This is the first Leica M-system camera to be equipped with an electronic viewfinder, rather than the traditional rangefinder. As such, it has caused a stir within the photographic community – both for and against!

As Ecommerce Editor at Digital Camera World, it’s my job to track down the best deals and make sure our readers spend their hard-earned cash wisely.

To make things easier, I’ve rounded up the best retailers in the US and UK currently offering the Leica M EV1 on pre-order.

Where to buy the Leica M EV1

The Leica M EV1 is the first M camera to abandon the optical rangefinder and integrate an electronic viewfinder directly into the body, and that single decision defines the entire experience.

You’re still shooting a manual-focus M, with aperture rings and that signature rendering, but now you see exposure, white balance and depth of field exactly as the file will look.

The EVF is a high-resolution 5.76-million-dot OLED with focus peaking and punch-in magnification, which makes fast glass and tricky distances far more dependable than framelines ever could.

Under the skin, it’s essentially an M11-class camera. You get the 60MP full-frame BSI sensor with Triple Resolution (60 / 36 / 18MP DNG or JPEG), Leica’s Maestro III processing and support for Content Credentials – Leica’s image provenance system that writes a verifiable chain of authorship into your files.

There’s 64GB of internal storage alongside the SD card slot, so you’ve got a built-in safety net if you leave the card at home.

The body retains the familiar M11 silhouette and materials, but it trims a little weight; at around 484g, it’s lighter than a rangefinder M11 because the optical mechanism is no longer present.

Ergonomically, it feels like an M – minimal, metal and purposeful – just with a modern eye sensor that blanks the rear screen when you’re at the finder. If you already know your way around an M, nothing here will surprise you except how effortless wide-angles, close-focus adapters and telephotos become when you can compose without frameline guesswork.

What you don’t get is as telling as what you do: there’s no autofocus, no video mode and no tilt screen. Battery life is also very “M” in philosophy – rated in the low hundreds of frames – which encourages a more deliberate pace than spray-and-pray mirrorless bodies. The payoff is a camera that stays true to the M idea while removing the steepest learning curve for newcomers: trusting focus at fast apertures.

Price positions the EV1 as the most approachable current digital M you can buy new. In the US it launches at $8,995 and in the UK at £6,840, undercutting the Leica M11-P and M11-D while delivering a more familiar digital shooting flow for anyone arriving from modern mirrorless.

In short, it’s the M that keeps the discipline but swaps the window for a screen, making the M-mount’s charm easier to access without rewriting what makes it special.

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See how the M EV1 stacks up against the best Leica cameras and the best rangefinder cameras – and don't forget to pair it with one of the best Leica M lenses.

It’s easy to get carried away when checking out Canon’s range of high-performance RF lenses, but I think it pays to buy zoom and prime lenses that are relatively price-matched to the EOS R50 V itself. It’s a very budget-friendly camera so it doesn’t make financial sense to blow a small fortune on companion lenses.

There’s also the ‘small’ matter of the camera being very compact and lightweight, so it’s only natural to choose similarly lightweight lenses that feel well-balanced on the body.

With content creation in mind I’ve chosen some versatile, high-performance yet reasonably priced standard, wide-angle and telephoto zoom lenses. I’ve also added some relatively fast primes, which are actually full-frame-compatible but deliver very useful ‘effective’ focal lengths on this APS-C format camera.

A glaring omission from my list is the videocentric Canon RF-S 14-30mm f/4-6.3 IS STM PZ, which is tailor-made for this camera, so much so that you probably bought it as a kit lens when you bought the body. Some of the lenses I’ve selected don’t feature optical stabilization, but the EOS R50 V does feature Movie Digital IS, which is more ideal for handheld video capture, albeit with a slight crop.

The Quick List

The best lenses for the Canon EOS R50 V

Best standard zoom for the R50 V

Like many photographers and content creators nowadays, I like lenses that enable a fairly tight depth of field for isolating the main subject within a scene. The main attraction of this Sigma 18-50mm f/2.8 DC DN is its constant f/2.8 aperture, which is a lot 'faster' than most APS-C format standard zooms. It therefore puts a tighter depth of field on the agenda.

Despite its faster aperture rating, the Sigma is smaller and more lightweight than I’d expect, and it has strong build quality that includes weather-resistance.

The autofocus system is super-fast and virtually silent, and I was impressed by the quality of the images. It's very much like a 'trinity' standard zoom, downsized from full-frame to APS-C format, and very good value at the price.

Read more: Sigma 18-50mm f/2.8 DC DN | C review

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Best wide-angle zoom for the R50 V

Vlogging and generally presenting to camera are the staple diet for many video shooters and content creators. The expansive viewing angle and short minimum focus distance of the RF-S 10-18mm lens makes it absolutely ideal for this.

It's particularly perfect if you want to get in front of the camera and set the scene by including the backdrop. The lens is also ideal for the EOS R50 V in being an affordable option that's also more than capable of shooting interiors, landscapes and buildings.

The 10-18mm f/4.5-6.3 IS STM delivers sharp, high-contrast photos. Like many modern lenses, it exhibits heavy native distortion, but this is taken care of with automatic in-camera correction.

Read more: Canon RF-S 10-18mm f/4.5-6.3 IS STM review

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Best telephoto zoom for the R50 V

Telephoto zoom and prime lenses are somewhat notorious for being big, heavy and expensive. Hefty lenses can literally be a pain for long periods of handheld shooting, if you're into action, sports and wildlife photography and videography.

This lens takes a load off, by being compact, lightweight and affordable. Although relatively small, the lens delivers the powerful equivalent of an 88-336mm zoom range in full-frame terms. That’s no mean feat for a lens that weighs in at just 270g / 9.5oz and fits in the palm of your hand.

It has fast autofocus and highly effective optical stabilization, the only real downsides being that it has a fairly ‘slow’ aperture rating and pretty basic handling. All in all, it's a very good trade-off as far as I'm concerned.

Read more: Canon RF-S 55-210mm f/5-7.1 IS STM review

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Best wide-angle prime for the R50 V

I first discovered this lens for shooting with full-frame Canon R-system cameras and instantly fell in love with it. It offers an ultra-wide angle of view at a really low price, and is small enough to pop in a pocket.

It also works tremendously well on the smaller-format EOS R50 V, on which it gives an 'effective' focal length of 25.6mm in full-frame terms. The upshot is that you get a more expansive viewing angle than when using the Sigma 18-50mm in this guide, and the difference is very noticeable. What's also nice is that you get the same relatively fast f/2.8 aperture.

Despite its pocket-sized build, this lens delivers impressive image quality and boasts a speedy, unerringly accurate autofocus system. Sharpness drops off a bit at the edges and corners with a full-frame camera, but the R50 V takes that out of the equation with its smaller image sensor.

Read more: Canon RF 16mm f/2.8 STM review

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Best standard prime for the R50 V

Whoever says that prime lenses aren't versatile has never used this RF 35mm. It's another full-frame compatible lens that works massively well on APS-C format cameras, this time giving a 56mm 'effective' focal length. That's very close to the entirely natural perspective of a 'nifty fifty' lens on a full-frame camera.

The attraction doesn't end there. This lens combines a fast f/1.8 aperture rating with optical image stabilization, which is really useful on a camera like the EOS R50 V that lacks IBIS. Next up, you also get a 0.5x macro capability for extreme close-ups.

It's a fairly up-market, full-frame compatible lens but I've seen some great deals on it, so it pays to shop around. Either way, you're getting a lot for your money in terms of versatility, great image quality and superb all-round performance.

Read more: Canon RF 35mm f/1.8 Macro IS STM review

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Best portrait prime for the R50 V

This lens is designed as a 'standard prime' with a natural viewing perspective for full-frame cameras. Mount it on an APS-C body like the EOS R50 V and it's instantly transformed into a great little portrait lens.

The 1.6x crop factor or 'focal length multiplier' gives it an effective focal length of 80mm, which is very close to the 85mm that's often viewed as perfect for portraiture. Combine that with the lens' fast f/1.8 aperture, for isolating the subject within a scene by blurring the background with a tight depth of field, and you're onto a winner.

The Canon RF 50mm f/1.8 STM is quite simply an essential lens for every camera bag; small and light enough to go anywhere, fast enough to shoot in low light and snap into focus in a heartbeat, and silent and smooth enough to be used for video work.

Read more: Canon RF 50mm f/1.8 STM review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. Sharpness is very good overall but the full-frame compatible 35mm and 50mm prime lenses are the best performers in this respect, while the RF-S 55-210mm zoom is the least impressive. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.

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How to choose the best lens for the Canon EOS R50 V

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How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

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I think that the best lenses for the Fujifilm X-T30 III need to be able to do justice to its powerful stills and video performance, while being reasonably small and light, enabling a well-balanced combination that feels natural in the hand.

I also think that the reasonable purchase price of this camera needs to be reflected in the lenses that you choose for it. It’s another facet of the body and lenses being well balanced for each other.

For most shooting scenarios I tend to favor the versatility of zoom lenses, so I’m kicking off this guide with standard, wide-angle and telephoto zooms that are an ideal fit for the body. However, I also find wide and standard primes extremely useful, and I love using a short tele prime with a fast aperture for portraiture and still life, so I’ve included three perfect primes in the guide as well.

The Quick List

Best lenses for the Fujifilm X-T30 III

Best standard zoom for the X-T30 III

Fujifilm’s new 16-50mm kit lens is good, but many photographers would prefer a constant-aperture lens. Fujifilm does make an XF 16-55mm f/2.8 pro lens, but it’s relatively large and heavy, and I find it's not well balanced on the lightweight X-T30 III. It’s also expensive.

This is why I'm so excited about the Sigma 18-50mm f/2.8 DC DN Contemporary. This too is a constant-aperture f/2.8 zoom, but it’s half the size of the Fujifilm lens and half the price. In fact, it’s no larger than the XF 16-50mm f/2.8-4.8 R LM WR.

There are a couple of downsides. The minimum focal length is equivalent to 27mm in full-frame terms, not 24mm, so it doesn’t go quite as wide. There’s also no aperture control ring. It displays a little color fringing towards the edges of the frame, but this can be automatically corrected.

Overall, this is a remarkably powerful and compact lens that I feel is the ideal premium standard zoom for the X-T30 III.

See our full Sigma 18-50mm f/2.8 DC DN Contemporary review

Best wide-angle zoom for the X-T30 III

Sooner or later, every photographer needs a wide-angle zoom – whether it’s for landscapes, travel photography or interiors. Fujifilm does have the XF 10-24mm f/4, but it’s a pretty big lens that's not an ideal fit for the slimline X-T30 III body.

Sigma serves up this excellent alternative, in a smaller yet faster 10-18mm f/2.8 DC DN Contemporary. The Sigma isn’t just an extraordinarily compact wide-angle zoom; it also has a constant f/2.8 maximum aperture.

The 10-18mm zoom range is equivalent to 15-27mm in full frame terms, so although it goes very wide, it doesn’t have a lot of reach – it’s a pretty short zoom range. On the upside, its focal range does tie in perfectly with the Sigma 18-50mm f/2.8 DC DN Contemporary to make a compact and portable twin-lens travel kit.

See our full Sigma 10-18mm f/2.8 DC DN | Contemporary review

Best telephoto zoom for the X-T30 III

If you’re into sports and wildlife photography, the XF 70-300mm f/4-5.6 R LM OIS WR offers good telephoto reach (up to 450mm equivalent) at an affordable price.

There are better telephotos in the Fujifilm range, but at much higher prices – and I’d guess that while anyone really serious about sports and wildlife would gravitate towards these, they’d probably be more likely to go for the X-H2S than the X-T30 III.

The XF 70-300mm f/4-5.6 is not a small lens, but I think it handles really nicely. Another bonus for sports and wildlife is that the lens is weather-sealed, so rain needn't stop play. It also has built-in optical stabilization and is compatible with Fujifim’s teleconverters, so you can increase its range even further.

Read more: Fujinon XF 70-300mm f/4-5.6 R LM OIS WR review

Best wide-angle prime for the X-T30 III

The Fujifilm X-T30 III is the very definition of a 'compact' system camera, and it really needs compact lenses to set it off properly, both in appearance and general handling. This is why I’ve included one of Fujifilm’s older compact prime lenses in this guide.

It sacrifices a faster aperture in favor of compactness and affordability. While the f/2.8 maximum aperture of this XF 16mm f/2.8 R WR looks a little weak by today’s standards, that doesn't put me off.

The big upside is that this is a very sweet-handling little lens, with fast, silent autofocus, a physical aperture ring, weather-sealing and a premium-quality feel. I’d like it to be just a little sharper at the edges of the frame, but that's certainly not a deal-breaker and I love it anyway.

See our full Fujinon XF 16mm f/2.8 R WR review

Best standard prime for the X-T30 III

In full frame camera terms, the Fujinon XF 35mm f/2 R WR offers the equivalent of a 53mm focal length, so this is a classic ‘nifty fifty’ for Fujifilm’s APS-C cameras – and makes an ideal pairing with the X-T30 III.

It’s true that the Fujinon XF 33mm f/1.4 R LM WR offers a faster maximum aperture, and even better optical performance, but this is a bigger and more expensive professional lens, while the design and size of the XF 35mm f/2 R WR suit the X-T30 III much better.

There's certainly no shortage of optical performance , the handling is superb and it’s not even very expensive to buy. Fujifilm may have moved on since the early days of the X-Pro series and its compact prime lenses, but these old-timers are still great buys today – especially since Fujifilm has revived its compact retro camera designs with models like the X-T30 III.

See our full Fujifilm XF35mmF2 R WR review

Best portrait prime for the X-T30 III

Compared with full-frame cameras, APS-C models like the X-T30 III can struggle to deliver a tight depth of field. That’s because depth of field is more dependent on the ‘actual’ focal length rather than the ‘effective’ focal length after the 1.5x crop factor is applied.

To compensate, I love that this lens has an ultra-fast f/1.2 aperture, which is capable of delivering a really tight depth of field at typical shooting distances for portraiture.

Making the most of the tight depth of field, the Viltrox combines superb sharpness with beautifully smooth bokeh in defocused areas, with a natural-looking roll-off between the two. It’s a great portrait lens that enables you to really isolate the main subject within a scene by blurring fussy-looking backgrounds.

Handling is excellent and, although the lens is necessarily a bit chunky due to the super-fast aperture rating, it’s well stocked in features.

See our full Viltrox AF 56mm f/1.2 E Pro review

Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The Viltrox 56mm prime lens comes out on top for sharpness and also performs very well in terms of color fringing and distortion. The distortion figures flatter the zoom lenses, as the scores are averaged out across the entire zoom range.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

How to choose the best lens for the Fujifilm X-T30 III

How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

For me, one of the most exciting things about the Nikon ZR is that it features the Z-system lens mount. I’ve been constantly impressed by the image quality and all-round performance of Z-mount lenses, and I strongly feel that they’re generally in a whole different ballpark to the older F-mount lenses – making the most of the Z system's larger-diameter mounting flange and its closer proximity to the camera's image sensor.

Another upside is that most Z-mount lenses are highly suitable for shooting video as well as stills, and are designed with video at least partly in mind. For example, they're usually engineered to minimize focus breathing. Ultimately, choosing the best lenses for the Nikon ZR isn’t entirely straightforward.

Given the compact and lightweight nature of the ZR body, I feel it’s only natural to go for lenses that aren’t big and heavy, thus enabling a well-balanced camera outfit. You also don’t really need lenses with the ultimate in resolving power, more suitable for ultra-high-res 45MP cameras like the Nikon Z8 and Nikon Z9.

With that in mind, I’ve gone for lenses that work really well for cinema, but are manageable and mostly very budget-friendly.

The Quick List

The best lenses for the Nikon ZR

Best video zoom for the Nikon ZR

This lens launched about a year after Nikon’s acquisition of Red, as the company's first ever full-frame cine lens. It naturally makes perfect pairing for the ZR body. Highlights include a power zoom facility for silky-smooth transitions, with no less than 11 speeds on the menu.

The 28-135mm zoom range itself offers fabulous versatility, stretching from generous wide-angle coverage to intimate telephoto reach. And it’s backed up by a constant f/4 aperture rating throughout the entire zoom range.

From the square hood at the front to the distinctive gold band at the rear, the lens looks every inch a serious cine optic. Handling is a dream, with plenty of direct-access switches and customizable function buttons, a rocker switch for the 11-speed motorized zoom, and the obligatory geared control rings.

Up-market glass includes three ED (Extra-low Dispersion) elements, one aspherical element, and a further four aspherical elements, along with high-tech Meso Amorphous Coat to combat ghosting and flare. Image quality and overall performance are absolutely top-notch.

Read more: Nikon Z 28-135mm f/4 PZ review

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Best standard zoom for the Nikon ZR

You can't beat a standard zoom lens for versitility in everyday shooting. Nikon liked the original release of this lens so much that it made its own version with a Nikon badge on it. However, the OG Tamron lens was never made in Nikon Z mount, only in Sony E mount. The ‘Generation 2’ Tamron comes in both flavors and is a significant upgrade.

A new optical layout increases resolution and all-round image quality, the autofocus system is twice as fast, there’s more tactile feedback from the zoom and focus rings, and a customizable function button has been added. Suffice it to say that image quality, all-round performance and handling are all improved.

That’s all great news, but what made the original Tamron (and Nikon) lens such a hit remains just as attractive in the G2 edition. The fast and constant f/2.8 aperture rating makes this a viable alternative to a ‘trinity’ standard zoom and while it doesn’t go quite as wide-angle as a 24-70mm lens, you gain marginally more telephoto reach.

And the best bit is that it’s comparatively compact, lightweight and affordable, in relation to typical trinity standard zooms.

Read more: Tamron 28-75mm f/2.8 Di III RXD G2 review

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Best wide-angle zoom for the Nikon ZR

I liked this compact ultra-wide-angle zoom lens so much when it was originally launched, that I went straight out and bought one. I've never regretted that decision, not even for a moment.

Nikon has released two more ultra-wide zooms since this one – the Nikon Z 14-24mm f/2.8 S and the Nikon Z 17-28mm f/2.8 – but I think the Nikkor Z 14-30mm f/4 S is still the best wide-angle choice for the ZR.

Along with its narrower f/4 aperture rating, it has a space-saving retractable design. For me, that makes it easier to pack and easier to live with. I also like that the longer maximum focal range adds versatility and reduces the number of times I need to switch between lenses.

It doesn’t hurt that image quality and all-round performance are both excellent. Corner-to-corner sharpness is impressive, and it also comes with a lens hood that you can remove to add filters via an 82mm attachment thread. This is an unusual feature in an ultra-wide-angle lens, but a godsend for shooting video.

Read more: Nikon Z 14-30mm f/4 S review

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Best telephoto zoom for the Nikon ZR

I'm not going to try to pretend that a 70-200mm f/2.8 is a classic 'trinity' lens for professional photographers. However, like other examples of the breed, the Nikon Z 70-200mm f/2.8 VR S is big, heavy, and very expensive.

I love that the Nikon Z 70-180mm f/2.8 is much more compact, lightweight and affordable, yet it matches its larger sibling for a constant f/2.8 aperture rating and delivers almost as much zoom range.

I was originally worried that the lens' lack of optical image stabilization would hamper handheld shooting, but I've found that it works really well with in-camera stabilization. And let's face it, in-body stabilization is pretty epic in the ZR. I've used this lens for many shoots in low lighting conditions and it's come through with flying colors every time.

It's a great lens for wedding, event and social photography, and I can honestly vouch for it, having shot several weddings with the lens over the last couple of years. I've been constantly impressed with its blend of excellent sharpness and beautifully smooth bokeh. The delighted reactions from my clients when they see the picture quality is the ultimate proof.

Read more: Nikon Z 70-180mm f/2.8 review

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Best wide-angle prime for the Nikon ZR

I love the perspective that I get using a 35mm lens. This Nikon Z 35mm f/1.4 delivers that classic focal length with a fast aperture, which is actually two-thirds of an f-stop faster than the pricier 35mm f/1.8 S-line lens.

It feels solid and well-constructed, yet surprisingly compact and lightweight for an f/1.4 prime. Sharpness is excellent, even when shooting wide open, rolling off to beautifully smooth bokeh in defocused areas within a scene.

I'm very fond of using this lens for street scenes and environmental portraits, as well as landscapes, cityscapes, architectural shoots and even close-up work. The fast f/1.4 aperture not only delivers on beautiful bokeh but also excels for shooting in low-light situations.

Autofocus performance is swift, silent and accurate, ensuring that you can capture sharp images even when shooting fast-moving subjects. The manual focus ring is smooth and precise, allowing for fine-tuning when needed.

Nikon calls this lens a classic for shooting video and I'd agree wholeheartedly. It's actually designed to perform equally well when shooting video as capturing stills. All in all, it's a super little lens that's a perfect fit for the Nikon ZR

Read more: Nikon Z 35mm f/1.4 review

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Best standard prime for the Nikon ZR

I raised an eyebrow when Nikon launched the Z 50mm f/1.8 S as one of the first ever Z-system lenses, giving upmarket S-line credentials to a prime that ‘only’ had an f/1.8 aperture rating. As soon as I tried it, I was won over with its quality and all-round performance, but still hankered for that faster f/1.4 aperture.

This lens obliges, while also adding a secondary customizable control ring. I find that’s most useful for stepless aperture control when shooting video, which this lens does superbly well.

The lens actually scooped an EISA award for 'best buy lens' in 2025-2026, so I'm not the only one to really rate it. Nikon bills it as a 'video prime' that's a natural fit for gimbals and cages, saying that it also gives an ideal perspective for interviews and first-person shooting.

Although aimed at ‘content creators’, the lens is equally adept at stills as well as video. It doesn’t have an auto/manual focus mode switch but I’m not really bothered. Edge/corner sharpness isn’t the best but I’ve found that the lens is able to do full justice to the resolving power of ZR. The relatively compact, lightweight build make it a great fit.

Read more: Nikon Z 50mm f/1.4 review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. I’m used to seeing stellar lab results for sharpness from all Nikon Z-system lenses and the ones in this group follow suit.

The Nikon Z 14-30mm doesn’t look quite so impressive, but that’s more to do with having to shoot lab test charts at extremely close range with ultra-wide-angle lenses. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.

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How to choose the best Nikon ZR lenses

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How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

• Back to the top ⤴

Standard, wide-angle and telephoto zoom lenses are always top options for versatility, and you’ll need ones that are sharp enough to do justice to that 32.5MP full-frame image sensor. I’ve picked the ones that I feel are the best fit for the camera, in terms of performance and purchase prices. In my colleague’s guide to the best lenses for the Canon EOS R6 and R6 Mark II, he chose some of Canon’s very finest, top-dollar lenses, but most of us are having to be careful with budgets these days, so I’ve gone for lenses that are definitely up to the task but are more affordable to buy.

Bokeh has become something of a buzzword lately, so I’ve also picked some relatively fast primes that deliver wide, standard and telephoto perspectives, ideal for general shooting and lastly for portraiture and even macro photography. And despite being own-brand Canon RF lenses, some of them are great value for money as well. Let’s take a closer look.

The Quick List

Best lenses for the EOS R6 Mark III

Best standard zoom for the EOS R6 Mark III

There are certainly many RF-mount standard zoom lenses to choose from but this one ticks all the right boxes, as far as I’m concerned. Sure, it’s a little lacking in wide-angle coverage and telephoto reach isn’t the most generous. However, I can easily forgive that, taking into account its relatively fast, constant f/2.8 aperture. It’s a major bonus in my books, enabling a tighter depth of field and faster shutter speeds under low lighting conditions. And whereas most ‘trinity’ f/2.8 standard zooms are big and hefty, this one is refreshingly compact and lightweight.

Other ticks on my wish list include highly effective 5.5-stop optical image stabilization, fast and virtually silent autofocus which is ideal for both stills and video, and good handling characteristics. Unlike most regular rather than L-series Canon lenses, this one also includes weather-seals. And the overall build quality feels strong and robust, ideal for everyday shooting.

As with any lens, image quality is the bottom line. For a standard zoom, this one delivers impressive sharpness, combined with attractively smooth bokeh. It’s a very easy lens to live with and good value at the price.

Read more: Canon RF 28-70mm f/2.8 IS STM review

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Best wide-angle zoom for the EOS R6 Mark III

I find that this ultra-wide-angle zoom is brilliant for travel, interiors and landscapes, combining very wide angles of view with a lightweight build, at a very competitive price.

I love the way that the Canon EOS R system caters to my budget. It includes a growing number of relatively affordable non-professional lenses which are also very good. Indeed, Canon RF consumer lenses are often significantly less expensive than those from other brands. This ultra-wide Canon RF 15-30mm f/4.5-6.3 IS STM zoom is a perfect case in point.

Canon hasn't skimped on features either, which include highly effective optical stabilization. The maximum aperture is a little limited at f/4.5-6.3, but it's easy to forgive that given this lens's price and portability.

Read more: Canon RF 15-30mm f/4.5-6.3 IS STM review

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Best telephoto zoom for the EOS R6 Mark III

The fast maximum drive rate and highly advanced autofocus system of the EOS R6 Mark III, with its subject recognition, make it a great camera for sports and wildlife photography. There are plenty of telephoto and super-telephoto lenses to choose from but they're often big, heavyweights and feel very cumbersome.

I love the relatively lightweight build of the Canon RF 100-400mm f/5.6-8 IS USM, which literally takes a load off for long periods of sports and wildlife shooting. Even so, it has a powerful 4x zoom range, which really covers the distance when I can't get as close to subjects as I'd like. It's also very affordable for this type of lens.

The only potential downsides are that the lens doesn't have weather-seals, so you might need to invest in a cover, and the hood is sold separately. The widest aperture is rather narrow at the long end of the zoom range but the EOS R6 Mark III has excellent high-ISO performance.

Read more: Canon RF 100-400mm f/5.6-8 IS USM review

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Best wide-angle prime for the EOS R6 Mark III

Many photographers consider a 35mm prime lens to give a wide-angle view, but I find that 24mm works better in many shooting scenarios, with a full-frame camera like the EOS R6 Mark III. The generous perspective enables me to get expansive views into the image frame, as well as giving me the ability to exaggerate perspective between foreground and background areas. And with the RF 28-70mm being my first choice of standard zoom for this camera, the 24mm prime gives a sizeable step up in wide-angle coverage.

I’ve tended to pick compact and lightweight lenses for this buying guide, and the RF 24mm is no exception. It’s not only conveniently compact and lightweight when shooting, but the whole collection of lenses is relatively manageable when I’m carrying them in a photo backpack.

I like that the lens features optical image stabilization which works particularly well even for extreme close-ups, and the lens actually excels at this with a 0.5x macro facility. I think it really comes to the fore, however, for street photography and general walkabout shooting.

Read more: Canon RF 24mm f/1.8 Macro IS STM review

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Best standard prime for the EOS R6 Mark III

I've always thought that a 50mm lens on a full-frame camera gives an entirely natural perspective, similar to that of the human eye, and I'm certrainly not the only one. Camera manufacturers have long included an inexpensive 50mm f/1.8 lens in their line-ups, and this is Canon's latest and greatest.

There's nothing cheap about the build quality, handling or optical performance of the Canon RF 50mm f/1.8 STM. It has a metal mounting plate, smooth controls and a recessed front element that means a lens hood isn't a 'must have' item.

The lens has no image stabilization, but that's no problem here as the EOS R6 Mark III has excellent in-body stabilization anyway. What it does have is a compact, lightweight design, strong optical quality and a price tag which makes it hard to resist.

Read more: Canon RF 50mm f/1.8 STM review

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Best portrait prime for the EOS R6 Mark III

For me, portraiture is a key element of photography, whether it's formal or casual shots, or weddings and events. An 85mm 'portrait' lens is one of my kit bag essentials, and I've often gone for fast f/1.2, f/1.4 or f/1.8 apertures for a really tight depth of field.

The Canon RF 85mm f/2 Macro IS STM looks like it falls slightly short in the aperture stakes but in practice, I find that the f/2 aperture gives a perfectly shallow depth of field for isolating portrait subjects within a scene by blurring fussy backgrounds. The lens actually combines excellent brightness with beautifully dreamy bokeh.

The 0.5x macro magnification for extreme close-ups adds versatility and, although some of Canon's other RF primes have this facility, the longer focal length of the 85mm lens gives a more comfortable working distance. All in all, it's compact, lightweight, affordable and a great lens for the EOS R6 Mark III.

Read more: Canon RF 85mm f/2 Macro IS STM review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. Sharpness results are generally very good across the board although the RF 85mm leads the way and the RF 100-400mm is the least impressive. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion. Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.

How to choose the best lens for the Canon EOS R6 Mark III

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How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

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Whichever MacBook or Mac mini config you go for, you're pretty much guaranteed incredible computing power that'll sail through even the most demanding image- or video-editing workloads. Choose a MacBook Pro and you'll also get one of the best laptop screens in the business. Apple's Liquid Retina XDR display is a joy to behold, with stunning vibrancy, contrast and color accuracy.

So what are you waiting for? Grab one of these generous Black Friday Mac deals before they're gone!

🇺🇸 Black Friday Mac deals in USA

Top US retailers:

🇺🇸 Amazon: Cheap prices on camera gear
🇺🇸 Adorama: Big discounts on cameras and tech
🇺🇸 Walmart: DSLR, Mirrorless & action cameras
🇺🇸 B&H Photo Video: Deals on camera brands
🇺🇸 Best Buy: Save on TVs, laptops, appliances

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Camera cages are used to literally encase the camera in a strong, lightweight enclosure that serves as a physical platform in which to attach other accessories. This might be a handle, so you can better grip your camera for steadier footage, a field monitor that makes live view bigger and brighter, or an on-camera light or microphone.

The best camera cages boast bespoke designs that fit specific cameras so that the cage doesn’t impede the controls, ports, battery compartment, or card slot(s). SmallRig is known for its camera cages that cover a huge variety of the most popular mirrorless cameras, from the mighty Sony A9 III to the DJI Osmo, the Fujifilm X100VI, and beyond. Below, I’ve collated a list of sumptuous cage deals that fit a wide range of cameras.

Check out guides to the best cameras for video, and the best video tripods.

Whether you’re searching for a cheap ‘burner’ SD card that you can slap into your everyday camera to document impromptu adventures, a state-of-the-art CFexpress card that won’t throttle your high-spec camera, or a high-volume card that’ll store hundreds of gigabytes of video, I’ve scoured B&H Photo’s Holiday Savings campaign to pluck out a selection of tantalizing deals. I’ve even included a couple of microSD cards for the drone crowd and Nikon Zf photographers.

Just make sure that you check what memory card your camera is compatible with before buying. And remember, the major camera manufacturers use Type B CFexpress cards, with Sony cameras more likely to use Type A. It’s also worth checking that your memory card reader is compatible before upgrading your memory card, too.

Check out our guides to the best memory cards, and the best CFexpress cards

Film, in the scheme of things, is not expensive. But to me it is just much more expensive than when I used to use rolls by the dozen back before digital cameras came along. It's now become that luxury that I wouldn't ever pay for myself.

And I am willing to bet that every photographer you know thinks the same... Forget about lens mugs or cleaning cloths... what any camera user young or old will always appreciate is a roll of emulsion to fuel their inner passion for retro photography.

I've got a Nikon F4 SLR in pristine condition sitting on a shelf waiting to be fired up again... but I bet most people have a film camera someone sitting on the shelf. And if they don't, they can find one cheaply secondhand – and even new film cameras don't have to be expensive.

Whether it is a stocking stuffer for the photographer in your life – or a secret santa for someone at work - this is the perfect gift. And there is plenty of choice too – give them an old favorite, or challenge them with an emulsion they have never tried before. Here are some of the options for your shopping list…

Check out our guides to the best film cameras you can buy today, and see our full run down on the best film in 35mm, 120, and sheet film formats

Whether you're an R6 Mark II owner trying to decide if you need to upgrade, or you're switching to the EOS R system and wondering which camera to go for, I've broken down the 6 key differences between the R6 Mark II and R6 Mark III.

You can't really go wrong either way, as they're both great cameras, but see what separates them and decide for yourself which is right for you.

Canon EOS R6 Mark II vs R6 Mark III: At a glance

Canon EOS R6 Mark II vs R6 Mark III: Sensor

This is the biggest single difference, because it has implications for so many areas of performance: the R6 Mark III has a brand new 32.5MP full frame image sensor (which it shares with the Canon EOS C50).

This is a 33% increase in resolution over the Mark II's 24.2MP sensor, which obviously gives you larger files with greater detail (and more room for cropping, if you need to) – and if you print out your photos, this will obviously be music to your ears. The pixel boost carries over to video, too, which I'll cover in the next section.

Beyond resolution, though, the new sensor also has a greater sensitivity ceiling; the R6 Mark III tops out at ISO64,000, compared to the ISO25,600 of the R6 Mark II. (In case you were wondering, while Mark III shares the same sensor as the EOS C50, only the cinema camera has dual base ISO – the single, native base ISO in the R6 Mark III is ISO100.)

Canon EOS R6 Mark II vs R6 Mark III: Video

With the newer camera having a higher resolution sensor, it can record higher resolution video. While The R6 Mark II can capture 6K 60p, it can only do so by recording to an external Atomos device; internally, it can only record up to 4K 60p HQ (oversampled from 6K). The R6 Mark III, meanwhile, can capture up to 7K 60p internally, with no need for external recording.

On top of that, it is also capable of 7K 30p open gate video – enabling it to record the entire sensor area, rather than the default 16:9 area, giving you larger and taller files for more versatile post production (such as cropping to 9:16 vertical video). And its 4K 60p HQ is oversampled from 7K. Both cameras capture FullHD (1080p) video at up 180p for super slow-motion.

Both cameras can record in log, but the R6 Mark II is limited to Canon Log 3 while the Mark III also offers Canon Log 2 (as well as other options such as BT.709). The newer camera also offers false color and waveform monitoring.

Canon EOS R6 Mark II vs R6 Mark III: Autofocus

Both cameras employ Canon's Dual Pixel CMOS AF II autofocus system, and they feature the same subject detection algorithms for humans (eyes, face, head, body), animals (dogs, cats, birds and horses) and vehicles (cars, motorbikes, aircraft and trains).

The newer camera, however, is more sophisticated, with a total of 6,097 focus points (4,641 for video) compared to 4,897 points (4,067 for video) in the Mark II. This increased accuracy, combined with refinements to the algorithm, makes the AF noticeably "stickier" when it comes to tracking subjects – particularly birds in flight.

In addition, the Mark III inherits Registered People Priority mode from Canon's professional cameras. This enables you to program in up to ten faces, in order of priority, so the camera knows who to focus on during group shots.

Canon EOS R6 Mark II vs R6 Mark III: Stabilization

Both cameras possess in-body image stabilization (IBIS), which stabilizes the image sensor during motion to compensate for camera shake – something that is useful for stills (especially when using longer lenses, shooting in low light conditions and using slower shutter speeds) as well as video (facilitating stable shots when shooting handheld without a gimbal).

This category is the closest call between the bodies, with the R6 Mark II able to achieve up to 8 stops of shake compensation while the Mark III can realize up to 8.5 stops (both depending on the lens used). In the corners, the Mark III delivers up to 7.5 stops; this was not a rating that was measured when the Mark II was launched and certified, but it is typically about a stop less than in the center.

In practice, this difference may be difficult to notice unless you are shooting at extremes (such as stills with very low shutter speeds or video with excessive camera movement).

Canon EOS R6 Mark II vs R6 Mark III: Memory

This one makes a big difference, but might be unwisely overlooked by many! The R6 Mark II boasts twin UHS-II SD card slots, while the Mark III features a UHS-II SD card slot along with a CFexpress Type B slot.

If you're unfamiliar with CFexpress, it is the most modern memory card format and facilitates greater stability and higher speeds – making it particularly important for higher resolution stills and video. This comes at a price, as CFexpress cards are considerably more expensive than their SD counterparts. However, the performance really is dramatically better – and the failure rate dramatically lower.

Take burst shooting buffers, for example; with its SD cards, the Mark II can only capture 110 RAW files when shooting at 12fps mechanically, where the Mark III can capture over 1,000 via CFexpress. And at 40fps electronically, the Mark II's SD card is limited to 190 JPEGs or 75 RAWs, while the Mark III's CFexpress can record 330 JPEGs or 150 RAWs.

Canon EOS R6 Mark II vs R6 Mark III: HDMI

This one is really for video shooters, but again it's a significant difference. The R6 Mark II features a micro HDMI port, which is the bane of videographers when it comes to outputting footage. The R6 Mark III, meanwhile, offers a full-size HDMI port.

For a more detailed verdict on every aspect of each camera, check out my full Canon EOS R6 Mark II review and my Canon EOS R6 Mark III review.

You might also like…

Take a look at the best lenses for the Canon EOS R6 family, along with the best Canon RF lenses across all categories. And see how the 6-series stacks up against the best Canon cameras on the market.

Film, in the scheme of things, is not expensive. But to me it is just much more expensive than when I used to use rolls by the dozen back before digital cameras came along. It's now become that luxury that I wouldn't ever pay for myself.

And I am willing to bet that every photographer you know thinks the same... Forget about lens mugs or cleaning cloths... what any camera user young or old will always appreciate is a roll of emulsion to fuel their inner passion for retro photography.

I've got a Nikon F4 SLR in pristine condition sitting on a shelf waiting to be fired up again... but I bet most people have a film camera someone sitting on the shelf. And if they don't, they can find one cheaply secondhand – and even new film cameras don't have to be expensive.

Whether it is a stocking stuffer for the photographer in your life – or a secret santa for someone at work - this is the perfect gift. And there is plenty of choice too – give them an old favorite, or challenge them with an emulsion they have never tried before. Here are some of the options for your shopping list…

Right now, the market is shifting: high-end models with premium glass and build are starting to drop in price, specialist retailers are running pre-sale promos, and optics that normally sit comfortably outside the budget of most enthusiasts are beginning to appear within reach. According to specialist deal trackers, I’ve already seen reductions on standout models that span wildlife-watching, birding, travel optics ,and even stargazing gear. Scroll down to see my eight top picks!

Of course, not every ‘deal’ is what it claims to be - that’s where experience matters. I’ve learned that what matters more than mere markdowns are factors like the legitimacy of the retailer, whether the model is part of a restricted promotion or grey market stock, the usual retail price baseline, and whether the optic’s features (magnification, lens diameter, coatings, stabilisation, warranty) genuinely match your needs. Many early deals pages flag that they’ve not yet recommended a deal they’re confident in.

But this year, I’m already comfortable pointing to a handful of optics that stand out: models with recognized track records, credible discounting, and availability in multiple stores. Whether you’re planning wildlife safaris, coastal bird watching, travel-light crow-flights, or want a rugged field optic that’s future-proof, these early options are worth your radar now rather than waiting and risking stock-outs or price bounce-backs.

You’ll still find genuine, headline-grabbing savings on cameras, think Black Friday-level pricing without the November scramble. These aren’t the scraps; they’re the star buys that outlasted the rush, the picks I’d recommend first to friends and fellow shooters.

If you sat it out earlier in the week, this is your second chance. Prices like these are fleeting, and when they vanish, that’s it. So if something below speaks to you, move fast - these deals are still alive, just not for long.

Best camera deals

Is it worth waiting until Black Friday instead?

Not necessarily. While Black Friday (November 28, 2025) sometimes offers deeper discounts, Prime Day, and those deals that follow it are far more focused - and for camera gear, it often matches or even beats Black Friday prices.

If you see a good deal on something you’ve been eyeing, don’t wait until November - my recommendation is to buy it now and avoid possible disappointment later!

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Thankfully, you don't need to blow thousands on fancy office equipment or expensive software subscriptions. What you do need is a setup that keeps you comfortable, organized and secure while you build your business. 

To help you out, I've picked 10 essentials that'll genuinely make your life easier, from the standing desk that'll save your back during marathon editing sessions to the password manager that'll stop you using "Photography123" for everything. And to make things even simpler, I've picked my favourite examples of each product available today.

1. Best standing desk: Flexispot Adjustable Standing Desk Pro

Let's be honest: photographers spend way too much time hunched over their desks. Between culling hundreds of shots, fine-tuning edits in Lightroom, and invoicing clients, you're essentially glued to your chair. That's why a standing desk isn't just nice to have – it's essential for your back, your posture, and honestly, your sanity. The ability to switch between sitting and standing throughout the day keeps your energy up and stops that 3pm slump from turning into a full-blown meltdown.

My top pick is the Flexispot Adjustable Standing Desk Pro, thanks to its combination of stability, smooth electric height adjustment and stylish design. Available in bamboo, rubberwood, laminate or soft wood, it comes in various sizes (48–80 x 24–30 inches) and finishes from black to oak. 

The desk adjusts smoothly from 25 to 50.6 inches (58–123cm) and can store up to four preset heights. With a solid 440lb weight capacity, it’s sturdy enough for heavy equipment. Some assembly is required, but the clear instructions make this manageable within an hour or so. 

Overall, this desk is well-built, attractive, reliable and well worth the money. If it's beyond your budget, though, my best affordable alternative is the Ikea Trotten.

2. Best chair: Humanscale Freedom

Here's the thing about running a photography business that few people ever say out loud: you'll spend more time in your chair than behind your camera. Between editing sessions that stretch for hours, client consultations over Zoom, and admin work that never seems to end, your chair is basically your most-used piece of equipment. 

A low-quality chair may be cheap, but over time you'll run the risk of back pain, shoulder tension, and those dreadful headaches that creep in by mid-afternoon. You can't deliver your best work when you're fidgeting every five minutes trying to get comfortable, so to my mind, it's worth spending as much as you can on a decent chair.

The Humanscale Freedom is genuinely in a different league – this is the chair you buy when you're serious about your workspace. It's pricey, but hear me out. Designed by ergonomics pioneer Niels Diffrient, it ditches every lever, dial, and knob you've ever wrestled with on other chairs. Instead, it automatically adjusts to your body weight and movements. Lean back and it reclines with you, the armrests move with the backrest, and the contoured cushions adapt without you touching a thing. 

In short, this is like the Tesla of office chairs; slightly weird at first, then you wonder how you ever lived without it. If it's beyond your budget, though, then my best affordable alternative is the Sihoo M18 Ergonomic Chair. 

3. Best credit card reader: Square 

Cash is basically dead, and if you're still asking clients to "pop it in the post" or faff about with bank transfers, you're making life harder than it needs to be. Whether you're shooting on location, running a studio session or selling prints at a local market, you need a way to take payments on the spot. It's professional, it's convenient and honestly, you'll get paid faster – which matters when you're managing cash flow in those early months.

Square Reader is the no-brainer choice here. It's tiny, dead simple, and doesn't cost much at all. Just a small square gadget that connects to your phone or tablet via Bluetooth. Clients tap their card, Apple Pay or Google Pay, and you're done. No clunky PIN pad, no complicated setup – it just works. The money hits your account the next working day, which is brilliant when you need to pay for props or cover equipment costs quickly.

Transaction fees are fair, with no monthly charges eating into your profits. But here's where Square really shines: the app is packed with genuinely useful tools. You can manage invoices, track inventory, generate sales reports, even create digital gift cards or payment links for remote clients. Customer support is solid too: phone, email, and chat available during business hours. For a photography business just starting out, it's everything you need without the faff.

4. Best camera insurance: Hiscox

Now let's talk about the stuff nobody wants to think about until it's too late. Your camera gear is expensive – really expensive. A decent body, a couple of lenses, a flash, maybe a drone... you're easily looking at $5,000+ worth of kit. Now imagine dropping your camera during a wedding, having it nicked from your car, or watching your bag disappear at an airport. Without insurance, that's your business crippled overnight. You simply can't afford to wing it.

Hiscox understands photographers properly. They've insured over 600,000 small businesses across 100+ years, and their photography policies are built around how you actually work. You get comprehensive equipment coverage for cameras, lenses, lighting, drones – the lot – plus crucially, proper liability insurance. That last bit matters more than you think: if you're shooting on someone else's property (weddings, corporate events, private homes) and something goes wrong, liability cover protects you from devastating legal costs.

What sets Hiscox apart is flexibility. Coverage works worldwide (ideal for destination shoots), payments are manageable, and they're known for responsive claims handling when disaster strikes. You can bundle general liability, professional liability, cyber insurance, and equipment cover into one policy. It's professional, it's thorough, and it's designed for working photographers, not hobbyists.

Get a quote from Hiscox here.

5. Best ethernet cable: AmazonBasics RJ45 Cat 6

Wi-Fi is convenient, sure, but when you're uploading massive RAW files to the cloud, transferring wedding galleries to an external drive, or video-calling a client without buffering like it's 2005, you need a proper wired connection. Wi-Fi is fine for browsing Instagram, but for the heavy lifting photographers do daily – backing up shoots, syncing with cloud storage, downloading software updates – ethernet is faster, more stable, and frankly, just more reliable. No dropouts, no mysterious slowdowns, just consistent speed.

The AmazonBasics RJ45 Cat 6 Ethernet Patch Cable is about as unsexy as gear gets, but that's exactly why it's perfect. It's cheap, it works, and it does exactly what it says on the tin. Cat 6 delivers speeds up to 1Gbps, which is more than enough for most photographers, even if you're shifting hundreds of gigabytes around your network. Unless you've got a mega-fast business broadband connection, this cable won't be your bottleneck.

It comes in various lengths (0.9m up to 7.6m), so you can run it from your desk to your router without excess cable cluttering your workspace. You can also buy them in multipacks, which is handy if you're setting up a studio or want spares. There's nothing fancy here – no gold-plated connectors or braided sleeves – but honestly, you don't need that. This cable is reliable, affordable, and gets the job done without fuss.

6. Best WiFi Extender: TP-Link RE700X

If you're running a photography business from home, chances are your router lives in some random corner dictated by where the phone line enters the house – probably nowhere near your office. 

That means patchy WiFi, which is a nightmare when you're trying to upload client galleries, join video calls without freezing mid-sentence, or work from different rooms. A weak signal isn't just annoying; it actively costs you time and makes you look unprofessional when a client call keeps dropping out.

The TP-Link RE700X WiFi Range Extender solves this without breaking the bank or requiring a degree in networking. It's nicknamed the "dead-zone killer" for good reason – plug it into a socket roughly halfway between your router and your office, and it extends your WiFi coverage to those problem areas. Plus it supports WiFi 6, which means it's fast and future-proofed for the next few years as more devices support the standard.

Setup is genuinely simple through the TP-Link app. There's also a Gigabit Ethernet port on it, so if you want a wired connection in a room where running cables is tricky, you can plug straight into the extender. It's compact, doesn't hog your power socket (though annoyingly there's no passthrough), and most importantly, it just works.

7. Best VPN: NordVPN

When you run a photography business, you're constantly moving sensitive data around: client files, contracts, payment details, and more. So whether you're uploading galleries from a cafe, backing up shoots on public WiFi at a hotel, or accessing your cloud storage while travelling, you need protection. Without a VPN (Virtual Private Network), anyone on that network can potentially snoop on what you're doing. And if you're working internationally or accessing geo-restricted websites and resources, a VPN becomes even more essential.

NordVPN is the best all-rounder out there. It's fast, covers 111 countries with 7,000+ servers, and keeps your connection rock-solid whether you're working from home or halfway across the world. Setup is straightforward across Windows, Mac, iOS, Android, even Fire Stick – and the interface makes sense without needing a tech manual.

Security-wise, it's bulletproof: military-grade encryption, a strict no-logs policy, and it's based in Panama, so there are no dodgy data retention laws to worry about. It's not the absolute cheapest option, but for what you get – speed, security, and reliability – it's worth every penny.

8. Best antivirus software: Norton 360

Let's be brutally honest: your computer holds your entire business. Client details, contracts, invoices, years of work, login credentials for everything; it's all sitting there. One nasty bit of malware, one ransomware attack, or one phishing email you click by mistake, and you could lose the lot. "It won't happen to me" is what everyone thinks until it does. You need proper antivirus protection, not just the basic stuff that comes with Windows. This isn't optional when your livelihood depends on your machine staying clean and functional.

Norton 360 is the gold standard here, and the Deluxe plan is the sweet spot for most photographers. It covers up to five devices (your main computer, laptop, phone, tablet, whatever) with a single subscription. You get bulletproof malware protection, a smart firewall that blocks dodgy connections, and 50GB of cloud backup for critical files. Setup takes minutes, it runs quietly in the background without slowing your machine, and there's a 60-day money-back guarantee if you're not convinced. Yes, it jumps in price after year one, but for comprehensive protection across all your devices, it's worth it.

9. Digital asset management software: Adobe Lightroom

Here's a harsh truth about running a photography businesses: if you can't find your files, you might as well not have taken them. You'll accumulate thousands – probably tens of thousands – of images within your first year. Wedding shoots alone can generate 2,000+ photos per event. Without proper organization, you'll waste hours hunting for "that one shot from the spring portrait session" or desperately scrolling through folders trying to find last year's corporate headshots. It's not just annoying; it costs you money and makes you look disorganized when clients ask for specific images.

Adobe Lightroom is the answer, especially if you work across multiple devices. For a monthly subscription, you get the full editing suite plus 1TB of cloud storage, which means your entire library lives online and syncs everywhere: desktop, laptop, tablet, phone. Shoot on your camera, import on your laptop at a client's office, make final tweaks on your tablet at home. It just works, and you're never stuck without access to your images.

The interface is clean and intuitive, miles better than the cluttered feel of older software. AI-powered search is genuinely brilliant; type "architecture" or "blue dress" and it finds matching images without needing manual keywording. The editing tools are industry-standard (every professional knows Lightroom), with excellent AI noise reduction, powerful masking and thousands of presets. Mobile apps are slick and genuinely useful for on-the-go edits or quick client previews. 

Yes, it requires internet and a subscription, but for modern workflows, it's unbeatable. For more details, read our Adobe Lightroom review. 

10. Best password management software: NordPass

Finally, let's talk about passwords. If you're using the same password across multiple sites (or variations like "Photography2024" and "Photography2025"), you're one data breach away from disaster. Hackers don't need to target you specifically: they buy leaked password databases from other breaches and try them everywhere. Your email, banking, cloud storage, client portals, payment processors... all potentially compromised because you reused a password from some random forum you signed up to five years ago. Running a business means you're a target, and weak password hygiene is the easiest way in.

NordPass sorts this mess out properly. You get unlimited password storage, automatic syncing across all your devices, and a password generator that creates genuinely uncrackable passwords for every single site. 

You only need to remember one master password – NordPass handles everything else, auto-filling logins on websites and apps so you're never stuck hunting for credentials. Best of all, the interface is clean and intuitive; honestly, this one of the easiest password managers to actually use. There's even a free tier if you want to test it first.

I'm sifting through the noise to find the best deals on drones, from top-tier models and accessories to batteries and memory cards. Many of these deals are already flying off the shelves, and it's my mission to highlight the ones truly worth your attention.

This sale has been in full swing over the two days, but now the sale is drawing to a close. If you see a drone deal you like, don't hesitate. These prices won't last because this has become the unofficial start to the Black Friday and holiday shopping season (other retailers join in because they have to). The savings are real, but only if you act fast.

Best retailers

Top US retailers:

Amazon: Cheap prices on camera gear
Adorama: 48-hour frenzy – save up to $600!
Walmart: DSLR, Mirrorless & action cameras
B&H Photo Video: Deals on camera brands
Best Buy: Save on TVs, laptops, appliances

Best Prime Day Drone Deals

When is the Amazon Prime Big Deal Days Sale?

Amazon Prime Big Deal Days sale returns for its third year and will run from October 7-8, 2025, and will take place in the following countries:

Australia, Belgium, Brazil, Canada, France, Germany, Italy, Japan, Netherlands, Poland, Singapore, Spain, Sweden, the US, and the UK, – and, for the first time, Colombia, Ireland, and Mexico.

What about other deals?

We keep a complete guide to all the best prime deals here.

• See all of today's Amazon camera deals

While this is an Amazon Prime special event, many of the other big retailers will also offer great discounts during the sale period – and some will release daily deals, so check back here regularly to bag the best prices!

US: Best Binocular deals

UK: Best Binocular deals

Top retailers

Prime Day is an Amazon-only affair, but other retailers are also likely to reduce prices over the Amazon Prime Dig Deal Days event - and some may have discounts on products not stocked or not discounted at Amazon. Key retailers to check out for binocular deals and photo-related discounts are:

US Top Retailers:

Amazon: Cheap prices on camera gear
Adorama: Big discounts on cameras and tech
Apple: Save on your old iPhone or iPad
Walmart: DSLR, Mirrorless & action cameras
B&H Photo Video: Deals on camera brands
Best Buy: Save on TVs, laptops, appliances
Canon USA: Buy direct to save money

UK Top Retailers:

Amazon: We expect big savings on camera, lenses, memory cards and more Canon UK: Buy direct from the source and tap into Summer Savings
Jessops: Deals from the iconic camera store
John Lewis: The latest deals on electrical equipment
Park Cameras: Amazing Cashback savings on cameras & lenses
Wex Photo Video: Great deals on Canon, Rotolight, Elinchrom & more

Free Amazon Prime trials

How to access Amazon Prime Big Deal Days Sale

Unlike Amazon Prime Day, which usually has a few deals available for non-members to shop, Big Deal Days will be a Prime-member exclusive sale. So if you want to take advantage of these pre-Black Friday deals you must be logged into or set up an Amazon Prime account in order to see and shop all the deals.

Also check out our guides to the best budget binoculars and the best binoculars for kids

Apple, of course, makes its own range of cases, but they are on the pricey side and, dare I say it, a little bit boring. But there are plenty of third-party options available, too, which tend to be a little more adventurous in their design.

Here's my pick of cases that I've personally tried and tested. These are all for the 'standard' iPhone 17, but most are available in variants to fit the iPhone Air, iPhone 17 Pro, and iPhone 17 Pro Max. Speaking of which, we also have dedicated buying guides to the best iPhone 17 Pro cases and iPhone 17 Pro Max cases.

The Quick List

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Best luxury iPhone 17 case

Nothing screams luxury like leather, and the Mujjo Full Leather Case is crafted from full-grain vegetable-tanned leather that not only promises to age beautifully, but the DriTan tanning process saves water and reduces chemicals. I opted for a classic Tan leather color, but the iPhone 17 case is also available in Black and Basalt Blue, while models higher up the range get more options.

The case really is a delight to hold and behold. It has that wonderful leather smell, and the buttons are made from machined metal, rather than plastic, to add to the top-quality feel. On the inside, a microfiber lining keeps your phone protected.

The case is part of a wider Mujjo ecosystem, which includes a leather wallet-cum-kickstand that snapped to the phone case via MagSafe and can support the phone in vertical and horizontal aspects for watching media, there's a matching AirPods case, and a keyfob with an Apple Airtag compartment to end the problem of mislaying your keys. While I think the case itself is an affordable luxury – it's typically around the same price as Apple's no-frills silicone case – adding all the accessories does mount up.

Best iPhone 17 case for video

The ESR Cloud Soft Magnetic Case has a soft-touch liquid silicone exterior that feels nice and grippy in the hand, yet maintains strong durability with a claimed 3x military-grade drop protection from up to 11 feet.

MagSafe compatibility is present and correct, and ESR says it is enhanced with a powerful 1,400g magnetic force for a secure and reliable hold on stands and chargers. It comes in five translucent colors that match and enhance the shades of your phone, and the iPhone's camera bump is surrounded by a sturdy metal lip for added protection.

Its party trick is that this lip is hinged to form a neat flip-out kickstand that props the phone up in horizontal orientation, and is just the job for watching movies, YouTube, or hands-free FaceTime calls.

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Best iPhone 17 case for grip

A step up from the Smartish GripMunk case, the Gripzilla has more deeply contoured finger grooves and textured sides designed to help you grip the case firmly in hand. But should the worst happen, and you allow the phone to slip from your grip, this case offers an even greater level of protection, with raised corner bumpers and built-in air pockets to better absorb shocks from drops.

Unlike the GripMunk, the Camera Control is covered with a conductive strip, rather than being open, which still enables you to use the camera functionality. It's fully MagSafe compatible and comes in a range of bold and beautiful designs.

The enhanced protection does add a little bulk to the size and shape of the case, but it feels very well guarded. If you're accident-prone, this is the case for you!

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Best slim iPhone 17 case

While your shiny new iPhone 17 demands protection from the rigors that daily life can throw at it, it can seem a shame to hide that sleek form factor with an overly bulky case. The Pitaka Ultra Slim Case aims to remedy that, with an incredibly thin and light construction; it's just 1mm thick and is a featherweight 20 grams.

It's crafted from aerospace-grade aramid fiber, a high-tech woven material that Pitaka says is five times stronger than steel, while being much, much lighter. It really, truly adds no noticeable size to the phone, and has a lovely, elegant textured feel. It's MagSafe compatible too.

A PitaTap Camera Control cover transfers full functionality to the Camera Control button it sits over, while preserving the sleek lines of the case, although none of the physical buttons are protected, but have cutouts instead. The Ultra Slim comes in a couple of attractive finishes: Moonrise has cool blue tones, while Sunrise has an orangey-red finish. For more sober types, there's a plain black version.

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Best clear iPhone 17 case

You spend ages deliberating on which color of iPhone to buy, only to hide it away in a case. But it doesn't have to be this way. The Mous Clarity case is transparent to enable the full beauty of your shiny new iPhone 17 to shine through. And, as it has been constructed from PCTG co-polyester with UV-resistant technology to resist yellowing, the case should look as good a few years down the line as the day you bought it.

There are a lot of cheap and nasty clear cases on the market that offer little in the way of grip or protection, but that's certainly not the case with this case. While the main body is clear, it is built around an aluminum frame and has an opaque textured surface for improved grip. This frame hides an AiroShock protection system that is built into the edges of the case and is focused on the corners to protect against drop damage, and there's a reinforced ring around the camera bump. In addition to the clear case, Mous also has Limitless cases with patterned backs and even an Intralock case for active types that clips into mounts in a similar way to the Quad Lock case, all with AiroShock protection.

The case comes with black or stone colored edges, and this color option is mirrored in the MagSafe ring. There is a further clear option, but this doesn't have MagSafe, and there's so little price difference, I'd go for the colored options any day of the week. I think the Stone variant, in particular, looks really smart and really does offer the best of both worlds of a see-through case that is grippy and protective.

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Best iPhone 17 case for sports

The Quad Lock iPhone 17 case is fairly nondescript-looking at first; it only comes in black, but has a nice rubberized feel with a chunky surround that should give you confidence should you accidentally drop the phone.

Not that that's likely, for around the back, in the middle of the MagSafe-compatible ring, is a recessed indent that forms the Quad Lock mechanism. This securely attaches the phone to all manner of mounts. There's a running armband, bike handlebar mounts, in-car kits, and a whole lot else. You simply slot the case onto the mount at a 45º angle and give it a twist, whereby it locks firmly in place until released by pressing a latch on the mount.

It's really rock solid and offers a much safer support than the strongest of magnets could ever muster; I trust it entirely when going out for a run, and it has the bonus that the front face of the phone is unobscured, so the touchscreen works, which I've found isn't the case with typical running straps. There is one problem, though; I found the Camera Control cover to be overly sensitive, opening the camera at the slightest touch, and then behaving erratically. However, Quad Lock has acknowledged this issue and is sending out replacements free of charge, so if you like to keep active, this is still your best bet.

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Best iPhone 17 case for carrying cards

Many of us use our iPhones to pay for everything these days, but it's wise to carry a traditional credit card for emergencies, not to mention other everyday fantastic plastic, such as a driver's license, key passes, and so on. The Wallet Slayer Vol. 1 can stash up to four cards in a slot at the rear, which are held firmly in place with a spring mechanism, but can be easily slid out via a thumb recess.

The front of the phone and rear camera are well-protected by raised bumpers, and air pockets provide additional protection against drops and impacts. The phone's Camera Control is exposed but deeply recessed to enable direct operation.

Mine came in a stylish 'Walnut Wood' finish, one of six available designs. It certainly adds less bulk than folding wallet-style cases, but the ability to stash cards in the slot around the back means this case forgoes MagSafe functionality.

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Best budget iPhone 17 case

The GripMunk with MagSafe is Smartish's most basic iPhone 17 case (aside from the GripMunk without MagSafe), but there's little price difference between them, and I'd go for the version that is compatible with magnetic chargers every day of the week.

There may be cheaper cases than the GripMunk, but probably not at this level of quality. It is available in a wide range of colors, both opaque and translucent, with bold and striking designs that not only look great, but also provide great value.

Despite the low asking price, the case edges are gently contoured with finger-shaped indents for grip, and the case offers plenty of protection; Smartish says that it has 'drop-tested 50 times from a six-foot height'. I can't claim to have tried this myself with my own iPhone!

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Best Apple-branded iPhone 17 case

For some, only an Apple-branded case will do. The iPhone 17 Silicone Case with MagSafe is available in a range of colors, including Neon Yellow, Anchor Blue, Purple Fog, Light Moss, and Black, designed to perfectly complement the iPhone 17's five available hues.

The big advantage Apple has is that its own-brand cases have been properly tried and tested prior to each iPhone's launch, whereas its third-party competitors rely on leaked specs to get their cases to market on day one. For the most part, they get it right, but there have been issues – which you can read about in my think-piece here – but with Apple stuff, you just know it's going to work.

The cases are made with 45% recycled silicone material and have a soft-touch finish that is comfortable in the hand and provides decent grip, although they are not contoured. Inside, a microfiber lining that ensures your phone remains scratch-free. There's a magnetic ring for MagSafe compatibility, and the phone's Camera Control cover adds protection and functions seamlessly. However, as you might expect from an Apple product, it's on the pricey side, and the competition tends to have more interesting designs at a more competitive price.

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How to choose the best iPhone 17 case

I've tested these cases on the 'standard' iPhone 17, but there are variants for the Air, Pro and Pro Max too, so make sure you pick the correct one for your model of iPhone. While the iPhone 17's dimensions are broadly the same as the iPhone 17 Pro, the camera bump is much less obtrusive, neatly restricted to a small area around the pair of rear lenses, rather than taking the entire width of the rear of the phone.

And while the iPhone 17 looks very similar to the iPhone 16 that came before it, the dimensions are slightly different. You may just be able to squeeze your 17 into a 16 case, but the buttons and camera module won't line up properly and won't offer the optimum level of protection.

And a good level of protection should be your top priority. All the cases in this guide are from reputable manufacturers that claim to have proven the integrity of their products with drop and impact tests. I really would steer clear of cheap unbranded cases.

For many, MagSafe compatibility is a must; so many cases have a built-in magnetic ring that enhances the attachment properties of the phone to chargers and stands, while ensuring inductive charging remains efficient. Ensure your chosen case supports this feature if you plan to use MagSafe chargers or accessories.

Last but certainly not least, there's the look of the thing. You may prefer a translucent design that lets the beauty of your phone show through, sleek lines that show off its form factor, or bold patterns that mirror your personality.

How we test

I have personally tried and tested all the cases in this guide, checking for a snug fit, evaluating their grippiness and protective capabilities, ensuring that all the controls work correctly and MagSafe charging is not impeded, and reporting on their standout features and unique selling points.

But I also understand that a phone case is more than just a protective accessory; its look is important – after all, you don't want to encase your beautifully engineered smartphone into something that's boring to behold – so I'll tell you what I think of its design qualities too!

Other iPhone accessory guides
Best iPhone charger
Best iPhone gimbal
Best iPhone printer
Best iPhone microphone

• See all of today's Amazon.ca camera deals

I’m spotlighting the offers that deliver real value, so you don’t have to trawl through the noise. Prices are still moving and stock won’t last - if something below catches your eye, don’t hang about, as it may not be this price again.

Prime Big Deal Days is the warm-up to Black Friday, but tonight is the cut-off. The savings are genuine, the clock is ticking, and the best bargains will be gone at midnight. Act fast.

Top picks

1. Blink Mini 2 | SAVE CA$28 | now CA$26.99
2. DJI Osmo 360 | SAVE CA£90 | now CA$519
3. Sony A7 III | SAVE CA$401.99 | now CA$1998
4. Netvue Birdfy Smart Bird Feeder | SAVE CA$65 | now CA$134.99

Top retailers

🇨🇦 Top Canadian retailers:

Amazon Canada: Cheap prices on camera gear
Henry's: Huge savings in Henry's Orange Tag sale
Canon Canada: Save up to $500 in cashback
B&H Photo Video: Deals on camera brands
Best Buy Canada: Save on cameras, camcorders & drones

Best Prime Day camera deals

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How to access Amazon Prime Big Deal Days sale

Unlike Amazon Prime Day, which usually has a few deals available for non-members to shop, Big Deal Days will be a Prime-member exclusive sale. So if you want to take advantage of these pre-Black Friday deals, you must be logged into or set up an Amazon Prime account in order to see and shop all the deals (but you can get a 30-day free trial to ensure you get these offers).

However, we expect some other retailers to piggy-back on the Amazon sale, so we will keep you up to date on all the best offers, so that non-Prime customers can still enjoy some savings.

When is the Amazon Prime Big Deal Days Sale?

Amazon Prime Big Deal Days sale returns for its third year and will run from October 7-8, 2025, and will take place in the following countries:

Australia, Belgium, Brazil, Canada, France, Germany, Italy, Japan, Netherlands, Poland, Singapore, Spain, Sweden, the US, and the UK, – and, for the first time, Colombia, Ireland, and Mexico.

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How to find the best camera deals during Amazon Big Day Sale

If you’re in the market for a new camera kit – whether it’s your very first, a thoughtful gift, or an upgrade – Prime Day can be a great time to buy. To make the most of it, here are a few things worth keeping in mind.

1. Start with an Amazon Prime trial

Signing up for a trial membership gives you full access to all the Prime Day offers, including those that are exclusive to members. The good news is you can cancel at any point during the trial if you don’t want to keep it.

2. Decide what you want in advance

Big sales can be overwhelming, so it’s smart to go in with a plan. Do a bit of research beforehand and check the usual price of the gear you’re after. Camera prices don’t jump around too much, but knowing the baseline makes it easier to tell whether a deal is genuinely good value. Since cameras are a longer-term investment than phones, it’s worth being thoughtful before you buy.

3. Stay open to alternatives

Sometimes the exact model you’ve got your eye on won’t be discounted. But if you’re not tied to a single brand, you may find something with similar features at a better price. This is especially true with APS-C cameras, where specs can be close across brands. First-time buyers will find this easier than those already locked into a system, but even then, it’s worth considering third-party lenses as a money-saving option.

4. Use Amazon’s wish list

Once you know what you’re after, add it to a wish list. Not only does this make checkout faster, but it also lets you track price changes in the lead-up to Prime Day, so you can pounce when the price drops.

5. Keep checking throughout the sale

Prime Day pricing isn’t always static – we’ve seen items dip lower on the second day of the event. While it’s often wise to grab limited-stock deals as soon as they go live, if the item is still available later, you might save even more by waiting.

6. Let us do the hard work

We’ll be keeping an eye on the sale and rounding up the best camera and photography gear offers. Rather than wading through countless pages yourself, you can check in with us for a hand-picked selection of deals that are actually worth your time and money.

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However, as Kodak has shown time and again, appearances can be deceiving. Inside this tiny body lies a functional digital camera, ready to capture those spontaneous moments when pulling out a phone just doesn’t feel quite right.

As Ecommerce Editor at Digital Camera World, it’s my job to track down the best deals and make sure our readers spend their hard-earned cash wisely.

To make things easier, I’ve rounded up the best retailers in the US and UK currently offering the Kodak Charmera on pre-order.

Where to buy the Kodak Charmera?

What makes the Charmera instantly appealing is its sheer portability. You can literally carry it everywhere without a second thought. For travellers, it becomes a handy backup camera, while for parents or creatives, it’s the perfect tool for capturing those candid snapshots when the main camera is packed away. The fact that it sits discreetly on a keychain also means you’ll never be without something capable of recording a memory – and that’s where its charm really lies.

Of course, you’re not going to be getting DSLR-quality files or the sophistication of a smartphone’s computational wizardry, but that’s not the point here. The Charmera delivers lo-fi digital imagery with a character all its own. For those who grew up in the era of early compact digital cameras, there’s a wave of nostalgia in seeing the slightly imperfect, raw files this camera produces. And for today’s social media generation, that same aesthetic is proving highly desirable.

Price plays a big part in why the Charmera makes sense. It sits firmly in the “fun” bracket, an affordable piece of kit that doesn’t demand a serious investment but rewards you with a unique shooting experience. This makes it ideal for younger photographers just starting or for those who simply want a quirky creative tool to play with alongside their main setup. It’s also a conversation starter – pull it out at a gathering, and everyone will want to take a turn shooting with it.

There’s also a liberating quality to using such a small, no-frills device. You’re not weighed down by settings, menus, or overthinking composition. You simply point, press the shutter, and see what you get. That spontaneity can often result in images with more energy and authenticity than carefully staged shots, reminding us of the joy that comes from simply documenting life as it unfolds.

In the end, the Kodak Charmera Key Chain Digital Camera is not about replacing your main camera, nor is it about technical perfection. It’s about accessibility, fun, and the simple pleasure of photography without pressure. For some, it will serve as a playful creative tool; for others, it will be a nostalgic throwback. Either way, it’s proof that not every camera needs to be large, expensive, or bristling with features to have its place in your pocket – and in your memories.

Yes, the Nikon ZR is the first camera not only made with Red DNA, but also to bear the Red name on a Nikon body. The Big N pulled out all the stops to dethrone the mighty Sony FX3, which is also under heavy fire from the Canon EOS C50.

So, how does this cutting-edge Nikon (which is largely based on the Nikon Z6 III) stack up against the FX3 from 2021 (which is largely the Sony A7S III from 2015 cosplaying as a cinema camera)?

The odds are against Sony, whose 10-year-old 4K sensor is squaring off against Nikon's 12-month-old 6K partially stacked sensor, complete with 32-bit audio, the latest autofocus tech, and Red codecs and color science.

Place your bets and let's see how the Nikon ZR vs Sony FX3 fight goes down…

Nikon ZR vs Sony FX3: At a glance

Nikon ZR vs Sony FX3: Price

• Canon EOS C50: $2,199 / £2,199 / AU$3,499
• Sony FX3: $4,098 / £3,799 / AU$6,499

Sony has had the run of the yard for the past four years, and thus the FX3 still carries a heavy asking price. But with both Nikon and Canon undercutting it significantly, that four-year-old tech doesn't offer particularly good value.

Nikon's camera is getting on half the price but offers so many more features and functions, notwithstanding the baseline bump in horsepower and performance you get from things like newer sensor and autofocus tech.

Unless there's a crazy-good promotion running, the FX3 is an incredibly hard sell next to the ZR.

🏆 Winner: Nikon ZR

Nikon ZR vs Sony FX3: Design & handling

• Nikon ZR: 134 x 80.5 x 49 mm, 630g, 4-inch screen,
• Sony FX3: 129.7 x 77.8 x 84.5mm, 715g / 1,015g with handle, 3-inch screen, IBIS

Nikon has made its camera comparable in height and width to the FX3, but remarkably it's only 58% the depth. It's an amazingly thin design that makes the ZR much more at home in the hands, though this does come with a few physical compromises – some of which leave the ZR feeling less of a cinema camera than the Z6 III on which it's based.

For example, it's limited to a micro HDMI instead of the full-size port on the Z6 III and FX3. The svelte body also means that instead of the memory card slots being situated on the side (as standard for a pro body) they are relegated to the battery compartment on the bottom (as is common on enthusiast cameras).

The latter is puzzling for a number of reasons. Firstly, the choice of underpowered microSD is very strange for a cine camera – likely a compromise due to the lack of real estate, which also brings performance compromises such as no redundant recording. Secondly, removing the microSD means also having to remove the battery in order to access it.

If that's not aggravating enough, you'll probably have to remove the entire camera from your tripod when you need to change the main CFexpress card; you can't actually open the battery compartment on many tripods, as the head obstructs the door hinge (which is why pro bodies usually put card slots on the side). In addition, the smaller chassis means there is only a single mount point.

The FX3 doesn't suffer these access issues, and features twin CFexpress A / SD card hybrid slots for higher paired performance and redundant capture. Its thicker frame also means there are five mounting points. All of these are pretty major points in Sony's favor – but the FX3 doesn't get everything right in terms of its design.

For example, the FX3 has a joystick but it's bizarrely placed on top of the camera! And while its 3-inch screen is perfectly fine, at just 1.44 million dots it's hardly the highest resolution display in the world. By contrast, the ZR keeps its joystick on the back (where it belongs!) and perhaps its crowning achievement is the huge 4-inch, 3.07 million-dot screen – over a third larger and over twice the resolution of the Sony.

Unlike Sony (and Canon), though, Nikon did not launch the ZR with a modular handle, which not only helps with ergonomics and handling, but also houses XLR ports – a notable omission for a camera in this category.

In all, there are pros and cons on both sides. Honestly, though, while I admire the ZR's size, the operability compromises – inferior storage media, the inability to access it without de-rigging the body, lack of handle and XLRs – mean that this round goes to Sony.

🏆 Winner: Sony FX3

Nikon ZR vs Sony FX3: Photo specs

• Nikon ZR: 24.5MP, 20fps RAW / 120fps JPEG
• Sony FX3: 12.1MP, 10fps

Pretty clear-cut win for Nikon here, as the ZR (which, again, is built on the same architecture as the brilliant Z6 III hybrid camera) outclasses the FX3 (which is built on the video-oriented A7S III).

Photo capability is hardly the selling point here, as taking a YouTube thumbnail or a still for the 'gram is probably the extent to which most users are going to use these cameras for photographs.

Sony's 12.1MP sensor has historically been a go-to for astro and low-light photographers, where the lower resolution and larger pixel size count in its favor. Outside that use case, however, Nikon's partially stacked sensor is far better for burst speed and overall image quality.

The ZR also packs the latest subject detection algorithms along with a rock-solid 7.5 stops of stabilization, compared to Sony's notoriously ho-hum IBIS (which is 5 stops on paper, but really doesn't feel like that in performance).

🏆 Winner: Nikon ZR

Nikon ZR vs Sony FX3: Video specs

• Nikon ZR: 20.6MP, 6K 60p, 4K 120p, FullHD 240p, internal RAW, 32-bit float
• Sony FX3: 10.3MP, 4K 120p, FullHD 240p, XLR capability

Nikon's camera has way too much firepower for the Sony to keep up. The higher resolution means it is capable of up to 6K 60p internal RAW – and that's with the signature Redcode RAW (R3D NE), along with other 12-bit RAW formats like N-Log and ProRes. You also have essentials like shutter angle control and waveform monitoring.

Meanwhile the poor old Sony can't even record RAW internally, and things like shutter angles and waveforms were conspicuous by their absence even four years ago. It does at least still produce very clean footage, thanks to the lower resolution and generous ISO80-102,400 sensitivity, but with the dual base ISO capability on the Nikon this isn't the advantage it once was.

Crucially, though, the Nikon ZR is missing an XLR handle – without which it cannot accept professional XLR input, which is definitely a big strike against it in the audio stakes (though unless Nikon is completely mad, an XLR handle absolutely has to be on the way). However, a huge boon for audio is the fact that the Nikon ZR is the only camera with built-in 32-bit float.

What is 32-bit float, and why is it important? Think of it like RAW files but for your audio – it enables you to enhance or even rescue sound in post, even if you've completely messed up your levels at the point of capture. While a number of Panasonic cameras have 32-bit capability, such as the popular Lumix S5IIX, they all require an additional adapter.

While the lack of XLR input is a black eye for the ZR, common sense tells you that it's on the way – and everything else, particularly headline features like Redcode and 32-bit float, more than makes up for it.

🏆 Winner: Nikon ZR

Nikon ZR vs Sony FX3: Lens selection

• Nikon ZR: Z mount
• Sony FX3: E mount

Here is the single biggest advantage the FX3 has over the ZR: the sheer landslide of native E-mount lenses compared to the relative trickle of Z glass.

It's no surprise; not only is the E mount 15 years old, with some 330 lenses on the market, Sony has cranked out over 80 lenses by itself. By comparison, the Z mount is only 7 years old and Nikon has just managed to crack 40 home-grown lenses.

More importantly, while Sony fully opened its mount to third parties very early on, Nikon is still very restrictive about who can produce Z-mount glass – at least, Z-mount glass with technology such as electronic contacts and autofocus, though there are a number of manual-focus dumb lenses on the market.

Nikon is aware of this, having announced that Nikkor Cinema lenses are in development, and it has licensed Leica to produce its new Leitz Hektor cine lenses for Z-mount – but that still means that the only native cinema lenses for the ZR cost $7,400 a pop.

The upshot is that while every single lens manufacturer can (and most do) make optics for Sony, there is a much smaller selection of third-party glass for Nikon Z. And unlike Canon, Nikon hasn't spent the past few years producing cinema lenses (because it didn't have any cinema cameras, until buying Red and launching the ZR), so it doesn't have any first-party cine lenses yet.

You can, of course, adapt all the most popular PL and EF cinema optics to the Z mount – and you can even adapt Sony's E-mount lenses – which is what many people will do. But there's no getting round the fact that the ecosystem of native glass is drastically smaller for ZR users.

🏆 Winner: Sony FX3

Nikon ZR vs Sony FX3: Verdict

This fight was actually far closer than I expected. While the ZR wipes the floor with the FX3 in terms of tech and specs, it's let down by ergonomics and design choices.

The lack of XLR inputs, the questionable choice of media with a lack of redundant recording, and the inability to swap memory cards without removing the camera from a tripod are pretty big sore points. And there's no skirting the fact that Nikon doesn't have any Z-mount cinema lenses – with uber-pricey Leica lenses being the only native options right now.

However, the headline features – namely the ability to capture internal 6K 60p RAW video in Redcode, 32-bit float audio, along with 7.5 stops of IBIS – compensate for these hangups. The Nikon ZR is a top-to-bottom better technological proposition than the FX3, and anyone choosing between the two cameras today would be well advised to jump on the Z Cinema bandwagon.

🏆 Winner: Nikon ZR

The result is that the four-year-old Sony FX3 – which, let's not forget, is essentially a ten-year-old Sony A7S III in a more cinema-friendly chassis – is squaring up against the brand new Canon EOS C50 (and Nikon ZR).

It's honestly not a very fair fight, with a 4K sensor from 2015 going up against a 7K sensor from 2025 – not to mention all the enormous advances in things like autofocus. But still, the FX3 has been an unstoppably popular camera – so, whether you already own the Sony or you're looking at both cameras afresh, is the Canon EOS R50 vs Sony FX3 as much of a bloodbath as everyone thinks?

Canon EOS R50 vs Sony FX3: At a glance

Canon EOS R50 vs Sony FX3: Price

• Canon EOS C50: $3,899 / £3,359.99 / AU$5,899
• Sony FX3: $4,098 / £3,799 / AU$6,499

Despite being four years old, Sony's camera still commands a high price at retail – no doubt because, until the C50 and ZR arrived on the scene, there was nothing to challenge its position.

Canon has priced its new body incredibly competitively, coming in significantly less in all regions. No matter how you look at it, you get so much more bang for your buck with the C50 that you'd have to be pretty mad to pick up the FX3 today unless you get a seriously good deal on it.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Design & handling

• Canon EOS C50: 142 x 88 x 95mm, 752g / 1,052g with handle, 14 buttons
• Sony FX3: 129.7 x 77.8 x 84.5mm, 715g / 1,015g with handle, 6 buttons, IBIS

In short, Sony's camera is the sleeker and lighter option. Not only is it slightly more comfortable to wield, it also boasts 5 stops of in-body image stabilization to steady your shots when shooting handheld. What it's lacking are buttons, with only six physical buttons that can be customized.

Canon's body is chunkier, and without any IBIS you'll need to be conscious of rawdogging shoots without a gimbal. Where it has a big advantage is in the sheer number of buttons, with 14 of them offering instant control over just about every aspect of the camera – though of course this can also be a disadvantage if you're easily overwhelmed while shooting.

Both bodies are modular, with optional handles that add a pair of XLR ports, and are designed with rigs and cages in mind. Physically they're quite similar, so this one comes down more to personal preference; the Sony is smaller and lighter, while the Canon is chunkier with more controls. Though of course, the FX3 has Sony's infamous menus to deal with!

🏆 Winner: Draw

Canon EOS R50 vs Sony FX3: Photo specs

• Canon EOS C50: 32.73MP, 40fps
• Sony FX3: 12.1MP, 10fps

Not much of a contest here. The FX3 is built in the ageing ten-year-old tech of the Sony A7S III, namely its low-resolution 12.1MP sensor. While the lower pixel count (and, thus, larger pixel size, creating superior ISO performance) historically made it an attractive option for low-light and astrophotography shooters, its combination of lean resolution and relatively slow 10fps burst is definitely meager by 2025 standards.

Although the C50 lacks the image stabilization of the FX3, its mighty 32.73MP resolution and 40fps continuous shooting speed combined with far more advanced autofocus (including the full raft of AI subject detection) makes the Canon a far superior stills option.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Video specs

• Canon EOS C50: 32.73MP 7K 60p open gate, 4K 120p, FullHD 180p, internal RAW
• Sony FX3: 10.3MP, 4K 120p, FullHD 240p

Again, we're pitting 2015 video tech against 2025 video tech – this isn't really a fair fight.

There's little point diving into all the codecs and output options; with the FX3 we're looking at a very capable 4K 60p machine that offers 4K 120p / FullHD 240p in Slow & Quick. Footage is very clean, thanks to the ISO80-102,400 sensitivity, with 2-channel audio and the benefit of sensor stabilization. Note that video resolution is only 10.3MP, and AF is limited to standard human face and eye detection.

The C50 is just too new and powerful; it's a 7K 60p open gate camera, whose 4K 60p is oversampled from that 7K resolution, with up to 4K 120p / 2K 180p in HFR. The sensitivity isn't as broad (ISO100-25,600), but it boasts dual base ISO at 800 and 6400. On top of that, video resolution is leagues higher (including full sensor readout of 32.73MP in open gate) and you get Canon's superb Dual Pixel AF II performance.

There are also some key features missing from the FX3 – such as internal RAW recording, waveforms and shutter angle – which are present on the C50.

Without getting too lost in the weeds on recording limits, the FX3 effectively offers unlimited recording up to 4K 60p; the C50 gets anywhere from 42-65 mins of open gate depending on the kind of Cinema RAW, with 81-505 mins of standard full-frame shooting.

If you're only ever going to shoot 4K, the FX3 does a fine job with none of today's bells and whistles. But the C50 does everything, including 4K, bigger and better.

🏆 Winner: Canon EOS C50

Canon EOS R50 vs Sony FX3: Lens selection

• Canon EOS C50: RF / RF-S mount
• Sony FX3: E mount

As with any camera system, there's more to the story than specs alone; just as important as the body are the lenses you mount to it. And while the FX3 is completely outgunned where the camera itself is concerned, it has a huge advantage in the lens department.

Sony's E mount is celebrating its 15th anniversary this year and boasts literally hundreds of lenses from dozens of manufacturers – including over 80 optics from Sony itself.

Canon's RF mount is a comparatively young seven years old, meaning it's been around for less than half the time. But while Canon itself has done a great job of pumping out RF (full frame) and RF-S (APS-C) glass, hitting 50 this year, it's still a largely closed mount.

What does this mean? While Sony opened its mount to all comers early on (in order to catch up to Canon and Nikon), Canon still restricts who can make lenses with autofocus and image stabilization. Currently no third parties are allowed to produce full-frame AF glass, though there are plenty of manual focus options.

The upshot is that while there are numerous options for the FX3, including cinema primes from the likes of Sigma, the native lens choice for the C50 is much more limited.

Of course, many high-end creators and cinema shooters tend to adapt glass – typically PL or EF cine lenses – so this isn't an issue for everybody. And again, Canon is doing a great job at populating the RF ecosystem. But in terms of sheer selection, this is one's an easy win for Sony.

🏆 Winner: Sony FX3

Canon EOS R50 vs Sony FX3: Verdict

I don't think it's a huge surprise that Canon wipes the floor with Sony in every department here. Which isn't to say that the FX3 isn't a capable camera, because it is; however, it in no way justifies having a higher price tag than the C50 in 2025.

If you're looking for your first video-centric camera for content creation or filmmaking, the Canon EOS C50 is far and away the best choice. From 7K resolution and open gate capture to superior features along with impressive stills capabilities, there really is no competition.

However, if you're an FX3 owner wondering whether to make the switch… well, the answer is obviously yes from a technological standpoint. Just be aware that Canon's lens ecosystem is much more limited – though again, many people using this kind of camera are adapting legacy glass anyway.

So, Canon wins a fight against a four-year-old camera. I'm fascinated to see how it will fare against the FX3 II, when that inevitably arrives…

🏆 Winner: Canon EOS C50

There's not much doubt that the GFX 100S II is one of the best medium format cameras on the market, and with its well-rounded specifications and a price no higher than some of the best full frame cameras, it's also one of the best professional cameras today.

The GFX 100S II is actually the portable and affordable option in the GFX line-up, while the GFX 100 II is the full-fat professional model and is the one to choose for high-end commercial work, and especially video. So with that in mind, for the GFX 100S II we’ve concentrated on Fujifilm’s more affordable GF lenses, together with lenses that balance well on the smaller (well, it’s relative!) GFX 100S II body.

This doesn’t mean any compromises in performance. There are really no weak points in the GF lens range. But it does mean being a little more sensible about the specifications. Fujifilm’s longer telephoto primes and tilt-shift lenses are highly desirable but extremely expensive, and probably more appropriate for the flagship GFX 100 II.

We’re picturing a mix of travel, landscape and some commercial/product photography for the GFX 100S II, where portability is likely to be a factor, just as much as costs. So with that in mind, here’s our list…

Best lenses for the Fujifilm GFX 100S II

This was the original ‘go-to’ standard zoom for the GFX series and it still stacks up well today. The focal range is pretty modest at an effective 25-51mm in full frame terms, but limited zoom ranges go with the territory in the world of medium format. If you want a standard zoom that’s a little longer, look at the Fujifilm GF 45-100mm f/4 R LM OIS WR, which also has OIS. If the focal range fits your needs, though, the GF 32-64mm f/4 R LM WR is an excellent buy, with great handling and stellar image quality. It’s a shame it’s quite expensive, though – there is a cheaper GF 35-70mm f4.5-5.6 WR lens, but that’s a budget option with no aperture ring. Sacrilege!

Read our full Fujifilm GF 32-64mm f/4 R LM WR review

A pancake lens on a medium format camera sounds like a contradiction in terms, but that’s effectively what this lens provides, with a handy everyday 40mm effective focal length and an f/3.5 maximum aperture that’s a bit basic by full frame camera standards but still perfectly acceptable on a medium format model – and while this lens is one of Fujifilm’s cheapest GF lenses, its optical performance is still very good, though it does lose some definition at the edges. But if your main interest is travel and street photography, then this little lens is practically a no-brainer.

Read our full Fujifilm GF 50mm f/3.5 R LM WR test report

The original ‘standard lens’ for the GFX system, the GF 63mm f/2.8 R WR is a 50mm equivalent lens with a modest f/2.8 maximum aperture but excellent optical performance in the center of the frame and remarkably good sharpness at the edges, too. It’s not massively expensive by GFX standards, but the GF 63mm f/2.8 R WR really shows what Fujifilm’s larger format sensor is capable of.

See our full Fujifilm GF 63mm F2.8 R WR review

If you like short focal lengths and wide-angle perspectives, the GF lens range doesn’t give you a whole lot of choices. In fact, this is it for wide-angle zooms. Luckily, the GF 20-35mm f/4 R WR performs brilliantly for a lens of this type, with superb center resolution and sharp detail at the edges – though you really need to stop down to f/8 to get the best results. The GF 20-35mm f/4 R WR is an expensive lens to buy, but it’s just how it is with medium-format extra-wide lenses. The GF 23mm f/4 R LM WR, for example, is no cheaper and limits you to a single focal length.

See our full Fujifilm GF 20-35mm f/4 R WR review

If the regular GF 32-64mm standard zoom is a little short for your liking, then this GF 45-100mm f/4 R LM OIS WR could make a great alternative, offering a longer reach of 36-79mm equivalent. Our lab test show very good optical performance, with good edge sharpness too. It’s still not a long zoom range, but as long as you don’t mind losing a little at the wide end you might find it more useful than the GF 32-64mm f/4 R LM WR. It also has optical stabilization – though that’s perhaps a throwback to first-generation GFX cameras which didn’t have IBIS.

See our full Fujifilm GF 45-100mm f/4 R LM OIS WR review

There’s no equivalent of the ubiquitous 70-200mm zoom in the GF lens line-up, but the GF 100-200mm f/5.6 R LM OIS WR comes close, with its 79-158m effective focal range. The maximum aperture is just f/5.6, which could be a drawback, but this is a very useable, portable lens and – perhaps even more important – it’s relatively affordable. The zoom ‘reach’ might rule it out for sports and wildlife photography, but it would make a great travel/landscape lens for longer perspectives.

See our full Fujifilm GF 100-200mm F5.6 R LM OIS WR review

The exceptional resolution of the GFX 100S II sensor will appeal to macro fans looking for the ultimate fine detail rendition, and this lens looks like the obvious candidate, with a 95mm equivalent focal length offering a decent working distance and optical stabilization thrown in. There is a catch, though. Fujifilm calls this a ‘macro’ lens, but it only goes up to a 0.5x magnification, not a true ‘macro’ 1.0x. Fujifilm is not the only lens maker to do this, alas. The image quality helps make up for this, though, as it is quite exceptional, especially when you stop down to f/8 and beyond.

See our full Fujifilm GF 120mm f/4 Macro R LM OIS WR review

This is the closest thing to a classic ‘portrait’ lens in the Fujifilm GF lens line-up. The GF 110mm f/2 R LM WR has an effective focal length of 87mm (let’s call it 90mm), and while the f/2 maximum aperture might seem a little lacking compared to the 85mm f/1.4 and f/1.2 lenses on full frame cameras, don’t forget that this lens’s longer focal length brings intrinsically shallower depth of field, so the subject-background separation will be strong. The Fujifilm GF 110mm f/2 R LM WR is also ridiculously sharp in the center of the frame, and while it loses a little sharpness towards the edges, who puts their portrait subjects at the edge of the frame?

See our full Fujifilm GF 110mm f/2 R LM WR review

The OM System OM-5 Mark II is a relatively modest update of the original OM-5, but it’s an improved camera being sold at the same price as the old one – and that’s rare today. Also rare is this camera’s combination of light weight, weather-sealing, perhaps the best in-body stabilization there is and some clever computational photography features that could make bulky outdoor photography filter systems unnecessary.

It's a great camera and one of the best OM System cameras to buy, but what are the best lenses for the OM System OM-5 Mark II? There are three things I wanted to keep in mind. First, this is an affordable camera that a lot of people will choose for that reason – so I’ve stuck to relatively affordable lenses. You might not think it but, in many ways the OM-5 Mark II is one of the best cameras for beginners – and certainly one of the best cameras for travel.

So none of the lenses on my list costs more than the camera itself – and many are good deal cheaper. Even so, several of these are weather-sealed Pro lenses, and it’s one of the advantages of the OM ecosystem that these are still relatively inexpensive.

Second, this is a compact camera, so you’ll probably want to steer away from big lenses. I’ve made an exception for a couple of zooms that are just too good and too useful to rule out, but mostly I’ve stuck to lenses of a size that match this camera’s compact body.

Third, the OM-5 is weather-sealed, which is unusual at this price, so I’ve concentrated on sealed lenses to go with it. Essentially, any OM System Pro lens is weather-sealed – but its non-Pro 17mm and 25mm version II primes are weather-sealed too.

So now that you know where we’re coming from, let’s get on with the list!

Best lenses for the OM System OM-5 Mark II

This is the standard ‘kit’ lens sold with the OM-5 Mark II, but it’s a long way from kit lenses as we understand them because this is a professional quality, constant-aperture, weather-sealed zoom that you probably won’t feel the need to upgrade – ever.

It covers an effective focal range of 24-90mm with a constant f/4 maximum aperture, and if that seems a little low to you then keep in mind that this is a lens that delivers edge-to-edge sharpness at any aperture or zoom setting and is very compact and affordable. And if you’re convinced you need a constant f/2.8 lens instead, then there’s always the larger but equally excellent M.Zuiko 12-40mm f/2.8 Pro II…

Read our full Olympus M.Zuiko 12-45mm f/4 Pro review

The M.Zuiko 12-40mm f/2.8 Pro II has the same optical construction as the first version of this lens, but the key difference is improved weather sealing. It’s not typically bundled with the OM-5 Mark II, so this will be an additional purchase – though if you already have this lens or its prececessor, then both are a superb alternative to the 12-45mm.

This 24-80mm equivalent f/2.8 Pro lens has a slightly longer reach than the typical 24-70mm pro lenses on other formats, but the same ultra-reliable optical quality, with edge-to-edge sharpness at any aperture or zoom setting. It’s noticeably heavier and bigger than the 12-45mm f/4 on the OM-5 Mark II, but the redesigned grip on this camera is better for bigger lenses like this, so the balance will still be good.

Read our full OM System M.Zuiko 12-40mm f/2.8 Pro II review

The OM System M.Zuiko Digital 12-100mm f/4 IS Pro is an exceptional lens in all sorts of ways. First, it is a long-range superzoom lens with stellar image quality across its range – and that’s rare. Second, it has its own optical IS to boost the stabilization of the OM-5 Mark II’s IBIS, especially at longer focal lengths. Third, it has a constant f/4 maximum aperture, and you just don’t get that with any other superzoom lenses on any other system. Fourth, it’s weather sealed!

For those in the know, this is the go-to long-range zoom for the OM system. The only downsides are its size – it’s not huge, but it’s quite big for an MFT lens – and its price. You won’t see this lens discounted much, but you get what you pay for.

If you’re looking for an ultra-wide zoom to use with the OM-5 Mark II then there aren’t too many choices. You might gravitate towards the M.Zuiko 7-14mm f/2.8 Pro, but this is a big old lens with a bulbous front element that rules out conventional filters. Instead, I’d recommend the M.Zuiko 8‑25mm f/4 Pro – and for a couple of reasons.

First, it’s a lot cheaper. Second, it sacrifices only 1mm at the wide end but goes all the way up to an equivalent 50mm focal length when you zoom in. You don’t get the faster f/2.8 maximum aperture, but you do get a unique zoom range that could save you an awful lot of lens swapping. Perhaps the most compelling reason, though, is the optical quality, which is every bit as good as the heavier and more limiting 7-14mm.

Read our full Olympus M.Zuiko 8‑25mm f/4.0 Pro review

If you’re using your OM-5 Mark II extensively for wildlife or sports photography then I would probably recommend one of the bigger OM telephotos – such as the brand new OM System M.Zuiko 50-200mm f/2.8 IS Pro, but that’s an expensive, specialized lens that not everyone needs. If you only need a telephoto occasionally, then the 40-150mm f/4 Pro is perfect.

It packs an 80-300mm effective focal range into a retracting design small enough to keep in a corner of your camera bag for when you need it. Optically, it’s excellent. The bokeh can get a little ‘busy’ in the background but that’s a small point because this is a compact, affordable yet super-sharp lens that truly deserves its ‘Pro’ label.

If you like your prime lenses small, portable and discreet, then the M.Zuiko 17mm f/1.8 II fits the bill perfectly. It has what many would consider to be the perfect focal length for street photography, combined with an f/1.8 maximum aperture and pint-sized proportions. It’s not as fast as the f/1.2 Pro version, but then it’s a fraction of the size and price and still delivers excellent results.

Its size means it’s a perfect match for the compact OM-5 Mark II body for when you’re walking the city streets looking for photos. Optically it’s the same as the original version, but adds weather sealing while dropping the focus clutch mechanism on the older lens.

Read our full OM System M.Zuiko 17mm f/1.8 II review

What’s your favorite focal length? For some it will be a 35mm equivalent lens like the M.Zuiko 17mm f/1.8 II, but for others it will be a ‘nifty fifty’ – and that’s where the M.Zuiko 25mm f/1.8 II comes in. Its 50mm equivalent focal length will deliver what many consider the most natural angle of view, while its f/1.8 maximum aperture in combination with the OM-5 Mark II’s excellent IBIS makes this a great lens for atmospheric low light shots too.

The key difference between this and the original version of this lens is the addition of weather sealing, which makes it a great partner for the OM-5 Mark II and its ability to keep shooting in adverse conditions.

Read our full OM System M.Zuiko 25mm f/1.8 II review

If you like photographing the great outdoors then this is a great lens to keep in your camera bag for close-ups of nature to go along with larger, sweeping landscape shots. This is a very deceptive lens! It’s so small and light that you might find it hard to take it seriously as a macro lens, but you only have to use it to see just how good this lens it.

Its 120mm effective focal length means you can shoot timid or hard-to-reach subjects from further away, and the inherent depth of field of the MFT format means you can use it wide open without struggling so much with razor-thin depth of field. Best of all, it’s weather-sealed as well.

Read our full Olympus M.Zuiko 60mm f/2.8 Macro review

After all, the larger screen real estate of the Pro Max makes it particularly vulnerable to impact damage and scratches during everyday use. So whether you're using it for immersive gaming, content creation, or simply enjoying that gorgeous large display, a quality screen protector is essential insurance for your device.

At the same time, the right screen protector will preserve the touch responsiveness and crystal-clear clarity that makes the iPhone 17 Pro Max's display so remarkable. To help you out, we've carefully selected the best screen protectors that are specifically engineered for the Pro Max's larger dimensions and unique requirements.

Do also check out the best iPhone 17 Pro Max cases

Our top choices

• Back to the top ⤴

FAQs

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How to choose a screen protector

When picking a screen protector for your iPhone 17 Pro Max, there are a number of things. Firstly, and most obviously, make sure the protector is specifically designed for the iPhone 17 Pro Max as they phones differ in size, even within the iPhone 17 range. Beyond that, we'd recommend opting for one made from tempered glass, to ensure the best protection and feel. Yes, they'll be more expensive than a cheap plastic one, but compared to the cost of an iPhone 17 Pro Max, we're still talking peanuts.

Look for a 9H hardness rating or higher for maximum scratch resistance. Also consider specialized options like blue light filtering for better sleep, privacy screens for confidential use, or enhanced drop protection if you're particularly accident-prone. And think about how difficult you find it to install screen protectors. Some come with alignment tools to make it easier.

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How we test screen protectors

To curate this list, we assessed the type and grade of materials used in each protector. We also evaluated how user-friendly the application process is, and checked that the protector doesn't interfere with the screen's clarity or responsiveness. We consider the track record of the manufacturer and customer reviews, and compared features and quality against the price point.

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Other iPhone accessory guides
Best iPhone 17 Pro Max cases
Best iPhone charger
Best iPhone gimbal
Best iPhone printer

In this article, we've brought together the best iPhone 17 Pro screen protectors on the market right now. So if you're about to order a new Apple phone, why not order the screen protector at the same time?

That way, there won't be a single moment when your brand new phone is at risk from damage, and you can sit back, relax and just enjoy it. And there are other reasons to use a screen protector too, such as guarding your eyes from blue light, and keeping your screen private from nosey passers-by.

Also see our guide to the best iPhone 17 Pro cases

Our top choices

• Back to the top ⤴

FAQs

• Back to the top ⤴

How to choose a screen protector

When picking a screen protector for your iPhone 17 Pro from our list, there are a number of things. Firstly, and most obviously, make sure the protector is specifically designed for the iPhone 17 Pro as they phones differ in size, even within the iPhone 17 range. Beyond that, we'd recommend opting for one made from tempered glass, to ensure the best protection and feel. Yes, they'll be more expensive than a cheap plastic one, but compared to the cost of an iPhone 17 Pro, we're still talking peanuts.

Look for a 9H hardness rating or higher for maximum scratch resistance. Also consider specialized options like blue light filtering for better sleep, privacy screens for confidential use, or enhanced drop protection if you're particularly accident-prone. And think about how difficult you find it to install screen protectors. Some come with alignment tools to make it easier.

• Back to the top ⤴

How we test screen protectors

To curate this list, we assessed the type and grade of materials used in each protector. We also evaluated how user-friendly the application process is, and checked that the protector doesn't interfere with the screen's clarity or responsiveness. We consider the track record of the manufacturer and customer reviews, and compared features and quality against the price point.

• Back to the top ⤴

Other iPhone accessory guides
Best iPhone 17 Pro cases
Best iPhone charger
Best iPhone gimbal
Best iPhone printer

That's where our carefully curated selection of the best iPhone 17 Pro Max cases comes in. We've spent years testing and researching cases from reputable manufacturers, and we've drawn on that experience to provide you with the best options for protecting your new phone. Do note you need to buy a case with the right dimensions - so if you are going for the smaller iPhone Pro model check out our separate guide to the best iPhone 17 Pro cases.

Our selection caters to a range of needs, styles and budgets, with particular focus on cases that complement this particular phone's larger form factor and enhanced capabilities.

The best iPhone 17 Pro Max cases

How to choose the best iPhone 17 Pro Max case

Selecting the perfect case for your iPhone 17 Pro Max requires special consideration of the device's unique characteristics. The Pro Max has a larger 6.9-inch display and weighs 233g (8.22oz). This makes it slightly heavier than its predecessor, the iPhone 16 Pro Max, which weighed 227g (7.99oz). Consider how the phone's larger size and weight affect your daily usage. Some may prefer an ultra-lightweight case to offset this, or you may prioritize enhanced grip features to manage the larger device securely.

The Pro Max's expansive display makes it ideal for media consumption, so consider whether features like built-in kickstands would enhance your experience. The larger screen real estate also means there's more to protect, making comprehensive coverage particularly important.

MagSafe compatibility remains important, especially given the Pro Max's size makes wireless charging more convenient than fumbling with cables. Ensure your chosen case supports this feature if you plan to use MagSafe chargers or accessories. Style considerations are amplified by the Pro Max's larger surface area. Whether you prefer to showcase the device's premium materials with a clear case or make a statement with bold designs, the Pro Max provides more canvas for personal expression.

Ultimately, given the Pro Max's premium price point and larger size, protection should be the main priority. So choosing a case will largely be a question of balancing that need with the other considerations mentioned above.

How we test

Our recommendations for phones cases are the result of a comprehensive evaluation process based on thorough research, grounded in our long history of testing cases and assessing who are the most reputable manufacturers.

We understand that a phone case is more than just a protective accessory; it's an integral part of your daily interaction with your device. This is especially true for the iPhone 17 Pro Max, where the case must complement the device's larger form factor and enhanced capabilities. Our testing methodology evaluates how well each case addresses the unique challenges and opportunities presented by Apple's flagship phablet.

Other iPhone accessory guides
Best iPhone charger
Best iPhone gimbal
Best iPhone printer

We've spent years testing and researching cases from reputable manufacturers, and we've drawn on that experience to provide you with the best options for protecting your iPhone 17 Pro. 

If you're pre-ordering to buy an iPhone 17 Pro, there's no better time to order a phone case too. That way, you'll ensure that your shiny new smartphone is protected from day one. Do note you need to buy a case with the right dimensions - so if you are going for the larger iPhone Pro Max model check out our separate guide to the best iPhone 17 Pro Max cases.

Our curated selection caters to a range of needs, styles and budgets, and yes, all of them are compatible with wireless charging.

The best iPhone 17 Pro cases

How to choose the best iPhone 17 Pro case

Selecting the perfect case for your iPhone 17 Pro involves considering several key factors. First and foremost, think about the level of protection you need. If you're someone who tends to be a bit clumsy or works in a demanding environment, you'll want to prioritise cases with higher military-grade ratings to ensure your device stays safe from drops and impacts.

Next, consider the thickness of the case. Some users prefer a slim profile that maintains the sleek feel of the iPhone, while others are willing to add a bit of bulk for extra protection. It's all about finding the right balance between safeguarding your device and maintaining a comfortable feel in your hand.

Additional features can greatly enhance the functionality of your case. If you often watch videos or make video calls, a case with a built-in kickstand might be invaluable. For those looking to streamline their everyday carry, a wallet case with card slots could be the perfect solution. Some cases even offer wearable options, which can be great for active lifestyles.

If you're invested in the Apple ecosystem, MagSafe compatibility is an important consideration. Ensure that your chosen case supports this feature if you plan to use MagSafe chargers or accessories.

Style is another crucial factor. Your case is an accessory you'll see and use every day, so choose one that reflects your personal aesthetic. Whether you prefer a clear case to show off your iPhone's design, a colorful option to express your personality, or a sophisticated leather finish, there's a case out there to suit you.

Lastly, consider your budget. iPhone cases range from affordable options to premium choices with advanced features. Determine how much you're willing to invest in protecting your device and look for a case that offers the best value within your price range. Ultimately, the ideal case for you is one that strikes the right balance between protection, functionality, and style, all while fitting comfortably within your budget.

How we test iPhone cases

Our recommendations for phones cases are the result of a comprehensive evaluation process based on thorough research, grounded in our long history of testing cases and assessing who are the most reputable manufacturers.

We understand that a phone case is more than just a protective accessory; it's an integral part of your daily interaction with your device. As such, our testing methodology is designed to assess various aspects of each case to ensure it meets the diverse needs of iPhone users.

Other iPhone accessory guides
Best iPhone charger
Best iPhone gimbal
Best iPhone printer

In this guide, I’ve rounded up the best lenses to pair with the X-E5, balancing image quality, portability, and value for money. I’ll highlight fast primes for low-light shooting, sharp zooms for all-round versatility, and specialist options for macro or ultra-wide work.

No matter if you’re a beginner eager to explore creative possibilities or a seasoned shooter refining your kit, this buying guide will help you find the perfect lens to get the most from Fujifilm’s latest compact powerhouse.

Best lenses for the Fujifilm X-E5

Best travel lens for the Fujifilm X-E5

You've likely seen the X-E5 bundled with this lens, and it's a bundle you should absolutely go for. The XF 23mm f/2 R WR is the standout companion for the Fujifilm X-E5, striking an excellent balance between portability and performance. Offering a 35mm-equivalent field of view, it’s the classic choice for street, reportage, and everyday photography.

At just 180g, this lens complements the X-E5’s compact body perfectly, making it a discreet, pocketable pairing that won’t weigh you down during long days or travel. The f/2.8 aperture is bright enough for low-light conditions and some subject separation for environmental portraits. Autofocus is quick, quiet, and reliable, which makes it a strong performer for both stills but also some video.

While it doesn’t deliver the ultimate sharpness or creamy bokeh of the pricier XF 23mm f/1.4, this f/2.8 version offers excellent value and a more balanced match for the X-E5’s form factor. For shooters who want a fast, sharp, and discreet lens that looks perfect on the X-E5, this is my top pick.

Best standard zoom for the Fujifilm X-E5

The Fujifilm XF 16-50mm f/2.8-4.8 R LM, launched alongside the X-T50, might be the best first-party zoom for the X-E5. But, I’d argue that the Sigma 18-50mm f/2.8 DC DN Contemporary makes for a much more compelling alternative. You lose a touch of width at the wide end, but gain a constant f/2.8 maximum aperture across the zoom range – a big advantage for low-light shooting and consistent exposure.

The Sigma also scores highly on portability. It’s impressively compact and lightweight, making it an ideal partner for the X-E5’s small, rangefinder-style body. Despite its modest size, the lens feels well-built, with smooth handling that encourages everyday use. The only real omission is the lack of a dedicated aperture ring.

If you want a versatile, travel-friendly zoom that won’t break the bank but still delivers excellent sharpness and speed, the Sigma 18-50mm f/2.8 deserves serious consideration.

Read our full Sigma 18-50mm f/2.8 DC DN Contemporary review

Best fast prime for Fujifilm X-E5

For X-E5 owners who want a fast, high-quality standard prime, the XF 33mm f/1.4 R WR is one of the best lenses in Fujifilm’s lineup. Delivering a 50mm equivalent field of view, it’s the classic “normal” focal length – natural, versatile, and ideal for everything from portraits and street shooting to everyday documentary work.

The standout feature here is, of course, the f/1.4 maximum aperture. It allows for superb low-light performance and beautifully shallow depth of field, giving your images a professional look with smooth background blur. Autofocus is quick, quiet, and precise thanks to a modern linear motor, making it equally reliable for stills and video.

Build quality is excellent, with full weather-sealing and a robust metal construction that matches the premium positioning. The tactile aperture ring is a nice touch, especially for photographers who enjoy Fujifilm’s traditional controls. While the 33mm is larger and heavier than Fujifilm’s smaller f/2 primes, the extra speed and sharpness make it worth the added bulk for those who want the very best image quality.

Read our full Fujifilm XF 33mm f/1.4 R LM WR review

Best lens for macro and close up photography

For many photographers, a dedicated macro lens is just as essential as a wide-angle or telephoto zoom. Being able to focus much closer than usual opens up whole new creative possibilities, making it perfect for capturing insects, flowers, and other fine natural details. The Fujinon XF 30mm f/2.8 R LM WR Macro is a great option for X-E5 users, offering a 45mm equivalent focal length. The lens also adds Fujifilm’s solid build quality, weather resistance, and smooth linear motor autofocus.

This does mean you’ll be working closer to your subject than with longer macro lenses like the 60mm or 90mm, but that’s not necessarily a drawback – and the trade-off is an impressively compact and lightweight design that pairs beautifully with the X-E5.

Beyond close-up work, the XF 30mm f/2.8 doubles up nicely as a versatile everyday lens. Its “standard” field of view makes it a handy walkaround choice for general photography, while the f/2.8 maximum aperture still delivers good low-light performance and subject separation, even if it’s not as fast as an f/2 or f/1.4 prime.

Read our Fujifilm XF 30mm f/2.8 R LM WR Macro review

Best lens for video