Photo News

Photo: Adobe

Adobe has announced its latest updates for Photoshop, which it says aim to address common pain points for photographers and creatives. They include a few new tools, launching as betas, and improvements to the remove tool.

The most substantial new feature is Harmonize, which promises to make the process of creating composite photos easier and faster. The tool was first previewed as Project Perfect Blend at Adobe Max in October 2024, but it is now ready for testing in beta.

Harmonize uses Adobe Firefly to analyze new objects and the context of the original image. It then automatically adjusts the new object's color, lighting and shadows to create a more natural composite image with a single click. Users will still need to adjust scale and perspective. Still, this tool could be a big time-saver for interior designers creating staged imagery, marketers creating campaign visuals or artists creating composites. Harmonize will be available in beta for Photoshop on Desktop and web, and in Early Access on mobile.

The Generative Upscale feature promises sharp, clear results when upscaling images.

Photo: Adobe

Adobe has also introduced Generative Upscale, which it says has been one of the most requested updates from the community. It's available in Photoshop beta on desktop and web and can increase image resolution up to eight megapixels. Adobe says it will make images look sharper and more detailed. That said, the team's demo of upscaling an old, scanned photo of a couple showed quite a bit of smoothing on the skin and other features, giving it a rather AI-type look. However, its upscaling example of an AI-generated image showed more sharpness and detail.

Adobe has strong competition on this front, given that dedicated AI upscaling programs, such as Topaz Gigapixel AI, offer more settings and control. Still, it could be a good option for those who would like to keep all their editing work in one program and don't need advanced control over upscaling.

Adobe says the remove tool will provide better results in the new beta version. As you can see on the right hand side, though, it still may add new objects.

Photo: Adobe

The Remove Tool is also getting an update thanks to the latest Firefly model. Adobe explained that people have been using Generative Fill to remove things, but it wasn't specifically designed for that, and it would often add random new objects as a result. However, the Remove Tool was designed explicitly for removing items, and Adobe says it won't add new things as often as Generative Fill. That implies there will still be some surprise additions from time to time (indeed, such was the case in the example image Adobe provided), but it should be less frequent. Adobe also says that results will be more precise and natural in the latest iteration.

Both Generative Upscale and Harmonize use Adobe's generative AI credits, which it began enforcing with the new plans rolled out in May this year. Luckily, the newly improved Remove Tool does not use generative credits, so you can remove to your heart's content. That's a relief to hear, since it's such a commonly used feature for Photoshop users.

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Using a camera in a variety of circumstances is a core part of our review process, and we've been taking advantage of the camera's size by taking it pretty much everywhere with us.

Some of the images were taken at the wedding reception described in our shooting experience article.

Read our Sony RX1R III shooting experience

As usual, all images are presented as unedited, out-of-camera JPEGs unless otherwise stated, and Raw files are available to download so that you can run them through your preferred workflow, once support is available.

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It turns out the RX1R III takes the kinds of photos I like to take, and does so in a package I can carry around, without too much inconvenience or intimidating would-be subjects.

Sony DSC-RX1R III | F2.8 | 1/125sec | ISO 160
Photo: Richard Butler

I'll be the first to admit: I love a small camera with a big sensor and a prime lens. They were commonplace in the film era, but had all but died out after the transition to digital, with only Ricoh keeping the faith with its GR Digital models. I remember distinctly when Sigma announced it was developing the DP1, and the excitement when Fujifilm pre-briefed us about its plans to make the type of camera we'd been asking for, for years: the X100.

I want to make that clear, because recognizing this about myself was critical to making sense of my time shooting with the RX1R III. I'd just been writing about how its specs and size compare to the a7CR: an ostensibly a better camera in nearly every respect. So why was I enjoying the RX1R III more?

It was a friend's wedding reception. He'd asked if I'd be willing to DJ for a bit and maybe take some photos, leaving me switching between multiple roles. I agreed on two conditions: that I'd DJ early enough that I wasn't responsible for getting the crowd dancing, and that I wasn't going to be the principal photographer. Both those tasks are highly skilled and specialised, and although I enjoy both, I'm not the best person to turn to, for either.

Having received the Sony earlier in the day, I decided to pack it alongside the Nikon Z5 II I already planned to take (with 24-70mm F2.8 and 85mm F1.8, just in case portrait opportunities arose, since you ask).

Very quickly, I realised that the RX1R III was the better camera for the job. With the Nikon I kept switching lenses, as I vacillated between asking people to pose for photos and trying to capture the uninterrupted atmosphere of the event. With the zoom mounted, I couldn't quite work out what I was shooting, and kept framing too wide and getting photos with a lot of background and venue.

This isn't a photo I was planning to take, but I had the camera on my wrist, just as a friend glanced down at her phone. The camera focused quickly enough for me to take this grabbed shot.

Sony DSC-RX1R III | F2.8 | 1/250 sec | ISO 640
Photo: Richard Butler

The RX1R III was completely different: its size meant I didn't feel I was switching roles from guest to photographer, as I could comfortably leave it hanging off my wrist. It was also it was much less obtrusive than the Mirrorless camera. The Z5 II isn't a big camera, but with the 24-70 F2.8 on the front, it couldn't help but attract attention. By contrast the RX1 let me just pop up over people's shoulders or as I was seemingly walking past. Occasionally someone would spot me, but no one seemed intimidated by the little camera I was wielding.

I also feel the fixed focal length really helped me get my head into the task. The only question I had to ask myself was: 'how many people am I getting in shot, so how close do I need to be?' This simplicity quickly had me seeing the room through a 35mm lens, and working out where I needed to put myself. It's a similar experience to the one I had when reviewing the Leica Q3 43.

Beyond the basic concept of the camera, the thing that really jumped out at me was how well the autofocus performed. I remembered the Mark II feeling like it was being held back by its rather ponderous lens: revisiting the review immediately invoked a memory of how the camera would rumble slightly as it focused, as well as resurfacing a long-buried horror of the phrase 'Center Lock-on AF.'

The RX1R III was better in every regard, and better by a greater degree than I'd expected. You can still feel the lens as its elements are shunted around but it moves more swiftly, either through smarter algorithms minimizing the amount of movement required or some increase in the AF motor's speed. Either way, the RX1R III did a good job of finding and achieving focus, with it feeling more confident than the Nikon, as the light level fell: the opposite result from the one I'd expected.

One detail I noticed was the Auto ISO using a 1/125 sec exposure as its Auto shutter speed threshold. This use of 1/ four-times-focal-length is presumably to maximise sharpness, in the absence of any stabilization but wasn't always enough to get some of my candid shots gallery-sharp.

I didn't once notice the low resolution of the viewfinder: possibly because I've spent the last few years of my life reviewing cameras with low res finders. I tend to find changes in viewfinder resolution much more distracting than consistent low resolution, as in the moment, I'm usually only trying to get a sense for composition and checking where the focus point is, rather than trying to scrutinize detail.

As soon as I started shooting with the RX1R III, I started getting shots that reminded me of this photo: the moment at which I understood the case for the original RX1.

Sony Cyber-Shot DSC-RX1 | F2 | 1/800 sec | ISO 100
Photo: Richard Butler

One of the first shots I got from the evening immediately reminded me of a photo I took with the original RX1. I instantly recalled how much I'd loved the distinction between the sharp regions and the significantly out-of-focus background. I'm not someone who really thinks of 'pop' in photos, but it's this one I always picture, when I try to imagine what people mean by it.

I was, by that stage, already an owner of the ur-X100 and I remember thinking 'this is like the X100, but more so.' But the slow focus, poor battery life and high price (or what I thought was one, back then), significantly undercut the appeal of the camera overall.

Its 35mm lens and relatively small form-factor means I can take exactly the kinds of shots I like to take with an X100, but with more detail and better image quality (albeit for a much higher price).

Sony DSC-RX1R III | F4.0 | 1/125 sec | ISO 6400
Cropped and selectively warmed with Adobe Camera Raw
Photo: Richard Butler

The RX1R III addresses the first two of those issues while still delivering that 'like a super-X100' experience. The dedicated aperture ring and exposure comp dials make it feel much more photo-focused than the otherwise similar a7CR, and much closer to what I enjoy about the X100.

I even found myself thinking that it's almost the photo-only camera that so many people say they want. It can shoot video if you insist, but there's no headphone socket, no tilting screen, no stabilization and no record button, so Sony hasn't exactly gone out of its way to encourage it.

In practice, it's probably the most purely photography-focused camera Sony is ever going to make. And, while its menus and interface aren't as dedicated to that cause as Leica's are on the Q3 series, the experience is still one that puts photography to the fore.

The new brand is called Antigravity.
Image: Insta360

Insta360, a company known for its 360 and action cameras, is entering the drone market. Today, the company announced a new sub-brand called Antigravity and is teasing an upcoming drone that will shoot 360° 8K video.

The company says Antigravity is a "collaboration with third parties" and that it's spent years designing a product that will have "several world-firsts" in drone design. While details are very sparse – an official announcement is due next month – there are a few that sound intriguing. The upcoming drone will have 360°, 8K capture and weigh less than the 249g limit that many countries have set as a requirement for drone registration.

The company has released a marketing video with snippets of footage that may have come from the drone. As with many 360° cameras, the main use isn't necessarily in letting a few people actually view a 360° video, but in letting you capture everything and decide your framing and movement in post.

The company is teasing a small, light 360 drone.
Image: Insta360

The press release announcing the brand makes it seem like it'll be aimed at people who don't necessarily have a lot of experience flying drones, and who are just trying to capture "a family hike, a weekend road trip, or a new perspective on everyday life." In other words, to start, Antigravity's products will be aimed more towards those looking to jazz up their social media feeds, rather than pros using drones for work.

The company also says it'll have a "co-creation program" that lets "enthusiasts and community members" leave feedback and ideas about what they want to see in future products, or what features they'd like to see added.

The US government has been growing increasingly hostile to DJI

It's been a while since we've seen a new player successfully enter the drone market, but Insta360 has a track record of breaking into areas seemingly dominated by one or two major companies. It's had some success taking on GoPro and DJI with its own lineup of action cameras.

The timing may also work in Antigravity's favor. At the moment, DJI is really the only brand that matters in the consumer drone space, but the US government has been growing increasingly hostile to it over the past few years and has continued to threaten to ban it outright. Despite some people snagging units, its latest drone, the Mavic 4 Pro, never officially launched in the US; it's currently not even listed on its US website.

Press Release:

Introducing Antigravity: The Future of Aerial Exploration and Storytelling

Flight reimagined for life.

Today marks the official launch of Antigravity, a new drone brand with a bold mission: to redefine aerial exploration and storytelling.

Incubated by Insta360 in collaboration with third parties, Antigravity isn't content with simply releasing another drone into an already crowded sky. Instead, it’s creating an entirely new category — combining the world’s first 360 drone with true immersive capture. All packed into a sub-249g form factor, with 8K resolution to match.

The brand envisions a future where drones enable immersive and intuitive experiences that reflect the curiosity, creativity, and spontaneity of the people using them. Whether capturing a family hike, a weekend road trip, or a new perspective on everyday life, Antigravity empowers people to explore and create while experiencing life as it happens.

"Today, most drones are tools. With Antigravity, we're aiming higher," says BC Nie, Head of Marketing at Antigravity. "While others compete on specs, we've flipped the script, reimagining what a drone should be able to do. The result is something that empowers real emotion and enables experiences like freedom, creativity, and discovery for everyone."

The Idea: 360 Immersive Flight

At the heart of Antigravity's design philosophy is the concept of 360 immersive flight. The brand aims to own this space completely, and replace the technical complexity inherent in both drone flying and 360-degree videography with expressive, story-first experiences that are easy to master yet exceptionally powerful.

Inspired by You. Made for Everyone.

Antigravity drones are made for the curious and the adventurous. Creators. Travelers. Families. People with bold ideas but with limited time to learn complex flight controls and aerial content creation. It's for anyone who's ever wanted a drone, but felt it would be too big of an investment for something they may never be able to use to its full potential.

Ease of use is the starting point for all Antigravity products. Users don't need experience. They don't need a checklist — the drones are operated intuitively. While the rest of the industry is designing products for experts, Antigravity is building drones for everyone; beginners, experts, and everyone in between.

A Collaborative Approach to Product Design

Antigravity is also redefining how products are designed by making community and collaboration a core part of its ethos. Through the Antigravity Hub, the company's co-creation program, enthusiasts and community members are invited to help shape the future of Antigravity's products and features.

Every idea is read and considered, and those that inspire future products or features will be rewarded accordingly. Every contribution will be helpful in understanding what matters to users. Antigravity products are not designed in isolation. They're inspired by the people who believe in what they can become.

Technology Has Caught Up

Antigravity — and its upcoming first product — launches at a pivotal moment when hardware, software, and user expectations have finally aligned. After years of quiet development, the technology is ready to support a new kind of drone experience. This drone is set to revolutionize the industry, introducing several world-firsts in drone design that enable pilots to experience and capture the world in ways that weren’t possible before.

The drone has been designed to reflect Antigravity’s commitment to building a product ecosystem with unique personality, meaningful features, and a clear sense of purpose. To ensure that Antigravity drones are used solely for exploration and storytelling, all drones will include smart safety features such as payload detection to prevent misuse or unauthorized modifications.

Antigravity's first drone will be unveiled in August 2025. More information is available at www.antigravity.tech.

Checking and adjusting the image fields of the M3 illuminated frame rangefinder, approximately 1953.

Image: Leica Photo Archive © Liesel Springmann

This year marks a historic anniversary for Leica: 100 years have passed since the first mass-produced Leica camera was introduced. No matter your thoughts on the company today, there's no denying its impact on photography as we know it. That legacy can be challenging for a company interested in navigating modern technology, though. To learn more about how it balances tradition and innovation, we spoke to Dr. Benjamin Dück, Global Director of Technology & Innovation; Peter Karbe, Senior Managing Expert Optics and Platform and Mark Shipard, the Head of Design.

The Leica I 1925 Elmax camera.

Photo: Leica

First, a bit of history. In 1925, Leica presented the Leica I – the first mass-produced, readily available 35mm camera – at the Leipzig Spring Fair in Germany. That camera is often credited as being the birth of modern photography, popularizing the 35mm format and putting cameras in the hands of the general public. Because of its compact design, it helped popularize new genres such as reportage, street photography and candid image-making in everyday life.

Leica's willingness to push boundaries remains a key part of its legacy. "One key lesson from Leica's history is the value of long-term thinking and the willingness to take calculated risks," said Dr. Dück. "The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

"The launch of the Leica I was not just a technical step, but a strategic decision that shaped modern photography."

Since 1925, Leica has continued to develop and advance photographic technology. Throughout that time, tradition has remained constant. "At Leica, tradition and innovation go hand in hand," Dr. Dück explained. "Our legacy of precision and craftsmanship forms the foundation for technological progress."

Leitz Werke production Leica I, between 1925 and 1932.

Photo: Leica Photo Archive © Nikolaus Befort

Of course, there's a benefit to being around for 100 years: Leica has extensive historical data to look back on, aiding its technological progress. "Our archive of construction and optical design documents can look back on 100 years and is one of our greatest treasures at Leica," explained Karbe. "Today, we still feel obliged to do justice to the traditional standards stored in the archive and to continually enrich them with new requirements. The evolutionary development at Leica always builds on what has already been created."

While it has an eye towards advancement and calculated risks, the company makes it clear that it isn't interested in progress solely for the sake of progress. "Our design goals are oriented towards customer benefit," said Karbe. "What will our customer expect from the product (lens)? What performance parameters must we achieve. The design goals are derived from this."

Left: Max Berek; Right: Oskar Barnack, Wetzlar, 1935

Photos: Leica

Karbe provided a historical example, too. "Oskar Barnack (inventor of the Leica) and Max Berek (optical designer of the first lens for the Leica) defined a sharp photo in postcard format as their goal," he explained. With that in mind, they derived the design objectives for Leica's first lens. Karbe says that their approach today is similar. "We ask ourselves what tasks the new lens to be developed should fulfill, what performance we want to offer the customer," he said. "Based on these assumptions, we define the design goals."

Shipard expanded on this idea, explaining that Leica's heritage is based on clarity, precision and restraint. While technology has changed drastically from the first Leica camera and lens, Leica says those three tenets remain constant. "Every new product reinterprets these principles using today's materials, technologies, and needs," he said.

"Innovation should serve the needs of creators – not just follow technological trends,"

Leica's design philosophy informs not only its own lens design process but also its broader perspective on the future of photography and camera-making. "For future camera makers and photographers, it's important to focus on quality, usability, and a clear understanding of the craft. Innovation should serve the needs of creators – not just follow technological trends," said Dr. Dück.

The Leica ZM 12 watch.

Photo: Leica

In recent years, Leica has moved beyond cameras. The company's name is associated with watches, eyeglass lenses, apps, smartphones and more. While it could seem like a departure from the brand's legacy, Leica doesn't see it that way. "All business areas are based on core competences that stem from Leica's history," said Dr. Dück. He added that the company wants to deliver the Leica experience on both professional cameras and smartphones, highlighting Leica's recognition of the importance of smartphone photography moving forward.

Progress in the digital age and time of artificial intelligence is also a focus for Leica. "We honor our heritage while embracing the future – from pioneering digital watermarking called content credentials in the M11-P to exploring AI-assisted imaging," explained Dr. Dück. He went on to say that Leica believes that AI can never replace the authenticity of a photograph, but "AI can help photographers to achieve an authentic image more quickly." It will certainly be interesting to see how Leica approaches this and what it could mean for content credentials moving forward.

"Progress comes not from adding more, but from refining what matters."

Ultimately, the Leica story is not about clinging to tradition or chasing progress, but about how the two can work together. As Shipard puts it, "Leica's heritage is our great asset moving forward. We don't preserve history, we extend it. Progress comes not from adding more, but from refining what matters."

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The combination of size and focusedness means a prime-lens compact isn't necessarily the same as leaving a prime lens on an ILC.

Photo: Richard Butler

A camera with a built-in prime lens is an inherently limiting piece of equipment, but that's not the same as saying they're an inferior substitute for an interchangeable lens camera.

The past year or so has been something of a golden period for fixed, prime-lens cameras. From the latest, still hard-to-get iteration of the Fujifilm X100 to the gen-Z-focused X half. We've seen aspirational, high-end models from Leica, Sony and Fujifilm, along with the promised continuation of Ricoh's much-loved GR series. Why are so many camera makers building machines that are so seemingly inflexible?

The announcement of the Sony RX1R III brings the question into particularly sharp focus, given how many components and capabilities it shares with the much less expensive, much more flexible a7CR. And yet, as I shoot with the prime-lens compact, I find the comparison makes less and less sense: they're not really the same things.

Why would anyone choose a fixed lens camera?

There can be practical reasons for choosing a fixed, prime-lens compact over an ILC: size being the most obvious. As well as convenience, this can make them less intimidating when shooting in social situations.

The ability to have a lens that extends further back than even the short flange-back distances of modern mirrorless cameras lets a built-in lens be smaller than an interchangeable version. Note, for instance, that Fujifilm's 23mm F2.8 pancake extends further from the camera body than the X100's 23mm F2 lens does, despite being a stop slower.

Prime-lens compacts are targeted at niche audiences, more willing to pay more for premium design and build. Price is rarely a reason to go for a prime-lens camera.

Photo: Richard Butler

This leads us to a second physical difference between most compacts and most ILCs: the use of leaf shutters. Leaf shutters, built into the lens, affect the whole sensor as they open and close, effectively giving a global shutter. This usually brings the ability to sync with flash at any shutter speed. For an ILC, focal plane shutters make more sense: they typically offer faster shutter speeds, and have the advantage that you don't need to buy a new shutter mechanism with each lens, but with the downside of limiting the range over which you can use flash.

But there are creative considerations, too: knowing the single focal length that's hanging over your shoulder can prompt you to see the world through that lens, as it were. Rather than being overwhelmed by the ability to shoot almost anything, I sometimes enjoy getting to develop a sense for the lens's view, so that I can then try to see things I can fit into it. That's something you don't get with a zoom and is harder to maintain if you swap a prime on and off your camera.

"Knowing the single focal length that's hanging over your shoulder can prompt you to see the world through that lens"

A fixed lens camera can also be designed in a more focused manner. Although it shares its menu structure with the a7CR, the RX1R III has fewer modes, fewer options and only the direct controls you need for its way of shooting. It's like choosing a hand-made chef's knife over a Swiss Army knife: it's much less flexible but very well suited to one specific thing.

Finally, there's something to be said for a camera that's a self-contained purchase. Buying a fixed-lens camera isn't a gateway into a new system. This can make them popular as second cameras, because you don't find your loyalties (or finances) split between two lens families, but also has some appeal as an only camera. It can be easier to justify a higher initial outlay if you know that it doesn't come with the temptation to keep upgrading and expanding a set of lenses.

Horses for courses

Fixed prime cameras can make good second cameras, too: as an additional camera for wedding and events shooters, perhaps, but also as a way of perpetuating your 'main camera' experience on those occasions you don't want to carry your main camera.

Photo: Richard Butler

If your photography requires specialist lenses, whether they're macro, long tele or tilt-shifts, or simply a variety of lenses, the idea of being permanently wedded to a single focal length can seem incredibly restrictive. But, just because it's not for you, doesn't mean it doesn't make sense for other people. As with so many other aspects of photography, it's a question of personal taste.

Ultimately, a prime lens compact either makes sense to you or it doesn't. But you don't have to look hard to see the regard with which the Ricoh GR cameras or Fujifilm's X100 series are held by their users. Leica isn't selling Q3s to people who can't afford its rangefinder models: they fulfill different requirements.

Even the most lens-laden ILC shooter should recognize that some people simply prefer the constraints of a prime lens. Just don't expect any agreement over what the 'right' focal length for such a camera.

Photo: Abby Ferguson

Today is National Dog Photography Day, a very important day for dog lovers. Started in 2018 by photographer Kerry Jordan, it encourages everyone to post any and all photos of dogs. Who doesn't love a chance to brag about their pup, after all. In honor of the day, the DPReview staff teamed up to share some tips on how you can take better photos of your (or someone else's) dog(s), whether you have a dedicated camera or are using your phone.

Wait for them to sit still Photo: Mitchell Clark

As with any animal, it's much easier to get a good picture of a dog that's lying down or sitting still. Usually, when I ask an owner to take a picture of their pup, they'll tell it to sit and try to get it to stop moving for you. You may need to let it say hi to you first, though – I've gotten a lot of close-up photos of dogs' noses because they went from sitting to sniffing as soon as I knelt down to their level.

Use a fast shutter speed

A fast shutter speed is necessary if you want to capture your dog playing, or even to prevent a blurry face if they won't hold still while sitting. This image was taken at 1/2500 sec.

Photo: Abby Ferguson

If you can't get the dog to sit still or want to get an action shot of it moving, follow the general rules of capturing motion: a higher shutter speed will freeze its movement better. I've generally aimed for around 1/1000 sec to capture dogs on the move, but you may need to go even faster if they're running at top speed.

Get on their level

Take photos from your dog's level to capture their view of the world.

Photo: Dale Baskin

One of the easiest ways to elevate your dog photographs is to change your perspective. This tip applies to many subjects, but only looking down at your dog won't result in very compelling images. You'll create a more captivating composition by getting down low and taking photographs at their eye level. Getting low can also help you bring out your dog's expressions and personality more.

Don't forget close-ups

My dog's ears are one of her favorite features, so that's a detail shot I know I'll enjoy having.

Photo: Abby Ferguson

It's easy to take photos that only show your entire dog (or most of them), but close-ups are worthy of capturing, too. Detail shots of their nose, eyes and paws can help you showcase their distinct features. Even photos of their pawprints can give you something a little different. Plus, you'll likely be glad you have those images of what makes them special later on.

Get in on the action

The best dog photos are sometimes the ones that capture the simple joy of running.

Photo: Dale Baskin

While waiting for your dog to get still will make photos easier, most dogs love to run. And run. And run. If you want to capture the essence of your dog having fun, take photos of them in action. Throw a frisbee. Throw a stick. Get them excited with their favorite squeaky toy. Or, just capture the raw joy of your dog running at the dog park.

Capture the absurd

I met this dog at a Halloween event, where he got to play Batman for a day.

Photo: Dale Baskin

Sometimes, the best photos of our furry friends happen under what might otherwise be considered absurd circumstances. Attend a Halloween event where dogs and the people they own wear costumes. Go to a pet parade with a patriotic or summer theme. Or, if you have one of those dogs who likes to roll in any organic matter found in the yard, do yourself a favor and take a quick portrait before putting them in the bath to get cleaned up.

Photos of your dog rolling in mystery substances can be very entertaining.

Photo: Abby Ferguson

Image: Canon

Happy Friday, folks. This week, Canon has reintroduced new firmware for the EOS R1 and R5 II. It brings new features and bug fixes to both models. Additionally, Fujifilm has announced new firmware for seven cameras that offer minor updates and fixes. Without further ado, let's dive in.

Canon Image: Canon

Canon initially released firmware for the R1 and R5 II last week. Those updates came at the same time as new firmware for a list of other models, but Canon had to pull the R1 and R5 II upgrades after discovering an error. It's fixed that error, and the firmware is again ready for download. If you downloaded and installed the pulled version, make sure to update to the one released on July 24 (version numbers below) to avoid any potential issues.

Canon EOS R5 II Ver 1.1.1

There are quite a few updates for the R5 II. It adds automatic flicker detection at 100 or 120Hz when using Live View and improves image stabilization control with lenses compatible with Peripheral Coordinated Control. Sports photographers will benefit from the option to expand Servo AF to better focus on subjects behind nets, and it promises improved AF tracking during video with difficult-to-focus subjects.

You can also now set the number of shots captured in pre-continuous shooting mode. And, it adds the ability to turn on Exposure Simulation when using a flash unit.

Additionally, Ver 1.1.1 adds compatibility with CFexpress cards up to 8TB. Canon does note that cards larger than 2TB cannot be used for updating firmware, though. Plus, like the other recent Canon firmware updates, it enables firmware updates when the camera is connected to the internet.

If you previously downloaded Ver 1.1.0, this update fixes the two potential issues associated with that version.

See all changes and download the R5 II firmware Ver 1.1.1 here.

Canon EOS R1 Ver 1.1.2 Image: Canon

The EOS R1 shares most of the same updates as the R5 II. That includes automatic flicker detection at 100 or 120Hz when using Live View, internet-based firmware updates, the option to expand Servo AF to improve focus on subjects behind nets and improved AF tracking during video capture with difficult-to-focus subjects. It also adds compatibility with 8TB CFexpress cards and Exposure Simulation with flash units.

The R1 gets the added benefit of Panning Assist, which applies image stabilization and subject blur correction during exposure when panning with compatible lenses.

See all changes and download the R1 firmware Ver 1.1.2 here.

Fujifilm Image: Fujifilm

Fujifilm released minor firmware updates for the X-T5, X-Z20, X-T50, X-M5, X100VI, GFX100RF and X half. All seven of those cameras now have enhanced security for wireless communication and some small updates to menu options. The X half firmware fixes a rare bug that caused the camera to freeze when the power is turned off and on.

See details and download Fujifilm X-T5 Ver 4.30 here.

See details and download Fujifilm X-S20 Ver 3.30 here.

See details and download Fujifilm X-T50 Ver 1.30 here.

See details and download Fujiifilm X-M5 Ver 1.20 here.

See details and download Fujifilm X100VI Ver 1.30 here.

See details and download Fujifilm GFX100RF Ver 1.10 here.

See details and download Fujifilm X half Ver 1.20 here.

Viltrox Image: Viltrox Viltrox AF 28mm F4.5 FE lens Ver 1.07

Finally, Viltrox released an update for the E-mount version of its 28mm F4.5 lens. It's a small change with limited detail, simply saying it "fixed known issues."

See details and download firmware Ver 1.07 here.

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After Sony's surprise announcement of the RX1R III, the latest iteration of its full-frame photographers' compact, we had a lot of questions that we knew could only be answered by getting hands-on time with it. Now that we've tested it in our studio and spent time shooting with it in a variety of situations, we have answers.

We're still at work on our in-depth written review, but we've covered the essentials of its image quality, autofocus performance and, of course, price, in our video review, which you can watch now.

Be sure to stay tuned for our full sample gallery and more analysis, and check out the DSC-RX1R III in our studio scene to see how its sensor and lens perform.

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

As usual, one of the first things we did when we received the Sony DSC-RX1R III was take it into our studio, to see how it performs.

The camera's lens has a degree of distortion but correcting it isn't compulsory, so we've matched the way we shot the RX1R II: JPEGs with distorion correction applied, Raw files without. However, it's worth noting that Adobe Camera Raw applies chromatic aberation correction automatically.

Studio scene

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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We'll take a closer look at the lens in a separate test, but you can see the RX1R III's sensor performs as you'd expect. It can't quite match the Leica Q3 43 for detail but it's capturing finer detail than the Mark II, with its 42MP sensor, could. Noise is comparable with the two other cameras with which it shares a sensor and with its predecessor, when compared at a common output size.

The JPEG engine does a good job of pulling out fine detail, and retains it to a reasonable degree at high ISO. Color rendition seems to be a match for recent Sony cameras, with perhaps slightly less bluey greens and greenish yellows than the RX1R II had.

A closer look at the lens

Our test scene isn't designed for testing lenses but allows a reasonable working distance, so the results shouldn't be too far removed from those you get from everyday shooting (we'll be publishing a sample gallery in the coming days, to let you compare). It also lets you examine when the lens sharpens up and when vignetting disappears.

The images in this scene have been processed with geometric distortion correction on and off. They have also been processed with a slightly higher level of sharpening than the one we use for out standard test scene, to give a better idea of what you can get out of them.

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The first thing you see is that the vignetting present at F2.0 has all but gone by F2.8. Whereas sharpness takes longer, still improving when you get to F5.6.

Turning the corrections off reveals a degree of barrel distortion but it's only something you're likely to notice if you're shooting test charts or brick walls. There doesn't seem to be any significant loss of sharpness if you correct the results, so it's really a question of taste whether you choose to apply the corrections.

Overall it's fair to say the high pixel count starts to reveal the limitations of the lens at wider apertures, but still does a good job when stopped down. And, although the two aren't perfectly comparable (the Leica was processed with Capture One, which doesn't support the Sony yet), the performance is well short of the Leica Q3 43's lens at wider apertures.

In practice we found that, while it lacks critical sharpness at the distances and apertures used for portraits, it delivers all you might expect for landscape shots.

A few months ago, a simple question popped up in our community forums: What have you learned as a photographer that you would tell a beginner? The resulting discussion was insightful enough that we turned it into an article.

The reaction to that article was even bigger than the original discussion. The comment section blew up, with over 100 experienced photographers contributing tips and hard-earned wisdom.

We knew we had to share that collective knowledge with new photographers, so we analyzed the entire conversation to find the most common recommendations. Below are the top five pieces of advice for beginner photographers from the DPReview community, ranked by how many photographers commented on each.

Learn technique and composition (25% of feedback)

The most common advice from experienced photographers was to learn good technique and composition.

Photo: Dale Baskin

The most common advice from experienced photographers? Focus on technique and composition. Nailing the fundamentals is crucial, no matter your gear or subject.

Start by learning to see and use light effectively. "Every photo requires light. Understand good light," reader Peak freak told us. "This took me some years and many photographs. A pleasant side effect is that I now see 'good light' all the time. I don't have to be taking photos."

"Every photo requires light. Understand good light."

As you learn to see light, also learn the fundamentals of exposure: "Only aperture and shutter speed affect exposure," points out Jacques Cornell. "ISO is just gain after the fact." That doesn't mean the ISO dial on your camera isn't useful, but it's essential to understand that changing ISO doesn't impact the amount of light you capture. Reader p51d007 also advises: "Take your camera out of the green A mode and experiment!"

Finally, much of the wisdom centered on composition: be aware of the entire frame and experiment with different angles. "Work the scene. That first photo may not turn out well. Change camera positions forward, backward, left, right, higher and lower," suggests TXforester.

Focus on mindset and philosophy (22% of feedback)

It's good to study the work of other photographers, but develop your own vision for your photography.

Photo: Dale Baskin

Photography isn't just a technical skill; for many, it's a journey of personal development where each photographer develops their own philosophy.

We heard a lot about finding your personal vision and shooting for yourself. As reader FotoFailure says, "Be true to you. It sounds selfish, but it's really not. Taking pictures for 'likes' and trying to emulate some YouTuber is a trap." Another reader emphasized this, proclaiming, "If something is your passion or what your heart is burning for, go for it; if not, don't do it for the sake of appearance."

Gear (20% of feedback) One common tip when it comes to gear: the "good enough" philosophy that says you should keep using your current gear until you actually outgrow it or reach its limits.

On a gear-focused website, it's refreshing that equipment only ranks third. The most common advice was to avoid "Gear Acquisition Syndrome" (GAS).

"Don't fall prey to GAS (like I, and many others, have). Really learn the basics of photography with your current camera and kit lens. Then upgrade as needed, but resist the urge to upgrade simply because something is new or has cool features," says sirhawkeye.

"Don't fall prey to GAS."

Many also advised prioritizing lenses, which often impact image quality more than a camera body. "Choose your camera system wisely, perhaps looking at lenses more than cameras. Cameras come and go, but lenses stick around forever," observes grasscatcher.

Finally, many espoused the "good enough" philosophy: you don't need the newest gear for great results. Notes Greg Edwards, "Cheaper, budget gear these days is amazing. Far better than it was 20 years ago."

Learn and practice (18% of feedback)

If you want to improve, practice, and learn to understand your subject. You don't have to share your practice photos with anyone unless you want to.

Photo: Dale Baskin

"Photography is like playing a musical instrument. You have to practice, practice, practice, and never stop learning," says reader mcantsin. But readers also stressed learning from others.

Many recommended studying other photographers and painters, who were often masters of light. "Take time each day to study the images of others. Be analytical about what you do or do not like," says rickpappas. TurvyT adds, "Observe art, especially painting. Have favorite photographers and [view] them often."

Experimenting was another common suggestion for improving your skills. "Learn everything you can about the fundamentals of photography, and then once you've learned all the rules, systematically break every one of them, one at a time, until you find your style," says f1point4andbethere.

Post-processing (6% of feedback)

Post-processing images can enhance your photos, but focus on nailing the fundamentals listed above first.

Screen capture: Mike Tomkins

We were surprised post-processing didn't rank higher, but it suggests that experienced photographers believe it's only valuable after you've started mastering the skills above.

"Editing can improve a good image just like good cooking can improve good base ingredients, but you can't turn sh*t into gold in the editing," lattesweden reminds us.

However, one consistent recommendation was to learn to shoot and process Raw images. Even if you don't use Raw all the time, the ability to process Raw files opens up a world of creative possibilities.

Tell us what you think

And there you have it: five essential pieces of advice crowdsourced from the collective experience of over 100 photographers.

What essential tips would you add to the list? Let us know in the comments.

Editor's note: Some quotes have been lightly edited for clarity and flow.

Photo: Abby Ferguson

Summertime heat makes many of us seek out the nearest body of water for a bit of relief. The beach can also be a place for stunning photographs. Whether you're looking to capture dramatic sunrises or sunsets, moody portraits, epic surfing or simply document your family on vacation, the beach holds a lot of photographic potential. But it also has the potential to wreak havoc on your camera gear thanks to the salt water and sand.

Just because the salt and sand can be hard on your camera doesn't mean you have to leave it at home, though. As long as you take some precautions and know the dangers, you can keep your camera safe while still getting beautiful photos at the beach.

The dangers of the beach for your camera

The beach is a fun place to bring your camera, but the salt water and sand are hard on gear. Here's what you need to watch out for when taking photos at the beach.

Sand is especially prone to getting everywhere when you have kids or pets at the beach with you.

Photo: Abby Ferguson

Sand is the enemy

Sand is a lot like glitter; it gets everywhere, and once it's there, it can be hard to get rid of. When it comes to sand on camera gear, it's far more than just an annoyance; it's also dangerous since sand is extremely abrasive. There's a reason it's used for smoothing and polishing things, after all.

Sand can cause numerous problems with your camera gear. It can scratch the glass on your lenses, clog up zoom or focus rings and jam buttons and dials. If it manages to get inside your camera, it can also damage your sensor. Because of that, it's important to do your best to keep sand away from your camera and lenses.

Waves can be unpredictable, and the resulting salt spray is hard on gear.

Photo: Abby Ferguson

Salt water is also problematic

Ocean-goers have another element to contend with: salt water. At freshwater beaches, it's relatively easy to simply keep your camera away from the lake itself. And if some water does get on it (provided it's not a full bath), your camera likely won't be any worse for wear. Salt water is another story.

Salt water is highly corrosive. It accelerates the degradation of both metal parts and electronic components, potentially causing short circuits. Damage isn't just limited to when it gets wet, either. If unaddressed and left on the camera, salt water can continue to corrode your camera, causing further damage over time.

How to keep your camera safe at the beach

While the sand and salt water pose significant risks for your camera, there are ways to protect your gear. You don't have to skip those beach photos, as long as you take some precautions.

Don't set your camera down

First and foremost, don't ever set your camera down in the sand. Even placing it on a towel spread on the ground is extremely risky. It's a surefire way to get sand where it shouldn't be. If you need to put your camera down, place it inside a sealed bag or container (such as a ziplock, dry bag, or zipped camera bag). You could set it on a raised chair or high cooler if it's only for a brief (supervised) moment, but the key is to keep it away from any place that could get sand kicked or blown onto it.

If you're trying to take extremely low-angle long exposures or other situations when handholding the camera won't work, don't just set your camera on the sand. Instead, use a ground pod or a tripod that allows for low angles. Don't forget to watch your camera closely in such situations, though. You don't want someone to walk by and accidentally kick sand on your camera, or for the tide to come up and splash corrosive salt water all over your gear.

Changing lenses on the beach is risky because of sand and salt spray.

Photo: Mitchell Clark

Don't change lenses on the beach

Changing lenses outside in general can result in debris on your sensor, but you should absolutely avoid changing lenses at the beach. That's especially important if there's any amount of wind that could blow sand or salt spray into your camera. If you absolutely must swap mid-shoot, it's best to do so in your car, a beach changing room or any other sheltered place that can keep sand and salt out of the picture (literally and figuratively).

Choose the right lens

Lens selection is also important. Many zoom lenses have telescoping components, and some lenses extend or retract when focusing. If sand gets trapped in those areas, it can damage or block the gear units. At best, it might result in some crunching when turning the zoom or focusing rings; at worst, it could jam up those parts completely. As a result, it is safer to choose a prime lens with internal focusing or a zoom lens with internal zoom.

Keep your hands clean

Make sure you use clean hands to handle your gear. That can be tough to do, but if you have been playing in the sand or water and then pick up your camera, all that sand will transfer to your gear. Ideally, you should rinse your hands with fresh water so you aren't transferring salt to your camera, but at least make sure your hands are completely sand-free before handling your gear.

Photo: Abby Ferguson Stay away from waves

The most obvious thing to avoid is waves crashing onto your camera. While it can be tempting to put the camera close to waves coming in for dramatic photos, a saltwater bath is not a good idea for your camera. Waves can be unpredictable, and you don't want to get caught by a rogue wave. If you want to get right in the action, an underwater housing would be best.

Likewise, make sure you pay close attention to tide data while at the beach so that you don't accidentally leave your gear in a spot that will eventually be underwater.

A thorough cleaning after the beach is necessary to keep your camera in good condition over time.

Photo: Abby Ferguson

Take time to clean your gear afterwards

Salt water can cause damage even if a wave doesn't wash over your gear. After all, salt spray can travel a few miles from the beach. Even if you keep your camera well away from the waves, it will need some cleaning after a trip to the beach to prevent corrosion and rust.

To clean your camera after your beach trip, start by using a bulb blower to gently remove sand. If there's sand on your lens, do not wipe it off, as that could scratch the glass. Then, dampen a towel with fresh water and wipe down your camera. You may also need to use a lens cleaning solution and a microfiber cloth to clean salt spray off the front element. Finally, as with any moisture, make sure that your camera is fully dry and free of salt residue before storing it.

Image: Nuthawut Somsuk / iStock / Getty Images Plus via Getty Images

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

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

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

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

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

Winners of the 2025 Flow Photo Contest presented by Kodak

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

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

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

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

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

Grand Prize Winner: Water

Photographer: Érico Hiller

Instagram: @ericohiller

Category: Water

Photo location: Turmi, Ethiopia

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

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

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

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

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

Finalist: Water

Photographer: Jorgito Rivera

Instagram: @jorgitorivera

Image title: Beneath the Lineup

Category: Water

Photo location: Teahupo'o, Tahiti, French Polynesia

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

Finalist: Water

Photographer: Mohammed Rimon

Instagram: @mohammedrimon

Image title: Carrying Date Juice

Category: Water

Photo location: Bogura, Rajshahi, Bangladesh

Grand Prize Winner: Human

Photographer: Saurabh Narang

Instagram: @_saurabhnarang

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

Category: Human

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

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

Finalist: Human

Photographer: Zay Yar Lin

Instagram: @zayyarlin84

Image title: Golden Moments in the Corn House

Category: Human

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

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

Finalist: Human

Photographer: Pyae Phyo Thet Paing

Instagram: @pyae_phyo_thet_paing

Image title: The Fishing Boys

Category: Human

Photo location: Inle Lake, Shan State, Myanmar

Grand Prize Winner: Travel

Photographer: Evan Wang

Instagram: @evanwongphoto

Image title: Best View in Town

Category: Travel

Photo location: Squamish, British Columbia

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

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

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

Finalist: Travel

Photographer: Luba Hristova

Instagram: @lubahristova

Image title: Volcán de Fuego

Category: Travel

Photo location: Volcán de Fuego, Chimaltenango Department, Guatemala

Finalist: Travel

Photographer: Aidan Doyle

Instagram: @fotosaidan

Image title: Fun and Games

Category: Travel

Photo location: Comuna 13, Medellín, Colombia

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

Grand Prize Winner: Film

Photographer: Jacob Paley

Instagram: @jacobpaley

Image title: Eyes on the Palisades Fire

Category: Film

Photo location: Santa Monica, California

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

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

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

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

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

Finalist: Film

Photographer: Ben Dickson

Instagram: @shot.point.blank

Image title: Grind

Category: Film

Photo location: Newcastle, New South Wales, Australia

Finalist: Film

Photographer: L . Chaussée

Instagram: @l.chaussee

Image title: Monument Valley

Category: Film

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

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

Grand Prize Winner: Animal

Photographer: Michele du Plooy

Instagram: @michele.d.p

Image title: Once in a Lifetime

Category: Animal

Photo location: Magdalena Bay, Baja California Sur, Mexico

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

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

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

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

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

Finalist: Animal

Photographer: Gabriel Jensen

Instagram: @shallowseasgallery

Image title: Everything's A-Ok

Category: Animal

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

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

Finalist: Animal

Photographer: Bianca Lewallen

Instagram: @roamtobewild

Image title: Eye Contact

Category: Animal

Photo location: Tiputa Pass, Rangiroa, French Polynesia

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Updated July 23 2025

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

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

Our picks:

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

Best fixed lens camera for patient people: Fujifilm X100VI

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

Image: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

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

Click here to read our review of the Fujifilm X100VI

Click here to see the Fujifilm X100VI studio scene

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

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

Photo: Richard Butler

Buy now:

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

• Excellent image quality
• Genuinely small
• Very responsive

What we don't:

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

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

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

What about larger formats?

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

Best pocketable fixed lens camera: Ricoh GR III

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

Buy now:

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

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

What we don't:

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

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

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

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

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

Click here to read our review of the Ricoh GR III

Click here to see the Ricoh GR III studio scene

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

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

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Buy now:

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

• Focus rather unreliable
• Touchscreens are laggy
• Expensive

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

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

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

Click here to read our review of the Fujifilm X half

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

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

Photo: Richard Butler

Buy now:

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

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

What we don't:

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

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

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

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

Click here to read our review of the Leica Q3 43

Click here to see the Leica Q3 43 studio scene

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

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

Image: Sony

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

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

The feature's launch date is TBD

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

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

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

Image: Godox

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

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

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

Images: Godox

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

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

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

Image: Godox

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

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

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

Press release:

Mini Flash, Maxi Fun!

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

iFlash Camera Flash

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

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

Smart TTL, Effortless Results

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

45g Ultra-Compact Design

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

One-Touch M/TTL Mode Switching

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

Magnetic Accessories: Creativity Unleashed

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

700+ Flashes & 1.5s Recycling

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

Precise Power Control

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

Lightweight Lithium Battery

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

Elevate your flash—literally

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

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

Image: VSCO

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

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

Image: VSCO

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

Image: VSCO

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

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

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

Press release:

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

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

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

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

Global Launch of VSCO Capture

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

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

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

Key features of the free camera app include:

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

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

Acquisition of The Freelance Photographer

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

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

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

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

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

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

What's a recipe?

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

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

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

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

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

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

What does this change?

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

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

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

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

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

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

A few limitations

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

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

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

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

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

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

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

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

Photo: Mitchell Clark

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

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

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

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

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

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

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

Photo: Mitchell Clark

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

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

Avoid condensation and fogging Photo: Abby Ferguson

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

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

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

Photo: Abby Ferguson

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

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

Have a comfortable way of carrying your gear

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

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

Don't forget cleaning tools Photo: Abby Ferguson

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

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

Take advantage of your car's charging capabilities

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