We've seen plenty of that, of course, with the most advanced medium format camera ever made (the Hasselblad X2D II 100C), the fastest Leica ever made (the Leica SL3-S) and the first Nikon x Red cinema camera (the Nikon ZR).

But we've also seen incredible innovation, with multiple manufacturers breaking from the norm – like a medium format compact camera (the Fujifilm GFX100RF), the "if Apple made a camera" camera (the Sigma BF) and the world's first 8K 360 drone (the Antigravity A1).

However, at the opposite end of the spectrum, it really has been the year that affordable compact cameras came back with a vengeance, whether it's an upcycled compact from 2016 (the Canon Powershot Elph 360 / Ixus 285 HS A), a $30 viral keychain camera (the Kodak Charmera) or the latest plastic fantastic digicams (like the Yashica City 100).

The team and I have been lucky enough to test every camera that's been released this year – so what have been our personal favorites?

Hasselblad X2D II 100C

James Artaius, Editor in Chief

I've spent most of this year waxing lyrical about this camera, so I'm running shy of superlatives! Thankfully, the specs speak for themselves: 100MP resolution, 15.3 stops of dynamic range, 10 stops of in-body image stabilization, LiDAR autofocus with subject detection algorithms, end-to-end HDR workflow… and the best color science in the industry.

The Hasselblad X2D II 100C isn't just a technical marvel, though; it possesses that intangible factor that compels you to pick it up and take pictures with it. It's inspiring. It makes you want to go out and create. In the videogames industry, there's a term for titles that make you want to pick up the control pad for "one more go": those games are called 'sticky'. The exact same thing applies here; this camera just makes you want to take "one more picture".

It's an absolute home run and I've had some of the most enjoyable, satisfying photoshoots of the year using it. But Hasselblad hasn't just made the best stills camera on the market, it's made a truly breakthrough product. Not only has the X2D II been one of the hottest-selling cameras in the US, it's also topped the sales charts in Japan – something that never happens.

This really has been a landmark year for the brand. The X2D II has been named as a camera of the year by everyone from Petapixel to DPReview, and respected creators like Jamie Windsor have switched systems from Fujifilm GFX to Hasselblad because the hype is real. If you've never had the pleasure of using one, I highly recommend going out of your way to try the X2D II 100C.

Polaroid Flip

Kim Bunermann, Staff Writer

The Polaroid Flip is a magical mix of nostalgic design and modern tech – and it had me hooked from the moment I realized how effortlessly it blends the two.

The most striking feature is hard to miss: the bold, flip-up flash. It's a clear visual callback to classic Polaroid 600-series cameras, but this isn't just for show; it's one of the brightest flashes Polaroid has added in years. And the sonar autofocus – a feature we haven't seen in decades – makes shooting effortless and reliable, while the app connectivity adds a layer of modern convenience.

What makes the Flip my favorite camera of 2025 is how it bridges eras. It's affordable ($219.99 / £199.99 / AU$416), respects Polaroid's history and solves many of the frustrations that often come with instant photography.

I can trust it to nail focus and exposure, then dive into the app for more creative control – all without losing the magic. Playful, forgiving and full of character. And the best part? It's about moments, not megapixels!

Fujifilm GFX100RF

Hillary K Grigonis, US Editor

Capable cameras that still fit within the moniker "compact camera" were a key trend for 2025. I think the Fujifilm GFX100RF absolutely deserves to be among the top cameras of 2025 for fitting a medium format sensor into such a compact fixed-lens camera.

Medium format cameras tend to be big and expensive, but the GFX100RF is actually priced a bit under the GFX 100S II – and you don't need to buy a separate lens. Yes, the fixed focal length is more limited than the interchangeable lens camera, but the design is simply brilliant.

I took the GFX100RF on a trip to Los Angeles this year, and the camera was such a joy to use. The 102MP files did make my hard drive cry but, if there's a camera I got to try out that I really didn't want to send back this year, it was the GFX100RF.

I also have to give an honorable mention to the Fujifilm X-E5, not because it does anything that the X-T5 couldn't do, but because it embodies the idea that photographers don't have to skimp on quality or give up the interchangeable lens to get something that's travel-ready.

Canon EOS R6 Mark III

Mike Harris, How-To Editor

What a year for high-end enthusiast-grade full-frame cameras! It was a tough decision choosing between the Canon EOS R6 Mark III and the Sony A7 V, but ultimately the Canon won out in my mind. It’s quite simply the best camera in its class and is another step closer toward the professional titans.

In this age of high-resolution cameras, the Mark III’s resolution bump from the Canon EOS R6 Mark II's 24MP to 33MP might just be the sweet spot for photo-first hybrid bodies.

Add to that blistering 40fps RAW shooting, up to 8.5 stops of image stabilization, internal 7K 60p and open gate 7K 30p, and you’ve got yourself an absolute monster that’s knocking on the door of the Canon EOS R5 Mark II.

And if you find yourself bemoaning the (official) lack of dual-base ISO and the absent cooling system, you can pick up the Canon EOS C50, which is essentially a video-first version of the R6 Mark III. It’s not often I find myself saying this, but Canon – where the heck do we go from here?

Nikon Z5 II

Adam Waring, Guides Editor

I’m a Nikon fanboy through and through, having previously been the editor of N-Photo magazine and knowing the Nikon ecosystem like the back of my old, grizzled hands, so for me the best camera of 2025 has to be a toss-up between the Nikon Z5 II and Nikon ZR.

The Z5 II is Nikon’s entry-level full-frame Z-series camera, replacing the aging Z5 that was launched in 2020. It’s not only fantastic value for a full-frame mirrorless camera, but it’s surprisingly highly specced, with a fast 11fps frame rate using its mechanical shutter (or a blistering 30fps JPEG / 15fps RAW with the electronic one), 4K 60p video, and all the autofocus and subject tracking finery that has trickled down from Nikon’s pro cameras higher up the range.

In fact, it’s so good that for the vast majority of photographers, it offers everything they could possibly want. Yes, the Z6 III is a little faster in the frame-rate stakes (14fps mechanical shutter, 20fps RAW electronic) and better for video (6K rather than 4K) thanks to its particularly stacked sensor. And yes, it has a 24.5Mp sensor, rather than the 45.7Mp of the Z8. But for everything else, it goes pretty much toe-to-toe with far more expensive cameras.

Then there’s the Nikon ZR. It’s essentially a Z6 III optimized for video, with the same partially stacked sensor capable of 6K video, no viewfinder but a much larger 4-inch rear monitor, and video-focused controls. Again. It offers fabulous value for money.

But for me, the Z5 II takes the crown as the best camera from the past year. It really does do everything that the vast majority of photographers could ever want, and at a price that most of us can afford.

Chris George, Content Director

For me, the camera of the year has to be a compact. Compact cameras came back with a vengeance in 2025, with mainstream manufacturers such as Canon and Fujifilm getting back into the point-and-shoot game with new models.

We also saw compacts at every single price point you could think of.

There were high-ticket big-sensor beasts that cost more than many mirrorless cameras such as the Fujifilm GFX100RF, the Leica Q3 Monochrom, and the Sony RX1R III.

And then there were the models that cost less than a meal out - such as the cute little Kodak Charmera, and the delightful Chuzao digital TLR camera.

But for me, a compact needs to be affordable, portable, and provide images that are decent quality. More controversially, I also think a compact camera must have a built-in zoom, and not a fixed focal length lens. So, for these reasons, my choice of camera of the year is the Canon PowerShot V1.

What appealed to me was that Canon hadn't simply re-introduced an old compact from its recent past. Instead, it had come up something completely new for a new type of user.

The V1 is unashamedly aimed at both photographers and videographers. Its 16-50mm wide zoom is optimized for vlogging – but you still get a respectable 1/1.4in 22 megapixel sensor for stills photos. And costing $849/£789, it is just the sort of model I'd happily carry in my pocket for times I don't want to carry my full full-frame system.

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Take a look at the best mirrorless cameras on the market, see where the X2D II and GFX100RF rank among the best medium format cameras and see how the Flip compares to the best instant cameras.

With all the Christmas and new year festivities, you might be feeling a little ‘ultra-wide’ right about now. A new ultra-wide-angle lens might seem like adding insult to injury, but fear not – the Pergear 12mm f/2 II APS-C lens, which was announced pretty much as soon as the new year ball dropped, is 25% cent lighter than the original.

The revised aluminum structure gives the lens a featherweight 230g build, and it still goes large on mount options, with Canon RF-S, Nikon Z DX, Fujifilm X and Sony E mount versions up for grabs.

More moderately wide than ultra-wide, January saw a flurry of fast new primes for APS-C format cameras, with ‘effective’ focal lengths of around 35mm.

First up was the Viltrox AF 23mm f/1.7 Air for Sony E, Nikon Z and Fujifilm X cameras, joining the existing fleet of Viltrox Air lenses for both APS-C and full-frame cameras (including 20mm, 35mm, 40mm and 56mm options thus far). Typical of the series, the new lens is super-lightweight and very budget-friendly.

Joining the wide APS-C party, there was also the rather chunkier Yongnuo YN23mm f/1.4 DA DSM WL Pro, in the same range of mount options for Sony E, Nikon Z and Fujifilm X cameras. Relatively high-end handling includes an aperture ring, dual function buttons and even optional remote focusing control – but still at a relatively affordable price.

There was also news of the super-cheap TTArtisan AF 23mm f/1.8 for Fujifilm X-mount cameras, with Nikon Z and Sony E versions to follow, and a longer focal length 7Artisans AF 27mm f/2.8 II in the same trio of mount options.

If you think you’ve spotted a theme for small lenses in the new year’s honors list, you ain’t seen nothing yet. Viltrox followed up on the Sony version of its Viltrox AF 28mm f/4.5 with the announcement of a Fujifilm X edition, nicknamed a ‘chip lens’ because it’s pretty much that thin.

Not to be outdone, there was also the SG-image 18mm f/6.3, barely thicker than a camera’s body cap at 14mm in length and weighing just 78g. This one’s not just for the usual Nikon, Sony and Fujifilm APS-C cameras, but also available as a Micro Four Thirds lens.

While Sony, Nikon and Fujifilm APS-C shooters were spoilt for choice when it came to budget-friendly, third-party autofocus lens options, Canon EOS R owners were still locked into first-party lenses.

That all changed in January, though, with Sigma shipping its first RF-S lenses – namely the Sigma 16mm f/1.4 DC DN Contemporary and Sigma 23mm f/1.4 DC DN Contemporary. Yes, yet more wide primes!

Enough of all this APS-C malarkey. Where’s all the full-frame action? One notable announcement in January was for the 7Artisans 18mm f/5.6 for Sony E, Nikon Z and L-mount cameras. And although it’s full-frame, it’s definitely not full-fat, with a super-lightweight build and a bargain-basement price tag.

Another tempting launch for Nikon shooters was the Voigtländer Nokton 28mm f/1.5 Aspherical prime in Z-mount, following on from the Sony E-mount version that was announced at the tail end of 2024.

Our busy 2025 review schedule started off with yet another Canon R-system wide-angle zoom (how many do you need?). This one was the Canon RF 16-28mm f/2.8 IS STM, joining the growing ranks of relatively compact, lightweight and affordable ‘alternative trinity’ f/2.8 zooms from various manufacturers.

We also reviewed the Samyang Remaster Slim 3-in-1 pancake lens, calling it "the most unique lens you'll ever use"! And focusing on moving pictures, we were impressed with Blazar Cato Anamorphic lenses, delivering full-frame anamorphic quality cine lenses on a tight budget.

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Looking for more best-in-class glass? Take a look at the best Canon RF lenses, the best Nikon Z lenses, the best Sony lenses all for full-frame and APS-C bodies. For crop sensor cameras, check out the best Fujifilm lenses and the best Micro Four Thirds lenses. And for medium format, these are the best Fujifilm GF lenses and the best Hasselblad lenses.

New camera owners are usually faced with one of four scenarios: they’re staying within the same system, they’re switching systems, they’re moving from a DSLR to a mirrorless camera, or they’re purchasing their first fully manual camera.

The first scenario is the easiest, because you’ll already be used to the menu system and control layout. The differences in menu system and control layout between two Canon EOS cameras, for example, will be minimal.

Switching systems is much harder because not only will you have to grapple with a new menu system and control scheme, you’ll be fighting against the muscle memory you've carefully honed when using your previous system.

Switching from a DSLR to a mirrorless camera isn’t overly strenuous if you’re sticking with the same manufacturer (although there are some specific considerations) and, if you’re not, revert to my last point.

And finally, if you’re a complete beginner, you’re sailing into uncharted waters. The good news is that you don’t have to undo any muscle memory or relearn things, because everything is new to you, so you have a chance to start everything off on the right foot. Let’s get into it…

1. Set your camera up

Before you’re tempted to head out and about with your pride and joy, hold your horses and take the time to set it up properly. The first thing I do when I get a new camera is to set it to RAW. Most cameras will be set to JPEG by default, so if you’re a RAW shooter, this is a very important step.

I then take the time to go through the menu system bit by bit, making sure that everything is set up to my liking. I’ll have the manual to hand, too, so if I find a setting I’m not familiar with, I can look it up.

Finally, I’ll make sure that I map out any custom function buttons. If you’ve never done this before, buying a new camera is a great excuse to start – because you’ll have to get used to the new control system anyway, so you might as well make your life easier by mapping custom buttons and building up the muscle memory for everything at the same time.

2. Set up your video settings

Videographers and hybrid creatives will head straight for this option by default – but if you only shoot video occasionally or hardly ever, you might not think to set up your camera’s video preferences.

However, just in case inspiration strikes, it’s always a good idea to set up your video settings from the outset. That way, if you suddenly find yourself wanting to capture some footage, you can simply switch to video mode and start shooting.

3. Set up your EVF accordingly

If you’re picking up a mirrorless camera for the first time, it’ll likely have an auto EVF (electronic viewfinder) setting where the rear LCD screen switches off when you bring the EVF up to your eye. This can present something of a problem if you’re shooting video or framing photos using the rear LCD.

This is because something like a gimbal or even your torso, if you’re shooting from the hip, can trigger the sensor and switch off the rear LCD. As such, make sure you find your camera’s EVF settings and set this function to your preference.

4. Use your camera at home

I’m not saying you shouldn't get outside with your camera on Christmas Day – who wouldn’t want to? – but don’t be afraid to pick up your camera and play with it at home.

Just handling it, fiddling with a few settings, and taking a few pictures of the cat all go towards building that crucial muscle memory that will eventually have you wielding your camera like it’s an extension of your arms.

5. Keep your camera with you

The more time you spend with your camera, the quicker you’re going to become one with it, so it’s crucial at this early stage that you keep it with you as much as possible.

Walking the dog, heading to the shops, visiting the in-laws… make sure your camera is always by your side so that you’re encouraged to use it.

6. Know that mirrorless cameras can drain batteries faster

This one’s for anyone moving from DSLR to mirrorless. Depending on which mirrorless camera you have, you’ll probably find that the battery drains much quicker than your old DSLR’s battery. This is because either the EVF or the rear LCD, along with the sensor and possibly the stabilization system, are constantly working while the camera is switched on.

As such, you’ll need to get into the habit of switching your camera off when you’re not actively using it, ensuring that your batteries are fully charged on every shoot, and keeping an eye on your battery indicator.

The battery life of mirrorless cameras has definitely improved over time, and some higher-end models do boast very good battery life, but if you’ve been a DSLR stalwart all this time, this is something that can catch you out.

7. Avoid important shoots

Whether you’re a jobbing photographer or a keen enthusiast, you might want to think twice before taking out your new pride and joy on an important shoot if you haven’t spent the time getting to know the camera first.

Granted, this only works if you still have your old camera – but if you have the choice, I’d recommend sticking with your old kit until you’re comfortable using your new kit.

After all, you don’t want to be wasting valuable time trying to find out your new camera’s flash sync speed, finding yourself completely bamboozled by all the new AF settings, or inadvertently shooting JPEG for the entire shoot because you forgot to employ tip number one.

8. Learn to use the viewfinder

If you’ve only ever used camera phones or compact cameras with no viewfinder, I think it’s extremely important that you get used to shooting through the viewfinder.

I’ve written about this in the past and am in no way saying that composing through the viewfinder is better than composing via the rear LCD. Plenty of incredible photographers – especially in this modern age of camera phones – do so.

However, if you’re starting your photography journey, I think it’s worth learning both ways. Why? Because if you start to use longer lenses, you may find yourself struggling to steady the camera effectively if you insist on shooting via the rear screen.

And if you find yourself shooting in bright sunlight, you might not be able to even see the image on the rear LCD due to glare. I say, get it out of the way now and learn to use both.

9. Put on a camera strap

I’m guilty of not using my camera with a strap. Then again, I do a lot of product and landscape photography where it’s secured on a tripod, and sports photography where the camera and lens combination is simply too heavy (for a neck strap at least).

However, if you’ve bought a camera that can be comfortably worn around your neck or over your shoulder, it’s worth attaching a strap. Not only will this avoid unwanted drops, but it’ll keep your camera always available to you, meaning you’ll use it more and are less likely to miss the moment.

10. Know your exposure settings

If you’re using a fully manual camera for the first time, it can be a very daunting experience. So much so that plenty of beginner photographers buy manual cameras, switch them to auto mode and never get the best out of them.

I therefore wholeheartedly recommend that you take the time to learn the exposure triangle and the settings on your camera so you can begin to wield it like a pro. However, you needn’t take the training wheels off in one go.

A great starting point is aperture priority. This setting enables you to control your aperture and thus your depth of field, while the camera automatically sets the shutter speed. You can then choose to set your ISO manually or set it to auto ISO, so you only have to worry about your aperture.

This is the first step into the world of manual photography and is a great way to get started without relying on auto mode.

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Want something more interactive? Check out my photography general knowledge quiz. If you're looking for your first camera, here are the best cameras for beginners. If you're looking to upgrade, here are the best mirrorless cameras.

Until the X4, 360 cameras were already pretty much there. I'd already written about how cool the tech was for consumers – something you could take on a family vacation.

GoPro had come along with the Max camera and shown the possibilities, then Insta360 refined the concept with the X series – and it was, essentially, established at the point the company's X4 upped the video resolution to 8K.

That means 8K across the dual fisheye cameras that record the spherical view of the whole scene, so we're still not talking masses of resolution – especially if you need to crop into a specific region of the view – but it was still a significant and visible jump up from the 5.7K that leading predecessors the X3 and the GoPro Max offered.

So it sounds like 2024, not 2025, was the year of 360?

Yes, sure, one company gave consumers a great option last year (and it was still Insta360's flagship product coming into this year), but one camera does not an industry make.

Why 2025 is different is because there was suddenly a lot of 360 cameras offering 8K resolution and a variety of features. Suddenly, consumers thinking of entering the market are spoiled for choice – and not just from suspect value brands, either.

DJI and GoPro were among the big names offering a bigger, better selection – while Insta360 had new offerings for consumers, too.

GoPro Max 2

GoPro Max 2: Actually worth the wait

Those of us who had been watching the action camera industry for a long time had started to get a little frustrated by GoPro. The company has brilliant products, but also kept openly hinting that it would replace its 5.7K 360 camera.

After nothing happened for a long time, something arguably even more frustrating happened – the original camera got a very minor update that gave it a USB-C socket so you could at least charge it in this day and age. Fine, but not what we'd been hoping for.

Then… Ta Da! When the Max 2 did arrive for a review in late 2025, it boasted not just 8K but something GoPro called 'True 8K' (spoiler: it's still 8K). Compatible with GoPro's new Enduro batteries and mounts, the camera has impressive image quality and looks thoroughly 'GoPro'.

The company has also mastered replaceable lens glass – very in-keeping with its reputation for ruggedness (it's an important issue for 360 cameras, which took Insta360 several iterations before mastering with the X5).

DJI Osmo 360

DJI Osmo 360: Amazing resolution and features from a newbie

Some might say that DJI – having seen Insta360 building a drone company and already in a battle with GoPro for the best action camera – decided that this battle couldn't be avoided.

Arguably, it's been the most interesting for a lot of reasons. No question it's a great camera. DJI opted to use square imager sensors, which are more capable in lower light. The flipside might be that you'd expect to see a more pronounced blur (thanks to a wider aperture) but I found it did well in my testing.

On the other hand, DJI's reframing software was more obviously a first-generation product – capable but a little less polished, especially compared to Insta360 Studio. Still, with 120MP stills and some surprising discounts early on, DJI shouldn't be discounted.

The other reason the company may be of interest has to do with some rumors about a different 360 camera device… but we've got something else to discuss first.

Insta360 X5

Insta360 X5: Premium camera from the market leader refined

The Insta360 X5 didn't boost the resolution from 8K, but it did make a number of refinements – the principle one being the ability to shoot without using lens guards.

Until this point, using an X-series camera in rougher situations had usually meant protecting the lenses with guards, which in turn tended to affect the shot (especially visible where the image was stitched). The X5 had both replaceable lenses and twist-on/off guards, meaning that the camera could be used in a lot of contexts without too much worry.

With battery life at up to 185 minutes in 'Endurance mode' (though more realistically around an hour and a half), the camera was also just better in terms of processing than its predecessor. And 5.7K can also be shot at 60fps, though at 72MP the stills resolution woudln't match the DJI Osmo 360 that would come later in the year.

Then again, it wouldn't be the last Insta360 camera of 2025…

Cheaper choices

Insta360 X4 Air: Two 8K choices from one company!

Insta360 did release another camera in 2025, but not the (presumably under development somewhere) X6.

No, it was the X4 Air, which cut the camera down to the bare bones, made it even smaller and less powerful than the X4 itself, but crucially kept the 8K video – which it seems Insta360 now feels is a competitive essential.

Akaso 360: A budget brand enters the 360 market

It used to be that the cheapest way to get a 360 camera was to see how far back you could go in the Insta360 X series, but for other action cameras there were always brands out there dedicated to creating specific lower-cost models.

As of this year, one of those brands – Akaso – has delivered a 360 camera, so there is no need to hope someone is still keeping stock of an old Insta360 X3 and that it's being heavily discounted. Instead, you can go straight for the (admittedly also 5.7K maximum) Akaso 360.

360 camera drones

Antigravity A1: The flying 360 camera launched in 2025

I thought it wasn't going to happen. I was even told it wasn't going to happen, but in the end it did. The Antigravity A1 – a drone built with a 360 camera using Insta360 technology – was launched before the end of 2025.

In other words, 360 camera tech has not only taken off with the major action camera brands – it has now literally taken off, too.

Flying the drone requires wearing FPV goggles, so you can turn your head and sensors detect the movement, showing you the view as if you were looking there. That's great, like being a pilot in a cockpit, and takes advantage of FPV technology better than many drones before it – but that's only half the brilliance.

You also get the true advantage of 360 filming: that you can re-direct the camera after the flight, in the edit. Put these two things together and you can fly a difficult and exciting flight through obstacles, but then in the edit keep the view on the subject as you swoop past it.

Having flown this and edited using the software – which is Insta360's – I found it surprisingly easy. This tool has been more refined over time than GoPro's or DJI's. The only real problem (other than the fact that any editing does add a little time) is that it's a bit too fun. This was always a problem with drones, but definitely more so now!

And in 2026?

It's impressive that Antigravity – not market leader DJI – is the company that got this drone out first, but rumors suggest that there might be an Avata 360 from DJI before the end of 2026. And it does seem unlikely that a company so far ahead in other areas of drone tech could be so far behind here.

Otherwise, like many 360 camera users, I'll be hoping against hope that the battery and heat management tech can come along to afford even higher resolution – or, failing that, 60fps at 8K. I suspect something like 11MP sampled down for a sharper 8K than the X5, but still a 7680 x 4320 output limit.

Insta360 has, historically, released a new X series camera around April, so it's not impossible that we'll see a new device then. I can't imagine GoPro will have a new device that quickly, given it took half a decade last time, while DJI is much harder to anticipate.

Other than some optimistic online chat, I've read nothing about either, so I suspect 2026 will be a year of wait and see (or, in other words, now really is the time to join the 360 market because the tech has just climbed a good step and is catching its breath.

Should you buy a 360 camera?

Personally, I think it's a great time, and for creatives with a social and video focus – or with mapping / recording – it's a great way to get ahead. It's just early enough that effects like 'small world' and manipulating framing don't seem overused, which means for a now relatively inexpensive device you can get a lot of impact.

As mentioned above, it seems unlikely that a significant tech change can come. But there is one thing that all the main brands can improve: their software, which comes in the form of phone apps and editing apps for the computer.

In every case (at the moment) these are provided as free downloads, so having the camera won't actually slow you down – it'll get you ahead of the competition when it comes to practicing!

It's also true that the 8K resolution standard means most 360 cameras are effectively good enough to be used as 4K action cameras. So while they might seem a little costly, it might be a cost you don't need to spend twice.

All the key brands also have compatibility with low-cost Bluetooth microphones, keeping editing quick for socials.

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Take a look at the best 360 cameras, along with the best action cameras and the best 8K cameras.

The China-based lens brand posted a teaser on Weibo, a social media platform popular in China, that hints three new autofocus lenses are coming soon as part of a new “Lite” series. The lenses will come in three different focal lengths. But, 7Artisans looks to be capitalizing on the trend for more compact camera systems, as all three new lenses weigh around 180g (about 6.35 ounces).

The teaser lenses are for APS-C cameras “compatible with mainstream mirrorless cameras.” Autofocus is also listed among the new series' features. The brand notes the three different focal lengths will cover street photography, travel, and everyday recording.

With just a few clues to go on – and those all translated from Chinese by Google translate – the teaser leaves much to the imagination. The teaser also hasn’t yet popped up on the brand’s Instagram or Facebook accounts yet, and it's possible that the launches are either exclusive to China or arriving there first.

While a number of questions remain surrounding the mysterious teaser, smaller lightweight lenses seem to be increasing in popularity. A 180g lens is fairly lightweight – about 6.35 ounces – weighing less than some smartphones. The iPhone 17 Pro, for example, is 206g.

The lenses, for now, are just a teaser – and just on Weibo at that – but could be a launch to watch.

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The Nikon Z DX 24mm f/1.7 wasn’t launched until two years later and, like the 28mm, it has an all-plastic construction, right down to and including the mounting plate. Surely there must be a better way, and there was.

That’s when my love affair with Viltrox lenses began. Back in 2022, I spied a trilogy of APS-C format Viltrox AF 23mm f/1.4, AF 33mm f/1.4, and AF 56mm f/1.4 Z-mount lenses. They looked strongly built, with metal barrels and metal mounting plates, and even featured aperture control rings, fitting right in with the design ethos of my Z fc. And what’s more, the whole trio of lenses only costs about the same amount as I’d expect to pay for a single ‘own-brand’ lens.

Surely there must be a catch. As they say, “If something looks too good to be true, then it probably is.” Despite the low cost, I was pretty blown away by the lenses’ build quality, handling, image quality, and all-around performance.

I went on to review my purchases and have bought several Viltrox lenses since then. The company has gone on to make a growing range of very compact, lightweight, and inexpensive ‘Air’ lenses for both APS-C format and full-frame lenses, through to high-end ‘Lab’ and ‘Pro’ lenses, and an exciting new ‘Evo’ lens.

Here's another thing. I like shooting portraits but I’m not heavily into portraiture and don’t do it as a living. A lens like the Nikon Z 135mm f/1.8 S Plena for my Nikon Z6 II would be firmly on my wish list but I just can’t justify the expense, and can’t afford it anyway, at a cost of around $2,597 / £2,349. That’s more than I paid for my camera complete with its (excellent) Nikon Z 24-70mm f/4 S kit zoom lens.

The alternative Viltrox AF 135mm f/1.8 Lab costs just $899 / £829, making it a much more viable proposition. The lens looks and feels like a ‘pro-grade’ prime, has superb build quality and a host of top-end features including voice-coil motor autofocus, extensive weather-seals, dual function buttons, an autofocus range limiter, a customizable aperture control ring with click/de-click switch, and even a color OLED display screen. And yes, performance and image quality are top-drawer.

So where’s the sting in the tail? I’ve tested and reviewed pretty much every Viltrox lens that’s been released over the last couple of years, and haven’t found any kind of downside yet. I’ve bought other money-saving lenses made by different Chinese manufacturers, including Laowa, Yongnuo and 7Artisans, and I’m equally delighted with those as well, especially my 7Artisans 10mm f/2.8 II Fish-Eye ED. Sure, it’s a fully manual lens but works a treat, is beautifully built and delivers fabulous image quality, all for the bargain price of just $278/£269.

My only real sniff of a problem was that I was contacted a while ago by a photographer who had bought a Yongnuo AF 85mm f/1.8 lens for his Nikon Z6 II. Everything worked fine until he traded up to a Nikon Z6 III, and the lens wouldn’t work with his new camera. Nikon couldn’t help and Yongnuo couldn’t offer a firmware fix, but they did refund him the cost of the lens despite him having bought it a couple of years previously.

And before we point the finger at Chinese lens manufacturers over compatibility issues, I also heard from a Nikon D800E owner who applied a firmware V1.11 update to his camera and then found that his Sigma 150-500mm f/5-6.3 HSM APO DG OS wouldn’t autofocus anymore. Neither Nikon nor Sigma was able to offer a fix, and he ended up having to sell the lens and buy a newer version.

Following more recent problems, the likes of Viltrox and Tamron recommend that you only update the firmware in Nikon Z system cameras when an own-brand lens is mounted, rather than an independent third-party lens, to avoid potential issues. And let’s not forget that even some of Nikon’s more recent own-brand F-mount lenses for DSLRs don’t work on older camera bodies, especially lenses that feature electromagnetically controlled aperture diaphragms and/or AF-P (Pulse) stepping motor autofocus systems.

Money no object, there’s a case for only using camera manufacturers’ own lenses, but for most of us, money can be a real sticking point nowadays. If it comes down to a choice of being able to stretch my creativity with different types of relatively inexpensive Chinese lenses or not being able to buy those types of lenses at all, I’ll take the Chinese option every time.

The news was heralded with the announcement of two new stocks – Kodak Kodacolor 100 and Kodacolor 200. Here, we’re focusing on Kodak Kodacolor 100, a daylight-speed film, once considered medium speed but by modern standards fairly slow at ISO 100. It’s reasonably affordable, and produces naturalistic colors with a medium to fine grain.

Are we at the beginning of a new era? Can this really be the first truly new Kodak film in decades? Well… sort of. We’ll get into it. For now, let’s load up Kodak Kodacolor 100 and take it for a spin to see how it performs.

Kodak Kodacolor 100: Specifications

Price & Availability

Kodak Kodacolor 100 seems to vary quite a bit in price by region – in the US it’s priced at $8.99, while in the UK it’s around £15, and in Australia it’s about AU$18. Still, it seems to have arrived at UK shores first, as it’s available now at UK retailers, while in the US and Australia it’s listed as ‘Coming Soon’.

In the US, it’s a pretty cheap film. Elsewhere, it’s more mid-tier – Kodak Ultramax 400 and Colorplus 200 are routinely less expensive.

Performance

Kodak has been a little opaque on what exactly these new Kodacolor films are, describing them as ‘sub-brands’ (?) of ‘existing Kodak films’. Which films do they mean? They’ve declined to tell us, but given that Kodak only distributes a couple of ISO 100 color-negative films, the list of candidates is short. First, there’s Kodak Ektar 100, which this film is definitely not. And then there’s Kodak Pro Image 100. Pro Image is a cheap daylight film with saturated colors, which sounds a lot like Kodacolor 100. Accordingly, there’s been a lot of speculation in the film community as to whether Kodacolor 100 is a tweaked version of Pro Image 100 – or, indeed, is exactly the same as Pro Image 100.

Having reviewed my images alongside previous rolls I’ve shot of Pro Image 100, I don’t think the two are identical – and other online analysis seems to bear this out. Pro Image 100 appears a touch warmer, with stronger red tones, while Kodacolor 100 is a little cooler. With that said, they are certainly very similar, and if you’ve shot and not cared for Pro Image 100, I don’t think Kodacolor is necessarily going to rock your world.

Some have also speculated that Kodacolor 100 is a rebadged version of an older film called Kodak VR 100, and that it is therefore basically the same as Lomography 100, which is widely alleged to also be rebadged VR 100. I haven’t used either, so I can’t comment.

But enough time in the rumor mill – how was Kodacolor to shoot? Overall, I came away quite pleased with my results. I felt like I didn’t really get to shoot the film in its ideal environment; one gets the sense that Kodak Kodacolor 100 would prefer a warm, vibey evening to soak up the sunlight. The problem, dear reader, was that it was December in the United Kingdom, and a warm vibey evening was not an option. I had the single morning of the week when it was not forecast to rain. And besides, we can hardly judge a film solely on how it performs in ideal conditions.

The film is nice and soft. Colours are saturated without being over-bright, and it generally gives a fairly true-to-life representation without too much grain. I feel like I’m echoing past comments I’ve made on Pro Image 100 when I say that it’s basically just a solid film that does a decent job. It’s not the strongest vibe in the world, but it delivers clean, bright images, with grain that’s perceptible but not overbearing.

I will say I had quite a contrasty light situation to work with, as directional winter sunlight casted strong shadows, and Kodacolor did show a tendency to produce quite glaring highlights. If you’re in a similar situation, it might be worth getting in the habit of underexposing by maybe just a third or two-thirds of a stop to rein it in a bit.

Sample images

The following images were shot on the same day in December in London, with bright clear skies and morning sun, using a Canon EOS 300 and 35-80mm f/4.5-5.6 lens. They were shot and developed at box speed and are unedited.

Verdict

I think a lot of us analog shooters went through the same emotional process at the announcement of the Kodacolor films. Excitement that Kodak was producing something new, and then once we’d read the fine print, slight disappointment that it wasn’t quite as new as it seemed.

Kodak Kodacolor 100 is a pleasant film for shooting in daylight. Its colors pop quite well without being non-naturalistic, grain is present but not overbearing, and if you’ve got nice light, you’ll get nice images.

If I don’t sound too excited, it’s honestly because I’m not. I would have loved to have seen Kodak take a swing and produce something bold and new like Harman Phoenix. This is not that.

Alternatives

I was lecturing on photography on a cruise ship, and the good fortune of the gig allowed time to indulge my own practice. I have been doing this on and off for several years, honing my skills as a travel photographer.

While looking, seeing, noticing and storytelling are far more important than kit, the gear still matters. And to that point, I was incredibly excited that the start of the trip coincided with the launch of the Fujifilm GFX100RF. To my great relief, I managed to get my hands on one just in the nick of time.

I have been a long-term user and fan of the Fujifilm GFX 50R. While I have a trio of Fujinon GF lenses, I rarely use anything other than the GF 45mm f/2.8 (equivalent to 35mm) so the fixed 35mm (equivalent to 28mm) of the GFX100RF was not a big issue.

However, while I am perfectly happy with the 35mm, I would probably still opt for a 45mm if I could. I would also prefer an extra couple of stops, and was a little concerned that the widest f/4 aperture might not be fast enough.

In reality, it has not been a problem and the ISO performance more than compensates. Although I would still accept a bit more size and weight for an extra stop or so, it is not a deal breaker.

The weight and size of the camera are a delight, especially noticeable after a long day of shooting in hot places. Although when paired with my well-used Godox V1 flashgun, the balance and ergonomics feel very off. Not a fault of the GFX100RF, but something for me to consider.

The huge sensor is ideal for my work, which often ends up printed very large on gallery walls. It is one of the reasons I am drawn to medium format. I am also attracted to the 3:4 aspect ratio, one of my original motivations for switching to the Fujifilm GFX system a few years ago.

On that point, the aspect ratio dial feels redundant. I never use it and probably never will. It simply crops, yet it gets its own dedicated dial. It feels gimmicky to me. The digital zoom button is similar, a crop function disguised as a physical feature. In my view, the camera would be better and simpler without both of them. Simplicity is best!

Otherwise, the camera is an utter delight to use. The files are simply sublime. It is not perfect, but for me it comes very close.

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See how the GFX100RF stacks up to the best compact cameras and particularly the best full frame compact cameras. And, of course, the best medium format cameras.

The Sony A7 V is an impressive leap for the series. I used the very first Sony A7 when it was first announced, and the A7 V no longer feels like the prosumer camera that the original A7 was. That gap is exaggerated by the impressive 30 fps blackout-free bursts and, yes, the impressive dynamic range.

A full-frame camera of this caliber deserves to be put through multiple rigid tests – and we’re still working on putting the Sony A7 V through the paces. While we’re still putting the A7 V to the test in the lab, my hands-on experience does suggest pretty solid dynamic range.

I set up a shot in front of a window with no flash and no artificial interior lighting – which is, quite frankly, nearly every photographer’s worst nightmare – and this is what the A7 V captured using the mechanical shutter:

There’s still quite a bit of detail in the shadows, enough to read the text on the vintage camera. Yet, at the same time, the bare winter branches outside the overly bright window are still intact.

But, there is one spec that I wish would have seen an improvement from the A7 IV: the autofocus sensitivity in low light. The Sony A7 V has the same autofocus sensitivity range as the Sony A7 IV, which is -4 EV to +20 EV.

That’s not terrible – but it is behind the competition. The Canon EOS R6 Mark III is rated down to -6.5 EV. The Nikon Z6 III laughs at the competition with a -10 EV low-light autofocus sensitivity (and, similarly, the even more affordable Nikon Z5 II).

I took the Sony A7 V out to photograph Christmas lights in a small village, lit primarily by a few street lamps and Christmas lights. The A7 V’s autofocus locked on in many shots, but in others, the autofocus hunted back and forth a bit.

I’m impressed with the Sony A7 V’s speed and dynamic range – and it’s a major step forward for the original A7 series. But the autofocus sensitivity range hasn’t changed between the A7 IV and A7 V, and that’s a bit disappointing, especially as cameras with fewer megapixels like the A7 V over the A7R V tend to be a bit better for low light.

While the Sony A7 V needs more testing before a final verdict, one thing is clear – the competition for full-frame mirrorless at this price range is intense, and the best option will likely come down to which features are most important to you. The Sony A7 V has impressive dynamic range and burst speeds and is a significant step forward in several areas, but low-light autofocus is not one of them.

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Read the Sony A7 V hands-on review, or browse the best full-frame mirrorless cameras.

Or maybe something arrived damaged and you need a backup gift (as happened to one of the DCW team this week!). Heck, perhaps you just want something special for yourself!

Whatever your reason, if you're looking for a last-minute gift, it's no problem thanks to Walmart's Express Delivery – which promises delivery in as fast as an hour! From weekly shopping essentials to gifts, party essentials, kitchen gadgets and clothing, you can get them brought to your door in double time.

And there's also a whole hub of last-minute gift options enablilng you to order by 17:00 on December 24 and get them in time for Christmas!

Here's a quick rundown at some perfect presents for photo and video lovers with delivery available in as little as an hour – including the Walmart-exclusive instant camera, the Instax Mini SE (review)!

The cameras in question – a 1923 Leica 0-Series prototype and a Leica M-A gifted to Pope Francis – headlined what Leitz Photographica Auction is calling an "outstanding year" for the official auction house of Leica Camera AG. Together they accounted for over $16 million of sales during Leica's centenary celebration of the Leica I; the camera that revolutionized photography in 1925 by proving you didn't need a suitcase-sized contraption to take decent pictures.

A sense of theater

The 0-Series No. 112 is one of roughly 25 prototypes built before Leica committed to serial production in 1925. Only about a dozen survive. Its $8.5 million price makes it the second most expensive camera of all time, behind another 0-Series that fetched $17 million in 2022.

The Pope's camera is even more fascinating because it exposes the pure theater of high-end camera collecting. Here, we're talking about a mechanically controlled rangefinder with no exposure meter, no electronics, no battery; just brass, leather and glass. Leica gifted it to His Holiness in 2024, complete with white leather covering and the milestone serial number 5000000.

Following Pope Francis's death in April 2025, the camera came to auction as a charity lot. Estimated value: €60,000-70,000. Final hammer price: €6.5 million. That's more than a thousand times retail, for a camera that almost certainly never exposed a single frame of film.

Photographic mythology

It's easy to be confused. After all, you can still buy working Leica IIIs from the 1930s for under $2,000. Some will still take perfectly decent photographs.

But that misses the point of why people collect Leicas. These cameras occupy a unique position in photographic mythology because they enabled a particular kind of seeing. The small, quiet, portable 35mm rangefinder liberated photographers from tripods and dark cloths. It made street photography and photojournalism possible. Cartier-Bresson used one. So did Capa and countless others who defined how the 20th century saw itself.

So when someone pays $8.5 million for an 0-Series prototype, they're not buying a functional camera. They're buying proximity to that creation myth. They're acquiring one of the 25-ish objects that made everything else possible. It's the photographic equivalent of owning Shakespeare's First Folio – you're not buying it to read in the bath.

Obtaining immortality

The Pope's camera operates on different logic, but arrives at the same destination. That M-A is valuable because it connects the buyer to multiple narratives simultaneously: the pontiff's humanitarian legacy, the charitable purpose of the sale, and the historical moment of his death.

Which brings us to what Leitz Photographica Auction really sells: a kind of immortality. When you die, your business gets sold, your property gets divided, your achievements get forgotten. But a camera that sold for millions? That's going in a museum where your name gets attached to it forever. You become a footnote in photographic history.

Leica has cottoned onto this brilliantly. They gift cameras to popes and royals, reserve milestone serial numbers for famous figures, and invite collectors to exclusive viewings in Wetzlar. They've built an entire mythology around German craftsmanship and photographic heritage, then monetised that mythology through their auction house.

And perhaps that's fitting. Photography has, after all, always been about capturing time; holding onto moments that would otherwise disappear. What are these auction prices if not the ultimate expression of that impulse?

Someone paying €7.2 million isn't really buying a camera. They're buying their way into photographic history, ensuring their name gets mentioned in the same breath as Barnack and Leica and the birth of modern photography.

Check out the best Leica cameras you can buy new today

New FD series lenses were also introduced alongside the F-1, ushering in an exciting era for SLR cameras. But it wasn’t just a few token lenses as usual for a new camera system launch, with a slow stream of lenses following over a few years – as we have come to expect with more recent new lens mounts. The F-1 system was different. A total of 14 pro-spec FD lenses were available at launch for the F-1, from the FD 50mm f/1.4 to FD 300mm f/2.8.

Like the new modern-day RF lens mount for EOS R System cameras, the FD lens mount was newly developed for this new line of FD lenses and the F-1. The FD lens mount enabled fully-coupled automatic exposure metering.

Plus it wasn’t just lenses. Canon wanted the F-1 and associated gear to be ready immediately for professional photographers to be fully kitted out, so more than 180 (yes – one hundred and eighty!) accessories became available for the F-1 system.

As well as the aforementioned lenses, gear for the F-1 system included filters, the first accessory to enable remote picture-taking with the camera, interchangeable viewfinders, a bulk film chamber for extended shooting capacity, and a motor drive unit with interval timer.

The professional F-1’s High Speed Motor Drive of 9 frames per second famously captured incredible action sequences of sporting events at the 1972 Olympic Games in Munich, West Germany.

The F-1 was also both durable and reliable, built to endure 100,000 cycles, temperatures from -30 to 60°C (-22°F to 140°F), and 90% humidity. Photographers nicknamed it the ‘Heavy Tank’.

The F-1 was Canon’s SLR interchangeable lens system until 1987, when the all-new Canon EOS series cameras and EF lens mount arrived.

Check out the best film cameras today, and the best Canon cameras

For context, a typical macro lens usually offers a 1:1 reproduction ratio (1x). 1x magnification means the object you're photographing is reproduced at exactly the same size on the image sensor of your camera as it appears in real life.

Laowa already produces a macro lens with 5x magnification - the 25mm f/2.8 2.5-5X Ultra Macro - yet this new lens promises double that, which is no mean feat.

The 10x Ultra Macro optic is said to have a working distance of 40.35mm in the 1-5x magnification range, and 22.5mm if you want 5-10x magnification. Further details and specifications are currently limited, but it's said that this is a full-frame lens compatible with multiple mounts. Judging by the early product shots, it seems the lens could ship with a native PL mount, with separate adapters sold to convert this to RF, Z, E, or L mounts. This system is used by the even more specialist Laowa Aurogon FF 10-50X NA0.5 Supermicro APO macro 'lens' (it's actually a kit containing an objective lens which can be fitted with one of four extension tubes, each offering a different level of magnification, up to a whopping 50x!).

We're also told that the lens will be light and compact and its exterior length will not change when adjusting magnification. The full-range parfocal focusing design also means focus shouldn't shift when changing magnification. As with many other Laowa macro lenses, this latest offering should keep aberrations to a minimum thanks to its APO (apochromatic) optical construction which is designed to supress both lateral and longitudinal fringing. This is crucial for high magnification close-ups where even minor fringing could otherwise be very distracting.

We don't yet have details on pricing, availability, or even an official lens name. But considering the existing Laowa 25mm f/2.8 2.5-5X Ultra Macro lens retails for $399, while the highly specialized Laowa Aurogon FF 10-50X NA0.5 Supermicro APO will set you back $1500, it's likely the new 10x lens will be priced somewhere in between.

Story credit: Weibo, Camera Beta

producing EF lenses which can be used on Canon mirrorless cameras using an EF-EOS R adaptor (look out for that episode in the near future).

The Meike 85mm f/1.8 SE Mark II is a full-frame, autofocus-capable optic that's already available for Sony E and Nikon Z systems. The Canon EF variant weighs just 369g, has a 0.65m minimum-focus distance, and a “high-definition optical design” with 11 elements in seven groups. The autofocus is driven via an STM stepping motor, which supports eye/face detection.

A “high-strength” polymer has been used to construct the lens, and there’s a USB-C port on the lens mount for firmware updates. You also get an 11-bladed diaphragm for spherical bokeh, and the lens takes 62mm filters.

An 85mm prime is often considered the preserve of portrait photographers, with the short-telephoto focal length offering minimal distortion, while also combining with fast apertures to produce satisfyingly shallow depths of field.

Whether you’ve got a Canon DSLR or a Canon mirrorless that you can adapt, cheap primes can be a great way to expand your creative options on a budget.

As always, I’ll wait for the review to deliver any kind of verdict on the Meike 85mm f/1.8 SE Mark II, specifically.

The lens is available now and priced at $229.99 (approx £172 / AU$346).

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Check out the best Canon lenses for DSLRs and the best cheap lenses. Want to find out about Canon's latest and greatest? Take a look at the Canon EOS R6 Mark III.

Z90 rumors are nothing new, but I do find it hard not to get excited every time one pops up. The fact is, the Nikon D500 was a hugely popular camera for Nikon. However, you might be thinking: surely the Nikon Z50 II has filled that gap. And while it’s not far off, what with hand-me-down AF algorithms from the Nikon Z9, for me, it doesn’t quite meet the D500’s DX-flagship status.

The Nikon D500 was launched alongside the flagship Nikon D5 DSLR in January 2016. Both cameras were packed with the then-new Expeed 5 image processor and the same 153-point AF system. The D500’s 10fps burst speeds couldn’t quite match the D5’s 12fps, but was still a very respectable effort. So far, the Nikon Z50 II measures up relatively well. It’s got flagship AF DNA, up to 30fps burst speeds (11fps mechanical), and Nikon’s latest Expeed 7 image processor.

But what made the Nikon D500 stray into the flagship category was its dual XQD/SD card slot, rugged build and extensive weather sealing, and the MB-D17 vertical grip. Compare that to the Nikon Z50 II’s single SD card slot, quality but not quite flagship build, and the lack of a vertical grip, and it can’t quite match the D500’s flagship prowess.

My point is, there’s still very much room for a flagship DX-format camera in Nikon’s mirrorless line-up. And with so many camera manufacturers opting for higher resolutions nowadays, such as the Fujifilm X100VI, and most recently the Canon EOS R6 Mark III, it seems sensible that a possible Z90 release would feature a 33-MP sensor.

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Check out the best Nikon cameras and the best professional cameras. Plus, the Nikon Z8 is two years old, but I reckon it could remain in my kit bag for a decade.

Canon shooters, in particular, are being seriously tempted right now. Adorama is offering an incredible $800 trade-up bonus when you trade in an interchangeable-lens digital or film camera and/or lens and put the credit toward the flagship Canon EOS R1 body.

For anyone eyeing Canon’s top-tier professional mirrorless camera, this deal dramatically lowers the barrier to entry, and it runs all the way through 1/5/2026.

Sony users aren’t being left out either, with the Sony Trade Up Event combining your trade-in value with up to $800 in additional purchase credit. Whether you’re moving up from an older Alpha body, consolidating lenses into something newer, or you want to upgrade to a full-on cinema camera, this offer makes switching or upgrading within the Sony ecosystem far more achievable. Just bear in mind that this one wraps up at the end of the year on 12/31/2025.

For instance, you could get the Sony A9 III for just $6,299.99 - that's a $500 saving when you trade-in at Adorama.

Panasonic Lumix fans also have a compelling reason to act. Adorama’s Lumix Trade It Up promotion offers up to a $400 bonus on top of your trade-in value when upgrading to the new Panasonic Lumix S1RII or S1II. If you’ve been waiting for the right moment to jump into Panasonic’s latest full-frame bodies, this deal could be the nudge that finally makes it happen, with the offer ending on 12/27/2025.

Lighting specialists can benefit too, thanks to Profoto’s trade-up promotion. Adorama is inviting photographers to trade in any Profoto pack or monolight and receive a rebate toward the latest Profoto flashes. It’s a rare opportunity to modernise your lighting setup while staying within the Profoto ecosystem, and it’s particularly appealing for working professionals who rely on consistency and reliability.

What makes these trade-in deals so attractive is their flexibility. You’re not locked into selling gear privately or dealing with the uncertainty of second-hand marketplaces. Instead, Adorama streamlines the process, valuing your equipment and applying the credit directly to your new purchase, often stacking a generous bonus on top.

If you’ve been sitting on older gear and waiting for the right excuse to upgrade, these Adorama trade-in offers feel like exactly that. With substantial bonuses across Canon, Sony, Panasonic Lumix, and Profoto, there’s real value to be had — but with multiple end dates approaching, now’s the time to see what your current kit could be worth toward something brand new.

I loaded the Wandrd Prvke V4 21L up with gear (and non-photo gear) and boarded a plane to Los Angeles. The photo backpack is even more comfortable than the earlier version, while making a few small yet significant tweaks.

The Wandrd Prvke V4 is my new favorite camera backpack – this is why.

Wandrd Prvke V4: Sizes

The Wandrd Prvke comes in four sizes: 15L, 21L, 31L, and 41L. For this review, I tested the 21L variant, which is about enough for 1 mirrorless and around five lenses using the small camera cube. I only tested the 231L of the V4, though I’ve used multiple sizes of the previous version.

The other sizes will have similar pockets and comfort, but varying amounts of space for gear. The smallest 15L uses a built-in camera cube rather than a removable one. The 21L and 31L are for mid-sized kits with more lenses and flashes, while the 41L is deeper for cameras with built-in vertical grips, or big telephotos with built-in tripod collars.

Except for the 15L, photographers and videographers will need to choose the bundle that comes with a camera cube in order to carry gear. The Essential Camera Cube will take up the bottom section of the bag but leave the rolltop clear for non-photo items, while the Pro Camera Cube juts into the top compartment a bit to accommodate longer telephotos (or more lenses).

Wandrd Prvke V4 review: Price

In the US, the Wandrd V4 21L costs about $234 for the bag, but $318 once you add the Essential Camera Cube, or $354 with the larger Pro cube. In the UK, it’s about £234 for the bag only, £319 with the small camera cube. In Australia, the 21L with a camera cube retails for about AU$579.

One of my biggest complaints is that accessories are all add-ons. This makes the bag customizable, yes, but it can really add to the cost. You can pick up a waist belt for the bag, along with a rainfly, accessory straps, or even an extra cube. The photography bundle includes the bag, a camera cube, and accessory straps, but does not include the waist belt or rain fly.

Wandrd Prvke V4 21L Specs

Wandrd Prvke V4 review: Design

The Wandrd Prvke is a backpack with a main compartment that can be divided into two with a gear compartment and a separate roll-top, which is expandable depending on how tight you roll the closure. The rolltop closes with both velcro and a metal clasp.

The divider, however, tucks away for photographers who need the entire space for gear, or conversely, users who want to use the bag more as a standard backpack with a large main compartment.

The main access is through a fully unzipping back panel. Resting the zipper against your back can ease some of the concern over pick-pocketing, but it also opens completely for full access to gear. I also like this design, because if I need to sit the bag down in the dirt, I’m not mucking up the part of the bag that’s about to sit against my back.

For photographers and videographers, the Prvke’s main compartment needs to be paired with a camera cube. The small cube takes up the lower portion of the pack, while the large cube fills nearly the entire main compartment. The camera cube has a zippered cover that tucks away inside the bag, but keeps gear protected if you pull the cube out to use as a regular pack.

Above where the small camera cube sits, there’s a divider that slices the main compartment into two – this divider folds away when using the larger cube. That top section can be accessed from the rear zipper, the roll-top, or a zipper at the top. There’s also a zipper here for a roomy pocket large enough for my portable photo printer. This pocket doubles as a cover over the top compartment when using the rear access point, and it can be velcroed right to that divider.

The bag also has a side access point (with a matching zipper on the camera cube) where a camera body would sit in the main compartment. A small zippered pouch is tucked into this access door as well.

A padded laptop sleeve rests on the inside of the back panel; there are two slots here if you want to carry both a laptop and a tablet. In front of that, there are three additional pockets, which I use to store memory cards, quick-release plates, and spare batteries. One of the smaller pockets here also has a spot for an AirTag.

Outside of the main gear compartment and rolltop, there are a few more pockets to stash smaller items. A large zipper sits at the front, big enough to stash a notebook. There’s a small pocket on the side that’s the ideal size for business cards or a set of keys. And there’s also a hidden pocket so discrete I forgot it was even there – move aside the luggage trolley strap and there’s a hidden pocket meant for valuables like a passport.

Another zip that’s easy to forget exists? A small compartment on the bottom made for a rain fly (which is not included).

The side water bottle pocket has a zipper to expand, plus a strap at the top to use the same pocket for a tripod instead. Alternatively, you can also get accessory straps to latch gear to the front of the bag.

There are a few different ways to carry the bag. There are the shoulder straps that make it a backpack, which are also paired with a chest strap. Then there are the magnetic grab handles at the top, or the loop to rest the bag on the handle of a rolling suitcase.

Wandrd Prvke V4 review: Performance

I packed the Wandrd Prvke V4 on a trip to Los Angeles – and the camera backpack proved quite comfortable to wear on my trek to the city.

The straps are one of the key changes from the V3. On the V4, the straps are a little narrower, but the edge is every bit as padded as the center. The straps didn’t dig into my skin, though as with any bag, I find it a bit chaffe-y if I wear a tank top and have the straps against skin instead of clothing. The straps are well-padded, and I found the bag quite comfortable for the amount of gear that I packed inside.

The straps are nicely padded and curve to hug the torso. My only complaint on the straps is that the removable chest strap is quite difficult to get back on the bag. I overtightened mine, and one side popped off, and I couldn’t get the strap to slide back on easily. (I gave up, it’s still off.)

I tend to prefer backpacks that place the laptop in the front rather than against my back, as that makes the back panel a little too rigid. But, I didn’t find carrying a MacBook Air in the back panel to be uncomfortable. The back panel is well-padded and goes a long way in keeping the bag comfortable.

One of the reasons that the Prvke series has remained a favorite of mine are the materials that are durable and easy to wipe, yet feel a bit more upscale than a bag that’s 100 percent nylon. The Prvke is made with a mix of materials, including tarpaulin on the front and slides and ballistic nylon on the back and straps. This creates a weather-resistant but not waterproof exterior on the exposed portions of the backpack.

I was initially concerned because the V4 doesn’t have the shiny zippers that are on the V3, but Wandrd said they moved to coated DWR YKK zippers that are still weather-resistant, but easier to zip.

I emptied the bag, tucked some tissue inside, and poured a cup of water over the back. The water rolled off the back material (even though it doesn’t look like it would be water resistant), but a small amount of moisture did seep in at the zipper. When I repeated the test with the older V3, if anything, more water seeped in at the zip. I’d feel comfortable wearing the Prvke V4 in light to moderate rain, but would use an additional rain cover in heavy rain.

Wandrd Prvke V4 review: Verdict

I haven’t found a backpack to unseat the Wandrd Prvke V3 from being my go-to backpack – until the V4, that is. The straps are a bit more comfortable, the rolltop access easier, and there are simply a few design details that feel even more refined. The Wandrd Prvke V4 is my new favorite for carrying my photo gear.

My list of complaints is small. I had a hard time getting the chest strap to clip back on when I overtightened, and it popped off. The bag is weather-resistant, but needs a rain fly in heavy rain. There’s also no waist strap or rain fly included, and while the number of accessories helps the bag to feel highly customizable, it also drives up the price.

While the V4 feels more refined, there’s nothing wrong with my existing V3. One of the reasons I like the Prvke series is that it’s durable, and my V3 still looks new. Considering the expense, creatives currently using the V3 don’t really need to upgrade. Likewise, the V3 is now easier to find on sale, and if the refined straps, zippers, and subtle tweaks throughout don’t speak to you, the V3 is a bit more affordable.

Alternatives

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Browse the best camera bags, or the best photography backpacks.

All three cameras are HDR-enabled, promising reduced glare and sharper video, even in harsh lighting or night-time driving. The cabin camera is infra-red enabled, so it can record clear images of the vehicle's occupants when the cabin is dark, and it boasts AI portrait optimization for more natural facial rendition. With its 148-degree field of view, the cabin camera isn't just useful for recording those riding inside the car; it's also able to video through the side windows, thereby covering angles that the front and rear cameras cannot. DDPAI's πlink system promises seamlessly connectivity between all three channels and with low latency.

An unusual feature among dash cams is the Z90 Master's ability to record not just to a normal microSD card, but also to built-in eMMC memory, thereby eliminating any possible file-saving issues due to SD card corruption. The camera also contains a super-capacitor that enables it to record crucial footage should power from the vehicle be cut in the event of an accident. Many dash cams us a built-in Li-ion battery for this function, but a supercapacitor is less vulnerable to extreme summer heat.

As you'd expect from a high-end dash cam, the Z90 Master is capable of 24/7 parking monitoring: radar movement detection will wake the cameras and start recording within 3 seconds. Alternatively, the cameras can also record in time-lapse mode to save storage space and preserve battery life (an optional hardwire kit is required to enable parking monitoring).

5GHz Wi-Fi + DDPAI's Wi-Fi Turbo technology enables faster wireless connection and video transfers when you want to download footage to your smart device for review. 4G connectivity (an optional 4G module is required) allows real-time remote viewing and push notifications, keeping you connected when away from your vehicle. Built-in GPS records data such as location, speed and time, while also offering driver-assist alerts including Forward Vehicle Start Alert and Driver Fatigue Alert. There's even voice control: simply say “Take Photo” and the camera automatically saves a 10-second clip (5 seconds before + 5 seconds after) of your chosen moment, all hands-free.

The DDPAI Z90 Master 3-channel dash cam kit is officially launched at CES in January, but is available to buy now priced at $379. Add the optional 4G module and you'll pay $409, while the cameras+hardwire kit costs $429.

While having the option to use dedicated video transmission systems and field monitors is great, sometimes that just means more tech to ferry to and from a shoot, store, insure, and so on, when in actual fact you could take advantage of devices you already own and carry with you. Hollyland, developer of the fantastic Pyro systems, has taken this idea and run with it, with their new Vcore transmitter, which can send your videos to smartphones and tablets. It can also be paired with the Pyro, promising a versatile piece of gear.

Having used the Pyro, I had my expectations set pretty high, but read on to find out how I got on.

Specifications

Price

$219 / £177 might not be a trifling amount, but it does bring wireless video down to a level that is attainable for many more users than other systems that require dedicated monitors and receivers.

Design & Handling

Although the box is small, you get a lot in it. First up is the main unit, which is built from very high-quality plastics. This unit has a metal cold shoe on one side and a cold shoe mount on the other, for attaching to the camera. There areUSB-C in and out ports, a full-size HDMI 1.4 input port, and a rubber door covering a full-sized SD card slot. The bottom edge has a ¼ 20 threaded mounting point. Finally, there’s a small but very crisp and easy-to-read OLED display, a power button, and a multi-function button. Everything is easily accessible, feels nice to the touch, and the buttons, while having a very short throw, give a nice positive click.

I’m also a fan of the antennas here. Unlike some devices, which sport larger screw-in antennas, the Vcores are part of the main unit. They poke out less than an inch, keeping the footprint small and meaning there are fewer things to lose.

Alongside the main Vcore, you get a cold shoe to thread adapter, a phone holder, and a magnetic hold for those using their magnetic smartphones mounted on the main unit.

The magnet is very strong and helps my iPhone Pro Max stay in place with ease. No amount of vigorous shaking would dislodge it. Similarly, the sprung phone mount, for those without the magnetic option, is far superior to others I’ve used. Its slight soft-touch finish aids here, and it feels nice and sturdy. It also folds pretty flat, so storing it is less of a hassle.

Performance

The setup procedure for the Vcore is smooth and hassle free. Download the HollyView app first, switch on the Vcore and hit the multifunction button once to enter pairing mode, then connect to its wifi network on your phone and you’re done. Alternatively you can connect to the app using the USB-C cable, which is fine for on-camera use but obviously doesn’t work for remote viewing. For my first test, using a Sony A7r4, I was doing a piece to camera, so having the ability to check framing, focus and exposure from my mark made things far more efficient. The signal is strong and stable which is key but there’s a lot more to like.

First up you can use the app for simply viewing the footage as you shoot and, being on a portable device means you can put it pretty much anywhere, or hand it off to an AC or another team member. That alone is worth the asking price.

Things get even more interesting when you look at camera control. You can record and stop, all from your phone or tablet. For solo shooters this is a massive boon but do check compatibility before you purchase, as not all makes are supported. My Sony camera worked just fine but my Blackmagic Design Pyxis didn’t play ball. If you are covered then the ability to wirelessly start recording could be a big deal for you. It certainly makes my life easier.

On top of this you can use an iPhone to record Prores footage from your camera,a neat trick which I think will be appreciated by many. 422, 422HQ, 422LT and 422 Proxy options are all available, making your phone a mean video recorder too.

Hollyland could have made this a simple consumer/prosumer device so it’s really good to see they have designed the Vcore to grow with you, or enable it to fit into a larger existing setup. The Vcore can be integrated into a Pryo setup just as easily, connecting to multiple devices at one, so if you need a monitor for a director, another for a client and one for an AC, you are good to go.

You might be worried about the video quality but there’s more to love there, with 4k 30 transmission with negligible lag. All while being able to record proxies to the internal SD card (you’ll need to buy one separately) or on your phone.

I was very impressed by the range of the Pyro transmitters but worried that the Vcore, at this price, might be less reliable and, while the range isn’t as great at 100m, it is a robust signal that can penetrate solid walls and I haven’t once experienced an issue with stability.

While this review isn’t about the app, it is worth pointing out that HollyView is pretty fully featured. It has all the things you might expect, like a gallery section, with folders for organising not just your proxies but images too, so all you photographers can keep things in order. There’s a plugin for Capture One too.

For use as a field monitor you get all you could need for everything covering focus and exposure assistance. There’s false colour, zebras, peaking, guide lines for various aspects and, seeing as it’s based on an interface you use every day, interacting with it is a doddle.

Verdict

I can't praise the Vcore enough. My only gripe is that it is HDMI only and even that is being slightly unfair, as you wouldn't expect that at the price this comes in at. It's an impressively versatile piece of equipment, solidly built and that performs admirably. Combine it with your favourite handheld device and you're on to a winner.

Alternatives

Now at its LOWEST-EVER UK price at just £2,499 at LCE, following yet another recent price drop, you can get your hands on this amazing camera to shoot an astonishing 8K video internally, while also being able to take stills at a razor-sharp 45-megapixels.

The Canon EOS R5 C might not be the first mirrorless camera to feature in the list of best Netflix-approved cameras, but it is the very first professional and best mirrorless camera that can shoot native 8K video, and in 12-bit 60p no less! - something that my Red can't do!

While the Canon EOS R5 C is, at its core, very similar to the standard Canon EOS R5, it is specifically a Cinema EOS product. Therefore, you can unleash the camera's full video potential, including the ability to shoot internal full-frame 8K video up to 60p in 12-bit Cinema Raw Light, optimized for HDR footage – though the camera must be connected to an external power source (including new Canon mains adapter, or a power bank) to shoot 8K 60p. Internally, it also shoots Super 35 up to 5.9K 60p and Super 16 up to 2.9K 60p, giving professional and amateur filmmakers alike a lot of production options for any size shoot.

Overall the Canon EOS R5 C is a true professional Cinema EOS product, that also has the benefit of being able to take 45MP stills when you need them, and now that it is officially approved by Netflix, I can see the Canon EOS R5 C being a great B-cam to bigger cinema cameras, or even being the main A-cam recording your next block-busting documentary or indie film for the streaming giant.

Canon EOS R5 vs R5 C: What are the differences and which 8K camera is best?

I like to refer to the LensRentals annual report as the list of gear photographers want but can’t afford to buy. After all, rentals are often used to get cost-prohibitive gear for big shoots, or even as a sort of try-before-you-buy. It may not be 100% a wish list, as rental costs are based on the camera cost, but I'd like to think it's close enough.

Looking at LensRental’s top gear of 2025, a few key trends emerge – starting with the camera brands. Like with the two previous years, Canon leads the market share by rental revenue at 26.51%, followed closely by Sony at 21.66%.

There is a much larger gap between second and third ranking brands, with Nikon coming in at 5.56%, followed by DJI at 4.29%, Blackmagic at 3.15%, Sigma at 3.13% and Fujifilm at 2.79%.

Those statistics are based on revenue, however, which means that more expensive gear and more expensive brands have a bit of an advantage. But looking at the numbers broken down by rentals, not revenue, Canon and Sony are still very clearly top contenders.

LensRentals breaks down all rentals in 2025 by the number of rentals together into one list. Because these are based on numbers, they tend to skew towards some small accessories, as some renters may want more than one battery or more than one memory card in their order. But the list is interesting regardless:

The company also breaks down the numbers by category. The top camera rentals in 2025 were:

Looking at the top camera rentals for 2025, the only top 10 camera from a brand besides Canon and Sony is the GoPro Hero 13 Black in tenth. Nikon doesn’t pop up until spot 17 with the Z8, just behind the trendy DJI Osmo Pocket 3 gimbal camera.

Fujifilm doesn’t make the top 20 at all – which is a bit surprising, considering several models have sold well enough to be frequently out of stock. Also absent from the top 20 camera rentals are brands like OM System, Panasonic and Leica.

Three of the top three camera rentals of the year have just been replaced at the very end of 2025: the Canon EOS R6 Mark III to replace the R6 Mark II, and the Sony A7 Mark V, which is the successor to but doesn’t kill the Sony A7 IV. It will be interesting to see how those launches play with the numbers next year.

But, the list doesn’t exclusively focus on the newest gear, as the original R6 is on the list along with the A7 III. And speaking of not being exclusive to new gear, there’s still a DSLR on the list: the Canon EOS 5D Mark IV, which was also on the 2024 list.

LensRental’s annual list is often dominated by Canon and Sony, however, so the list may not exactly come as a surprise. The list is predominantly mirrorless, along with a scattering of cinema cameras, an action camera, the category-defying Osmo Pocket 3 and, of course, the 5D Mark IV DSLR.

Turning to lenses – which, after all, is right in the name – and another clear trend emerges. The list is heavily dominated by zooms, largely workhorses like the 24-70 and 70-200mm f/2.8 optics. Just two primes pop up on the list, the Canon RF 50mm f/1.2L and the RF 85mm f/1.2L.

Canon’s slightly unusual workhorse that shifts to a 28-70mm for a brighter f/2 aperture follows close behind the more standard focal length first generation, with the brand’s 70-200mm following close behind that, and the second generation 24-70mm after that. Sony’s workhorse lenses similarly pop up in the top rentals.

It computes, then, that the only non-Canon and non-Sony on the most rented lens is also a workhorse: the Sigma 24-70mm f/2.8 DG DN II Art in Sony E Mount.

While the top cameras and top lenses contain gear from a wide enough time period to also include a DLSR, LensRentals also compiled data to look strictly at the products launched in 2025:

That’s an eclectic mix of products, including a tripod in the top spot and a light in the third place spot. I find it a bit curious that the new Sony 50-150mm f/2 GM earned the second spot on the new gear list, but didn’t pop into the top lens rentals – but then again, the new products didn’t have a full 12 months of rentals in the dataset either.

The LensRentals data comes in the onslaught of year-end statistics, but it’s interesting to look at the most popular gear in terms of rentals and how that’s different from purchases. The list of the most popular lenses at B&H for 2025, for example, doesn’t have any overlap with the LensRentals list, highlighting the very different intent between buyers and renters.

Browse the full report at LensRentals.

You might also like…

Take a look at the best mirrorless cameras from all brands – and just to give them some love, check out the best OM System and Olympus cameras along with the best Fujifilm cameras too!

It all came in a sturdy, reliable, inexpensive, all-metal body and thus became extremely popular with amateurs and students alike.  It’s original price was just $299 with a 55mm f/2 lens.

The 50mm and 55mm f/2 lenses have stories in themselves. The 55mm lens was made for the K1000 as at 55mm the rear element easily clears the mirror. (Many early SLRs used 55mm and 58mm lenses as standard lenses for this reason.) 50mm lenses require fancier (read “more expensive”) designs to clear the mirror when it flips up.  And the fancier the design, the larger the percentage of lenses that won’t quite “cut the mustard” when going through Quality Control.  

Pentax found that when their 50mm f/1.8 lenses failed they nearly always failed only when wide open.  When stopped down to f/2, they would pass easily.  Rather than throw them out, they simply put larger trim rings on them, reducing the aperture and sold them as 50mm f/2 lenses at a lower price!  Very smart, indeed!

Over the years, K1000 production was moved from Japan to Hong Kong (1978) and later to China itself (1990), to reduce labor costs and with some minor materials changes to keep it affordable. It remained in production for 21 years, until 1997, with over 3 million cameras sold. 

Production only stopped when it was no longer possible to purchase the meter coil movements at anywhere near a reasonable price. Were they still available today, the K1000 may likely still be available, too!

The K1000 was replaced in 1998 with the with ZX-M (sold as the MZ-M in some markets). Though missing some features of the other ZX series cameras, but still with a much richer feature set than the very basic K1000, the plastic bodied ZX-M failed to find a market with students. Even today, many students prefer a second, third or even fourth-hand K1000 to learn with.  And that, my friends, is the stuff that legends are made of.

Find out more about photography's past in David Young's book, A Brief History of Photography.

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Take a look at the best film cameras you can buy today, and the best cameras for sports photography. You can also read other articles in David Young's Classic Cameras series.

It is great news, therefore, that there is currently a great price on the Pentax WG-90 compact camera which not only boasts a 5x zoom, but also is completely waterproof. Amazon has this at £251.03 - which is over £60 less than other UK retailers.

First going on sale early last year, the WG-90 follows in a long line of waterproof compacts from Pentax, and its parent company Ricoh. It is designed waterproof down to a depth of 14 meters, for up to two hour. Not only that, it is shockproof and said to be able to survive being dropped from a height of 1.6 metres.

The 4x optical zoom gives an equivalent field of view of a traditional 27-108mm full-frame lens. It has a 16 megapixel 1/2.3in CMOS sensor, that can record 1080p video as well as stills.

This offer is only available on the black-colored version of the camera - but it is also available in blue at a higher price

Check out our full guide to the best waterproof cameras

Now it's even more of a perfect fit as it's been reduced by $150.99, lowering it to the camera's lowest-ever price for the holiday season – just $569 at Amazon , down from $719.99.

The Canon EOS R50 V (review) was only launched in April, and it's super rare for a Canon product to be discounted so quickly – especially with the tariff turbulence. But not only is it discounted – it's been discounted to its lowest price ever.

My colleague James, who reviewed the camera, fell in love with the R50 V from the moment he used it: "Most 'vlogging cameras' are actually just repurposed photo cameras that happen to have video specs. All the buttons are on the wrong side, they're the wrong shape and they have the wrong handling.

"Not so with the EOS R50 V, which takes the 24.2MP APS-C architecture of the Canon EOS R50 but rebuilds it from the ground up as a purpose-built vlogging camera – just take a look at my quick video guided tour below:

"All the buttons are in the places you actually need them for shooting video – including a big red record button on the front of the camera, for when you're self-shooting.

"The body is box-style, as is the norm for video cameras, with mounting points on the bottom and side, catering to those who shoot vertically. Likewise, the menus and UI have all been redesigned to shift 90° when you use the camera in vertical orientation – an absolutely brilliant touch.

"It's got a huge, enhanced microphone on top for superior integrated audio capture – along with microphone and headphone jacks – and it's capable of 24-bit 4-channel recording. The perfect complement to the 4K 60p 4:2:2 video capture, complete with Canon Log3."

If you've been looking for a portable, powerful, content creation camera, this is a great setup at an even greater price.

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Check out the best Canon RF lenses to use with the R50 V – and see how it compares to its sibling, in my Canon EOS R50 vs R50 V comparison.

Warner’s channel is known for retro camera insight and unusual camera tricks. One of Warner’s latest projects fits into the latter category.

Shaped bokeh disks are a common photography hack for unusual photos. By placing a disk with a cut-out shape over the camera lens, photographers are able to change the shape of the bokeh balls to whatever shape is cut from the disk.

Warner took that one step further, creating a way to spin the disk and make the bokeh shapes actually move, creating an unusual bokeh effect for video. Warner was inspired by another YouTuber, Pablo of Lensevision, who created two split shapes, sandwiched them together and added a motor to get a flickering effect with spinning bokeh.

Take a look at the method and the results below:

Warner 3D-printed a bearing and gear system that attaches to the camera lens, much like a screw-in lens filter does. Then, he added different 3D-printed shapes. Spinning the gears on the holster spins the disk, which spins the shaped bokeh for an unusual video effect.

Warner’s creation has garnered 1.7 million views on YouTube (and counting). He’s even shared the 3D printing files for free.

A self-described beginner at 3D modeling, Warner admits there are some faults. In particular, the creator noted that the effect could be a bit faster; one hack is to use a drill with the 3D printed holder to turn the disks even faster.

For more unusual hacks and retro camera inspiration, follow Snapiness on YouTube or Instagram.

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Follow this tutorial to make your own (non-spinning) shaped bokeh, no 3D printer required! Or, read about more of Snapiness' photo hacks, like this cheap DIY waist-level viewfinder.

While there had been discussion of a December announcement (linked in part to DJI's desire to beat the US ban deadline, looming on the December 23), it's not looking like we're going to see the device this year.

Another poster, Photorabz, has said that quality control issues affecting accessories may have pushed DJI’s timetable back into early 2026. If true, that delay could have knock-on effects for availability in the US, depending on how regulatory and trade issues play out.

Leaker OsitaLV, though, seen on Twitter/X for a long time, has posted a high-resolution (well, for a leak) image which seems to show several devices – and it looks to depict DJI out testing in public. And it strongly suggests that the Osmo Pocket 4 will be a noticeably different – and physically bigger – camera from the Osmo Pocket 3.

You seem to be able to see a different arrangement to the physical controls beneath the rotating screen.

Creators generally prefer physical controls, which are more tactile than having to rely on touchscreens that can more easily disrupt a shot.

As we've already covered, the camera module – seen from behind in this shot – looks to be a lot bigger, no doubt because of the expected dual camera system. It is also expected to have passive cooling to reduce overheating – a shaped design, so the heat can dissipate.

On the right, and partly hidden behind the man in OstiaLV's leaked image, is a camera that doesn't look much bigger – if at all – compared to the Pocket 3, but seems to have some of the same design tweaks as the obviously different camera on the left.

Does this mean we're looking at two new 'Pocket 4' cameras – a standard and a 'Pro'?

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Check my guides to the best budget vlogging camera and the best action camera.

Their demise was predictable. Compact point-and-shoots were the preserve of casual snappers. Invariably based on a tiny sensor, phone tech first matched them for image quality, and then, thanks largely to smartphones’ increasingly sophisticated processing grunt, overtook them.

Advanced algorithms reduced noise and artifacts. Panoramas could be stitched on the fly as the phone was panned through a scene. The multiple array of lenses on smartphones not only gave a range of native focal length options, but were also used in tandem for tricks like simulating a shallow depth of field.

Focusing was as easy as tapping on the subject on the phone's large rear screen. And when most of your snaps were going to end up on Facebook or Instagram anyway, shooting them on a phone that already had those apps installed made posting pics a darn sight easier than having to first connect the camera up to a computer to download the images.

So, camera manufacturers stopped manufacturing these point-and-shoot models, instead focusing their energies on the kind of cameras that phones couldn’t compete with: those with interchangeable lenses that could be adapted for everything from incredibly detailed close-ups with a macro lens to capturing sports action shots measured in fractions of a second with a super-telephoto.

But then something curious happened. Gen Z, with its love of all things retro, rediscovered the compact, first liberating their parents’ long-forgotten point-and-shoots from dusty drawers, and then creating demand for new models. And now it seems that every other week there's another new compact on the market.

But one thing hasn’t changed: they’re still rubbish. For casual snaps, your phone is better, and for anything more sophisticated, I'd get an interchangeable lens camera any day of the week. And if it's retro good looks you're after? Look no further than the Nikon Z fc.

According to Yodobashi Camera's sales data, the Panasonic Lumix TZ99 / ZS99 is at number 1. Following close behind is another high-magnification point-and-shoot, Canon's PowerShot SX740 HS, which climbed from third place last month to secure the number 2 spot.

Meanwhile, Fujifilm, Ricoh, Kodak, Sony, Nikon and another Canon model make up the rest of the top 10, with several returning favorites and backordered models still influencing the charts.

Yodobashi's 10 best-selling compacts (2nd half November)

1. Panasonic Lumix TZ99 / ZS99 (Black | White)
2. Canon PowerShot SX740 HS (Silver | Black)
3. Fujifilm X100VI (Silver | Black)
4. Ricoh GR IV
5. Kodak Pixpro C1 (Brown | Black)
6. Sony ZV-1 II (Black | Silver)
7. Canon Ixy 650 M / PowerShot Elph 360 HS A / Ixus 285 HS A (Black | Silver)
8. Nikon Coolpix P1100
9. Canon PowerShot G7 X Mark III (Black | Silver)
10. Sony ZV-1 II shooting grip kit (Black | White)

TZ99: consecutive victories and enduring appeal

The TZ99 stands out as Japan's top-selling compact camera for good reason. With a 30x optical zoom, compact design and travel-friendly versatility, it has carved out a niche among both casual users and photography enthusiasts who want a "premium yet accessible" compact camera.

Its consecutive top-ranking status highlights a growing trend: high-zoom, versatile compacts are still king for everyday users.

Canon makes a strong appearance

The PowerShot SX740 HS follows closely behind. Supporting a 40x optical zoom, this camera proves that reliability and high-magnification functionality still attract buyers – even years after initial release (2018).

Canon also has multiple entries in the top 10, with the Ixy 650 M and the G7 X Mark III both showing the brand's persistent strength in Japan's compact segment.

Kodak, Fujifilm, and the rest: steady performers

The Pixpro C1 continues to demonstrate the continued demand for simple, easy-to-use cameras in a market increasingly dominated by zoom-heavy models.

The Fujifilm X100VI, Ricoh GR IV, and Sony ZV-1 II reflect the popularity of premium or hybrid models, even if availability is limited due to backorders. And the Coolpix P1100 maintains a steady presence, appealing to buyers who prioritize large zoom ranges at competitive prices.

Why simplicity and zoom still sell

While premium niche cameras make headlines, the sales charts show that practicality and high optical zoom continue to drive Japan's compact camera market. Shoppers want cameras that are easy to carry, versatile and ready to shoot without complicated setup or software pairing.

From the Lumix TZ99 and PowerShot SX740 HS at the top, to Kodak's enduring Pixpro C1, the message is clear: simplicity, reliability and zoom power remain the keys to compact camera success in Japan.

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Browse the best compact cameras, the best point-and-shoot cameras, and the best instant cameras.

I was very impressed with the 14-24mm ultra-wide-angle zoom lens, not least because it’s conveniently compact and lightweight, yet punches well above its weight in terms of image quality and all-round performance. But I was left wanting more. That ‘more’ has now been served up by a second helping of Korean / German fusion, in the similarly diminutive shape of this 24-60mm f/2.8 zoom. It neatly picks up the baton in the handover from 14-24mm and 24-60mm zoom ranges, making it the ideal companion to the previously launched lens. All things considered, the new LK Samyang / Rokinon lens aims to be one of the best standard zooms on the market, as well as one of the best lenses for Sony full-frame E-mount cameras.

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Specifications

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Price

Think constant-aperture f/2.8 ‘trinity’ zoom lenses, and you’re probably thinking big bucks. That’s not always the case, though, and there have been cut-price options from a variety of camera manufacturers and third-party lens developers, with slightly alternative zoom ranges to the usual ’24-70mm’.

A very good example is the Tamron 28-75mm f/2.8 Di III VXD G2 for Nikon Z and Sony E (FE) cameras, which retails for around $849 / £649 / AU$1,249 . This LK Samyang / Rokinon lens has a similar launch price of around $899 / £635 / AU$1,209 . That’s potentially very good value as far as I’m concerned, following on from the LK Samyang AF 14-24mm f/2.8 FE which launched at a rather pricier $1,199 / £1,050 / AU$1,999.

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Design & Handling

Some say the best things come in small packages. I’m inclined to agree, especially if it means I don’t have to lug around a big, heavy and clunky lens hanging off the front of my slimline mirrorless camera. And let’s face it, standard zoom lenses excel for everyday photography, where you’re likely to rack up a fair few miles pounding city streets, trekking into the wilds or even flying to the ends of the earth.

My simple equation for walkabout and travel photography is that smaller + lighter = better. And for an f/2.8 standard zoom, this one is definitely small and light, measuring a mere 78x102mm / 3.1x5in and weighing just 494g / 17.4oz. A telltale sign of the compact build (for a constant f/2.8 zoom) is that the lens has a 72mm thread. The companion 14-24mm f/2.8 ultra-wide-angle zoom has a 77mm thread. Sure, the lens physically extends by just under an inch at the long end of the zoom range but that doesn’t bother me at all. Check out the product shots above and below to see how the extension looks in practice.

To put its diminutive size into context, the Nikon Z 24-70mm f/4 S is an f/stop slower but the same width, pretty much the same weight and only half an inch longer – and that’s with the Nikon in its retracted rather than operational state. Although small, the LK Samyang packs no less than 14 elements, arranged in 11 groups. Specialist glass includes three aspherical elements, two ED (Extra-low Dispersion) elements and three HR (High Refractive index) elements. The aspherical elements help to cut down the overall size and weight as well as enhancing image quality, while the ED and HR elements aim to boost sharpness and clarity while reducing color fringing.

I have to say, the lens looks pretty splendid before you even get it out of the box. The retail carton really looks the business and is impeccably turned out, creating the impression that you’ve landed a high-quality item right from the get-go. Unpacking the lens is certainly no disappointment, as it has the same richly textured zoom and focus control rings that I enjoyed on the 12-24mm sibling lens. The manual focus ring is electronically coupled and works with smooth precision, with a nice tactile feel.

The zoom ring is situated towards the rear of the lens and falls neatly under the fingers and thumb. Again, it has a very tactile feel and pleasantly smooth action. As I’d expect, it’s calibrated with markings at various focal lengths, correlating to 24mm, 35mm, 50mm and 60mm focal lengths. I’m not put off by the reduction in maximum telephoto reach, compared with most alternative trinity standard zooms, which are typically around 28-70mm or 28-75mm. With these lenses, I really miss the extra wide-angle potential of a 24mm focal length, so I’m very pleased that the LK Samyang’s zoom range ‘comes up short’ in a good way.

I’ve seen plenty of lenses for mirrorless cameras recently that cut handling extras to the bone, in the pursuit of downsizing. Indeed, many prime lens examples have no switches or other moving parts at all, apart from the focus ring. I feel that the LK Samyang strikes a good balance. Yes, it’s small and light, but it does feature and AF/MF switch and a customizable function button. The switch saves the time and effort of resorting to in-camera menus when you need to make the change in a hurry, and the function button can come in really useful for the likes of AF-hold.

The designers have also managed to squeeze in a USB-C port on the side of the barrel. You can use this for applying firmware updates, as and when they become available. It’s a neat and tidy way of making sure that the lens keeps abreast of the latest features and any bug-fixes. One thing that’s lacking however, is an aperture control ring. Many photographers and most videographers find this useful, the latter also preferring a click/de-click that enables silent and stepless aperture control when shooting video. As with many lenses though, there’s no aperture control ring featured.

As I’ve mentioned, the lens stretches in physical length by just under an inch, as you zoom to its most telephoto setting. That’s certainly not uncommon, although it does raise a question mark over weather-proofing. A plus point is that the lens features a comprehensive set of weather-seals around all of its joints, focus mode switch, function button and mounting plate, and sports an IP5-level dust protection rating. Build quality is further enhanced by the lens being based on a strong aluminum frame and featuring an oil/moisture-repellant coating on its front element.

One thing to be award of when zooming is that the minimum focus distances stretches from 0.18m / 0.59ft (wide-angle) to 0.32m / 1.05ft (telephoto), so you need to be attentive when shooting extreme close-ups. The maximum magnification ratio remains pretty similar throughout the zoom range, from 0.27x (W) to 0.25x (T). The upshot is that close-up photography is certainly within the remit of this lens, along with a tight depth of field enabled by the f/2.8 aperture.

Little extras include a proper, printed instruction manual with text that’s actually big enough to read (and not to be taken for granted nowadays). The lens also comes with nicely engineered front and rear caps, and a petal-shaped hood. The hood has the usual bayonet-fitment and can be reversed for compact stowage. Similarly, the front cap has the typical pinch-action release mechanism, so you can fit or remove it with the hood in its front-facing orientation.

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Performance

The image quality of modern lenses for mirrorless cameras has become a game of two halves. In the pursuit of downsizing and weight-saving, the native optical prowess is certainly still a crucial factor, but it’s certainly not the whole story. Increasingly, lenses rely on automatic in-camera corrections for the likes of distortion and vignetting, or ‘Shading compensation’. It’s a trick that’s certainly not lost on this LK Samyang lens, and the automatic correction for distortion can’t be switched off in the camera menu.

Indeed, not only does the lens rely on in-camera corrections, but LK Samyang was quick to launch a free-to-download profile. The profile applies automatic corrections to RAW files when using Adobe Photoshop and Lightroom, taking care of distortion and vignetting.

The pair of shots above demonstrate the relative angles of view at the short and long end of the zoom range. As you’ll see, wide-angle coverage is generous. There’s not a massive difference in maximum reach, compared with a regular trinity 24-70mm f/2.8 lens.

Naturally, you can also flatter the performance of lenses in terms of sharpness and color fringing, with in-camera or software-based enhancements, the latter at the editing stage. Straight ‘out of the box’ performance in these areas is more of a crucial concern in my books, and I’m happy that the lens is crisp and sharp with minimal chromatic aberrations throughout its complete zoom and aperture ranges.

Another plus point is that the widest f/2.8 enables a tighter depth of field than when shooting with slower, variable-aperture lenses. As such, there’s more scope for throwing the background out of focus and isolating the main subject within scenes. The lens does well in this respect, and the quality of bokeh is pretty nice and smooth.

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Sample Images

The following gallery of example shots were taken in and around the ‘Underfall Yard’, a historic boat yard in the English city of Bristol. The weather was sunny and rainy at the same time – look out for rainbows!

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Lab Results

We run a range of lab 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 center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is very good, even wide open at f/2.8, and stays consistently so through to f/11, throughout the focal range. Corner sharpness is a little disappointing, especially when you zoom in at f/2.8 - you'll need to stop down to f/5.6 to get the best corner-to-corner sharpness.

Fringing:

Chromatic aberration is fairly well controlled, just straying into visible territory at 35mm.

Distortion:

With automatic correction for distortion disabled when processing RAW files (it can't be disabled in-camera) extensive barrel distortion is revealed at 24mm, and it remains distracting at 35mm. Only at 50mm and longer zoom settings does distortion become mostly unnoticeable.

LK Samyang / Rokinon AF 24-60mm f/2.8 FE: Verdict

For everyday shooting and travel photography, I like lenses to be compact and lightweight. But I also like the relatively fast and constant f/2.8 aperture ratings of ‘trinity’ zoom lenses, which tend to be bigger, heavier and more expensive. This LK Samyang standard zoom puts ticks in a whole bunch of boxes, winning me over along the way. It has very good build quality and handling, delivers impressive image quality (albeit with automatic in-camera corrections) and is very good value at the price. I’m really happy using it on my Sony Alpha camera but I just wish it was also available in other mount options.

Alternatives

For years, dating back to the DSLR days, APS-C bodies had a ceiling of about 24MP. That was until 2019, when Canon debuted a 32.5MP sensor in the Canon EOS 90D DSLR and M6 Mark II mirrorless camera – both of which were APS-C flagship models.

Then, in 2022, Fujifilm fired back with even more pixels in the form of the 40MP sensor debuting in the Fujifilm X-H2 – which was enough resolution to imbue any camera carrying it with the ability to shoot 8K video.

It may have taken a few years, but Canon is rumored to finally match Fujifilm's firepower in its successor to its current APS-C flagship, the Canon EOS R7 – which launched just a few months before the X-H2, featuring the 32.5MP sensor.

Camera rumors have persisted for some time that Canon intends to do something special with the R7 Mark II, with the phrase "shake things up" being used.

I've heard the term "baby R5" multiple times; with the Canon EOS R5 being a 45MP / 8K camera, this rumor of a 40MP sensor in the R7 Mark II certainly makes a lot of sense.

Something I've suspected since 2023 is that the new R7 will feature a stacked sensor. Back then it was reported that Canon had three stacked sensor cameras on the way, which I predicted to be the EOS R1, R5 Mark II and R7 Mark II. I was right on the first two counts, and I still think I'm right on the third.

The folks at Canon Rumors seem to agree. "I think if Canon was going to do this, we're going to see Canon's first BSI and / or stacked APS-C image sensor," wrote the site.

"Whatever comes next will be Canon's flagship APS-C sensor, and if it's going to be used for the next 4-5 years, it would be a hard pill to swallow to not move in that direction as others surely will."

Of course, if you know Canon, you know that the manufacturer is very considered when it comes to minimizing overlap between its products and product lines. I dare say that this is why we didn't get a 40MP APS-C sensor in the original R7, back in 2022, as this may have cannibalized sales of the still-fresh R5.

By waiting until the R7's second generation, Canon maintained the integrity of its full-frame 8K product line. And, with the R5 Mark II now being categorized as a professional camera (with even higher 8K performance), the R7 Mark II can effectively fill the OG R5's role as a "baby 8K" camera.

This certainly jibes with another report, this time from E8M_888 on Weibo: "To avoid impacting the professional-grade performance of the EOS R5 II, the EOS R7 II opted for UHD 8K [7680 x 4320] instead of DCI 8K [8192 x 4320], resulting in a resolution of 40Mbps."

Whatever the case, the Canon EOS R7 Mark II is widely expected to be announced in 2026 – perhaps at or around Japan's CP+ show in February. Another 8K offering would certainly make headlines – and maybe even set the stage for an EOS R7 V, in the same vein as the EOS R50 V…

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Check out my original Canon EOS R7 review to see how the original model holds up, and take a look at the best lenses for the Canon EOS R7 to get the most out of this brilliant little body.

I have to admit, as a photographer with a bag full of mirrorless gear, I didn’t really “get” the point-and-shoot camera trend at first. But then, I took a waterproof compact camera on a family trip – and I realized that the trend isn’t about tech at all, but just the opposite.

Earlier this year, I took a trip with my extended family – and it had been quite awhile since I’d had a true vacation. I didn’t want to spend my much-needed break with my face in my phone, so I vowed to limit social media and ignore my inbox.

I still snapped a few photos with my iPhone, yes, but what I didn’t expect was that a point-and-shoot camera would get more use than my mirrorless. I brought along the OM System Tough TG-7.

I didn’t pack it because the TG-7 was a compact camera, I packed it because it is a waterproof camera. (The reason that I even own a waterproof compact camera is that they also make fantastic cameras for kids, and I bought one for my oldest.) I was determined to spend a good chunk of my trip on the beach, on a boat, and by the pool.

Somewhere between taking a video of dolphins from a kayak and snapping photos of my children’s first time seeing the ocean, I fell in love with a point-and-shoot camera. Not because it was waterproof. Not because it was small. But because using a point-and-shoot camera felt like unplugging.

I have to admit it – sometimes I open my phone to take a quick photo and before I put it down, I end up checking my email or scrolling through Instagram. Yes, part of the point-and-shoot trend is from the size. And yes, part of the success of high-end options like the Fujifilm X100VI is because of larger sensors that are far better quality than a smartphone.

But I think the point-and-shoot trend is more about what a compact camera is not rather than what it is. It is not a web browser, it is not an inbox, it is not a social media rabbit hole. Using a point-and-shoot camera felt more like staying in the moment than snapping photos with my iPhone.

The modern world is noisy. Using a point-and-shoot felt like unplugging. Yes, some of the point-and-shoot camera trend is because compact cameras have an advantage over smartphones (or at least, the best compact cameras do). But for me, reaching for a point-and-shoot was about using simple tech in a high-tech world.

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Browse the best point-and-shoot cameras or the best cameras for travel.

In the Canon camp, everyday kit lenses like the Canon EF 24-105mm f/4L IS II USM and Canon RF 24-105mm f/4L IS USM, telephoto zooms like the classic Canon EF 70-200mm f/2.8L IS III USM and Canon RF 70-200mm F4L IS USM for EOS R mirrorless, all of these lenses are so much easier to shoot handheld with and get sharp shots, even with slow shutter speeds. 

It would be unthinkable to use a focal length of 300mm and longer without IS – try using the Canon RF 100-500mm F4.5-7.1L IS USM to shoot handheld at 500mm with an aperture of f/7.1 and no IS (and no Canon EOS R camera with IBIS) and see how sharp your shots are!

But 30 years ago, photographers were unknowingly using lenses without Image stabilizers and struggling with their shutter speeds and high ISO film to get sharp shots – especially when shooting in low light, or photographing active subjects, or using telephoto focal lengths of 300mm or above. 

Enter the ground-breaking Canon EF 75-300mm f/4-5.6 IS USM in September 1995, the world’s first interchangeable lens for SLR cameras to incorporate Canon's innovative Image Stabilizer system. It was a game-changing lens, enabling photographers to beat camera shake with an increase of two stops of shutter speed.

This lens also meant photographers could now use slower ISO speed film and confidently shoot at 300mm and 1/30 sec became an equivalent to 1/125 sec with IS. It paved the way for ever-improving lenses with better IS year on year.

This IS technology really was revolutionary, as camera shake was detected by vibration-detecting gyro sensors inside the lens, while a micro USM (Ultrasonic Motor) in the drive system ensured near-silent autofocus.

Check out the best Canon RF lenses around today

The limited-edition card game is made by Austria-based Jo Geier Mint & Rare and is available through the rare camera specialist’s website.

Billed as a collector-focused game, the deck includes cards featuring iconic Leica cameras, Hasselblad cameras and Nikon cameras, along with brands like Voigtländer and more.

It’s designed in-house, featuring photographs of pieces that have actually passed through the shop. It’s limited to just 100 units, so if you want to get one then the cards could be stacked against you if you don’t move fast!

The deck features thirty-seven cards and the game is for two or more players. Instructions are included, but it’s unclear exactly how the game is played from the product page alone. However, judging by the name, I’m guessing players are tasked with building a collection of four cameras in a bid to outdo their rivals.

From the imagery I can see that there’s a special Joker card, which is none other than proprietor Jo Geier – and it's definitely a card you'll want to claim. It states: “The card that outshines them all. No other can surpass it.”

So, if you can’t stand to play another game of Rummy this Christmas or New Year, you can bore your non-photographer friends and family silly with this. Oh, and what an excellent little stocking stuffer or gift for another photographer, too!

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Looking for more rarities? I can imagine James Bond using one of these ultra-rare pocket-watch cameras. Plus, check out the best mirrorless cameras and the best compact cameras.

Right now, the Canon EOS RP body is available for just £599 at Amazon – you save a MASSIVE £450 off its original £1049 price.

This is the lowest price I've seen in a year – even lower than August's deal when it dropped to incredible £650.

If you've been thinking about jumping into full-frame photography without breaking the bank, this is your sign – the Canon EOS RP is seriously one of the best deals out there right now.

For just £599, you're getting a 26.2MP full-frame CMOS sensor, Canon's excellent Dual Pixel AF (autofocus), and a compact, lightweight body that's perfect for travel, street, or everyday shooting. It even has a fully articulating screen, which is perfect for vlogging or low-angle shots.

Sure, it's not perfect – the 4K video is cropped, and there's no in-body image stabilization, but for stills? It's an absolute winner. I've seen what this camera can do, and it punches way above its weight. We also named it one of the best cheap full-frame cameras on the market.

At this price, it's hard to justify not picking one up – even just as a second body. Add an EF-to-RF adapter and you've got access to a massive library of Canon lenses.

Amazon deals like this tend not to last long. So, if you've been on the fence, now it's the time.

Browse the best Canon cameras and the best Canon RF lenses

Now it's even more of a perfect match as it's now been reduced by over £300, lowering it to the camera's lowest-ever price for the Christmas season – just £589 at Clifton Cameras  - down from £899.

I actually can't believe this deal. The Canon EOS R50 V (review) was only launched in April, and it's super rare for a Canon product to be discounted so quickly – especially with the current tariff situation. But not only is it discounted – it's been discounted to its lowest price ever!

I absolutely fell in love with the R50 V from the moment I used it. I have a tortured relationship with most so-called "cameras for vlogging", because they're actually just repurposed photo cameras that happen to have video specs. All the buttons are on the wrong side, they're the wrong shape and they have the wrong handling.

Not so with the EOS R50 V, which takes the 24.2MP APS-C architecture of the Canon EOS R50 but rebuilds it from the ground up as a purpose-built vlogging camera – just take a look at my quick video guided tour below:

All the buttons are in the places you actually need them for shooting video – including a big red record button on the front of the camera, for when you're self-shooting.

The body is box-style, as is the norm for video cameras, with mounting points on the bottom and side, catering to those who shoot vertically. Likewise, the menus and UI have all been redesigned to shift 90° when you use the camera in vertical orientation – an absolutely brilliant touch.

It's got a huge, enhanced microphone on top for superior integrated audio capture – along with microphone and headphone jacks – and it's capable of 24-bit 4-channel recording. The perfect complement to the 4K 60p 4:2:2 video capture, complete with Canon Log3.

If you've been looking for a portable, powerful, content creation camera, this is a great setup at an even greater price.

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Check out the best Canon RF lenses to use with the R50 V – and see how it compares to its sibling, in my Canon EOS R50 vs R50 V comparison.

Down from £649, this £170 saving turns what was already a sensible beginner’s kit into a genuinely sharp-value deal for anyone looking to step up from a smartphone or ageing DSLR without breaking the bank.

At the heart of the EOS R100 is a 24.1MP APS-C sensor that delivers pleasing colour, solid dynamic range, and enough resolution to comfortably handle everyday photography, travel, family moments, and casual content creation. It’s a straightforward camera in the best sense, stripping away unnecessary complexity while still offering the image quality you’d expect from Canon’s modern mirrorless lineup.

Autofocus is another area where the R100 punches above its price point. Canon’s Dual Pixel CMOS AF does an excellent job of locking onto subjects quickly and accurately, with face detection that works reliably for portraits and people shots. For beginners in particular, this kind of dependable autofocus removes a lot of the frustration from learning photography and lets you focus on actually taking pictures.

The bundled RF-S 18–45mm lens is a sensible, compact starter zoom that covers everything from wide-angle scenes to short telephoto framing. It’s ideal for day-to-day shooting, holidays, and casual video, and crucially, it keeps the overall kit small and lightweight. Paired with the R100 body, it’s a setup you’ll actually want to take with you rather than leave at home.

Video shooters aren’t left out either. The EOS R100 offers 4K recording and clean Full HD for those looking to dip a toe into vlogging or simple video projects. It’s not a cinema powerhouse, but for beginners or family content, it delivers dependable results with Canon’s familiar colour science straight out of the camera.

At £479, the Canon EOS R100 with RF-S 18–45mm lens feels like one of the most accessible ways to buy into Canon’s RF ecosystem right now. With a £170 saving on the original price, it’s a well-timed deal for first-time camera buyers, students, or anyone wanting a capable, no-nonsense mirrorless camera that does the fundamentals very well.

Just to confuse things, it’s also called the Canon EOS SL3 in North America, the EOS 200D Mark II in Australia, or the EOS Kiss X10 in Japan. Whatever it’s called where you are, it’s still probably the best budget DSLR you can still buy today.

Despite the avalanche of mirrorless cameras in the past few years and the constantly evolving hype around AF and video, it’s important to remember that many, many users don’t need the latest gear and just want a simple, affordable and versatile camera. And the EOS 250D is definitely that.

So why is the 250D still a good option for some photographers, despite its use of old tech?

First, it still has a classic DSLR optical viewfinder, which will always look more ‘real’ than the EVF on a mirrorless camera. But the 250D also has the autofocus of a mirrorless camera in its live view mode, thanks to Canon’s excellent Dual Pixel CMOS autofocus tech. It has a fully vari-angle screen too, which we love.

You wouldn’t pick the 250D specifically for video, but it still does a pretty fair job. It can shoot both 1080p and 4K, even if 4K does come with a crop factor and some restrictions on autofocus.

It also has a 24MP CMOS sensor, so it’s going to be great for stills photography and will largely match anything its APS-C rivals can do.

But perhaps the biggest draw, especially for students, is the huge range of EF-S lenses out there both in the new and used market. Many of the best Canon lenses are for its DSLRs, if you are on a limited budget. And if you are tempted by the brand new mirrorless Canon EOS R10 or R7, be aware that there are far fewer native EOS R-S lenses for these cameras.

There will come a time when DSLRs like the Canon EOS 250D are finally consigned to the history books – but not quite yet!

Also read…
Best lenses for the Canon EOS 250D

DSLR vs mirrorless cameras

At its core is a new 33MP partially-stacked Exmor RS CMOS sensor, the first of its kind in a Sony Alpha body. The benefit here isn’t just resolution, but speed. Compared to the A7 IV, you get faster readout, reduced rolling shutter, and a noticeable boost in responsiveness across both stills and video. With up to 16 stops of dynamic range, a native ISO range of 100–51,200, and a blistering 1/16,000-sec top electronic shutter speed, this is a sensor that’s clearly been designed with demanding hybrid shooters in mind.

That performance leap is backed up by the new BIONZ XR2 processor, which integrates a dedicated AI unit. In real-world terms, that means more reliable autofocus, improved colour accuracy, and far better consistency in auto white balance from shot to shot. It also unlocks blackout-free continuous shooting at up to 30fps with full AF and AE, making the A7 V feel far more like a sports and wildlife camera than its positioning might suggest.

Video shooters are equally well catered for. The A7 V offers 7K-oversampled 4K 60p video, along with high-speed 4K 120p recording using a Super 35 crop. For content creators juggling photography, video, and social output, this flexibility is a big win, especially when paired with Sony’s class-leading autofocus and subject tracking that works just as confidently in video as it does for stills.

Sony has also added some genuinely useful shooting tools that go beyond headline specs. Pre-Capture allows the camera to buffer images before the shutter is fully pressed, which can be a lifesaver for unpredictable action. Speed Boost can be assigned to a function button, letting you instantly ramp up your frame rate when the moment demands it. There’s also greater flexibility with raw files, including new lightweight raw options and a Composite RAW mode that combines multiple frames for cleaner, lower-noise images at higher ISOs.

Rounding things off is a revised 5-axis in-body image stabilisation system rated up to 7.5 stops in the centre of the frame, alongside a refined 759-point phase-detection AF system covering roughly 94% of the sensor.

Subject recognition is now significantly faster for animals and birds compared to the A7 IV, borrowing heavily from Sony’s flagship cameras. With stock now live at B&H and Adorama, the Sony A7 V looks every bit the workhorse hybrid camera many creators have been waiting for.

The ¥5 billion investment – which is about $32 million / £23.95 million / AU$48.5 million / CA$44.2 million – will be used to expand production facilities for Instax. The funds are being directed towards the expansion of the Ashigara Site at the Kanagawa Factory in Japan.

But the expansion, which is expected to begin in the spring of 2026 and be fully operational by that same fall, is the third time that the company has expanded Instax production in almost as many years. The company first expanded Instax production in 2022, then again in 2023.

Combined with the investment announced at the tail end of 2025 that will be put into place before the end of 2026, that’s an ¥11.5 billion investment, or about $73.8 million / £55.1 million / AU$111.7 million / CA$101.8 million.

While the expansion to be completed in 2026 is expected to increase production by 10 percent, the total increase since the 2022 investment is now about 50 percent.

Instax film is made of 18 layers that work together in order to create a color image. When the camera (or portable photo printer) ejects the film, a pod of built-in chemicals breaks and spreads over the surface of the film. As the film reacts with the developing chemicals, an image appears, a process that takes about 90 seconds.

When the first Instax camera launched in 1998 in Japan with the first Instax Mini camera, the smaller film format was a hit and bolstered the company through the early 2000s. Like the compact camera, however, the instant film camera took a hit when smartphone cameras became popular.

But, the format bounced back and in 2015 expanded to global markets, including the US, bolstered by younger generations and the absence of Polaroid (who later returned, thanks to the Impossible Project). Ten years later, and the format remains popular – and is likely being impacted by the resurgence of nostalgic tech trends. Earlier this year, Fujifilm shared that it had exceeded $100 million in sales of Instax cameras.

The Instax series now has three main film sizes with Instax Mini, Instax Square, and Instax Wide. While Instax still has some simple, easy-to-use models like the Mini 12 and Mini SE, the series also includes cameras with more advanced tools like the Instax Mini 99. Hybrid cameras like the Instax Mini Evo and Wide Evo take both digital images and spit out prints on instant film, while portable printers like the Instax Mini Link 3 turn digital images from any camera into instant film.

Fujifilm says the expansion aims to cater to growing demand for Instax film.

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Take a look at the best hybrid instant cameras or the best instant film cameras.

The top three lenses for the retailer are all new launches with relatively unusual features: the Tamron 25-200mm f/2.8-5.6 Di III VXD G2, the Sony FE 100mm f/2.8 Macro GM OSS, and the Canon RF 45mm f/1.2 STM.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2

As the G2 in the name suggests, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 isn’t exactly a first of its kind, but I would still call the lens a bit of an oddball (in a good way). All-in-one zooms aren’t hard to find, but the Tamron 25-200mm packs a lot of capabilities in a single lens.

First, the lens gives photographers the ability to shoot at a bright f/2.8. Yes, that’s only for the widest angle, but the capability is there for when lighting is limited. Second, there’s the 200mm reach on the long end. But the biggest improvement from the earlier 28-200mm is that the all-in-one also has half macro.

Sony FE 100mm f/2.8 Macro GM OSS

The Sony FE 100mm f/2.8 Macro GM OSS isn’t just the first macro for the high-end GM series – it’s also a 1.4x macro, growing above and beyond the usual 1:1. That gives the lens the ability to enlarge tiny objects beyond lifesize. The lens is also compatible with teleconverters for up to 2.4x magnification.

I had the chance to test the new macro, and the sharpness and stabilization are impressive, living up to the standard that I’ve come to expect from the high-end GM optics.

Canon RF 45mm f/1.2 STM

The Canon RF 45mm f/1.2 STM isn’t just one of the most popular lenses in Japan in November – it’s also on US retailer B&H’s list of the most popular lenses for the YEAR. So why is the lens that Canon only just announced on November 28 already so popular?

Bright f/1.2 primes tend to be pretty pricey, but that’s where the new Canon is a bit of an oddball – it’s just $469 / £479.99 / AU$699.95. While Canon’s pricier primes have features like weather-sealing that the new 45mm does not, it’s a move towards making ultra-bright apertures more accessible to more photographers on limited budgets.

More top 10 lenses

While the top three on Yobodoshi’s list for the second half of November are brand new oddballs, that doesn’t mean more standard focal lengths are falling by the wayside. Rounding out the rest of the top ten list, the list includes:

4. Canon RF 100-500mm f/4.5-7.1 L IS USM
5. Sony FE 24-70mm f/2.8 GM II
6. Sigma 20-200mm f/3.5-6.3 DG Contemporary (E-Mount)
7. Nikon Nikkor Z 24-120mm f/4 S
8. Sony FE 70-200mm f/2.8 GM OSS II
9. Hasselblad XCD f/2.8-4 35-100mm E
10. Nikon Nikkor Z 24-70mm f/2.8 S II

Comparing two weeks of data from Japan to the trendiest lenses of the year at a US retailer is like comparing apples to oranges, but it’s interesting to see a few lenses pop up on both lists, including the Canon 45mm f/1.2, along with the Nikon Z 24-120mm f/4 and the Nikon 24-70mm f/2.8 S II. Seeing a medium format lens on the list may be a bit of a surprise, but less so considering how well the Hasselblad X2D II 100C has been selling.

If the November sales data from Japan is any indication, photographers aren’t afraid to buck the usual focal lengths and go for a lens that’s a bit more unusual.

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Hungry for more trends? These are the most popular cameras in Japan for November. Or, browse the best lenses.

And that’s before you consider casual oddities such as minuscule keychain camera, Kodak Charmera, twin-lens reflex throwback (kind of) Chuzhao Camera, and the effortlessly cool Fujifilm X-Half.

In fact, there have been so many camera releases this year that I couldn’t possibly put them in a single poll. So, I’ve carved up the list into ten different categories, with some inevitable crossover. The categories are: interchangeable lens, compact, full-frame, crop, video, casual, drone, action, instant, and luxury.

All you need to do is scroll down and input your favorite choice for as many or as few categories as you like. Voting will also enable you to see the results of each poll.

Vote for the best camera of the year

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If you enjoyed filling out the polls above, I’ve got more interactive content for you. You can take my photography general knowledge quiz, fill out my photography-themed crossword, or indulge in a little photography wordsearch.

Part of what makes the Canon R50 V such an enticing pick at this price is how much camera you get for under six hundred dollars. It’s built around a 24MP APS-C sensor with Canon’s excellent Dual Pixel CMOS AF II system, which means fast, reliable autofocus that holds onto subjects whether you’re shooting stills or video. For creators who want to capture life as it unfolds, that responsiveness makes a real difference.

Video shooters in particular will appreciate what the R50 V brings to the table. It offers 4K video recording with options up to 60p (with a crop) and Full HD slow-motion capture, and even includes features like Canon Log 3 for greater grading flexibility in post. That’s pro-leaning capability in an affordable mirrorless body, and at this price, it’s a no-brainer upgrade for vloggers, social creators, and documentary shooters alike.

Despite its compact size, the camera doesn’t skimp on thoughtful touches. The fully articulating touchscreen and intuitive control layout make it easy to switch between selfie-style shooting, overhead captures, or more traditional angles without missing a beat. Built-in Wi-Fi and Bluetooth also let you share and stream content straight from the camera so that you can get your work out into the world faster.

Sure, there are a few compromises compared with higher-end models, no in-body image stabilization and a limited native lens lineup at this price point - but that’s almost to be expected here. What you do get is performance that punches well above its weight, especially now that the Canon EOS R50 V has dropped to this price point. For anyone stepping deeper into photography or video, this feels like a camera ready to grow with you.

With $150 off, this deal from Adorama doesn’t just make the R50 V more affordable — it makes it one of the best value cameras around right now. Whether you’re upgrading from a smartphone, expanding your kit, or gifting someone their first serious camera, this price cut turns performance and flexibility into a genuinely exciting buy.

Budget options tend to have a variable aperture rating that’s often disappointingly narrow at the long end of the zoom range. Pro-grade versions tend to have a constant f/2.8 aperture rating, or even faster in some cases. Then there’s a notable disparity in actual zoom ranges, with sizeable differences in everything from the amount of wide-angle coverage to the maximum telephoto reach.

Panasonic itself has launched four different S-system standard zooms for its full-frame cameras over the years, including the Lumix S Pro 24-70mm f/2.8, Lumix S 24-105mm f/4 Macro OIS, Lumix S 20-60mm f/3.5-5.6 (one of my little pleasures) and now this Lumix S 24-60mm f/2.8. Long story short, it shaves 10mm off the telephoto reach of the 24-70mm zoom but maintains the same wide-angle coverage and constant f/2.8 aperture rating, aiming to be one of the best standard zooms and best lenses for L-mount cameras. Let’s dive in.

Panasonic Lumix S 24-60mm f/2.8: Specifications

Panasonic Lumix S 24-60mm f/2.8: Price

Panasonic isn’t the only party in town. Sigma is also part of the L-Mount Alliance, making its own cameras and lenses that go into competition with Panasonic as well as Leica. That gives you even more choice when choosing an L-mount standard zoom, so let’s see how the main contenders stack up in terms of price. With its variable aperture rating, it’s no surprise that the Panasonic Lumix S 20-60mm f/3.5-5.6 is the least expensive, at $648 / £619 / AU$1,079. The ‘alternative trinity’ Sigma 28-70mm f/2.8 DG DN Contemporary isn’t much pricier at $989 / £779 / AU$1,389. This Panasonic Lumix S 24-60mm f/2.8 takes the next ring up the price ladder at $1,048 / £899 / AU$1,899.

Costlier options include the Panasonic Lumix S 24-105mm f/4 Macro OIS at $1,398 / £1,099 / AU$1,699 and Panasonic Lumix S Pro 24-70mm f/2.8 at $2,148 / £1,499 / AU$2,899. Then there’s the fabulous Sigma 24-70mm f/2.8 DG DN II Art at $1,319 / £1,179 / AU$2,450, the super-fast Sigma 28-45mm f/1.8 DG DN Art at $1,489 / £1,299 / AU$2,900 and the extended Sigma 28-105mm f/2.8 DG DN Art at $1,649 / £1,399 / AU$3,200. Overall, the Panasonic 24-60mm looks reasonably priced, although for further comparison, there’s also a similar LK Samyang / Rokinon AF 24-60mm f/2.8 FE for Sony cameras, at a more budget-conscious $899 / £635 / AU$1,209.

Panasonic Lumix S 24-60mm f/2.8: Design & Handling

Panasonic S-system camera bodies started out with a reputation of being bulky and heavy for mirrorless models, but various versions have slimmed down over the years. The same goes for constant f/2.8 alternative trinity zooms, which are generally more compact and shed quite a bit of weight. For a standard zoom that I’m going to be using for everyday, walkabout and travel photography, less is more as far as I’m concerned.

I don’t want to be lugging around heavyweight camera kit if I don’t really need to. Sure enough, this 24-60mm f/2.8 lens is refreshingly compact and lightweight, at 84x100mm / 3.3x3.9" and just 544g / 1.2lb, compared with the Panasonic 24-70mm f/2.8 which comes in at 91x140mm / 3.6x5.5" and 935g / 2.1lb. That makes the 20-60mm lens little more than two-thirds the length and half the weight.

To design and build an f/2.8 standard zoom this small, something has to give. Sure enough, the lens does physically extend as you stretch through the zoom range from 24mm to 60mm but then again, most ‘full-sized’ standard zooms do this as well. The total amount of extension works out to a single inch, as demonstrated by comparing the images above and below.

Good lenses aren’t purely about the quality of the glass, but optical design always plays a pivotal role. Despite its compact nature, the Panasonic packs no less than 14 elements arranged in 12 groups. Of these, there are three aspherical elements, two ED (Extra-low Dispersion) elements and one UED (Ultra ED) element. Aspherical elements help with downsizing and weight loss, as well as potentially enhancing image quality, while ED elements aim to improve clarity and color rendition as well as reducing color fringing.

As for the mechanics of the lens, the manual focus ring is positioned at the front and is a multi-function attraction. When in autofocus mode, you can assign this control ring to other options like aperture adjustment, exposure compensation, shutter speed or ‘Crop Zoom’, where supported by the host camera body. Stepless aperture control is top of my list, at least when shooting video rather than stills.

Just behind the focus ring is the zoom ring, with the usual markings at various focal lengths throughout the zoom range. As I’ve mentioned, some of Panasonic’s cameras feature a Crop Zoom option, which enables you to stretch the maximum effective focal range with a resultant crop of the image size. In most cases, you can extend the effective telephoto reach to as much as 187mm, and the Lumix S1R II takes things even further to 252mm. It just depends how many megapixels you’re willing to bin off along the way.

Moving further back, there’s a customizable function button. Again, you can set this to various options, one of which is ‘Hybrid Zoom’, where you can extend the maximum telephoto reach using just the zoom ring, while still leaving the shortest focal length available. It’s a neat trick and I’m also pleased to see an AF/MF focus mode switch on the barrel, making it quick and easy to swap between focus modes.

Autofocus itself is super-quick and virtually silent, which is usually the case with modern lenses for mirrorless cameras. However, Panasonic has gone the extra mile by incorporating a newly designed Dual Phase Linear Motor, which aims for really rapid, high-precision performance. Both autofocus and manual focus modes can get you really close, with a minimum focus distance of just 0.19m at the wide-angle end and 0.33m at the telephoto end of the zoom range. The resulting maximum magnification doesn’t quite stretch into macro territory, but is a generous 0.3x nevertheless.

Typical of Panasonic lenses large and small, build quality is very good indeed. This one features the usual dust, splash and freeze-resistant construction, as well as a fluorine coating on the front element. The control rings, switch and function button all have a high-quality feel to them, as does the lens in its entirety. As I’d expect, it’s supplied complete with a petal-shaped hood, which helps to reduce ghosting and flare, as well as giving physical protection to the front element.

Panasonic Lumix S 24-60mm f/2.8: Performance

A key performance factor of this lens is its constant f/2.8 aperture. After all, the Panasonic Lumix S 20-60mm f/3.5-5.6 gives even more wide-angle potential and the same (limited) amount of telephoto reach, but is two whole f/stops slower at the long end of its zoom range. Performance bonuses of the f/2.8 lens include the availability of a tighter depth of field for isolating subjects within scenes by blurring the background, and quicker shutter speeds to freeze action under low lighting, without the need to bump up your camera’s ISO setting too far.

Ticking a couple of boxes on my performance wish list, the lens maintains high levels of center-sharpness throughout the zoom range, even when shooting wide-open at f/2.8, although edge/corner-sharpness is more of a mixed bag. Just as important from my perspective, there's pleasantly smooth bokeh in defocused areas.

When it comes to unwanted aberrations, distortion and lateral chromatic aberration are effectively removed with the help of automatic in-camera corrections. Again, that’s very typical of modern lenses designed for mirrorless cameras, especially among lenses that are designed with an eye on compactness and a lightweight build. I also found that resistance to ghosting and flare was good.

As advertised, autofocus is really rapid and proved consistently accurate in my tests. It’s also virtually silent in operation, and the same goes for manual focusing which also relies on the ‘Dual Phase Linear Motor’ to shift optical elements around. All in all, performance is highly impressive.

The outright zoom range isn’t overly generous but the shot above demonstrates the wide-angle perspective on offer at 24mm, the shortest available focal length. The shot below was taken at 60mm, the maximum focal length of the lens, so the pair together give a good feel for the overall zoom range.

Panasonic Lumix S 24-60mm f/2.8: Sample Images

The following gallery of example shots were taken in and around the ‘Underfall Yard’, a historic boat yard in the English city of Bristol. The weather was sunny and rainy at the same time – look out for rainbows!

Panasonic Lumix S 24-60mm f/2.8: Lab Results

We run a range of lab 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 center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is remarkably good at f/4 through to f/11. Wide open at f/2.8 it's slightly less impressive between 35mm and 60mm, but not distractingly so. Corner sharpness is very much a mixed bag though. It's decent enough at 35mm, but mediocre at 24mm and 50mm, especially at larger apertures. Zoom in to 60mm and corners sharpness is downright poor unless you stop down to f/11.

Fringing:

Aberrations are well controlled at larger apertures, just becoming borderline-visible at f/11.

Distortion:

As we've come to expect from modern lenses designed for mirrorless cameras, firmware-based optical distortion correction is heavily relied upon. Without it, the true degree of distortion is revealed. In the case of the Panasonic 24-60mm, there's significant barrel distortion at 24mm, transitioning quickly to moderate pincushion distortion by 50mm.

Panasonic Lumix S 24-60mm f/2.8: Verdict

Just exactly how many ways are there to skin a cat? No, let’s not go there. Let’s just say that standard zooms for L-mount camera are many and varied, so it pays to choose wisely. This Panasonic Lumix S 24-60mm f/2.8 ranks very highly on my list. Sure, its telephoto reach is almost non-existent but Crop Zoom and Hybrid Zoom functions in compatible Panasonic cameras go some way to righting that wrong. Either way, I’m personally more intent on retaining good wide-angle coverage in an alternative f/2.8 ‘trinity’ standard zoom, which is often lost along the way. The lens obliges in this respect, and it’s also refreshingly compact, lightweight and affordable. It’s also strongly built with good weather-resistance, has high-end handling and impressive all-round performance. All in all, I think Panasonic has come up trumps with this one.

Alternatives

The optical path includes five ED (Extra-low Dispersion) elements, 3 HR (High Refractive index) elements and two aspherical elements. The aim is for a combination of excellent sharpness, color fidelity and control over aberrations, with super-smooth bokeh when shooting wide-open at the fast f/1.2 aperture. A particularly well-rounded 11-blade aperture diaphragm is designed to retain maximum quality of bokeh when stopping down.

Handling highlights include an aperture control ring with a click/de-click switch, ideal for stills and video respectively. Further benefits for video capture include minimized focus breathing and virtually silent auto/manual focusing. Autofocus itself is driven by a ‘Quad HyperVCM’ voice coil motor, which Viltrox claims is 1.5 times faster than a regular stepping motor system. Other handling finery includes dual customizable function buttons and an AF/MF focus mode switch. Like some of Nikon’s finest own-brand Z-mount lenses, the Viltrox also features a color OLED screen on the top of its barrel, which can display shooting information like the aperture setting and focus distance.

Build quality benefits from a durable magnesium alloy barrel and metal mounting plate, complete with extensive weather-seals. The mounting plate also features a USB-C port for applying firmware updates, if and when required.

We’ve already seen a seriously sizeable collection of Viltrox Z-mount lenses, from its featherweight ‘Air’ series through to high-performance ‘Pro’ lenses, both for APS-C as well as full-frame Nikon cameras, plus a new AF 85mm f/2 Evo lens.

The 35mm Lab sits at the top of the tree yet still has a highly competitive launch price of $999 / £959.

See our full Viltrox AF 35mm f/1.2 Lab review

Why would this be such a big deal? Many of Canon’s new mirrorless cameras have a vari-angle display that can be flipped out to one side and then rotated up and down, so they already have the same range of motion, right? Not quite, a 4-axis display allows it to be tilted up and down without having to first flip it out – making it a more discreet option for street photographers. This design also reduces the risk of accidentally knocking the screen and damaging it when swung out to the side - it's quite vulnerable to knocks and dings when swung out to the left of the camera body.

The Canon EOS R6 Mark III sadly, doesn’t feature such a screen. So when could we see it? Well, I would eat my hat if Canon doesn’t jump on this technology at some point – it’s simply too good to not use so I think it’s a given the next gen EOS R5 Mark III will have it, though this is still likely to be three years away (if Canon continues on its regular four year product life-cycle).

The more interesting question is will we see a 4-axis screen from Canon before then. I’m not convinced that we would see such technology implemented in a full-frame camera sitting below the EOS R6 Mark III as this would surely ruffle a lot of feathers from those who bought that model. I also don’t think we’ll see a refreshed EOS R3 with the new screen now that Canon has its true flagship EOS R1 to satisfy sports pros.

I actually think a more likely scenario will be for us to see the 4-axis screen tech rolled out in a premium APS-C mirrorless, as this will help Canon get feedback to understand what works and what doesn’t before rolling it out to the R5 Mark III flagship. 

Canon’s EOS R7 was released back in May 2022, so with the average four-year life cycle, maybe we could see it on an R7 Mark II as early as 2026? I'll be keeping my fingers and toes crossed!

Now down to its lowest-ever price of £251.03 from £379.99, this rugged little compact is saving you a very tidy £128.96, and that immediately puts it in the sweet spot for gifting or throwing into a holiday bag without a second thought.

What makes the WG-90 stand out is its unapologetically tough design. This is a camera built for real life rather than careful handling, shrugging off knocks, splashes, sand and cold weather with ease. Whether it’s destined for a family holiday, a festival weekend, or a child’s first “proper” camera, it’s the kind of device you don’t have to worry about once it leaves the house.

Despite its rugged credentials, the WG-90 is still a very capable everyday shooter. Its built-in zoom lens covers a useful range for landscapes, group shots and casual portraits, while the sensor delivers pleasing, punchy images in good light. It’s not trying to be a smartphone replacement for enthusiasts, but it absolutely excels at capturing memories quickly and reliably.

One of the real joys of a camera like this is how freeing it feels to use. You can hand it around at the beach, take it poolside, or toss it into a backpack on a city break knowing it’s designed to cope. That makes it perfect for holidays where the last thing you want to think about is protecting expensive gear from the elements.

At just over £250, the WG-90 also makes a lot of sense as a gift. It’s practical, distinctive, and refreshingly different from the usual tech presents, especially for someone who enjoys the outdoors or wants a camera that’s simpler and more robust than a phone. The fact that this is the lowest price we’ve ever seen only sweetens the deal.

If you’ve been waiting for a no-nonsense compact that’s built to last and easy to love, this Pentax WG-90 deal is well worth a look. Big savings, solid performance, and genuine peace of mind make this one of those rare deals that feels genuinely good value rather than just discounted.

The Canon EOS R100 is sitting at No.1 on Amazon's US and UK bestseller December charts. And this is not the first time the mirrorless is topping sales lists – that kind of sustained demand isn't accidental.

In our buying guide, the Canon EOS R100 was rated as the best beginner camera overall, not because it has the most features, but because it gets the fundamentals exactly right.

For first-time photographers, it delivers what matters most: great image quality, reliable autofocus (AF), simple controls, and access to one of the strongest lens ecosystems in photography.

Crucially, this isn't a camera that beginners will "outgrow" overnight. The R100 is designed to teach photography properly – rewarding curiosity and experimentation – while remaining affordable, compact, and unintimidating

That balance is why it continues to top sales charts well into 2025... Let's take a closer look at the EOS R100.

Why the R100 is such a great beginner camera

At its core, the R100 is built around a 24.1MP APS-C sensor paired with Canon's Dual Pixel CMOS autofocus (AF), a system derived from the brand's professional cameras. Face detection and eye tracking take the pressure off nailing focus, letting beginners concentrate on composition and light.

Canon's guided menu system is another standout feature. Instead of throwing technical jargon at new users, it explains what shooting modes actually do – a subtle but hugely valuable learning tool.

Add a lightweight body, logical button layout, and access to Canon's RF lens range (plus EF lenses via an adapter), and you have a camera that genuinely grows with you.

Two years on, the R100 holds its own. For still photography, it delivers results that are good enough for serious hobbyists, social media, prints, and even editorial use in the right hands. Its continued popularity also means strong availability, competitive pricing, and a healthy ecosystem of accessories.

What about drawbacks – and the Canon EOS R50?

To keep costs down, Canon made some conscious compromises. The fixed, non-touchscreen display is the most discussed, especially compared to the Canon EOS R50, which offers touch control and a more video-friendly design. For some users, that alone will justify spending more.

However, it's important to frame this correctly: the lack of touch control doesn't make the R100 harder to use, just more traditional. Everything is accessible via buttons and the D-pad, and for photographers focused on learning stills, the experience remains intuitive and effective. For more information, read our R100 and R50 comparison.

For pure photographic value, the R100 remains a standout beginner choice in 2025.

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Swift is no stranger to photography, and based on the trove of paparazzi photos of her with the Olympus OM-D E-M10 Mark IV, she’s a fan of the retro look.

The Camp Snap CS-8 certainly fits that description. The CS-8 is a digital camcorder, but it’s made to look and shoot like the Super 8 cine film cameras popular in the 1960s and 1970s. Like the older film cameras, the CS-8 has a large handle and a trigger to start recording, rather than a traditional record button. Retro dials adorn the side of the camera that allow users to choose from a few different retro looks.

Like the OM-D E-M10 Mark IV, fans don’t need Swift-level resources to try the Super 8 digital dupe. The Camp Snap CS-8 retails for $199 / £152 / AU$230.

The CS-8 actually comes from a small business that started when parents were looking for a way for their kid to still be able to take photos at a screen-free summer camp, without the cost and wait of a disposable film camera. Camp Snap is still screen-free, but the brand has also found success among digital minimalists and retro camera fans and has recently expanded to offer the CS-8 camcorder as well as a more advanced screen-free point-and-shoot, the CS-Pro.

Now, if you’re looking for 4K videos with modern sharpness, then skip the CS-8. The CS-8 isn’t about the best possible video quality (in case the price didn’t clue you in). The zoom is rather terrible (so it wouldn’t be my first choice for a football game).

But that’s not what the CS-8 is about. It’s about a retro shooting experience and a retro look to the videos. It’s also about shooting videos in a way that’s fun yet doesn’t pull you entirely out of the memory that’s unfolding. I love the retro filters, which make the footage feel like a distant memory even if they just happened yesterday.

The CS-8 actually feels like it has a lot in common with the OM-D E-M10 Mark IV that Swift has also been spotted with – both are retro, and both are relatively affordable. When Swift was first spotted with the mirrorless camera, a spike in sales followed – and I wouldn’t be surprised if the same thing happens to the CS-8. For now, the Camp Snap website is still listing the retro camcorder as in stock.

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What makes these glasses interesting isn’t just the iconic Wayfarer silhouette — though that, in itself, has timeless appeal. They’re part of the first generation of smart eyewear from the Ray-Ban and Meta collaboration, blending fashion and tech in a way that feels natural rather than gimmicky. You’re getting classic design DNA with modern twists, a cool balance that often gets lost in many other smart glasses attempts.

Wearable tech lives or dies on usefulness, and the Wayfarer AI glasses bring things a step beyond simple audio frames. With hands-free control, you can capture photos and videos, listen to music through built-in speakers, make calls and interact with Meta AI without ever pulling your phone out of your pocket. It’s quietly impressive how much capability lives in what still looks like a pair of stylish sunglasses, and at this price, it’s a far more accessible entry point.

For everyday wearers, there’s also genuine comfort and practicality here. The shiny black frames and G15 green lenses aren’t just good-looking - they provide reliable UV protection and a classic aesthetic that works with almost any outfit. Under the surface, you’ve got respectable battery life and enough storage to hold plenty of media, making them just as enjoyable for daily walks and errands as they are for capturing travel moments or attending social days out.

Tech lovers who follow trends in AI and wearables will recognise that smarter glasses are one of the most talked-about categories right now, even as the technology continues to evolve. These Gen 1 Wayfarers might not be the newest generation on the market, but they represent a proven blend of form and function that’s only just beginning to hit the mainstream. At $224.25, you’re getting this blend of classic style and forward-leaning tech at a pretty compelling price.

If you’ve been on the fence about smart glasses or have wanted a pair of Ray-Bans that do more than just shield your eyes, this deal is one worth considering. It’s not often you see a recognised brand merging tech and design at a discount this generous, and with the winter months ahead, perfect for walks, trips, and capturing memories — they could be a fun and functional addition to your daily carry.

Check out our guide to the best camera glasses

At a glance, it appears to be another evolution of the GR lineage. Still, this model is specifically designed for photographers who want their images to feel a little softer, a little more nostalgic, and a lot more expressive straight out of the camera.

The headline feature is the built-in Highlight Diffusion Filter, or HDF, which replaces the ND filter found on the standard Ricoh GR IV.

Rather than simply cutting light, this HDF filter subtly diffuses bright areas of the frame, blooming highlights, and smoothing transitions for a dreamlike, ethereal look that feels tailor-made for street, night scenes, and atmospheric everyday moments. It’s a conscious aesthetic choice, and one that leans into mood over measurable sharpness without straying from the GR’s fast, reactive shooting ethos.

For anyone wondering exactly what the HDF does, it’s best understood as a controlled softening of highlights rather than a blanket blur. With the filter switched off, images retain the crisp, high-contrast look GR users know well. Turn it on, and point light sources, reflections, and bright edges take on a gentle glow, with smoother roll-off and a more filmic rendering that feels almost analogue in spirit.

Side-by-side before-and-after images make the effect immediately obvious, and crucially, the HDF can be toggled on or off instantly via a dedicated button, making it a creative decision you can make shot by shot rather than a permanent commitment.

Under the hood, the GR IV HDF introduces a new 25.7MP APS-C back-illuminated CMOS sensor paired with the latest GR ENGINE 7 processor. This combination brings a claimed full stop improvement in low-light performance, a faster 0.6-second startup time, quicker overall responsiveness, and an expanded sensitivity range topping out at ISO 204800, whn compared to the predecessor GR III HDF.

Ricoh has kept its flexible 14-bit DNG and JPEG workflow intact, ensuring the camera remains just as appealing to purists as it is to those who want strong JPEGs straight from the camera.

Autofocus performance has also taken a meaningful step forward. Thanks to the new processor and a redesigned, lighter lens, focusing is faster and more decisive, with far less hunting than previous generations. Face and eye detection have been refined, subject tracking is more reliable, and low-light AF is both quicker and more accurate. Ricoh’s much-loved Full Press Snap function remains, allowing photographers to bypass autofocus entirely by slamming the shutter and instantly focusing at a preset distance – a feature that continues to make the GR one of the most instinctive street cameras ever made.

Low-light shooting is further bolstered by a new 5-axis Shake Reduction system, offering up to six stops of compensation. This is a notable upgrade over the previous 3-axis system and helps counter a wider range of camera movements when shooting handheld. Elsewhere, Ricoh has expanded its Image Control options to 12 modes, added a new Cinema profile with Yellow or Green tonal choices, and allowed deeper customization of grain, contrast, and color for those who enjoy crafting a look in-camera.

The GR IV HDF retains the quintessential 28mm-equivalent fixed lens that defines the series, but this too has been reworked. The new 7-elements-in-5-groups optical design delivers improved sharpness and clarity while being smaller and lighter, aiding faster autofocus and quicker deployment.

Macro shooting down to just 2.4 inches, simulated 35mm and 50mm crop modes, an electronic shutter up to 1/16,000 sec, and Full HD video round out a camera that feels deeply familiar, yet quietly more expressive. The silver shutter release button is the only external hint that this GR is doing something a little different – and that difference is very much the point.

The Ricoh GR IV HDF will cost $1,599 / £1,299.

A further specialist version of the GR IV that only shoots black and white images - the Ricoh GR IV Monochrome - is due to be launched early in 2026.