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Updated May 1, 2025

By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• The compact option: Sony a7CR
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested.

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

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

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Read our EOS R5 II Review

See the EOS R5 II Studio Scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.

Buy now:

Buy w/ 24-105mm f/4 at Amazon.comBuy at AdoramaBuy at B&H Photo Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

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

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

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

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video features. But while we found it to be a quite capable camera, its autofocus UI and performance are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering for the savings.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

IQ above all else: Fujifilm GFX 50S II

51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

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

Updated May 1, 2025

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Panasonic S1RII
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

$4999 at Adorama$4999 at B&H Photo What we like:

• Excellent detail capture
• Very high tonal quality
• Ready-to-go JPEG or malleable Raws

What we don't:

• Autofocus not especially fast
• Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.

While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for a less expensive resolution boost: Panasonic S1RII

44MP full-frame BSI sensor | 40fps burst shooting with pre-capture | 8K video up to 30p

The S1RII's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.

Photo: Mitchell Clark

Buy now:

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

• Excellent image quality
• Solid ergonomics
• Extensive video features, codecs and resolutions

What we don't:

• Short battery life
• Autofocus tracking and subject detection lag behind competition
• Small buffer

The Panasonic S1RII is a high-resolution full-frame hybrid camera with a BSI 44MP BSI sensor.

The S1RII doesn't have the highest-resolution sensor, but for landscapes, it can make up for that with its quite capable 177MP high-resolution multi-shot mode, which can compensate for some movement and is processed in camera. It's also quite capable for everyday photography, with high burst rates and tons of video features, though it doesn't have the greatest autofocus system for routinely shooting motion and action.

Image quality is very good, with attractive out-of-camera JPEGs that can be heavily customized with Panasonic's open LUT system. Unlike other full-frame options, it can process its multi-shot high-res mode in-camera. The S1RII is very capable, but its autofocus performance lags behind competitors for action and wildlife. It has a comfortable grip and highly customizable controls, and the menus are laid out well for the rare occasions you'll need to use them. The S1RII is very capable camera, especially for video, but the autofocus system and performance make a compelling argument to spend the bit more for one of its competitors if your shooting includes action and movement.

Click here to read our review of the Panasonic S1RII

Click here to see the Panasonic S1RII studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Want higher single-shot resolution?

While Panasonic's high-resolution multi-shot mode is arguably the best in the business, it won't give you much benefit if you're trying to shoot subjects or scenes with motion. With its 60MP full-frame sensor, the Sony a7R V can capture more detail in single-shot mode than the S1RII. Its autofocus system is also more reliable for non-landscape uses, but while it can shoot 8K, it doesn't have the rolling shutter performance or extra video tools the Panasonic offers.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

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

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

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

• Sensor offers some of the best image quality in its class
• Lovely ergonomics
• 4K/60p (with a minor crop)

What we don't:

• Autofocus interface a bit clunky
• EVF not as high-res as competitors
• Customization a bit limited

Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files. To say the Z7 II is a comfortable camera to hold would be an understatement The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Fujifilm X-T5 Photo: Richard Butler

Buy now:

$1699 at Amazon.com What we like:

• Dedicated dial interface shows your settings
• Detailed 40MP images
• Photo-centric design and feature set

What we don't:

• Autofocus prone to false-positives
• Significant rolling shutter in e-shutter mode
• Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size. The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting. Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.comBuy at AdoramaBuy at B&H Photo Why should you trust us?

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

Leica will be releasing limited edition M11 cameras in six cities for its 100th anniversary.

Image: Leica

Leica is no stranger to limited edition cameras. It celebrated 70 years of the M series with a $23,000 platinum-plated kit and has released a black and gold Q2 in collaboration with Daniel Craig and Greg WIlliams, a streetwear-themed version of the D-Lux 7 and a $50,000 gold-plated M10-P, among a long list of others. It should come as no surprise that the company is releasing a special edition for its 100th anniversary, then.

As part of the 100 Years of Leica celebrations happening in a handful of cities worldwide, Leica is releasing limited edition M11 cameras. These special M11s feature engravings on the top plate for each city where events are hosted throughout the year. The cameras feature a "premium glossy black paint finish" and "stylish black cowhide armouring." The buttons and dials on the top of the camera are silver-chromed. Leica is only releasing 100 units per city, and the top of the camera will feature the serial number. Otherwise, it is the exact same as the standard Leica M11.

The limited edition Leica M11s feature an engraving on the top plate reflecting the city where they are sold, and the edition number out of 100.

Image: Leica

Leica kicked off the special edition M11 in Dubai on January 22, followed by Milan, Italy at the beginning of April. New York is the third city in the lineup, launching today, with the "NEW YORK USA" engraving. Each version is sold exclusively in the respective country. If you're itching for the New York edition, be prepared to spend $10,695 – a mere $1500 more than the standard M11.

Press release:

Leica M11 100 Years of Leica “NEW YORK USA”

Leica Honors 100th Anniversary of the Leica I with Exclusive Special Edition Release, Limited to 100 Units

NEW YORK, May 2nd, 2025 – As part of Leica’s centennial celebrations in New York occurring on May 3rd, 2025, one of the standout highlights is the launch of the new Leica M11 100 Years of Leica “NEW YORK USA”. Celebrating the Leica I, the first mass-produced 35mm Leica camera, this innovation revolutionized the world of photography at the Leipzig Spring Fair a century ago, unlocking a world of new possibilities with its compact design and versatility. To honor this standout moment, Leica has released an exclusive Leica M11 100 Years of Leica “New York USA” edition, which will be available on May 3rd 2025 and offered only in the United States. With a limited production run of just 100 units, this special edition is engraved with the city's name, making it a true rarity.

About the Leica M11 100 Years of Leica “NEW YORK USA”

This special edition includes several unique features that make it a true collector’s item. An individual engraving on the top plate spells out “NEW YORK USA” in combination with the traditional “Leica” engraving. This exclusive anniversary edition of the legendary rangefinder camera comes in a premium glossy black paint finish, inspired by the historical M-Cameras, which creates a distinctive patina over time– an unmistakable feature reflecting the individual story of each and every camera. A harmonious look is achieved thanks to the combination of silver-chromed control elements such as the shutter release, the on/off switch, and the ISO and speed dials, which are decorated with elaborate cross knurling.

The stylish black cowhide armouring lends a certain elegance to the camera, and its distinctive texture is a throwback to the legendary vulcanite leathering of earlier models. Details such as the black chrome-plated hot shoe cover with the anniversary logo “100”, a subtle black screw instead of the red logo, the special serial number from 001/100 to 100/100, and a certificate of authenticity emphasize the uniqueness of this special edition.
The Leica M11 100 Years of Leica “NEW YORK USA” model will be sold exclusively in the United States, at select Leica store locations, starting on May 3rd. The price of this model is $10,695.00.

The Leica M11 100 Years of Leica will also be released in five other distinctive country versions—each limited to just 100 units. Every select country edition will feature unique engravings and special serial numbers, making them true collector’s items. The M11 100 Years of Leica will also be launched in “MILAN ITALY”, “DUBAI UAE”, “SHANGHAI CHINA”, “TOKYO JAPAN” and “WETZLAR GERMANY”. Each of these releases will be limited to just 100 units and available exclusively for purchase in their respective countries.

100 years of Leica: Witness to a century

In 2025, Leica Camera AG is celebrating the 100th anniversary of the Leica I, the first 35mm camera to be mass-produced, which was introduced to the public at the Leipzig Spring Fair in 1925. This groundbreaking camera exceeded all expectations with its compact, portable design, unlocking new possibilities in photography. Under the theme 100 Years of Leica: Witness to a Century, Leica Camera AG commemorates this milestone that transformed photography worldwide. Throughout the year, Leica will host international events in major cities including Dubai, Milan, New York, Shanghai, and Tokyo, showcasing cultural projects and exclusive special product editions. The highlight of the celebration will be the anniversary week in June at the company’s headquarters in Wetzlar. Additionally, the global Leica Gallery network will feature high-caliber exhibitions showcasing works by renowned photographers.

The terms 'content creator' and 'creators' are quite the buzzwords these days. Content creation is so popular that many manufacturers have specifically said they want to appeal to people who claim those titles and are putting out cameras for those users. But you may have wondered who those people are and what camera systems they actually use for their content. A recent video from the Waveform Podcast channel walks through just that, chatting about which cameras they all use for content creation.

The hosts, Marques Brownlee and David Imel, sat down with studio producers Eric Villa and Rich Ho to discuss cameras. They spent time interviewing more than a dozen creators like Casey Neistat, Becca Farsace, Inga Lam, Tyler Stalman, Brittney Janae and more to get insight into what cameras they use and why. They also discussed specific situations in which some cameras may be good or bad and which cameras they don't like at all.

They broke the video down into sections for each major camera brand, touching on Red, Nikon, Blackmagic, Fujifilm, Panasonic, Canon, Sony and even iPhone. While the discussion is centered around cameras from those brands, they also get into topics like camera format, recording format, color science and autofocus. They even touch on which industries tend to use which cameras.

It's a broad discussion that includes a wide range of insights from many different types of content creators. It's a long discussion that shows that the work camera manufacturers have done to court content creators seems to have had at least some payoff.

2025 Color Photography Contest winners

The 2025 Color Photography Contest winners have been announced, highlighting colorful diversity around the world. The contest, hosted by the 1839 Awards, aims to celebrate images that honor color photography and elevate the art of photography worldwide.

This year's panel consisted of judges from the Whitney Museum of American Art, Phaidon Press, Vanity Fair, Artsy, University of Zurich, Dwell, Christie’s, and more. "Among the works entered into this year’s contest, those images that evoke emotion, challenge perception, and offer windows into entirely new realities rose to the top," the contest organizers explained.

The contest selects three professional and three non-professional overall winners. It also selects winners of 14 different categories, including animals, architecture, conceptual, landscapes, people, photojournalism and more.

Participants could submit a series of two to five images to be judged as a group, or choose to enter individual photographs. You can see the winning series and photographs, as well as more of the category winners, on the 1839 Awards 2025 Color Photography Contest website.

1st Place Professional Overall Winner

Artist: Nicola Fioravanti

IG handle: @hacklabo

Title: Morocco, Sentimental Atlas

Description: This project is a heartfelt tribute to the country I hold dear. In Morocco, colors are not merely seen, but experienced. It is also a deeply personal journey, one that seeks to understand the land where the woman I love was born.

2nd Place Professional Overall Winner

Artist: Jatenipat Ketpradit

IG handle: N/A

Title: TSAM · The Dance of Gods

Description: A sacred Tibetan Buddhist ritual, Tsam embodies the divine battle between
good and evil. Through intricate masks, lavish costumes, and precise choreography, monks
channel wrathful deities to purify and protect. This series unveils the mystique of Mongolia’s rarest masked dance tradition.

3rd Place Professional Overall Winner

Artist: Abdelrahman Alkahlout
IG handle: @abd.pix96
Title: Unbroken Spirit: Worship Amid Destruction
Description: A powerful scene of Palestinian civilians praying on the rubble of a mosque
destroyed by Israeli airstrikes. Under a smoke-filled sky, they continue their worship in a place once a sanctuary of peace, now reduced to ruins—symbolizing resilience amid relentless destruction.

1st Place Non-Professional Overall Winner

Artist: Diana Cheren Nygren

IG handle: @dianacherennygrenphotography

Title: Mother Earth

Description: I have mounted scenes of habitation behind acrylic, set within future
landscapes shaped by climate change. Painted frames allude to Earth's next chapter. Scenes of human habitation set against a future post-human landscape ask whether humanity can adapt to what is in store for the planet.

2nd Place Non-Professional Overall Winner

Artist: Xuejun Long

IG handle: N/A

Title: Journey of Life 20

Description: The photo shows a group of flamingos flying over Lake Magadi in Kenya.
Once a freshwater lake, it has now become a highly concentrated salt pan that is severely
alkaline and toxic to most forms of animal and plant life – except for flamingos, which prefer to forage on the surface.

3rd Place Non-Professional Overall Winner

Artist: Trina O’Hara

IG handle: @trinaoharapainter

Title: Flowers for Caravaggio

Description: For seven years I immersed myself in Caravaggio's world. I copied (in paint)
his entire body of work. I made it my mission to see all of Caravaggio's paintings in the flesh. His vision shaped mine. Now, when sunlight hits a vase of flowers, I don't just see it, I see life through Caravaggio's eyes.

Gold - Architecture, Professional

Artist: Svetlana Fadeeva

IG handle: @fadeevaphotography

Title: Doha

Description: This photo was taken in the morning on the grounds of the Qatar National Museum, designed by French architect Jean Nouvel.

Gold - Film/Analog, Professional

Artist: William Mark Sommer

IG handle: @williammarksommer

Title: Pink Donut

Description: Home can be found in many places from the house you live in to the local
donut shop. I remember as a child being amazed by all the donuts in the case, all the color and sizes, and how my father loved the pink ones. Through this nostalgic memory, I was brought home.

Gold - Nature, Professional

Artist: Carla Rhodes

IG handle: @misscarlarhodes

Title: Dancing In The Moonlight

Description: Gliding like a ghost in the moonlight, a flying squirrel dances across the starry
sky, while the moon casts abstract shadows on my house. After months of late nights and
obsessive observation, I made the image I envisioned—a single frame revealing the hidden
magic just beyond our windows.

Gold - Landscapes, Professional

Artist: Stuart Chape

IG handle: N/A

Title: Glacial blue

Description: This series was photographed from a light aircraft and captures the blue
waters of braided blue glacial rivers flowing into lakes from the high mountains of the
Aoraki/Mount Cook National Park in New Zealand. The blue colouration of the water is due to fine silt particles in the water.

Gold - People, Non-Professional

Artist: Arkadiusz Wójcik

IG handle: @awophotographingtheworld

Title: In the net

Description: In the early morning we planned to shoot in a small fish market. Meanwhile, we met a group of people sewing and repairing fishing nets. They do this once every few months so we were extremely lucky

Gold - Animals, Non-Professional

Artist: David Vaughn

IG handle: @davidvaughnphotos

Title: Family Portrait

Description: Southern India looking for the tiger to photography and this mother and 3 cubs drinking from a small pond and I had to wait until they all looked my way and then it happened.

Gold - Event, Non-Professional

Artist: Dylan Tom

IG handle: @dylantom10

Title: Fire Gods of The Malabar Coast

Description: Theyyam is a Ritual art form practiced in Kerala,India. It enacts the life and legend of local heroes who became martyr for the cause of the people and later revered as
Demigods. Fire is a main protogonist which depicts the life and life after death of the legend. the act takes places deep in the.

Gold - Photojournalism, Non-Professional

Artist: Jeremy Skirrow

IG Handle: @undrgrain

Title: Dust and Despair: A Coastal Cry for Water

Description: In rural Peru, around 40% lack reliable water access. Communities like
Huanchaco rely on costly, unreliable truck deliveries due to poor infrastructure. Despite APEC 2024, rural areas face water and waste challenges, deepening inequality and harming agriculture, businesses, and daily life.

When the right conditions align, you can capture the Aurora in most mid-latitudes.

ISO 2500 | 13.0 sec | F2.5 | 14mm

Photo: Kara Murphy

Witnessing the aurora borealis, or Northern Lights, in person is magical. While it can seem intimidating, capturing it on camera doesn’t have to be complicated. Anyone can photograph this natural phenomenon with the right conditions and a little preparation. You only need a dark, clear sky, strong solar activity and the right gear. Whether you’re using a dedicated camera or smartphone, a few simple steps will help you capture the aurora’s bright, bold colors in all their glory. Let’s dive in.

How to find aurora The Aurorasaurus website makes it easy to see where auroras are forecasted.

First and foremost, you need to know how to find aurora. As the name suggests, Northern Lights are most often visible in northern regions like Alaska or Iceland. It's less common to see them in lower latitudes, such as in the southern US. They are most prevalent from late September to late March, with the best chances occurring during the darkest winter months.

Luckily, there are forecasting tools to help you plan when you should get outside. Apps like Space Weather Live (iPhone; Android) and My Aurora Forecast & Alerts (iPhone; Android) provide up-to-date space weather conditions, helping you track when and where the Northern Lights may make an appearance. Aurorasauras, Aurora Forecast and NOAA are websites that also provide aurora forecasting. Of course, you'll also need clear skies, so be sure to use your favorite weather app to check for cloud cover as well.

Capturing the Northern Lights with your phone

The easiest method for capturing the Northern Lights is with your smartphone. A smartphone can also allow you to see aurora that are too dim for our eyes to catch. It's a valuable tool for simply viewing the phenomena, especially in regions that don't get dramatic displays. That's because your phone automatically combines multiple, longer exposures in real time to capture more light than our eyes can catch.

Photographing the Northern Lights with your phone is as simple as point and shoot. Most phones will automatically switch to a night mode setting, so you don't even need to adjust anything. Just be sure to hold your phone very still or, better yet, prop it on something stable or use a tripod to avoid blurry photos.

Capturing the Northern Lights with a camera

ISO 1250 | 20.0 sec | F1.8 | 20mm

Photo: Kara Murphy

If you want to take things to the next level, any camera with manual settings will give you more control. A wide-angle lens (around 10–14mm) will capture a broad view of the sky and the surrounding landscape. However, if you want to focus on a specific subject, like a lighthouse or bridge, you can use a longer focal length (50mm or 70mm). Ideally, choose a lens with a wide aperture, such as F2.8, as it will let in as much light as possible.

No matter what camera you’re using, a sturdy tripod is essential to prevent blur from camera movement while the shutter is open. A remote shutter release is also helpful to avoid shaking the camera when you start to shoot.

Now it’s time to tinker with your settings. Your exact settings will differ based on your location and the conditions on a given night, so you will need to experiment. No matter what, though, always shoot in Raw format for the best image quality and greater flexibility during editing.

• Aperture: As wide as possible, ideally F2.8 or wider.
• Shutter speed: Roughly 5-10 seconds (longer risks averaging the motion out and making the effect less well defined).
• ISO: Start with 800, though increase to the highest level that produces acceptably clean results on your camera as needed.

Hopefully, this gives you a solid starting point. If you’d like to dive deeper into photographing the aurora, you can check out our more in-depth guide.

Adobe examines the popular Landscape Photography subreddit Image: Adobe

Adobe is known for its popular Photoshop and Adobe Lightroom photo editing software, so it doesn't come as a big surprise that it would want to get to know some of its target audience. The company used an API and scraped 300 posts from Reddit's Landscape Photography subreddit (r/LandscapePhotography) containing location tags or descriptions related to the United Kingdom (UK).

Hundreds of photos shared with the 128000-plus-member community over the past year by amateur and professional photographers were examined. The upvote, the ultimate signal to determine the value or worthiness of a post, was considered when Adobe reached out to Reddit users and asked for permission to feature their images in its study.

Here are some other findings the data revealed: The Scottish Highlands is the UK's most popular landscape, as 38 images received a total of 15184 upvotes. Devon is England's top spot with 34 photos getting 1850 upvotes. Gwynedd is the most admired location in Wales and 97% of its posts referenced Mount Snowdon or Snowdonia National Park.

Adobe contacted every Redditor (Reddit user) to get permission to share images it examined in its study.

Images: Adobe

More elusive spots were also identified using what Adobe calls a "Hidden Gem score." As with the popular locations, these locations stood out for the frequency of mentions, user engagement including upvotes and community discussions. To view which destinations made the list, and learn more about this study, visit Adobe's official site. It'll be interesting to see which region is covered next.

The Quiraing Copyright: © OrganizationDue185

Location: Isle of Skye, Scotland

User name: OrganizationDue185

Number of upvotes: 1600+

Seven Sisters Cliffs Copyright: © lillyofthevalley0504

Location: East Sussex, England

User name: lillyofthevalley0504

Number of upvotes: 986

Emsworthy Rocks Copyright: © Amazing_Resident_388

Location: Dartmoor, England

User name: Amazing_Resident_388

Number of upvotes: 752

Old Man Storr Copyright: © Puzzleheaded-Ear9242

Location: Isle of Skye, Scotland

User name: Puzzleheaded-Ear9242

Number of upvotes: 490

Can Idwal & Tryfan Copyright: © RobBishopDrums

Location: Eryri (Snowdonia), Wales

User name: RobBishopDrums

Number of upvotes: 445

Penmachno Copyright: © caizoo

Location: Eryri (Snowdonia), Wales

User name: caizoo

Number of upvotes: 377

Glen Etive Copyright: © AWSMBP13

Location: Buachaille Etive, Scotland

User name: AWSMBP13

Number of upvotes: 365

Y Garn Copyright: © SalesmanPodcast

Location: Eryri (Snowdonia), Wales

User name: SalesmanPodcast

Number of upvotes: 282

Glenariff Nature Reserve Copyright: © Fickle-Decision3954

Location: Northern Ireland

User name: Fickle-Decision3954

Number of upvotes: 243

Devon Copyright: © Amazing_Resident_388

Location: England

User name: Amazing_Resident_388

Number of upvotes: 237

Yorkshire Dales Copyright: © dianinator

Location: England

User name: dianinator

Number of upvotes: 202

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

Canon has announced an RF-mount version of its 75-300mm F4.0-5.6 low-cost full-frame tele zoom lens. Though there are no details yet of a US release.

The company says the Canon RF 75-300mm F4.0-5.6 is based on the existing DC-motor version of the EF-mount 75-300mm F4.0-5.6 III, dating from April 1999.

Like the quarter-of-a-century-old lens, the RF-mount version comprises 13 elements in 9 groups, and has a minimum focusing distance of 1.5m and a maximum magnification of 0.25x, delivered at the 300mm position.

It has 7 aperture blades, a 58mm filter thread at the front and accepts the same, optional. ET-60 lens hood.

At 146mm (5.75") long, the RF-mount version is 24mm longer than the EF-mount version which, not coincidentally, is the difference in flange-back distance between the two mounts. This extra length comes with a 27g increase in weight, taking the new version to 507g (1.11lb).

The lens will primarily be sold as part of a two-lens kit, giving an affordable way to add a lot of reach to Canon's RF-mount cameras.

No details of a US launch have been given, nor has it been explained why it's not being announced alongside other markets. Speculation that Canon USA might be waiting to see what level of tariffs threatened by the US government end up being imposed was met without comment.

The EF-mount version currently sells for $199 on its own or, when combined with a shoulder bag, adds $120 to the cost of the EOS T7 APS-C DSLR.

Press release:

Bring life even closer with the new RF 75-300mm F4-5.6 telephoto zoom lens

London, UK, 29 April 2025 – Today, Canon announces the RF 75-300mm F4-5.6, a lightweight, easy-to-use telephoto zoom lens that’s ideal for users starting out in nature and sports photography with an EOS R System camera.

With its amazing reach and flexible zoom range, the RF 75-300mm F4-5.6 provides creative freedom when shooting photos and video of subjects you can’t physically get close to. Users can keep their distance to avoid disturbing wild animals and birds or zoom right into the action when photographing a sports event from the sidelines. The streamlined design lets users react quickly, with a large zoom ring requiring little more than a quarter of a turn to run through the entire zoom range.

At 300mm it’s possible to get as close as 1.5m to fill the frame with detail, making this lens a practical solution for portraits of animals and people. The long zoom and wide, seven-blade aperture ensure superb separation between a sharp subject and blurred background for a refined look.

This classic entry-level, full-frame 75-300mm lens can be used on any camera equipped with Canon’s advanced RF mount. Paired with an APS-C body such as the EOS R100, it delivers a more powerful 120-480mm effective reach to bring distant subjects even closer. Despite its extensive telephoto coverage, the lens weighs just 507g and is a compact 146.1mm in length when retracted. It’s one of the lightest lenses in its class and ready to go anywhere, from local sport matches to remote nature reserves.

The versatile range of focal lengths, affordable pricing and outstanding portability of the RF 75-300mm F4-5.6 ensure that everyone is able to extend their reach and take their passion further.

Key features of the RF 75-300mm F4-5.6:

• Flexible 75-300mm focal length range for full-frame EOS R System cameras, extending to 120-480mm equivalent view on APS-C models
• 1.5 metre minimum focusing distance at 300mm for frame-filling detail
• Compact and lightweight design: Measures just 146.1mm in length when stored and weighs approximately 507g
• 7-blade circular aperture for beautiful background blur
• Super Spectra coating to reduce ghosting and flare

For more information about the RF 75-300mm F4-5.6, please visit: https://www.canon.co.uk/lenses/rf-75-300mm-f4-5-6/

Canon RF 75-300mm F4.0-5.6 specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length75–300 mmImage stabilizationNoLens mountCanon RF, Canon RF-SApertureMaximum apertureF4–5.6Minimum apertureF32–45Aperture ringNoNumber of diaphragm blades7OpticsElements13Groups9FocusMinimum focus1.50 m (59.06″)Maximum magnification0.25×AutofocusYesMotor typeMicromotorFull time manualNoFocus methodExtending frontDistance scaleNoDoF scaleNoPhysicalWeight507 g (1.12 lb)Diameter71 mm (2.8″)Length146 mm (5.75″)MaterialsPlastic barrel, metal mountSealingNoColourBlackZoom methodRotary (extending)Power zoomNoZoom lockNoFilter thread58 mmHood product codeET-60Tripod collarNoOptional accessoriesSoft Case LP1019

Image: Canon

"We will raise prices and are in the process of estimating the timing and amount of the increase," said Canon, when asked about the impact of tariffs in the US. The response came to questions from analysts at the company’s Q1 financials announcement, with it becoming the first major manufacturer to publically discuss the impact with its investors.

The company reduced its sales forecast for its camera business by ¥25.2BN ($177.4M) to ¥1,011BN ($7.1BN, a reduction of 2.4%), for the year, with the bulk of this reduction coming from changes in expected exchange rates. However, it also said it had accounted for some of the expected impacts of tariffs at a whole-company level, rather than on a per business group basis.

Overall, it said it expected to sell 3M ILCs in 2025, up 6% on last year, with the ¥1,011BN sales estimate still representing a 7.9% increase over 2024.

It says these forecasts are based on the assumption of a 10% tariff being imposed and the reduction of demand that would come from the necessary increase in US prices. The initial announcement called for a 24% tariff on Japanese imports, though the US government then announced a 90-day period at 10%, with negotiations ongoing.

"We produce more products in Japan than other companies"

“We will have an advantage in the field of cameras,” compared with its rivals, it said: “as we produce more products in Japan than other companies.”

The US makes up around 25% of its camera business’s sales, but the company said that should be safe from the worst of the threatened tariffs, as all of its products made in China (which the US administration has said will be subject to 145% tariffs) are primarily sold to the Chinese domestic market.

It says it has “about one or two months’ worth” of inventory already in the US, meaning prices are not expected to increase immediately – tariffs are charged when the good is imported. “We estimate that the impact of tariffs will mainly occur from the latter half of the year,” it says. The company also says it's monitoring ongoing negotiations to determine how they might affect its supply chain and that it will adjust production if necessary, but that "no decision has been made at this point regarding the restructuring of the supply chain due to the impact of tariffs."

For now, Canon has assumed the impact will be localized to the US. “We assumed that there will be no impact on other regions,” is said. But: “if the tariff issue were to trigger a global recession, our assumptions will change.”

However, while the tariffs are likely to hit US consumers, they could have an unexpected benefit for customers in other markets. “There are products such as cameras that are on backorder,” it said: “and even if we cannot ship them to the U.S., we believe that we can ship those products to other regions.”

If you want to read more about how Canon is reacting to the tariffs, the subject is the main topic of discussion in the Q&A document it released alongside its earnings report.

GDT reveals its Nature Photographer of the Year winners

The German Society of Nature Photographers (GDT) revealed the winners and finalists of its annual Nature Photographer of the Year competition. Unlike its European Wildlife Photographer of the Year, open to all European residents, this competition is a members-only affair.

This year, 507 GDT members from 11 countries submitted over 8,000 images for consideration. Following a pre-selection process from a jury, members were allowed to vote for 10 images, each, across categories including Birds, Mammals, Landscapes and Other Animals.

Patience and persistence paid off for Konrad Wothe. He was declared the Overall Winner for his image "Dipper flying through waterfall." A vision spanning over two decades, Wothe credits advances in camera technology for finally making the shot a reality. He initially attempted to capture his vision on film. It took thousands of exposures and countless trips to the dipper's nesting site to get the desired result.

To learn more about Wothe's background, the jury and to view all of the selected images, from the present and past, make sure to visit the GDT's website.

Overall Winner: "Dipper flying through waterfall" by Konrad Wothe Copyright: © GDT Nature Photographer of the Year 2025, Konrad Wothe

Image description: White-throated dipper flying through waterfall.

Runner-up, Birds: "Common redstarts in meadow orchard" by Christian Höfs Copyright: © GDT Nature Photographer of the Year 2025, Christian Höfs

Image description: Territorial fight between two male redstarts in the orchard in front of my house.

Finalist, Birds: "Courtship display" by Karsten Mosebach Copyright: © GDT Nature Photographer of the Year 2025, Karsten Mosebach

Image description: Puffin courtship display during the mating season in Newfoundland.

Category Winner, Mammals: "Chamois" by Radomir Jakubowski Copyright: © GDT Nature Photographer of the Year 2025, Radomir Jakubowski

Image description: Chamois photographed through blades of dew-covered grass in the Vosges.

Runner-up, Mammals: "King of the Alps" by Karsten Mosebach Copyright: © GDT Nature Photographer of the Year 2025, Karsten Mosebach

Image description: An ibex silhouetted against a lake and the blue evening sky in the Alps.

Winner, Other Animals: "West coast dragon" by Dr. Gerald Haas Copyright: © GDT Nature Photographer of the Year 2025, Dr. Gerald Haas

Image description: Wind and waves create striking patterns in the sand along the west coast of Fuerteventura. This dragonfly was a perfect eye-catcher.

Runner-up, Other Animals: "Weevil" by Torsten Christ Copyright: © GDT Nature Photographer of the Year 2025, Torsten Christ

Image description: Unidentified weevil (Curculionidae) on the stem of a mushroom.

Finalist, Other Animals: "Spider disco" by Thomas Kirchen Copyright: © GDT Nature Photographer of the Year 2025, Thomas Kirchen

Image description: A beautiful rainbow of colours caused by the diffraction of sunlight on the fine, silken threads of a spider's web.

Winner, Plants and Fungi: "Stars above" by Paul Kornacker Copyright: © GDT Nature Photographer of the Year 2025, Paul Kornacker

Image description: Quiver trees (Aloe dichotoma) are native to southern Africa. This photo was taken in Namibia near Keetmanshoop.

Runner-up, Plants and Fungi: 'Carnivore' by Klaus Tamm Copyright: © GDT Nature Photographer of the Year 2025, Klaus Tamm

Image description: I discovered this spoonleaf sundew in a bog in North Rhine-Westphalia.

Winner, Landscapes: "Deforestation" by Hanneke Van Camp Copyright: © GDT Nature Photographer of the Year 2025, Hanneke Van Camp

Image description: Even today, old-growth forests in Sweden are regularly cut down and replaced with commercial plantations. Undisturbed forests can harbour over 2000 species (many of which are endangered) and must be preserved at all costs.

Runner-up, Landscapes: "Radiance" by Thomas Froesch Copyright: © GDT Nature Photographer of the Year 2025, Thomas Froesch

Image description: For just a brief moment, the sun broke through the dark clouds and illuminated a waterfall on the Faroe Islands.

Finalist, Landscapes: "Full-circle rainbow" by Peter Schwager Copyright: © GDT Nature Photographer of the Year 2025, Peter Schwager

Image description: Photographed during a doors off helicopter flight over Iceland's highlands at an altitude of approx. 300 metres - a rare spectacle.

Winner, Nature's Studio: "Abstraction" by Katja Manski Copyright: © GDT Nature Photographer of the Year 2025, Katja Manski

Image description: Long-exposure photography unifies the movements of the waves, reeds and camera into an abstract image (Bornholm).

Winner, Special Category, Both eerie and beautiful - Germany's mires: "Misty morning" by Andreas Volz Copyright: © GDT Nature Photographer of the Year 2025, Andreas Volz

Image description: Spider webs in Kochelmoos.

Image: Nothing

British tech brand Nothing only recently announced the Phone 3a and 3a Pro, but it is already back again. This time, it's releasing the CMF Phone 2 Pro. Nothing launched its CMF sub-brand less than a year ago, so this offering marks the start of year two for the new brand. The Phone 2 Pro packs some impressive specs for its affordable price, making it stand out from other phones in this price range.

The camera array on the CMF Phone 2 Pro is very similar to the more expensive Nothing Phone 3a.

Image: Nothing

The CMF Phone 2 Pro's camera array looks very similar to the Nothing Phone 3a, which was already very excellent for its price. The new CMF phone is even more affordable, and seeing these specs on a sub $300 phone is exciting. Most impressive is that the CMF Phone 2 Pro features a dedicated telephoto camera. That's essentially unheard of at this price range, and it's a 50MP telephoto camera to boot.

The 50MP main camera with its Type 1/1.57 (8.16 x 6.12mm) sensor is the exact same as the one used in the Nothing Phone 3a. However, wide-angle fans may be a little disappointed, as that seems to be far less considered here. The Phone 2 Pro features a dedicated ultra-wide with a 15mm equivalent focal length, though it's only 8MP. There's also a 16MP selfie camera.

There are two detachable lenses for the CMF Phone 2 Pro, along with other accessories.

Image: Nothing

Another unique photo-related feature of the CMF Phone 2 Pro is the option to use detachable lenses. The company announced two options: a fisheye and a macro lens. While there are accessory companies making detachable smartphone lenses, we don't often see those provided by the phone maker itself. These are a separate purchase, with each lens priced at €35/£35 (it isn't clear if the lenses will be available in the US, as no US pricing was provided).

The CMF Phone 2 Pro uses Nothing's TrueLens Engine 3 for imaging processing. Nothing said that this algorithm has been optimized over 1000 scenarios to provide enhanced image quality and true-to-life results, no matter the situation. The phone also offers camera presets, so you can quickly switch settings without navigating deep menus.

Beyond the camera, there are some additional standout features with the CMF Phone 2 Pro. The team behind Nothing launched CMF because they felt things had grown boring, lazy and predictable in the mid-range market and wanted to shake things up. The CMF Phone 1 was a highly customizable phone that encouraged people to make it their own, which was unique. The CMF Phone 2 Pro continues that tradition.

Image: Nothing

The CMF Phone 2 Pro retains the modular design of the Phone 1. It allows you to screw on accessories or use the magnetic universal cover for attaching accessories like a phone stand or wallet. It also released the CAD file of the universal cover last week, so the community can create their own 3D-printed designs for the device. The keynote presentation for the Phone 2 Pro showed off a range of creative Phone 1 cases, including some with Lego backs, so there are many opportunities to customize the case.

The CMF Phone 2 Pro comes in four colors.

Image: Nothing

The CMF Phone 2 Pro is available for pre-order now and will be available for purchase on May 6 in two configurations: 8GB/128GB and 8GB/256GB. It is priced at €259/£219 and €289/£249, respectively. In the US, only the larger storage version is available under the company's Beta program for $249.

Press release:

CMF by Nothing Launches CMF Phone 2 Pro, Buds 2, Buds 2 Plus and Buds 2a

Nothing’s sub-brand unveils its second-generation smartphone alongside a trio of earbuds

London, UK - April 28, 2025 – CMF, the sub-brand of London-based technology company Nothing, has today announced four new products - CMF Phone 2 Pro, Buds 2, Buds 2 Plus and Buds 2a.

CMF Phone 2 Pro

With segment-leading performance, a pro-level four-camera system, a wonderfully bright display, and a premium design, CMF Phone 2 Pro is the ultimate daily smartphone. Unique, powerful and fun, CMF Phone 2 Pro is primed for capturing life's moments with a joyful, forward-looking beat and refined design.

The slimmest and lightest smartphone Nothing has ever designed. At 7.8 mm, weighing just 185 g, CMF Phone 2 Pro is nearly weightless - 5% thinner than CMF Phone 1. It comes in an elegant body with an aluminum camera surround – evolved from the first-generation design – and features stainless steel screws for an authentic Nothing feel that unveils the craft behind it. Plus, increased water durability with IP54 - CMF Phone 1 was IP52.

CMF Phone 2 Pro comes in four colours: White, Black, Orange and Light Green. Black and Light Green are crafted with a glass-like back that mimics a frosted glass texture and is bordered with a metallic frame. Refined and minimalist, White is worked with a panelled sandstone finish at the back with an authentic feel and haptics. Orange has a metallic sheen and is the boldest option of all. When designing, we’ve taken care to lend the different iterations a more sophisticated quality, in a considered step up from
CMF Phone 1.

CMF Phone 2 Pro features an advanced four-camera system, complete with a 50 MP main camera with the largest sensor size in its class and capturing 64% more light than CMF Phone 1. For faraway scenes, the powerful telephoto lens uses 6 stacked lenses to digitally zoom onto your subject 20x - the only smartphone with telephoto sensor in this segment. To wrap it up, the 8 MP ultra-wide camera provides an expansive field of view, perfect for everything from landscapes to skylines, while the 16 MP front camera is ready to snap your sharpest selfies.

Now in its 6th generation, the newly upgraded MediaTek Dimensity 7300 Pro 5G processor packs an 8-core CPU that clocks in speeds of up to 2.5 GHz – ready to live up to the demands of heavy multi-taskers. For cutting-edge performance, with 10% quicker processing and a 5% improvement in graphics when compared to CMF Phone 1. Co-engineered with the state-of-the-art TSMC 4 nm process technology for game-changing power efficiency.

With a 5000 mAh battery that lasts nearly one hour longer than Phone 1, CMF Phone 2 Pro effortlessly powers through two days of use on a single full charge.

Wonderfully bright, highly responsive and the largest display to date in the CMF range and best-in-class in its category. Featuring a 6.77" FHD+ flexible AMOLED display that delivers a stunning 1.07 billion hues – nearly 1 billion more colours than CMF Phone 1. HDR photography takes colouration and vibrancy up a level, while Ultra HDR captures enhance the brightness of highlights by 6 to 8 times, increasing peak brightness to 3000 nits – a 50% higher peak brightness than that of CMF Phone 1.

Switch seamlessly between to-do’s and fun with a 1000 Hz touch sampling rate – a 316% uptake compared CMF Phone 1 – and a 120 Hz Adaptive refresh rate CMF Phone 2 Pro retains modularity with three new accessories including Universal Cover, Interchangeable Lenses (Fisheye and Macro), and Wallet/Stand. A key upgrade from CMF Phone 1, is that the second-generation smartphone supports contactless payments with NFC.

CMF Audio

The CMF Buds 2025 lineup ranges across multiple price points making it accessible to all. From everyday audio needs to immersive sessions and personalised sound, there is a pair of CMF Buds for every need and music profile. Each model balances performance, design, and gives users more control over their listening experience.

CMF Buds 2

Buds 2 is a versatile companion for the everyday, balancing sound, comfort and smart features. Complete with Dirac OpteoTM tuning, 48dB hybrid ANC and Spatial Audio Effect, it refines the listening experience, bringing clearer, more dynamic sound.
CMF Buds 2 Plus Buds 2 Plus is built for those who demand more, delivering a next-level audio experience. It’s equipped with Hi-Res LDAC, hearing compensation and full EQ customisation for a rich, balanced sound tailored to your unique hearing profile.

CMF Buds 2a

Buds 2a is the go-to entry-level option, here to deliver clear sound to all. Encased in a lightweight design, it provides essential, high-quality audio with 42dB ANC, a 12.4 mm bio-fibre driver and deep bass for all-day listening.

All products will be available to purchase from nothing.tech and retail partners. Pre-orders open today, April 28, with open sales commencing on May 6.

Pricing and Availability

CMF Phone 2 Pro is available in two models:

• 8 + 128GB - £219 / ₹18,999 / €249
• 8 + 256GB - £249 / ₹20,999 / €279 / $279 (only available in the US via the Beta Program)

CMF Phone 2 Pro accessories:

• Universal Cover - £25 / €25 / ₹999
• Interchangeable Lenses (Fisheye and Macro) - £35 / €35 / ₹999
• Wallet/Stand - £35 / €35 / ₹999
• Bundle 1 - Cover + Wallet/Stand or Lenses - £45 / €45
• Bundle 2 - Cover + Wallet/Stand + Lenses - £65 / €65

CMF Buds 2 - £39 / ₹2,699 / €49 / $59

CMF Buds 2 Plus - £49 / ₹3,299 / €59 / $69

CMF Buds 2a - £29 / ₹2,199 / €39 / $49

All products will be available to purchase from nothing.tech and retail partners. Pre-orders open today, April 28, with open sales commencing on May 6.

Image: Adobe

Last week, Adobe announced that it's opening up the beta for its Content Authenticity app, which launched in private beta last year. This means more people will be able to access the tool's features, which let you add secure metadata to an image claiming that you own it and add a flag asking AI companies not to use it to train their models.

That should be a good thing. But the current implementation could threaten to muddy the waters about what images are authentic and what aren't even further, which is the exact problem the tool was made to solve.

If you're not familiar with the Adobe Content Authenticity app (and don't want to read the in-depth piece we wrote about it when it was launched), here's a quick summary: it's built around the Coalition for Content Provenance and Authenticity (C2PA) Content Credentials system. It lets you add a cryptographically signed piece of metadata that says you made the image. It can also link to social profiles on sites like Instagram, Behance, and, now, LinkedIn. A link to that metadata is also added as an invisible watermark into the image, so it should be retrievable even if someone screenshots it or strips its metadata.

Let's do a quick compare and contrast, though. On the left is what those self-signed credentials look like when viewed in Adobe's inspector, and on the right is what they look like when they come from a camera that bakes Content Credentials into the images it captures. You can interact with the inspector using the source links.

Self-signed credentials (source) Credentials baked into an image at time of capture (source)

If you're paying attention, it's easy to spot the differences. But if you've only seen the first one, the UI doesn't make it clear at all that there's no information on how the image was made. Was it generated with an AI that doesn't apply a watermark or add credentials of its own? Did a human artist spend painstaking hours putting it together? The tool has no idea, but the badge would look the same either way.

Now imagine it wasn't an illustration but a photorealistic image. While the UI doesn't show all the details that it does for a photo that's had credentials since the shutter was taken, it's also not really clear that those are missing. Visually, the tool gives as much credence to a picture that's as verifiably real as it can be as it does to an image that could've come from anywhere.

There's nothing that says the only thing someone's done is upload a JPG or PNG to the tool

It's also a problem of language. If you're inspecting a self-signed image, there's nothing that tells you that the only thing someone's done is upload a JPG or PNG to the tool and check a box to promise that they're the one who owns it. It uses squishy language like "information shared by people involved in making this content" because it has to; there's no way to verify that, not that you'd get that impression if you weren't reading it with a cynical eye.

The inspection part of the tool can show what changes were made to an image, provided that information is included in the Content Credentials.
Screenshot: Mitchell Clark

The worst part is that there are good bones here. While only a handful of cameras generate Content Credentials at time of capture*, tools like Photoshop and Adobe Camera Raw can add metadata of their own, building something akin to a chain of custody. The inspector can show what edits you've applied to an image if you've used Adobe's AI tools at any point and even show if you've composited multiple images together. It should be crystal clear at a glance that images with those credentials are more trustworthy than self-signed ones.

* - And of those, the majority lock the feature behind a license only given out to news agencies and other commercial operations

It is worth noting that Adobe is only one piece of the puzzle – other software developers can implement support for inspecting Content Credentials and make the difference between the types of credentials clearer. Maybe there could be a color-coding system to differentiate credentials that came from a camera versus ones from editing software and tools like Adobe Content Authenticity.

Also, none of this is to say that the self-signing process shouldn't exist because there are good reasons to use it. For example, suppose you have an image with that chain of credentials we talked about. You could use the Adobe Content Authenticity app to watermark it and link it to your socials so you get credit for it; the tool is smart enough to add things on top of existing Content Credentials. Illustrators could also use it to slightly raise the chances that their work will get credited.

Adobe Content Authenticity also lets you add a tag requesting that companies not use your image when building their Generative AI models. While many people would like a way to keep their work from contributing to AI tools, it's worth noting this isn't a silver bullet. Adobe's support documentation explicitly calls the flag a "request," and the legal framework around AI training is still in flux, so few enforcement mechanisms around opt-out requests like this exist.

Screenshot: Adobe

In a blog post, Adobe says it's "working closely with policymakers and industry partners to establish effective, creator-friendly opt-out mechanisms powered by Content Credentials." However, it appears to be early days. The company's documentation says the preference is currently respected by its in-house AI image generator, FireFly, and that a company called Spawning is working on supporting it. Spawning runs what it calls a "Do Not Train registry," which – in theory – lets you submit your work to a single place, which will let several companies know that you don't want it used for their training. Spawning's site currently says that Hugging Face and Stability AI (creators of Stable Diffusion) have "agreed to honor the Do Not Train registry."

It's unclear whether other companies like Google or MidJourney have or are building mechanisms to respect preferences like the ones embedded in Content Credentials. When we asked OpenAI, we were told nothing to share at this time. We've also reached out to Google and MidJourney and will update this article if we hear back.

While it's clear that I think there's work to be done on this app, it does seem like Adobe is willing to improve it. The public beta comes with new features, such as the ability to bulk-add credentials and preferences to up to 50 JPGs or PNGs at a time. Adobe says it'll soon support larger files and more file types and that it's working on integrating the app into programs like Photoshop and Lightroom. Again, though, that's arguably only useful if the inspection tool makes it clear how much stock you should put in those generated credentials or if AI companies writ large start respecting your do-not-train preferences.

You can join the waitlist for the Adobe Content Authenticity beta for free on the company's website. It requires an Adobe account but not a Creative Cloud subscription and works with any JPGs and PNGs, not just ones produced by Adobe apps.

Read our interview with Adobe's senior Content Authenticity Initiative director

Getty Images staff photographer Elsa Garrison is a legend in the sports world, so much so that she's generally known simply by her first name. We previously shared a conversation with Elsa, who provided some insight into her background, career and what it was like being the only female on the sidelines for many events. This video, however, shares a different, more gear- and process-focused perspective.

The video is three years old, so some of Elsa's gear may have changed since then. But it still provides interesting insight into a pro sports photographer's kit and mindset. In the video, Elsa chats about her range of lenses and which ones she uses for different situations. She uses two to three bodies per event, or more if using a remote setup. At the time, her bodies of choice were the Canon EOS R3 and 1D X Mark III, and she touches on the benefits and downfalls of both DSLRs and mirrorless cameras. Seeing someone of her level using a lens adapter is also a good reminder that you don't need the newest gear to create amazing work.

Elsa also talks through some of her favorite photos, giving more insight into how she created them. It's always fun to see experts in their respective fields talk about their process, and this video is no different.

April Editor's photo challenge: RGB

In this month's Editor's photo challenge, we asked you to share your photos featuring a red, green and blue color palette. At this point, it's no surprise that the DPReview community delivered – far from leaving us blue or red with anger, the images we've featured here made us green with envy.

Our top picks on the following pages are presented in random order. You can see all the photos submitted here.

Girl With Llama

Photographer: JeffryzPhoto

Photographer's description: High up in the Andes Mountains of Peru near the Sacred Valley a girl walks with her pet llama. Even the llama is wearing red, green, blue, and white.

Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR

Athens in full spring

Photographer: xenofon

Photographer's description: At the heart of Athens, a metropolis of 3.5 million people, nature can still be present with all its beauty and grandeur. Provided you have the will and the patience to look closely enough.

Equipment: Canon EOS R10 + Canon RF-S 18-150mm F3.5-6.3 IS STM

Cadillac #40

Photographer: Sergio Image

Photographer's description: Going to see a race at the Sebring Raceway had been in my bucket list for many years. So to celebrate my retirement, my wife and I got the tickets and drove to this legendary track. For the first time, I experienced photographing what is now my favorite subject: race cars.

Equipment: Nikon Z9 + Nikon Nikkor Z 24-200mm F4-6.3 VR

RGB - Ryan, Gurcharan and Bhangra Smash Up

Photographer: Peter Freeth

Photographer's description: The band Bhangra Smash Up performing at a charity event, Ryan, one of the band members, captured from the side of the stage with the colourful lighting emphasising the high energy performance that always has everyone on their feet. Band leader Gurcharan looks on, a little too out of focus.

Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VC VXD G2

Busy Bazaar

Photographer: LokeshS

Photographer's description: During the Ramadan festival, the streets around the Shivaji Nagar locality of Bangalore turn into a virtual street fest. Food is the most popular item on sale and street vendors flourish. This picture was taken from behind one such vendor as wraps some kebab for a customer.

Equipment: Fujifilm X-E4 + Fujifilm XF 27mm F2.8 R WR

After The Harvest

Photographer: OCDavo

Photographer's description: A retired International A-160, quietly resting in the tallgrass, its weathered wooden bed and rust-warmed steel telling the story of a bygone era in the soft glow of early morning light.

Equipment: Olympus OM-D E-M5 + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

Cap Fréhel

Photographer: Brecht_BE

Photographer's description: The first summer things opened up again. We stood at the edge of Brittany, wind in our faces, the sea loud and endless. Everything felt sharply, undeniably alive.

Equipment: Olympus PEN-F + Olympus M.Zuiko Digital ED 12-40mm F2.8 Pro

Chlorophyll fluorescence

Photographer: iso rivolta

Photographer's description: Chlorophyll fluorescence shown in a test tube. When excited with UV light, chlorophyll emits red light. The shadow of the tube is both green and blue, the latter from paper's fluorescence.

Equipment: Pentax KP + SMC Pentax-FA 50mm F2.8 Macro

Velvet dresses

Photographer: lei945ca

Photographer's description: In the Swiss Canton of Appenzell, they celebrate an old end-of-year tradition, called «Sylvesterchläuse». Participants wear red, blue, green and yellow velvet dresses, they shake cowbells and jodel during hours going from farmhouse to farmhouse. This is exhausting, so they need a break every now and then to rest and drink. In such a moment I took the picture.

Equipment: Sony Cyber-shot DSC-RX100 VII

Yorkshire phone booth

Photographer: rkny

Photographer's description: Taken in Elsack, Skipton, Yorkshire UK. 2012. My first extended time with the Cannon 50 mm 1.2 L. I was blown away by the Canon 5D with this lens at the time. But looking back at the files, they haven’t aged quite so well when compared with current camera.

Equipment: Canon EOS 5D Mark II + Canon EF 50mm F1.2 L USM

Colors, canal, cloud

Photographer: Anders A

Photographer's description: Mum spoke enthusiastically about the vivid colors of the tulip fields in Holland. I started to wonder what they might look like from above, from a drone. This was in 2015 and drone tech was still very new and far from something everyone had. So, me and my tulip loving friend Ulf drove the 1000 km down to Holland a chilly day in April 2015 and started criss crossing the landscape. And my god, it looked fantastic! This is probably the best shot from the trip, from outside Sassenheim. The canals are used to flood the fields after harvest, to kill off germs and parasites.

Equipment: Sony a7 + Sony FE 35mm F2.8 ZA Carl Zeiss Sonnar T* + HAB Paparazzo heavy lift drone

Woman In Red

Photographer: dasting

Photographer's description: Sunday morning on the bluffs of El Matador State Beach in Malibu, CA, while traveling for work. Taken with my Leica M9 and Canon 50mm f1.8 LTM lens circa 1960 or so.

Equipment: Leica M9 + Canon 50mm f1.8 LTM

Hội An Night Market

Photographer: skitraveler

Photographer's description: On a trip to Vietnam, I spent afternoon and evening in Hội An. I started with a cooking class and then moved onto the night market where the colors are as vibrant as the flavors in Vietnamese cooking. Really liked this row of stalls selling lanterns of all colors.

Equipment: Sony a7R IV + Sony FE 35mm F1.4 GM

Old scary red brick bridge

Photographer: Valery Seregin

Photographer's description: This old bridge was probably useful for pedestrians at one time, but today it is a real challenge. The thing is that its covering is made of oval-shaped stone, so it is easy to stumble and fall. There is nothing to grab onto, there are no railings. Just imagine what it is like to use it in winter when the stones are covered with ice. Climbing onto it is not a problem, the problem is getting down. Dozens of people use it every day. Yes, it is old and beautiful, but it is scary and dangerous at the same time.

Equipment: Fujifilm X20

Kiberg Kitywakes

Photographer: Jon-Sverre

Photographer's description: Kitywakes (3-toed sea gulls) on the harbor of Kiberg (70 degrees north x 30 degrees east - east of Istanbul!), Varanger, Norway this winter. Occupying fishing nets and smelling of Guano.

Equipment: Nikon Z8 + Nikon Nikkor Z 24-200mm F4-6.3 VR

Rainbow Lorikeet

Photographer: SigmaChrome

Photographer's description: These beautiful native parakeets are quite common where I live and they are approachable if you are careful and don't make any sudden moves. This one was feeding on my front lawn.

Equipment: Fujifilm GFX 50R + TTArtisan 90mm F1.25

Candy Factory

Photographer: GrantsImages

Photographer's description: I'm not certain what they make at this factory, but I always imagine that it is fruit flavored life savors. Like the rolls we used to get at the 5 & 10 store when we were children.

Equipment: Nikon D800 + Nikkor AF-S 300mm F4E PF ED VR

Good afternoon Mr. Station Master.

Photographer: Cambrian Coast

Photographer's description: Carrog Station is located on the Llangollen to Corwen heritage railway. Here we see the Station Master Platt saying good afternoon to the resident of the station house.

Equipment: Sony a7R IV + Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS

Moonlight Star Trail Over a Wild Tulips Field - Blufi - Sicily

Photographer: astrodariogiannobile

Photographer's description: What is happening in Holland on this “day”? Nothing except that...we are not in the daytime and we are not in Holland!!! Strange? absolutely yes. We are in Sicily of course and what you see is a real field of wild tulips growing near the village of Blufi.

Equipment: Canon EOS 6D + Canon EF 8-15mm F4L Fisheye USM

Looking for more?

We're already gearing up for our next monthly challenge, but in the meantime, why not check out some of our community challenges? User REHS is hosting a challenge called "Through a door, window or gate," which is now open for submissions, and DrLex is looking for the best non-bird photo you've taken since April 14th. Voting is open for REHS' Sunrise or Sunset challenge and for DrLex's bird photos of 2025 challenge.

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

Shooting with the Sigma BF in London

Photo: Al Power

Editor Richard Butler took the Sigma BF as a travel companion on his recent vacation to the UK. He wrote about the experience of using the camera, but we also wanted to highlight the sample images he shot.

Click here to read Richard's real-world shooting experience with the Sigma BF

The gallery includes a mixture of out-of-camera JPEGs, shot primarily in the Mono and Rich color modes, along with a handful of images reprocessed from Raw in the camera, with adjustments made to highlight or shadow response.

One photo per day with the Sigma BF Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

In addition to his attempts to shoot one 'good' photo per day, Richard also spent a day on a photo walk around London with a friend from his earliest days of digital photography. These shots include more extensive use of the camera's black-and-white mode, again with some examples re-processed in-camera.

A photo walk in London Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

Buy now:

Buy at AdoramaBuy at B&H Photo

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Photos: Sissi Lu, PortKeys, Peak Design, Viltrox

Welcome to the accessory roundup! This week, we have a lot to go over, including a graphic novel about a famous photographer, a phone case that'll survive whatever conditions you find yourself in and a stylish on-camera flash. First, though, let's look at the deals

Deals of the week Photo: Canon

The Canon EOS R6 II is one of our favorite cameras at its price point, and this week it's on sale for $200 off its MSRP putting it right at $2000.

Buy now:

$1999 at Amazon.comBuy at AdoramaBuy at B&H Photo Image: Sony

If you find yourself wanting a bit – okay, a lot – more resolution, Sony's a7R V is also on sale to the tune of $400 off.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo A flash with retro style Image:Viltrox

Viltrox's latest on-camera flash, the Vintage Z1, is designed to fit in with retro-style cameras like the Nikon Zf or Fujifilm X-T series. It has a silver and leatherete finish and its power knob offers a pop of brass-color. Its manual control knob, which gives you access to its seven power levles, also has a bit of retro flaire. It has a single-contact hotshoe interface, giving it wide compatability.

The light comes with a defuser, has a recycle time of 0.2 to 3.5 seconds and can get "up to 10,000 flashes on a full charge," though that number is based on its minimum power output. However, recharging it shouldn't take long: plug in a USB-C lead, and it'll be fully powered within an hour.

Buy at Amazon Buy at B&H A graphic novel for photography nerds Image: Drawn and Quarterly

Even if you don't know the name Eadweard Muybridge, you're almost certainly familiar with his work. He spent the 1800s photographing some of the grandest places in the American West, before casually helping invent the motion picture with his work The Horse In Motion. Now, his story is enshrined in a graphic novel by Guy Delisle called Muybridge, which the publisher says "brings this historical figure and those around him to life through an uncompromising lens."

According to an article in The Guardian about Muybridge, the book doesn't try to turn a complicated, real-life person into a comic book hero. We don't want to spoil too much if you're not familiar with his life – or his criminal trial – but this book probably isn't one to share with younger kids. But if you're interested in the history of photography, it seems like it'll be well worth a read.

Buy at Amazon Buy at Barnes and Noble Buy at IndieBound A tougher case Image: Peak Design

I've long been a fan of Peak Design's Mobile cases, because the SlimLink system lets you securely mount your phone to various camera mounts and tripods, as well as onto bike handles and car dashboards. However, I'm also really tough on phone cases, and the (frankly, beautiful) textile-backed cases haven't lasted long under my "care."

Peak Design's new GNAR case promises an alternative. The company says it has "all the protection, ruggedness, and connect-ability that you could ever want," and it features a TPU bumper and a bezel to keep your cameras safe. The edge is also knurled to make it easier to grip your phone in less than ideal conditions. Despite its extra thickness and the SlimLink connector, the company says it should still work with Apple's MagSafe wireless chargers.

The one downside is its limited compatability: it's currently only available for the iPhone 16 Pro and Pro Max, which is a bummer if you're not rocking the latest from Apple. However, if you are, the case is already on sale – you can snag it for $35.97, instead of its eventual $59.95 MSRP.

Buy at Peak Design Keep your film safe Image: Sissi Lu

While common wisdom says that 800 ISO film and below can safely go through X-ray machines at the airport, it seems like the new CT scanners that have been popping up may be – to borrow a phrase – unsafe for any speed. Photographer and TikToker Sissi Lu is putting out a new bag that you can put your film in that warns security personel not to send it through the machine in seven different languages. It also comes with a card with a message about the sensitive contents of the bag in 21 additional languages, as well as some cute film-themed stickers.

The bag won't keep your film safe if a security guard puts it through the machine anyways, either because they refused to do a hand-check or if you forgot to dig it out of your luggage, but it should at least help a bit with language barriers that pop up – assuming you're lucky enough to get an agent that still knows what film.

Buy at Sissi Lu Monitor on a budget Image: PortKeys

External monitors that can mount to your camera have always been a great tool for filmmakers and videographers, and over the past few years they've been becoming more and more affordable. The Portkeys PT5 III, though, takes it to a new level – it's only $169, but still includes a 5.4" screen that with an 800 nit max brightness as well as assistance tools like waveforms, a histogram, focus peaking and False Color. You can also use it to preview what your Log footage will look like once it has a LUT applied.

The PT5 III can take a 4K30P signal via HDMI, though the display only runs at 1080p at 60fps. At that size, though, that'll be enough for most users. You can run it off a Sony NP-F-style battery, or USB-C, and while it doesn't include a battery, it does come with a sunshade, full-size HDMI cable, micro-to-full-size HDMI cable and a mount.

Buy at Amazon In case you missed it

There have been some accessory news this week that warranted dedicated articles here on DPReview, but we'd be remiss not to tell you about them here:

• Profoto Spot Small offers precision lighting in a compact package
• This new accessory keeps the unique aesthetic of the Sigma BF intact
• Logitech's MX Creative console now supports even more essential editing apps

Read last week's roundup

Remembering Wildlife reveals winning images for its 10th Anniversary book Copyright: © Tristan Dicks/Remembering Wildlife

Remembering Wildlife, a book series focused on conservation, has revealed the 20 winning photos that will be featured in its forthcoming 10th anniversary edition, 10 Years of Remembering Wildlife. The new book, set for release on October 6th, will be the series' most ambitious project yet. It'll bring together images spanning a decade of photographers' work to raise awareness for endangered species.

For the first time, the project will spotlight multiple species rather than focusing on one. This book will showcase not only the winning competition entries but also standout images from the previous nine titles. It will also feature a dedicated section highlighting the plight of the world's most trafficked mammal, the pangolin. The cover image of a pangolin was captured by Tristan Dicks.

All profits from the sale of the book will fund pangolin conservation efforts. Since launching in 2016 with Remembering Elephants, the entire series has sold over 55,000 copies and donated over $1.5 million to 79 conservation projects across 34 countries. This competition drew over 4,500 entries from photographers worldwide, with winners representing Australia, Brazil, the United States, Kenya and Namibia, to name a few.

Founded by British wildlife photographer Margot Raggett MBE, Remembering Wildlife was founded in response to a personal encounter with a poached elephant in North Kenya. For more information and to browse books and prints, check out the organization's website.

"Clash of the Titans" by Alessandro Marena (Italy) Copyright: © Alessandro Marena/Remembering Wildlife

Subject: Rhino, Solio Game Reserve, Laikipia, Kenya

About the image: Illegal poaching of rhinos for their horns means they remain under huge threat. Remembering Wildlife has donated funds to several rhino protection units and conservation projects, helping to provide smartphones fitted with cameras and GPS systems, fuel for patrol vehicles and clothing for rangers.

"A touching moment" by Jagdeep Rajput (India) Copyright: © Jagdeep Rajput/Remembering Wildlife

Subject: Elephant, Corbett National Park, India

About the image: “A young Asian Elephant calf asking for a drink, as mother drinks water from Ramganga river, during hot summer afternoon.”

"Age of Innocence" by Julie Oldroyd (UK) Copyright: © Julie Oldroyd/Remembering Wildlife

Subject: Polar bears, Baffin Island, Canada

About the image: “Baffin Island is one of the most majestic and pristine environments in the world to see polar bears, especially in March and April when the sea ice has frozen. However, with temperatures between -30 to -40 it is also one of the most challenging to ensure you keep your hands warm to press the shutter. We had spent most of the morning and part of the afternoon with this mother and her COYS (Cubs of the year) which were likely a week or so out of their den.

However, just as they were settled the mother got spooked and she and the cubs ran off towards a nearby iceberg. We set off to see if we could spot them and when we got to this iceberg I couldn’t believe my eyes. The mother and cubs were huddled together on top of the iceberg. To witness such intimate moments, such as this one, between the cubs whilst their mother sleeps is something that is a once in a lifetime sighting.”

"Monkey business" by Pedro Amaral (Portugal) Copyright: © Pedro Amaral/Remembering Wildlife

Subject: Gorillas, Bwindi Impenetrable Forest, Uganda

About the Image: “High in the canopy of Bwindi Impenetrable Forest, two young mountain gorillas dangle from the branches, locked in a playful game of chase. Their world is one of curiosity and mischief—tugging, teasing, and tumbling through the treetops as they learn the skills they'll need to navigate life in the wild. But this lighthearted moment is also a testament to a serious conservation success.

Once critically endangered, mountain gorillas are now the only great ape species whose population is increasing, thanks to anti-poaching efforts, habitat protection, and responsible eco-tourism in Uganda, Rwanda, and the Democratic Republic of Congo. In a world where every life counts, these two remind us that the future of their species isn’t just about survival—it’s about thriving, playing, and living wild and free.”

"Bengal Tiger reflection" by Bircan Harper (UK) Copyright: © Bircan Harper/Remembering Wildlife

Subject: Tiger, Bandhavgarh National Park, India

About the image: Weighing up to 260kg and measuring up to 3 metres in length, the tiger is the largest of the big cats. It is found in Asia, from India – where two-thirds of all wild tigers live – through to the Russian Far East and into China.

"African Black Bellied Pangolin" by Alessandra Sikand (USA) Copyright: © Alessandra Sikand/Remembering Wildlife

Subject: Black bellied pangolin, Sangha Lodge, Dzanga-Sangha

About the image: National Park, Central African Republic. The landmark book 10 Years of Remembering Wildlife has a special focus on pangolins – also called scaly anteaters because of their preferred diet.

"5 at blue hour" by Johann du Toit (Kenya) Copyright: © Johann du Toit/Remembering Wildlife

Subject: Cheetahs, Shompole Hide, Kenya

About the image: “Five cheetahs at the Shompole Hide at blue hour.”

"Carried away" by Vicki Jauron (USA) Copyright: © Vicki Jauron/Remembering Wildlife

Subject: Lioness and her cub, Maasai Mara, Kenya

About the image: “A lioness carries one of her two little ones to a new hiding spot in early morning. Taken in 2021 when vehicle traffic was light and we were able to follow without impacting her movements.”

"Leopard enjoying morning sun break" by Ifham Raji (Sri Lanka) Copyright: © Ifham Raji/Remembering Wildlife

Subject: Leopard, Wilpattu National Park, Sri Lanka

About the image: “After three days of heavy downpour this leopard took the opportunity to enjoy the first morning sun break.”

"Puppy love" by Marcus Westberg (Portugal) Copyright: © Marcus Westberg/Remembering Wildlife

Subject: African Wild Dog puppies, Tswalu Kalahari Nature Reserve, South Africa

About the image: Projects that Remembering Wildlife supports include vaccinating domestic dogs to help prevent the spread of rabies to African wild dogs; GPS collars to track their movements and even helped facilitate the translocation of 14 African wild dogs from South Africa and Mozambique to Liwonde National Park and Majete Wildlife Reserve, in a historic project to reintroduce this endangered species to Malawi. Since the successful translocation, pups have been born.

"Enjoying the sunrise" by Mark Meth-Cohn (UK) Copyright: © Mark Meth-Cohn/Remembering Wildlife

Subject: Tigers, Ranthambore Tiger Reserve, India

About the image: “Two sub-adult tiger brothers enjoying the early morning sunrise” Margot Raggett MBE, founder and producer of Remembering Wildlife, said: “It’s an oft-quoted fact that there are more tigers in captivity in the U.S. than there are left in the world, a stark reminder of how the future of tigers might end if conservationists do not continue their focus and their fight. Tigers are a bellwether for the health of an ecosystem. For every tiger protected in the forest, there are plants, trees, insects, birds and other mammals who thrive.”

"In the arms of eternity" by Kim Paffen (Netherlands) Copyright: © Kim Paffen/Remembering Wildlife

Subject: Mountain Gorilla and her baby, Volcanoes National Park, Rwanda

About the image: “A mountain gorilla mother cradles her infant – a portrait of tenderness etched in shadows and light. Here, where Dian Fossey’s legacy still whispers through the bamboo, every touch is a lesson, every gaze a vow. Her quiet strength shields not just her child, but the fragile future of species reborn from the brink.”

"Cold callers welcome" by Mark Meth-Cohn (UK) Copyright: © Mark Meth-Cohn/Remembering Wildlife

Subject: Sloth bear, Ranthambore Tiger Reserve, India

About the image: “Sloth Bear making use of an abandoned building.”

"Sunset scales" by Armand Grobler (South Africa) Copyright: © Armand Grobler/Remembering Wildlife

Subject: Pangolin, Manyeleti Game Reserve, Greater Kruger, South Africa

About the image: “The vibrant colours of a winter dusk highlight the gentle spark of life in our planet’s most trafficked mammal.”

"Mbili bora in the rain' by Xavier Ortega (Spain) Copyright: © Xavier Ortega/Remembering Wildlife

Subject: Cheetahs, Masai Mara, Kenya

About the image: “The famous coalition of 5 cheetahs that ruled the Masai Mara, during a storm.”

There's always an epic amount of work that goes on behind the scenes with any movie, far beyond just the filming portion. In a recent video shared on Kodak's YouTube, director Ryan Coogler (Creed, Black Panther) provides unique insight into some of that process, breaking down the different film formats and aspect ratios in conjunction with the release of his new movie, Sinners.

It's been an incredibly popular video on social media, with people saying it's like "a masterclass" in filmmaking and even making them want to go to film school. One Instagram user, redbikebluebike, even said, "Straight up film school for the public. Free tuition." On YouTube, TheUltimateKawai1 said, "I love this. This didn't feel like a throwaway thing where he was forced to do anything he wasn't comfortable with, this is a guy nerding out over film, educating people about the different formats and then explaining how they apply to his movie."

Indeed, Coogler covers a lot of ground in the video, offering information that goes well beyond this movie in particular. He shows off film strips representing each of the different film formats, from the tiny Super8 film used for home movies all the way up to large format (65mm) film. He even touches on the importance of perforations, explaining that they filmed with two different camera systems for the movie and that this is the first time a movie combines 2.76:1 "Ultra Panavision 70" and 1.43:1 "IMAX" aspect ratios.

Impressively, he also details the different ways the movie will be exhibited, with some theaters showing it in different aspect ratios, different projection methods, and even with different experiences, like 4DX. You can tell that Coogler is incredibly passionate and knowledgeable about what he's talking about, and it's both fascinating and inspirational to watch him explain all of this information.

It's firmware Friday. Once again, Sony and Nikon lead the charge with firmware updates. Nikon even surprised us with an update to a discontinued model. The Coolpix P1000, which has become a meme in photography circles for its insane zooming capabilities, may have been discontinued in March 2024, but that doesn't mean it's been forgotten.

We've rounded up the latest firmware changes for Sony's a7CR, a7S III and a7C II, along with updates for Nikon's Z50 and Zfc cameras. Lenses from Chinese manufacturers TTArtisan and 7Artisans also received improvements. Here's what came out this week.

Sony

a7CR Ver. 2.00 and a7S III Ver. 4.00 firmware updates are identical

You can download the software update using the Creators' App, which is available for iOS and Google Play.

Benefits and improvements

Shooting & Playback functions:

• Allows you to set Recognition Target to Auto, enabling the camera to automatically select subjects such as humans and animals.
• Introduces support for the Framing Stabilizer feature, which automatically adjusts the composition to keep the tracked subject in the same frame position during movie recording mode.
• Adds Dynamic Active mode to SteadyShot for movie recording.
• Allows you to add OK/NG/KEEP flags to clips during or after movie recording.
• Adds a function that automatically creates still images with Shot Marks from movie frames after recordings.
• You can add a Shot Mark while shooting or playing a movie and use it as a mark for selecting, transferring, or editing the movie.
• Improves image quality when applying user LUTs.
• Allows the use of Focus Magnifier and Auto Magnifier in MF while using the Bright Monitoring feature.
• Adds a function that allows you to narrow down played-back images using multiple filters (e.g. Rating).
• Adds the Golden Ratio Grid option to the Grid Line Type setting menu.
• Adds support for the Custom Grid Line feature.
• The Custom Grid Line feature is available as a paid license. Availability depends on country and region.
• Increases the maximum number of images that can be recorded in one folder to 9,999.
• Adds support for importing/switching multiple IPTC Presets.

FTP Transfer & Network functions:

• Allows scheduling of FTP transfers while writing data to the camera's storage media.
• You can now automatically schedule FTP transfer of protected movies and still images.
• Movies/still images transferred via FTP transfer can now be automatically protected.
• You can now continue shooting while transferring captured photos and videos to a smartphone or tablet.
• Transfer to smartphones and tablets can now be resumed even if interrupted in the middle of a transfer.
• You can now transfer only the differences that have not yet been transferred to your smartphone or tablet, or add videos to be transferred during the transfer process.
• Adds support for the Network Streaming function.
• Allows you to upload camera images directly to the Creators' Cloud.
• Displays the Wi-Fi signal strength when the Wi-Fi function is On.

Please note that Ver. 2.9.0 or later of the Creators’ App is necessary for some of the above FTP Transfer & Network functions. The Creators’ App may not be available in some countries or regions. For more information, visit the Creators’ Cloud support website.

Others:

• Allows notifications to be displayed when the latest software is available for your camera.
• WPA and WEP functionalities are no longer supported.
• You will no longer be able to select WPA or WEP when connecting to Wi-Fi.
• Please use the more secure WPA2 or WPA3 moving forward.
• Fixes an issue where the camera operation may become unstable when Pixel Mapping is performed.
• Improves the operational stability of the camera.

The a7C II also got a Ver 2.00 update, with a difference in the benefits and improvements.

Shooting & Playback functions:

• Allows you to set Recognition Target to Auto, enabling the camera to automatically select subjects such as humans and animals.
• Introduces support for the Framing Stabilizer feature, which automatically adjusts the composition to keep the tracked subject in the same frame position during movie recording mode.
• Adds Dynamic Active mode to SteadyShot for movie recording.
• Allows you to add OK/NG/KEEP flags to clips during or after movie recording.
• Adds a function that automatically creates still images with Shot Marks from movie frames after recordings.
• You can add a Shot Mark while shooting or playing a movie and use it as a mark for selecting, transferring, or editing the movie.
• Improves image quality when applying user LUTs.
• Allows the use of Focus Magnifier and Auto Magnifier in MF while using the Bright Monitoring feature.
• Adds a function that allows you to narrow down played-back images using multiple filters (e.g. Rating).
• Adds the Golden Ratio Grid option to the Grid Line Type setting menu.
• Adds support for the Custom Grid Line feature.
• The Custom Grid Line feature is available as a paid license. Availability depends on country and region.
• Increases the maximum number of images that can be recorded in one folder to 9,999.
• Adds support for importing/switching multiple IPTC Presets.

Nikon Image: Nikon

Z 50 updates for Version 2.60 (Mac) and (Windows)

• Fixed an issue where browsing other pictures would not function as expected after using a stretch gesture to zoom in on a picture taken in portrait orientation.

Z fc updates for Version 1.80 (Mac) and (Windows)

Fixed the following issues:

• The values on the control panel would remain on even after the camera was turned off and the lens was removed if [On] was selected for [Connect to smart device] > [Upload while off] in the [SETUP MENU] while the camera was connected to SnapBridge via Wi-Fi.
• The viewfinder display would sometimes be disrupted if the shutter-release button was pressed halfway right before entering playback mode by pressing the playback button while looking through the viewfinder with the monitor closed.
• The viewfinder display would sometimes be disrupted when Picture Control settings were displayed in the i menu.

Coolpix P1000 updates for Version 1.8 (Mac) and (Windows)

• Fixed an issue where the camera would in rare circumstances stop responding after burst shooting.

Lens firmware updates

TTArtisan FUJI-X AF 35mm F1.8 Mark II V1.0.2 update

Image: TTArtisan

• Improved corner vignetting performance.
• Fixed firmware version display errors and focus reset issues on some cameras.
• Improved slow or abnormal autofocus performance on some cameras.
• Must be upgraded with Windows system.
• Do not update this firmware on the AF 35mm F1.8 Mark I.

7Artisans AF50mm f1.8 Z V1.01 update

• Added a feature where switching to full-time AF (AF-F) allows direct transition to manual focus (MF) by rotating the focus ring.
• Reduced power consumption and minimized heat generation.
• Enhanced system stability.

That's all for this week. Make sure you check in every Friday for the latest news on firmware updates for cameras and lenses. Happy updating!

Read last week's firmware roundup

It's not a secret that many people are frustrated with the direction of Instagram. Its list of infractions is long: its default algorithmic feed isn't chronological and pushes content from people you don't follow, the content is over-commercialized, it can't accommodate certain crops, there are too many ads, too many videos and so on. But for so long, Instagram has been the primary platform for photographers and creatives to share their work and build a community. So, where does that leave us?

For those interested in staying involved with social media, Instagram's shifted focus has resulted in anything but a vacuum of options for photographers. Plenty of apps have popped up, and there's even been something of a resurgence of some old-school platforms.

Foto app Images: Foto

The Foto app is one of the newest kids on the block that has popped up as an alternative to Instagram. It doesn't crop your photos or support videos, it's completely ad-free and the feed is chronological. Photos have the option for captions, and you can add and respond to comments on each post. Unlike other alternatives, you can publicly see the like count on each image, though some may consider that a negative. There are no public-facing follower counts, however.

Foto partly stands out from other Instagram alternatives because you can use it for free. In fact, at the time of writing, it is entirely free. There will be a paid "Pro" subscriber plan in the future with features like a portfolio, shop and more. However, the website says that there will always be "a high-quality free tier so anyone can freely use Foto." The app is available on Android and iOS devices, but there is no web-based version at the time of writing.

I've been using Foto a little bit, and I have been impressed by the clean user interface. There isn't a long list of things to check when posting, so it's much simpler and straightforward compared to Instagram. You're also limited to three preset tags on posts, which helps reduce the noise when looking for certain types of content. It's a simple, easy-to-navigate platform that feels refreshing compared to Instagram.

Of course, Foto is quite new, so there will be growing pains as they continue developing the app. That also means lots of opportunities for exciting new features as it improves; you just need to be patient for those. Additionally, while Foto makes it clear that the app is for everyone, even non-photographers, it is inherently going to attract those interested in photography, thereby limiting your audience.

VSCO Images: VSCO

VSCO is perhaps best known as an editing platform with its expansive list of presets and editing tools. However, it also functions as a social media platform that fosters creativity and expression over social metrics. It doesn't display likes, follows or repost metrics publicly, aiming to keep competition and comparison out of the experience. In fact, unless you manually count each like or repost, you can't even see a total on your own images.

There are no ads of any sort and no promoted posts getting pushed to your feed. Put simply, VSCO pared things down to keep the focus on the photos. There aren't even comments on VSCO, so the only text that exists is in the caption field. One of the platform's unique features is the ability to reshare work from others to your profile, allowing you to create your own curated gallery of sorts.

There is a completely free version of VSCO, which allows users to access basic editing tools and share on the platform. However, memberships, at either $30 per year or $60 per year, unlock more features and tools. It's available on Android and iOS devices and there's also a web version.

I've been a VSCO user for years, and one of the things I appreciate is the way the company works to foster creativity and community. Monthly photo prompts and various open calls get you to try new things or share your work. These prompts are an opportunity to gain visibility or even get paid for your work, with VSCO selecting some to promote and license for upcoming campaigns. There's also lots of educational and inspirational content available through the app, making it a place to learn and grow. Plus, the web version of VSCO serves as a platform for people to hire photographers, so it could be a way to connect with clients.

Glass Images: Glass

Glass officially launched in August 2021, shortly after Instagram lead Adam Mosseri said the platform was "no longer just a square photo-sharing app". It initially launched exclusively for iPhones, but is now available for any iOS device, Android, Windows and web. Glass is unique because it is focused on features that appeal to serious photographers, including full EXIF data, camera and lens insights, minimal image compression and support for P3 wide color. Whereas Foto is meant as an app for anyone, Glass is geared toward dedicated photographers.

Like Foto, Glass is ad-free and algorithm-free. Instead, it shows your feed in chronological order. As with VSCO, there are no public likes, shares or follower counts, helping photographers keep comparison and competition out of the equation. It also highlights the work of its members and hosts monthly challenges based around categories.

The downside to Glass is that you can't use it without a subscription. You can sign up for a 14-day free trial, but will need to input credit card information right out of the gate, even if you just want to test it out. Then, the basic membership costs $40 per year. You can also opt for the Patron level, which provides additional support to the team in return for exclusive perks for $131 per year. The founders of Glass explain that because they charge for the platform, they can keep it free of ads and data tracking.

Flickr Image: Flickr

Flickr is one of the original social media platforms for photographers. It was popular when I was just starting out in photography back in the early 2000s. Of course, at the time, it was exclusively a website (the only app I had on my phone was the Snake game). Times have changed, though, and a Flickr app is now available for just about any device.

The feed of work you follow on Flickr is chronological, with no algorithm dictating what you see. You can see stats on images, including views, favorites and comments, so Flickr won't be the place for you if you're trying to avoid those things.

When you favorite an image, it shows up in a gallery on your profile, much like VSCO's Republish feature. You can also create galleries of more specific categories from work you like. In terms of your photographs, they all show up on your Photostream, which is like your Instagram grid. You can break it into Albums as well to categorize things if you like. Flickr can also serve as a backup for storing your work, and it even offers a plugin for Lightroom.

You can use Flickr for free, but it will be somewhat limited. The free version also features ads. FlickrPro lets you see more stats on your work, removes the ads and gives you unlimited storage space. The Pro membership also gives you the option to change the privacy settings of your photos, unlocks 6K display options and unlocks discounts for various companies.

What made Flickr stand out in its heyday was the ability to build community and connections.

What made Flickr stand out in its heyday was the ability to build community and connections. I met two of my good friends through the site as a result of regularly interacting with their work. Those two friends also met through Flickr, coming together from different parts of the country and eventually getting married.

While today's Flickr isn't quite the same as it was back then (what is?), it has seen a resurgence lately, thanks to the frustration with Instagram. That community aspect is still there, and, thanks to the endless groups based on any photographic interest you may have, it is easy to find like-minded people. A quick glance at the groups I am still part of shows that they are very much still active in terms of photos being shared and comments being made.

What are you using social media for?

Earlier this year, a photographer I follow on Instagram shared some posts to their Stories about why they aren't moving to an app dedicated to photographers. They explained that they want their work to be seen by a broader audience and not only exist within a bubble of people who are highly invested in photography. Unfortunately, I can't recall who this was or what type of work they make, but it made me pause and reflect. Their posts raised a valuable question: Why do we share our work on social media?

Of course, the answer to that question will be different for everyone. But it's worth considering, no matter who you are. That's especially true if you're debating moving to a different social media platform since each may cater to a slightly different audience or provide unique tools. Reflecting on why you share your work and what you hope to get out of doing so can help you better understand which type of platform(s) may make the most sense for you.

If your goal is to join a community of (relatively speaking) like-minded photographers, then something like the Glass app, Flickr or VSCO may be the right answer. But if you, like the person on Instagram mentioned above, want to reach a broader audience of non-photographers, apps that cater specifically to photographers likely aren't the best place for you. After all, something like the Glass app could be intimidating for non-photographers, while the subscription adds an extra hurdle, so it likely isn't going to attract those without at least some interest in the medium.

Sharing on a platform designed for photographers is a bit like preaching to the choir or sharing your work only with close friends. There can certainly be benefits to getting validation and speaking the same language as others. After all, sometimes it's just nice to have your work appreciated by those who understand photography. But it will inevitably be a bit limiting in terms of broadening your audience.