multi-shot high-res capture and the ability to shoot faster than Nikon's pro sports model did, a decade ago, make the Z5II incredibly flexible. And Nikon hasn't omitted image stabilization or a reasonably-sized battery in the process.

Other than a relaxation of Nikon's rather restrictive approach to third-party lenses, it's hard to see what more an enthusiast photographer could want from a camera. Sure, there are higher res cameras, models with faster sensors for improved video, and pro-focused kit with more solid build and additional bells and whistles, but the Z5II will be more than enough camera for a vast number and variety of photographers. And it's likely to be a very difficult camera to outgrow, regardless of where your creativity takes you. Very few of us truly need anything more.

Scoring

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

Nikon Z5IICategory: Entry Level Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Z5II combines a well-regarded sensor, with a broad range of features for both stills and video shooters. It's a fairly sizeable camera, especially once you include lenses, but the provision of in-body stabilization and Nikon's latest AF systems make it a hugely accomplished all-rounder.Good forA remarkably broad range of photographers and videographers.Not so good forPhotographers looking for a compact kit for travel. Anyone with the most demanding AF requirements.91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_z5ii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R8 is a very capable camera but its lack of image stabilization, its short battery life and small, lower-res viewfinder look the corners that had to be cut, to stop it competing with the more expensive EOS R6 II. That's not the case with the Z5II, which is differentiated from the Z6III by the use of a different sensor, so there's less need to hold the cheaper camera back. The EOS R8 doesn't need to crop to deliver 4K/60, but the Z5II is stronger in just about every other respect.

Panasonic's Lumix DC-S5II is priced a little higher than the Nikon and it's noticeable in the more solid-feeling metal body. It offers open-gate shooting from the same, not-especially-fast sensor, along with better stabilization algorithms and a cooling fan for extended recording periods. But the Nikon's more dependable autofocus in both stills and video makes a big difference. The L-mount system offers a wider choice of autofocus lenses, but in terms of everyday usability, the Nikon's AF gives it the edge, for us.

Sony's a7 III was the camera to beat when it launched, but that was in early 2018, before Canon or Nikon had introduced their full-frame mirrorless systems. Its eye detection AF is still competitive with the Z5II but the autofocus interface and implementation, along with the rest of its UI and menus, really show their age. The Nikon comfortably out-points it in just about every other respect: video quality, video AF, viewfinder and screen quality, card slot consistency, feature set. We'd probably choose the Z5II over the more expensive a7IV, if it came down to it.

Nikon is selling off the original Z5 at some very tempting prices. We'd still be inclined to go for the Mark II if you can save for a little longer, or your budget will stretch. The image quality of the two cameras is pretty similar but the Z5 II is better in most other ways. Most noticeably, its autofocus is hugely improved, in terms of operation and performance, with the 3D Tracking mode working better, even before you engage any subject recognition. The newer model shoots faster, offers a wider array of features and has vastly improved video: it's just a more capable all-rounder.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Nikon Z5II 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.

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All About Photo Magazine #49 B&W photo winners

All About Photo has revealed the winners of its latest competition, AAP Magazine #49: B&W, celebrating the timeless art of black and white photography. According to All About Photo, the winning artists "offer a global perspective on the enduring power of monochrome."

We were drawn in by the creative compositions and striking use of light and shadow in many of the winning photos. In this slideshow, we share the top three winners, along with some of our favorite Merit Award recipients. To learn more about the contest or see the complete gallery of winners, visit the contest website.

Which photo stands out to you? Let us know in the comments!

1st place winner

Photographer: Astrid Verhoef (Netherlands)

Title: Balance

Description: The artwork ‘Balance’ was shot in March 2025, at the beautiful Peninsula de Jandia, Fuerteventura, Spain. For all my artwork, I’m exploring my relationship and connection to the natural world, usually portraying a figure that always seems to linger somewhere between the natural and an artificial element, preventing her from truly connecting. Like a trace from the world she can’t leave behind.

I am used to working solo to experience my personal connection to the landscape in the most profound way without any distractions. Even though I treasure that connection and it works very well for me this way, at rare occasions I do want to work with an extra model. This particular posture is the result of movement, dancing together. It did change the experience: a dance of balance showing a connection with each other as well as with the landscape. We are one and opposites at the same time. Contrast and connection, trust and dependence. Feeling a force of nature within and around ourselves, strength and balance in the volcanic landscape where barren meets beauty.

2nd place winner

Photographer: Antonio Denti (Italy)

Title: Harder Lives (near Zagora, Morocco)

Description: Souvenir makers at work on the edge of the Sahara Desert, as in the small town nearby, their families live on. ''Harder Lives'' is part of a wider project called ''Everything and Nothing'' that tries to capture the moving essence of the little lives - our little lives - in the backdrop of the global economy and of a massive new industrial revolution in very different settings. In this case, a small village in Morocco that used to live off minimal (dates, palms, small herding, minor caravans) and now shifted to global tourism as all kinds of people travel there from all places in the world to see the magic marvels of the Sahara.

3rd place winner

Photographer: Lynne Breitfeller (United States)

Title: Stacy and Miss Kitty

Description: This image, “Stacy and Miss Kitty,” is from “People I Know,” a collection of portraits created in the early to mid-nineties of friends, family, and acquaintances. Some are candid, and others are performative. These photos bring me back to earlier times and help me visualize my early adult years and how people come in and out of our lives, and how some stay. Each holds a place in the catalog of my memory.

Merit Award

Photographer: Florian Kriechbaumer (Germany)

Title: Colossal Legacy

Description: Craig is one of the last remaining Super Tuskers on earth - elephants whose tusks weigh over 100 pounds each and literally scrape the ground. At 53, he’s no longer a youngster, with maybe a decade of natural lifespan left, but carries himself with a calm, imposing presence. During my trips to Amboseli’s incredible landscapes, I had several encounters with him while documenting the ecosystem and the work of the rangers protecting it. In the past years, three big tuskers have been killed after crossing into Tanzania, where trophy hunting and human-wildlife conflict are ongoing threats. Craig has been leaving his Colossal Legacy for over five decades, but it is up to us to ensure his successors will be able to do the same.

Merit Award

Photographer: Ylva Sjögren (Sweden)

Title: I see only what I want to see

Description: The image ”I see only what I want to see” symbolically describes people who turn a blind eye to all facts and stubbornly cling to their own version of reality.

Merit Award

Photographer: Monika Maroziene (Lithuania)

Title: Masquerade

Description: My artistic practice merges my scientific expertise with a love for photography, creating a unique art form that I see as a type of alchemy. I incorporate pine tree resin into my prints, adding warmth and durability while preserving the images, symbolic of my Lithuanian roots and my connection to the natural world. My work often features black and white photography, evoking a sense of calm, solitude, and reflection, complemented by touches of resin that transport viewers to sunny, nostalgic days. Through these images, I explore themes of memory, identity, and the poetic irony of life, inspired by the landscapes of the Curonian Spit and my lifelong fascination with the mysterious, powerful presence of women and nature.

Merit Award

Photographer: Klaus Lenzen (Germany)

Title: Steam IV

Description: The exhaust cloud from the quenching tower of a coking plant at a steel mill in Duisburg, Germany, develops an impressive dynamic. Soon, new clouds form, hour after hour, day after day. As part of a long-term project, I captured these impressive clouds from various perspectives.

Merit Award

Photographer: Giuseppe Cardoni (Italy)

Title: The Magic of the Circus

Description: The circus is a large extended family which are all more or less related to each other, held together not only by affection but also by the great passion for their Art. My main interest was to tell more about the atmosphere than the performers by focusing on the moments of preparation, pause, concentration, rather than the show, which is, however, mentioned. In this way, it seemed to me to preserve at least in part the mystery and the magic that captures the spectator when the curtain opens.

Merit Award

Photographer: Kevin Lyle (United States)

Title: City Life 20472

Description: Cities are often full of drama, some more than others. The intensity of the drama within city life is balanced by simple, less dramatic vistas that may provide food for thought, humor, comfort or wonder. I present some of these simple observations.

Merit Award

Photographer: Elena Donskaya (Russia)

Title: Young Woman

Description: Inspired by the Renaissance-era painting Portrait of a Young Girl by Petrus Christus.

Merit Award

Photographer: Ralf Dreier (Germany)

Title: Niendorf Bathing Jetty

Description: The project "Two Minutes by the Sea" is a spin-off from the overarching project "By the Sea," which is about long exposures of coastal regions with an exposure time of two minutes. The resulting minimalist black and white images show the viewer an unusual view of the sea. The simplicity of the images, in particular, focuses the eye on the main motif, but at the same time leaves enough space to prevent it from appearing too dominant. As a result, the pictures move away from reality and encourage the viewer to use their imagination, giving them the opportunity to combine what is actually depicted with their own emotions and thoughts, resulting in a very personal visual experience for each viewer.

Merit Award

Photographer: Yanitsa Genova (Bulgaria)

Title: Trapped in the Frame

Description: Half-Visible is an attempt to enter into harmony with the world. The photographs were taken over ten years. What unites them is street photography, partial visibility, and the geometric arrangement of everyday life. I point the camera at what changes my inner world. I am capable of looking at everything, both the most terrible and the most beautiful. I am here.

Merit Award

Photographer: William Ropp (France)

Title: Ethiopia, the singular man

Description: William Ropp's black-and-white work in Mali, Senegal, and Ethiopia transcends simple documentary portraiture. It is an introspective quest for the other, a dive into the intimacy of African faces, rendered with rare visual and emotional intensity. At the crossroads of photography, shadow theater, and classical painting, Ropp reveals souls rather than bodies. Ropp does not simply photograph faces: he seeks to capture what he calls the inner presence of his subjects. Through a play of light and shadow, he extracts a form of silent poetry, often timeless. His black and white is deep, almost charcoal-like, and exudes a sense of suspended time. The faces seem to emerge from a dream or a distant memory. He thus creates a universe between reality and fantasy, often tinged with melancholy.

Merit Award

Photographer: Beamie Young (United States)

Title: Mobius

Description: The rich tonalities of a black and white image have always been a source of inspiration to me. In my quest for organic patterns in nature, I am drawn to the play of light I observe in the gardens around my home. The negative space in each image is as important as the plant itself and creates an important counterpoint to the leaves.

Merit Award

Photographer: Luciano Gerini (Italy)

Description: At the end of the 19th century, Rome became the capital of Italy. It therefore needed new government offices, more factories, more workforce, warehouses, general markets, energy suppliers, and so on. A new area transformed into a well-organized site with a dense network of connections to serve the new Rome. It took decades, of course.

After over a century, some structures have become obsolete due to new technologies and growing needs. The municipality and landowners want to reuse all these buildings and open spaces, preserving as much of the old forms and styles as possible. The power plant has now become a museum, the area used as a gas depot has been transformed into an event space and offices, and the large butcher's shop has become a mix between a museum and an exhibition space. Of course, some things have been lost, such as: the atmosphere of the old great market at dawn with its lights on and handcarts, the tumbling of the enormous gas tanks that changed the skyline of the area, the traffic of trucks, etc. It might be interesting to know that in Roman times, there were docks and warehouses here for Roman ships sailing along the river, where goods arrived from distant countries to supply the city.

So, what am I doing here, taking photos? This is my city, and I have a degree in geography, so the real question is: why has everything worked so well here since ancient times? What have we lost, and what could the future hold for this place? Can photos bear witness to the change? I'm working on it.

Not all road trips go as planned. This venture to the Huaylla Belen Valley in northern Peru involved a lot more pushing than driving.

Photo: Dale Baskin

Our August Editors' photo challenge is now open! This month's theme is "Road Trip."

It's time to celebrate a great summer tradition: the road trip. Show us your favorite moments from the open highway – whether it’s epic highway vistas, quirky roadside attractions, spontaneous detours, or even views from the car. Share your best road trip photos and help us capture the essence of the classic road trip!

Photos can be submitted between Sunday, August 10, and Saturday, August 16 (GMT). This challenge is open to photos taken at any time.

Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!

Visit the challenge page to enter your photo in this month's Editors' photo challenge.

Click here to enter your photo in the Road Trip photo challenge

Earlier this week, we introduced our new Community Manager, Mathew Anderson. He's joining our team to help manage the online forums and, like most of us here, is enthusiastic about photography. After joining, he mentioned he was potentially interested in upgrading his camera, something the rest of the team had an opinion or two on.

Rather than hiding the discussion away in Slack, we thought it would be a fun exercise to have him on the show to discuss his wants and needs for a new camera, and to go over some of the cameras that met his criteria. You can watch the discussion above, and if you have any recommendations we missed, be sure to head over to our forums to share them with Mathew and the rest of the team!