Back in April we reported on an intriguing new product that had been revealed at the 2026 NAB show. Called PixelMob, the device was a feature-packed box of tricks from UnifyDrive, a company with a proven history in the portable hard drive and NAS sectors.

PixelMob has been designed to go large on versatility. At its heart is an NVMe SSD that enables image and video backup in the field, with the makers claiming it can automatically back up media from UHS-II SD or microSD cards, with no need for a laptop. In addition to its storage and card-reading capabilities, PixelMob also features a built-in screen, allowing it to double as a portable touchscreen HDMI on-camera monitor; plus, footage can be recorded to the internal storage at up to 4K/30fps.

It even works as a Wi-Fi hotspot, allowing single or batch image sharing without the need for a dedicated app - recipients simply scan a QR code on the PixelMob's screen to download straight from the drive - no internet connection required. And if that wasn't enough, PixelMob packs on-device AI, making it possible to cull photos and choose the best images on location, with minimal user intervention. AI can also enable voice-controlled color grading for photos, all on the device itself, which then exports XMP files supported by software like Lightroom and Capture One.

Two versions of the PixelMob have been revealed: the base PixelMob, with a 5.5-inch screen, and a high-end PixelMob Pro with a brighter 7-inch display, a longer 10-hour battery life, plus the addition of a CFexpress Type B card slot and faster USB4 connectivity.

At the time of the initial NAB reveal, little was known about the PixelMob's pricing and availability. That's now changed, and we can reveal a standard PixelMob will be priced at $699, though it's currently available for $499 with a Kickstarter Super Early Bird discount. PixelMob Pro will retail for $1299, though right now it could be had for $899 with an Early Bird offer. You'll need to add your own choice of NVMe SSD to the device to enable back-ups and internal video recording, but bundle deals are available which include an SSD.

Mass production is expected to commence in late October, with shipments starting in November 2026.

As with any crowdfunded product, a financial backing doesn't necessarily guarantee you'll receive the product itself, but with over $1 million pledged (the original funding goal was $50,000), things look positive for this compelling product.

An FCC filing has been made for the Insta360 Ace Pro 3 – the next generation of the company's 8K action camera. The filing letter for the new one suggests a timeline of confideality on details until March – perhaps the release window?

The original 8K Ace Pro was the first action camera I reviewed to boast 8K, but in the time since it came out, both DJI and GoPro have caught up with the technology and arguably added benefits of their own – not least the sensor sizes which

• 🆕 Ace Pro 3 registered with 🇺🇸 FCC
• 📈 Leaked pictures have implied bigger sensor is coming
• 🔋 Larger battery of 2250mAh is in leaked specs

The two generations of the Ace Pro series, however, retain a degree of their own personality, with a hinged rear display more like those seen on popular vlogging cameras than other action cameras.

Together with a series of accessories which even includes a printer, the device has established itself in the market, as a solid competitor.

The FCC filing includes a larger 2250 mAh battery capacity (beating the 1800mAh of the Ace Pro 2), and plenty of confirmation that the new camera will have dual-band Wi-Fi and Bluetooth, but the other kind of details photographers might be interested in aren't shared in an FCC filing.

In previous editions – and indeed in the entire premium action camera space in recent years – low-light capability has been a significant area of technical growth as companies have added ever bigger sensors, first DJI's Osmo Action series (most recent being Osmo Action 6) and, more recently, the GoPro Mission 1 cameras.

So, we're left with rumors. What we're expecting to see is a 1-inch 50MP image sensor tuned by Leica, which would be consistent with the key competition, previous generations, and the Insta360 Luna Ultra.

There are some photos in the EUT test which shouldn't have leaked from the FCC filing but we've seen, and they seem to show a protruding lens a little bigger than the previous edition, suggesting that bigger sensor might be on the way, and there appears to be a button on the upper left side (power button in a new place?)

It seems impossible to roll back on 8K video, but the more useful 4K at 120fps with 10-bit color might come too.

I've seen no discussion of a variable aperture anywhere yet. DJI has managed this with the Osmo Action 6, and noteably the iPhone 18 Pro series also has the same feature (though the GoPro Missions cameras opted not to and I was told by a representative that it was an unnecessary moving part on an action camera).

We will wait and see (and expect some discounts on the Ace Pro 2).

In the meantime the AcePro 2 has a low-light mode and is one of my choice for our best action camera guide, and I have also assessed it against its key competitors in GoPro Mission 1 Pro v Osmo Action 6 v Ace Pro 2

Sigma has always done things a little differently when it comes to cameras, and while most manufacturers seem happy to follow a familiar formula, Sigma has been responsible for some of the more interesting and unusual designs of recent years. The Sigma BF is perhaps the most obvious example of this, but the original Sigma fp was another camera that challenged what a mirrorless camera needed to look like.

The Sigma FP2 continues the original fp's philosophy of packing as much photographic and filmmaking capability as possible into the smallest body Sigma can manage. This latest generation brings a new 24.5MP partially stacked full-frame sensor, improved autofocus, a tilting screen, more internal storage, and substantially upgraded video capabilities, including 6K open-gate recording.

The FP2 is an L-Mount camera, which means it has access to lenses from Sigma, Panasonic, Leica, and other members of the L-Mount Alliance. It also shares some of its core appeal with the Panasonic Lumix S9 and Sony ZV-E1, two other relatively compact full-frame cameras that aim to appeal to photographers and video creators who would rather not carry around a bulky camera body.

However, I think the closest alternative in terms of capabilities is actually the Panasonic Lumix S1 IIE, which offers a similar set of specs but in a much more traditional mirrorless camera body.

The FP2 is a particularly interesting option for anyone looking for one of the best cameras for filmmaking, especially where weight and size matter, although Sigma is also positioning this as a capable hybrid camera for stills photography.

The question is whether all those impressive specifications can make up for the compromises required to fit everything into such a small package.

Specifications

Price

The Sigma FP2 will be available from November 11, 2026, with prices starting at $2,199 / £1,899 for the body only. There are also two bundle options, with the FP2 and the optional EVF-21 viewfinder costing $2,699 / £2,399, while a kit with Sigma's 50mm f/2 DG Contemporary lens costs $2,749 / £2,419.

Pricing puts the FP2 in an interesting position, as there aren't many cameras that offer exactly the same combination of size, features, and expandability.

The Panasonic Lumix S9 is substantially cheaper and has many of the features that I would want in an everyday full-frame camera, including excellent image stabilization, although it lacks some of the FP2's more advanced video options.

Meanwhile, the Lumix S1 IIE is closer in price, especially when discounts are considered, but offers a more substantial camera body, a built-in electronic viewfinder, a fully articulating screen, and IBIS.

I think the FP2 offers good value if your priority is having the smallest possible camera with a respectable full-frame sensor and serious video capabilities. However, you're paying a premium for that miniaturization, and if size isn't one of your main priorities, there are arguably more practical cameras for the money.

Design & Handling

The first thing that struck me about the Sigma FP2 is obviously just how small it is. I already thought the Panasonic Lumix S9 and Sony ZV-E1 were impressively compact full-frame cameras, but the FP2 manages to be smaller than both, although it is a little deeper and boxier in shape.

Sigma has stuck to the same fundamental design as the original fp, with a simple rectangular body that looks more like a tiny cinema camera than a conventional mirrorless camera. There's very little in the way of unnecessary styling, and the overall design is almost aggressively minimalist.

I think it's a very, very cool-looking camera. However, looking good and being comfortable to use are two very different things.

There is essentially no grip on the front of the FP2, with Sigma instead opting for a completely flat surface. Around the back, there's a tiny rubber thumb rest, but it's not especially substantial, and there isn't much else in the way of molding to help you get a secure hold of the camera.

I own a Panasonic Lumix S9, and one of the first things I did after buying it was get a grip extension. I think I'd have to do exactly the same with the FP2, although that somewhat diminishes the appeal of having such an impressively small camera in the first place.

With a small prime lens attached, the FP2 is a great street and travel setup. I paired it with a compact Lumix 40mm prime, and the combination was incredibly easy to slip into a small sling bag, although it's not quite pocketable.

Unfortunately, larger lenses are another matter. I tried using the FP2 with my Lumix 24-60mm f/2.8, but it shifts the balance to make the camera very front-heavy, and more uncomfortable to hold. I found myself needing two hands on the camera at pretty much all times.

There is no builtin viewfinder, so the optional EVF-21 is – in my opinion – an essential accessory for photographers. This attaches to the side of the FP2 using USB-C and provides a 5.76-million-dot OLED viewfinder that can tilt upwards by 90 degrees.

I had a brief opportunity to try this viewfinder at the FP2 launch event, and I was impressed with its image quality. It's also smaller than the viewfinder offered with the previous generation, although it still adds quite a substantial amount of bulk to the camera.

So with no built-in EVF, you'll likely be relying much more on the screen. Sigma has made one of the biggest improvements over the original fp by introducing a tilting screen. The 3.15-inch display can tilt upwards by 90 degrees and downwards by 45 degrees, making it much easier to shoot from high and low angles.

It's a welcome addition, but I wish Sigma had gone a little further. The screen doesn't flip forward for filming yourself or taking self-portraits, and while a full vari-angle screen would make the tiny camera larger, I would have loved something like the tilting mechanism on the Fujifilm X-E5, which can fold all the way up and over the top of the camera.

Screen quality is otherwise excellent, with a sharp and clear picture that makes composing and reviewing images a pleasure. Unfortunately, I found the maximum brightness a little limiting in direct sunlight, and on particularly bright days in Lisbon where I was testing the camera, I struggled to see the screen clearly. As I didn't have the EVF at the time of testing, that made shooting less precise – and less enjoyable.

The camera's controls are relatively straightforward. On the top are two control dials, a two-stage shutter button, a dedicated video recording button, and a switch for moving between still and cine modes. I really like the tactile feedback from the dials, which have a reassuring click and feel robust.

Around the back, there's another control wheel, an AEL button, and a row of function buttons underneath the screen. The focus point can be moved using the rear controls, although this is not as intuitive as cameras with a joystick, and I ended up mostly tapping the screen to change focus. Some buttons can be customized, including the AEL button, although the customization options are obvious in the menus.

Sigma's OS is really nice. The menus are clean, modern, and without the endless pages of settings that can make some other camera systems feel unnecessarily complicated; however, this simplicity was a double-edged sword, as it is less obvious where I need to go to change certain settings. Sony's menus are a lot, but the page separation and icons do make it faster to navigate.

I also wish Sigma made better use of the touchscreen for menu navigation. While touch functionality is available for certain operations, I found myself wanting to swipe and tap my way through settings.

For connections, there are two USB-C ports, including a 10Gbps USB 3.2 connection for data transfers and external recording, along with a full-size HDMI port. The HDMI connection sits behind a protective cover, although the USB-C ports are left exposed, which gives me some reservations about dust and moisture getting in them. However, according to Sigma, the body has a dust- and splash-resistant construction.

Sigma has also incorporated a ribbed rear section to help dissipate heat, although there is no built-in cooling fan. This passive approach helps keep the camera small, but it's another reminder that Sigma is trying to fit some substantial filmmaking capabilities into an unusually compact body.

The FP2 uses the same 2,200mAh battery as Lumix cameras. Sigma rates it for approximately 370 still images or 130 minutes of video recording, although I was getting a fair bit more than that out of it, getting around twice the shots its rated for.

One final design feature I absolutely love is the inclusion of 70GB of internal storage, alongside the SD card slot. Every camera should have some form of built-in memory as a backup for those occasions when you inevitably forget a memory card.

Performance

The FP2 features a 24.5MP partially stacked full-frame CMOS sensor. For photography, I would usually prefer a few more megapixels from a camera at this price, particularly when there are now plenty of higher-resolution full-frame alternatives, but 24MP is still decent enough for most photography.

Image quality is excellent, with a good amount of fine detail, true-to-life colors, and plenty of flexibility when editing RAW files, which use the DNG format. I spent most of my time testing the FP2 with Sigma's 50mm f/2 and a compact Lumix 40mm prime, and both combinations produced great images from the FP2.

The main limitation comes when you want to crop your images substantially. I enjoy using prime lenses and digital crops, my main walkabout camera is the Fujifilm X100VI, where the higher-resolution sensor gives me plenty of flexibility, but the FP2's 24.5MP sensor doesn't offer quite as much room to play with.

I did notice that the camera's exposure metering had a tendency to produce slightly darker images than I wanted. I found myself regularly adding between +0.3 and +1 EV of exposure compensation to get the brightness I was looking for. But I must mention that I was testing a pre-production camera, so this behavior may change with the final firmware. However, it's something I would keep an eye on, especially if you prefer to shoot JPEGs straight out of camera.

Sigma has also included 13 built-in color modes, including Standard, Calm, Powder Blue, Warm Gold, Teal and Orange, and several more stylized options. These are easily accessible using a dedicated Color button and provide a quick way of changing the appearance of your images without having to edit them afterward.

Personally, I found some of these presets a little too heavy-handed for my tastes. There's something about the more subtle film simulations from Fujifilm that I find particularly appealing, whereas several of Sigma's modes feel more like digital filters.

That's obviously a matter of personal preference, and I'm sure plenty of people will enjoy having these creative options built into the camera, but I generally found myself returning to Standard.

The Standard profile produces nicely balanced colors that feel relatively true to life, with a sensible amount of contrast and saturation and it's a versatile starting point for most photography.

Unfortunately, Sigma doesn't offer the same flexibility as Panasonic's Real Time LUT system, which allows you to load your own color profiles directly onto newer Lumix cameras.

Autofocus has received a substantial upgrade over the previous generation, with the FP2 combining phase and contrast detection and offering subject recognition for people, dogs, cats, and birds.

The AF is good, its very quick, and the face detection works really well, although I had to use single spot autofocus more than I'd like as with wider focus, the FP2 just wasn't as good at picking out subject I was aiming for.

Sigma claims improvements in tracking speed and accuracy, including in low light, and the partially stacked sensor also enables burst shooting at up to 20fps, with Sigma quoting a maximum of 200 JPEG frames or 180 DNG RAW frames at that speed. Although I suspect relatively few buyers will be choosing the FP2 as their primary camera for wildlife or sports photography when there are more ergonomic alternatives with built-in viewfinders and image stabilization.

The biggest photographic compromise is undoubtedly the lack of IBIS. In a world where even some of the smallest full-frame cameras offer effective stabilization, its absence on the FP2 is difficult to ignore.

You can use optical stabilization when it's included in a compatible lens, but this limits the choice of lenses if you want to shoot handheld at slower shutter speeds. It's particularly disappointing given how well the FP2 pairs with compact prime lenses, many of which don't include optical stabilization.

Video performance

While Sigma is positioning the FP2 as a hybrid camera, I think it's pretty clear that filmmaking is where the FP2 is strongest.

The headline feature is 6K open-gate recording, which captures the full 3:2 area of the sensor rather than restricting footage to the usual widescreen aspect ratio.

I'm a big fan of open-gate recording, and I wish it were a standard feature on every camera. Having all that extra image area to work with makes it much easier to reframe footage for different platforms, particularly when you want to create both horizontal videos for YouTube and vertical clips for Instagram or TikTok from the same recording.

The FP2 can record 6K footage at up to 59.94fps using supported compressed formats, while ProRes RAW recording is available at up to 6K 29.97fps. There is also 4K recording at up to 60fps using the full-frame sensor, with higher frame rates of up to approximately 120fps available in crop mode.

Sigma offers a strong selection of recording formats, including H.264, H.265, L-Log, and ProRes RAW, providing plenty of options for filmmakers who want more control over their footage in post-production. And for more demanding workflows, the FP2 can output ProRes RAW to an external SSD connected via USB.

Sigma also claims up to 14.1 stops of dynamic range when shooting in L-Log. I particularly like that Sigma has opted for L-Log, as it gives me less of a headache when grading footage as not all Logs are created equal, and I already have LUTs designed to work with the format.

However, I do wish Sigma had also got in on Panasonic's MP4 Lite format as well. The 3.6K open-gate MP4 Lite files offers an excellent compromise between image quality, file size, and ease of editing, particularly for creators making content for social media. The FP2 has more advanced recording options available, but I would still appreciate a similarly straightforward format for occasions when I don't need the highest possible resolution or bitrate.

For substantial filmmaking, the FP2 also includes a Director's Viewfinder function, support for anamorphic de-squeeze, and professional monitoring tools such as waveforms, zebras, and false color. There is also support for 32-bit float audio recording when using compatible accessories.

However, the lack of IBIS is once again a significant consideration. The FP2 does offer electronic stabilization for video, but this introduces a 1.25x crop, and it cannot be used with 6K recording. However, Sigma has also included the ability to record gyro data alongside footage, allowing you to stabilize clips afterward using software such as Gyroflow.

It's not a perfect solution for anyone who needs the most stable footage immediately, as it introduces an additional step into the editing process, but at least its an option, and I don't really understand why all cameras don't offer it.

If you intend to mount the FP2 on a gimbal, where the FP2's unusually small body becomes a major advantage, particularly when you need to keep the weight of a camera rig down then the lack of IBIS becomes much less of a concern.

Sample Gallery

Early Verdict

I think the Sigma FP2 is one of those cameras that you have to really want, because the things that make it so appealing are also responsible for many of its biggest drawbacks.

Its tiny size is genuinely impressive, and when paired with a compact prime lens, it makes a fantastic little camera for traveling, street photography, or simply carrying around when you don't want to take a bigger camera. Image quality is excellent, the minimalist design is beautiful, and I really appreciate the improvements Sigma has made over the original fp.

However, there's no getting around the lack of IBIS, and I found the absence of a built-in viewfinder particularly frustrating when shooting photographs outdoors. Add a larger lens, and the small body quickly becomes less comfortable to hold, while fitting an optional grip and viewfinder starts to undermine the advantage of having such a compact camera.

The video capabilities are another story. I love the addition of 6K open-gate recording, and the flexibility offered by ProRes RAW, L-Log, external recording, and gyro data makes this a very tempting little camera for filmmakers. I think that's ultimately where the FP2 makes the most sense, particularly for anyone building a compact video rig or looking for a small full-frame camera to use on a gimbal.

The FP2 is a camera I really want to love, and in many ways, I do. However, it's also a camera that asks you to make quite a few compromises in pursuit of something that few other cameras offer.

Alternatives

Classic film lenses often sported a metal design with a focal distance scale – two features that will be part of an entirely new line of premium, classically-inspired lenses from Japanese lens maker Sigma. The Sigma 50mm F/1.4 CL DG Contemporary, expected to launch in the spring of 2027, is the first in what the company says is an entirely new CL lineage designed to “maximize the joy of shooting.”

The upcoming 50mm f/1.4 lens, which is coming to both L-Mount and Sony E-Mount, mixes a metal housing, hood, and magnetic lens cap with a design that’s meant to be lightweight and compact for an ultra-bright aperture prime. Adding to the retro look, the lens will be available in black or silver.

As a development announcement, the lens’ specifications are subject to change, but Sigma’s teaser hints at a design that’s about 2.1 inches / 54mm from the front of the lens to the mount for the L-mount version. The lens is expected to weigh about 13.2 oz / 375g. That’s about half the length of the existing Sigma 50mm f/1.4 DG DN Art and about 45 percent lighter.

While the upcoming lens sports a focal distance chart much like retro manual-focus film lenses, the 50mm f/1.4 uses a newly developed RDD actuator motor for autofocus. Sigma says the new motor uses magnets and coils to move the lens’ focusing unit. The lens doesn’t have an internal focusing design, so the length of the optic changes as the focus adjusts, a move Sigma says was made to keep the overall size compact.

Turning the lens’ manual focus ring will also temporarily switch the lens into manual focus mode without needing to switch back and forth between auto and manual focus modes.

Sigma says the lens uses simulation technology to help control aberrations. “Through exhaustive simulations,” Sigma wrote in the development announcement, “aberrations have been intentionally controlled to achieve a gentle softness within the in-focus plane, smooth and attractive bokeh, and characterful background rendering that helps the subject stand out.”

The lens is built with nine elements in six groups, including three aspherical elements to help control flare and ghosting.

Sigma says the upcoming 50mm f/1.4 is the first in a new CL series of lenses that will use all-metal designs and depth-of-field scales. The lens also has dust and splash seals, as well as a front coating to repel oil and water.

As a development announcement, Sigma hasn’t yet shared a price for the Sigma 50mm F/1.4 CL DG Contemporary, which is expected to arrive in the spring of 2027.

Sigma announced the development of the new series alongside the launch of the new Sigma FP2, a compact hybrid full-frame mirrorless that now shoots up to 6K open gate.

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After six years, Sigma’s super-small minimalist has returned – and the new Sigma FP2 fits 6K open gate, a tilt screen, and a larger-capacity battery inside an even slimmer body.

Announced on October 23, the Sigma FP2 takes the same unusual utilitarian design and hybrid focus as the original FP, but overhauls everything from the sensor to the autofocus. The new sensor has nearly identical still photo resolution at 24.5MP, but upgrades video from 4K to 6K open gate.

The FP2’s sensor also shifts to a partially stacked design. That only gives the burst speed a slight bump from 18 fps to 20 fps – but the buffer moves from a poor 12 shots to a more respectable 200, shifting the ability to maintain that speed from less than a full second to about ten seconds of continuous shooting.

Beyond the speed boost, the updated sensor also improves dynamic range, now up to 14.1 stops.

The original FP’s contrast detection autofocus system felt a bit outdated even in 2020, but the second generation overhauls this too, switching to a hybrid phase detection and contrast detection system. Sigma says that the move improves accuracy and speed, as well as performance in low light.

Like the first generation, the Sigma FP2 is a hybrid that leans a bit heavily towards the video side, with a switch to shift from cinema to still photo modes. Beyond the 6K open gate, the second generation also adds 32-bit float audio. In addition to shooting 12-bit ProRes, the FP2 can also shoot in Leica’s L-Log.

Unchanged from the FP is the camera’s image stabilization, which remains only electronic. That EIS isn’t available at the full 6K resolution, but comes into play for 4K and lower resolutions.

The body design of the Sigma FP2 remains very much in the same spirit of utilitarian, minimalist design – but there are a few key changes. Chief among them is the addition of a tilting LCD screen, which can tilt up to 90 degrees and down to 45 degrees to aid in shooting low and high angles.

The width and height of the camera remain the same, but the depth is a few millimeters smaller, allowing Sigma to once again bestow titles like the world’s smallest full-frame interchangeable lens camera.

While the design is slightly slimmer, the FP2 is heavier than the FP at 460g / 16.2 oz with the battery and memory card installed. The tilting screen and an updated battery with 30 percent more capacity are the likely culprits behind the slight weight increase.

The FP2 has a single SD card slot, but also has 70GB of built-in storage.

In the spirit of the original Sigma FP, the FP2 strips away several features but adds them back in using accessories, creating a compact system meant to be customized. The new EVF-21 external viewfinder, like the new screen, is tilt-capable, sporting 5.76 million dots across the .5-inch OLED.

The LVF-21 mounts over the camera’s built-in screen, helping to cut out glare while magnifying the monitor up to 2.5 times. A new baseplate attaches to that LCD viewfinder accessory and supports video accessories mounted to its 3/8-inch screw posts.

The hot shoe slot, battery charger, and a connector for running AC power are also add-on accessories.

The Sigma FP2 is expected to begin shipping on November 11, retailing for $2,199 / £1899 body only. The camera will also be available in a $2,699 / £2,399 kit with the add-on viewfinder, as well as with a 50mm f/2 DG Contemporary lens for $2,749 / £2,419.

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GoPro’s first mirrorless camera brings adjustable focal lengths and bokeh to the action camera giant – but the fixed-lens Mission 1 cameras just got a hint of that versatility with new lens mods. The new PolarPro Mission 1 close-up filters bring lens mods to GoPro’s new one-inch sensor cameras.

Compatible with both the Mission 1 and Mission 1 Pro, the new PolarPro filters come as a single .5x strength filter, or a three-pack that has a .5x, 1x, and 2x close-up filter inside. The filters allow the fixed-lens Mission cameras to shoot tighter shots, focus closer, and create more background blur.

The Mission 1 and Mission 1 Pro use a fixed-focus wide-angle lens, which means everything from about 24 inches / 60 cm and farther is in focus. While that makes shooting action simpler, it leaves little opportunity to create dramatic background blur.

The close-up filters help with that – but also take away the camera’s almost-everything-is-in-focus style of lens. With the .5 strength filter, everything from about 19.6 in (50cm) to 59 inches (150cm) in front of the camera is in focus. The +1 strength filter takes that to about 17.7-35.4 inches (45-90 cm), and the +2 strength down to a narrow 11.8-19.6 inches (30-50 cm) distance for extreme close-ups.

While filters won’t create the adjustable focus of the swappable lenses on the mirrorless Mission 1 Pro ILS, the filters bring some flexibility to the fixed-lens models. The Mission 1’s larger sensor means the camera doesn’t focus as close as the company’s smaller-sensor cameras. The Hero13 Black, for example, has a minimum focus distance of about 12 inches / 30cm – about twice as close as the Mission 1.

The Mission 1’s longer minimum focus distance may be particularly challenging for holding out the camera for selfies and vlogging without using a tripod or selfie stick. The close-up filters can help the Mission 1 cameras get a close-focus distance closer to smaller sensor cameras like the Hero13 Black.

GoPro says that the .5 strength filter is ideal for vlogging and travel footage, while the stronger +1 and +2 diopters create a more dramatic subject separation and background blur.

The PolarPro close-up filters push onto the front of the Mission 1 and Mission 1 Pro. The filters are built with 16 different coatings to help reduce flare and repel fingerprints. The filters are splashproof, but not designed for underwater shots.

PolarPro says the filters are impact-resistant, and they come with a protective cover (which can also be used while mounted on the GoPro like a lens cap). The filters cannot be stacked, but the new diopters will still work with GoPro’s ND filters and also don’t interfere with the Point-and-shoot Grip or Media Mod.

While GoPro has made lens mods in the past, the new close-up accessories come from filter maker PolarPro – though they will also be sold directly from GoPro’s website.

The single +.5 filter retails for $49.99 / £49.99, with the three-filter set for $99.99 / £100.

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Compact cameras are the ideal companion for everyday shooting, travel adventures and capturing family moments. Best-selling lists in Japan, the US and the UK offer a snapshot of current trends – but some of the same point-and-shoot models keep appearing across different markets and retailers, even years after their launch, in top positions.

Right now, the No.1 best-selling compact camera on Amazon Japan and Amazon US is the Kodak PixPro FZ55. In the UK, it sits third in Amazon's compact camera Top 10. Close behind in Japan is the Kodak Charmera, a keychain camera that's popular due to its retro charm and collectible appeal.

The FZ55 launched in April 2023 and is available for only $139.99 / £129. Two years later, it was named Japan's best-selling compact camera in 2025 – and it continues to hold its own against newer models. So, what explains the FZ55's success?

Why the Kodak Pixpro FZ55 beats them all

Kodak's Pixpro series is known for its straightforward operation and affordable prices. That combination has helped the range find an audience worldwide.

The FZ55 is the standout model, with its predecessor, the FZ45, also proving popular and reaching No.3 in Amazon US's compact camera chart.

The FZ55 is a straightforward point-and-shoot camera with a 16MP sensor, 5x optical zoom and fully automatic operation. It has no headline-grabbing video specifications, elaborate app ecosystem, or attempt to compete on paper with premium compacts.

It focuses on the basics.

The compact camera comeback in recent years has helped fuel interest in models such as the FZ55. Social media trends and growing smartphone fatigue have also played a part, with more people looking for a dedicated camera.

Kodak has been particularly well positioned to benefit from this shift.

While much of the industry has focused on advanced features and hybrid shooting tools, Kodak has leaned into ease of use, portability and affordability.

The FZ55 is a standout example, but the brand's Pixpro C1 has also proved successful since launching in June 2025.

Although compact cameras have evolved considerably, with more options now available for different users and budgets, simplicity and affordability remain powerful selling points.

The FZ55 is a prime example of why a camera launched in 2023 can still outsell newer models.

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Analog photography has been making a comeback over the last few years, including instant film. Now, Fujifilm is working to increase production of its popular Instax film again – a move that’s expected to increase Instax film production by 70 percent compared to 2022 by the time the new production facility begins operations in 2027.

Earlier this week, Fujifilm Japan announced a three billion yen investment at the company’s Ashigara Site Kanagawa Factory – about $18.9 million / £14.2 million / AU$27 million / CA$26.7 million at current exchange rates. The investment will help expand production for Instax film.

The updated production facility is expected to begin operating in the spring of 2027 and be fully operational by the following year. Fujifilm says it's expected to increase film production by 20 percent compared to the current fiscal year.

But, the announcement isn’t the first time that Fujifilm has increased Instax production. Alongside additional investments in Instax from the past few years, the combined enhancements are expected to increase film production by 70 percent compared to 2022.

Last year, Fujifilm said that Instax reached record-high sales numbers for the fifth year in a row. The year before that, Fujifilm reached a 100 million unit milestone in cumulative worldwide sales.

Analog film and retro camera tech have been rising in recent years. Instant film brings some of that same analog charm, but without the wait and cost to send a roll of film to a lab for developing – though Fujifilm’s disposable film cameras have been on the rise in recent years too.

“For Gen Z digital natives that grew up with the ubiquity of smartphone photography and social media, using analog and instant film adds an opportunity to stay ‘present in the moment’ versus significant screen time being spent reviewing, posting, editing, and tracking likes and comments,” Fujifilm North America vice president of marketing and consumer products Ashley Reeder Morgan told Digital Camera World earlier this year.

Morgan also noted that, while at the beginning Instax users tended to skew towards younger generations, in recent years the Instax user group has become more diversified.

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Take a look at the best instant film cameras. Or, read about the new Instax Square 2.

The Canon AE-1 is arguably one of Canon’s most well-known film cameras. The AE-1’s classic look, simple shutter-priority mode, and readily available price make the 1976 camera a popular choice even for modern analog photographers. But the film camera that I bought is actually its less well-known sibling: The Canon A-1.

A few weekends ago, I went to what could only be described as camera nerd heaven: A vintage camera swap hosted by a historical photography club nearby. I’d put a few rolls of film through my Pentax K1000, but I went to the vintage camera sale on the lookout for one feature in particular: Double exposure.

On a majority of film cameras, the shutter is locked after a photo is taken until the film advance lever is pulled, which prevents an accidental double exposure. On cameras that don’t have a double exposure mode, like the Pentax K1000, there’s a workaround that involves partially winding the film roll back to expose the shot a second time.

But the thought of messing with the winder and not getting the film to line up just so made me a bit nervous – hence my search for a film camera with a double exposure mode.

I didn’t have a particular model in mind, just the double-exposure feature, but I was immediately drawn to the iconic look of the A-1. The Canon A-1 has a small lever at the top that will cock the shutter without advancing the film, essentially creating a double exposure mode.

While the double exposure mode is what drew me to the Canon A-1, the more I started exploring the camera’s multitude of features, the more I fell in love with it. The Canon AE-1 shoots in shutter priority mode, but the A-1 can shoot in full manual, aperture priority, shutter priority, and programmed auto exposure.

The A-1 was reportedly the first electronic SLR to combine those four modes that are now standard on pro cameras, as it was the first with an electronically controlled programmed auto exposure mode.

The A-1 may be from 1978, but it uses a microcomputer to display the light meter readings at the bottom of the viewfinder. It even has a built-in self-timer.

The Canon AE-1 is the simpler camera to use, but the A-1 is the camera with more built-in tools. That does make the camera harder to learn. I had to look up a few tutorials, even as someone who shoots digital photos professionally.

I’ve just put my first roll of film through the Canon A-1, and I can’t wait to get it developed. But if first impressions are anything to go by, this is a retro analog camera that I hope will get a lot of use.

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Looking for a vintage film camera? I recommend looking at reputable used camera dealers, like MPB or KEH Camera. Or, take a look at the best film cameras or the best 35mm film.

Leica has never been shy about producing special-edition cameras, but its latest collaboration might just be one of its most exciting yet. The German camera manufacturer has teamed up with Formula 1 to bring a little motorsport magic to its hugely popular Q-series, unveiling the new Leica Q3 43 Formula 1 Edition.

Combining the precision of German engineering with the unmistakable design language of the world's most prestigious motorsport championship, this rather beautiful camera comes dressed in carbon fiber, racing-inspired details, and an exclusive new photographic look. However, with a price tag of $9,950 / £7,300 / AU$14,100, owning a piece of this partnership certainly won't come cheap.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens. However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. It also features a textured black Microvelour covering inspired by Formula 1 steering wheels, with subtle red accents, exclusive F1 branding, and a specially designed rope strap to complete the motorsport-inspired look.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack. Available exclusively for this edition through the Leica Fotos app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens.

However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. There's also a textured black Microvelour covering inspired by the steering wheels found inside Formula 1 cars, while subtle red accents, exclusive F1 branding, and a specially designed rope strap complete the motorsport-inspired appearance.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack.

Available exclusively for this edition through the Leica FOTOS app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

The Leica Q3 43 Formula 1 Edition will be available from October 21, 2026, through Leica stores, the official online store, and selected specialist retailers, priced at $9,950 at Leica Store / £7,300 at LCE. It's also compatible with the existing range of Leica Q3 and Q3 43 accessories.

There's no escaping the fact that this is an incredibly expensive fixed-lens camera, but then again, Leica has never really been about offering the cheapest way into photography. For enthusiasts who happen to love both Leica and Formula 1, this might just be the ultimate combination of two passions.

Trends have revived the point-and-shoot from the dead – and compact mirrorless designs seem to be riding the same wave. But amid the rise of the compact camera and the launch of a one-inch sensor mirrorless camera from GoPro, I can’t help but remember another compact mirrorless from another decade: The Nikon 1 series.

The Nikon 1 series was a line of tiny mirrorless bodies built around a one-inch sensor. The series launched in 2011 with the Nikon 1 J1 and the more advanced V1. At the time, Nikon said the 1 J1 was the world’s smallest and lightest mirrorless camera. The smallest models looked almost like point-and-shoots – though adding a lens made the camera far less pocketable.

Just a year after the series launched, higher-resolution options arrived with the Nikon 1 J2 and 1 V2.

Nikon discontinued the 1 series in 2018 as part of the shift towards the Z system – and that was absolutely the right move for creating more pro mirrorless cameras. But fast forward to 2026, and compact cameras have gotten so trendy that the most popular models are hard to find in stock.

That point-and-shoot trend has bled into mirrorless, as many mirrorless alternatives to popular compact cameras have also made regular appearances on best-seller lists, from the full-frame Sony A7C II to the new Micro Four Thirds OM System PEN. Nikon’s latest launch, the Nikon Z5IIC, takes on this trend and outfits the Z5 II’s sensor into a smaller body without a viewfinder.

It’s not just the point-and-shoot trend that has me fondly remembering the Nikon 1 series, however. GoPro has revived the one-inch sensor mirrorless with the launch of the Mission 1 Pro ILS – though it’s a camera built more for filmmakers than still photographers.

While the Nikon 1 series isn't around anymore, the one-inch sensor launched with the original models is still very much around. That one-inch format is highly popular among point-and-shoot cameras, and now the Mission 1 ILS has brought the format back to mirrorless.

Some of the Nikon 1 features that were unusual at the time, like a 60 fps burst mode using an electronic shutter, are now easy to find among modern, larger sensor mirrorless cameras. But some of the series most unique features are still in the past.

The Nikon 1 AW1 was the first waterproof mirrorless camera. There are plenty of modern splashproof cameras, but the AW1 remains unique in its ability to go underwater without extra housing. Even GoPro's first mirrorless camera is only splashproof if it's paired with a sealed lens, not submersible.

With the viral success of point-and-shoot cameras, I have to wonder – would the Nikon 1 series have been more successful if it launched in 2026 instead of 2011? The series was more popular among casual users than serious photographers who still preferred the larger sensors found in Nikon’s DSLRs.

But the revival of the point-and-shoot trend is driven in part by that same group. A growing number of casual users want to separate taking photos from their smartphones. A number of the most popular point-and-shoot models are options with zoom, which the 1 series lenses offered with swappable (though not usually pocketable) optics.

The rising popularity of compact camera designs is being accompanied by a growing trend of picking up early digicams – and there’s a decent selection of Nikon 1 cameras and lenses available from used camera retailers, sometimes for less than a new point-and-shoot.

That’s the real reason that I can’t envision a modern Nikon 1 series camera – because those old models hit on both the compact and retro trends in one.

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Looking for a modern but tiny Nikon mirrorless? Read about the Nikon Z5IIC, or the crop-sensor Nikon Z30.

Nikon has begun to discontinue the Nikon Z5. That’s according to Japanese news outlet Asobinet, which has reported that camera retailers have listed the full-frame mirrorless camera as discontinued. As it stands, US, UK and Australian markets have not been affected, with the camera still available for purchase and in stock across corresponding Nikon stores.

What would appear to be the beginning of the end for the Nikon Z5 comes just a year and a half after the announcement of the technically superior Nikon Z5II. The Nikon Z5 launched back in July 2020, and although this first-generation Z-Series camera lacks the processing power, whip-fast AF system, and video capabilities of later offerings, its often heavily discounted pricing has made it far and away the cheapest entry point in Nikon’s full-frame mirrorless system.

It’s perhaps no coincidence, then, that Nikon waited until the release of the Nikon Z5IIC, announced just last month, to begin winding down the Nikon Z5. The Nikon Z5IIC retails for just $1399.95 / £1,349 / AU$2,399. Once the Nikon Z5 is gone for good, the Z5IIC will be Nikon’s cheapest full-frame mirrorless offering.

Is the Nikon Z5 still worth it?

If you’re minded to clean up any remaining stock or perhaps even take advantage of a very good used deal, the Nikon Z5 is still a camera that I highly recommend for the right person. If you’re a stills-first photographer who doesn’t need blistering burst speeds, whip-fast AI, and a high-resolution sensor, but wants to get your foot in the full-frame door, it’s still a great camera.

All of Nikon’s Z-Series cameras produce top-quality JPEG and RAW files, and the Nikon Z5 is no different. It also gives you access to the coveted Z system via Nikon’s huge collection of Z series lenses. With all that said, I wouldn’t personally buy the Nikon Z5 at full price. I’d be minded to look for a good deal or used model.

At full price, it’s not all that far off the Nikon Z5IIC. And while the lack of an EVF will be a dealbreaker for some, this latest addition to Nikon’s lineup boasts far better specs. Another alternative, if you’re not married to full-frame, would be the Nikon Z50 II. It has a smaller APS-C sensor, but with a far superior spec sheet.

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Check out the best Nikon camera and the best cheap cameras. Plus, here's the latest camera news.

A compact, creator-friendly full-frame mirrorless camera sounds like an ideal choice for photographers and videographers who want powerful features without carrying bulky gear.

The Panasonic Lumix S9 fits that brief, combining a 24.2MP full-frame sensor with creative tools in a body that Panasonic describes as the "smallest and lightest Lumix S Series camera." It has also earned industry recognition, including the "Best Content Creator Camera" award at TIPA.

But while the camera is currently available at a discounted price in some markets, including the UK, US buyers may face a longer wait to get their hands on one – with expected availability in early 2027.

Lumix S9 discounted, but US buyers face a long wait

UK buyers can currently take advantage of an offer at Wex. The Lumix S9 is available for £799 inc. £200 cashback, with £700 savings off its original £1,499 price.

In the US, B&H lists the Lumix S9 at $1,097.99, reduced from $1,497.99. However, the retailer marks the camera as temporarily out of stock, with expected availability listed for January 18, 2027.

Although some kit versions may still be available, buyers looking for the camera body may have to wait until next year. And this isn't the first time photographers have voiced frustration over getting their hands on a Lumix S9.

Photographer voice frustration over delays

Months ago, photographers were discussing their frustrations with the Lumix S9's availability and shipping process in a Reddit thread.

Some described getting hold of the S9 and L10 as feeling like a "lottery," suggesting that customers had little control over when their orders would arrive.

One photographer who had preordered the Black Titanium edition also questions the point of preordering after experiencing a delay.

"Can we talk about how Panasonic still hasn’t shipped preordered S9 titanium blacks but has restocked and is selling them again in the shop," the user wrote. "There was no point in the preorder and most likely was just used for measuring market interest for future batch manufacturing."

These comments reflect individual customers' experiences and highlight the frustration that can arise when delivery takes longer than expected. The reason for any delays has not been confirmed, and availability may vary by model and retailer, possibly due to electronic component and RAM shortages.

The award-winning mirrorless camera

Since its launch in 2024, the Lumix S9 has repeatedly appeared in Japan's Top 10 camera rankings at various retailers and received several industry awards. It was named the "Best Content Creator Camera" at TIPA, received an iF Design Award, as well as the Red Dot Design Award in 2025.

With its compact body, full-frame sensor and flexible creative controls, the S9 is a great option for content creators who want a portable camera without giving up the benefits of a full-frame sensor.

TIPA highlights, "Social media creators can save up to 39 preferred LUTs (look-up-table), offering a range of stunning looks and styles right in the camera.

"You can even customize with the LUMIX Lab app and download personal style options to make your content truly one-of-a-kind!"

For some buyers in the US, however, getting one may require patience.

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Browse the best Panasonic Lumix cameras.

There’s something rather sad about seeing a camera manufacturer that dared to do things differently potentially disappear from the industry, especially when it was one of the few companies genuinely trying to challenge the traditional camera market.

Unfortunately, that appears to be the situation facing French camera manufacturer Pixii, which has entered judicial liquidation, casting serious doubt over the future of its innovative digital rangefinders and its ambitions to compete with Leica.

According to Leica Rumors and official French business records, Pixii initially entered court-supervised restructuring on December 10, 2025, before the Commercial Court of Besançon converted those proceedings into judicial liquidation on July 22, 2026.

The court permitted business operations to continue until July 31, but the company now faces a deeply uncertain future. In simple terms, judicial liquidation means that a business is no longer considered financially capable of continuing under its current circumstances, with a court-appointed liquidator overseeing the process of selling assets and settling debts. It doesn't necessarily mean Pixii is gone forever, but without a buyer, fresh investment, or someone willing to take over its technology, the prospect of another Pixii camera reaching the market looks increasingly unlikely.

What makes this news particularly disappointing is that Pixii wasn't simply another manufacturer producing a familiar mirrorless camera with a slightly different badge. Its APS-C Pixii+ and full-frame Pixii Max offered a genuinely alternative approach to digital photography, combining traditional Leica M-mount rangefinder shooting with modern computing technology. The absence of a rear LCD, built-in storage instead of memory cards, smartphone integration, and software-driven updates certainly divided opinion, but there was also some seriously impressive technology beneath those minimalist designs.

Perhaps the most interesting was Pixii's monochrome RAW technology, which used clever processing to reconstruct monochrome information from a conventional color sensor, producing up to 16-bit black-and-white DNG files while retaining the ability to shoot in color. As someone who spends much of his time shooting black-and-white photography, I always thought this was one of the company's most exciting achievements, and something I would have loved to see developed further.

However, while some of Pixii's technology was genuinely impressive, I can't help feeling that the company struggled with the balance between innovation, practicality, and price. Removing a camera's rear screen might appeal to photographers who want a more traditional shooting experience, but removing the memory card slot and relying heavily on smartphone connectivity was always going to be a harder sell.

Then there was the price. With the Pixii Max originally reaching $4,999, it was hardly an affordable alternative to Leica, particularly when photographers were being asked to invest in a relatively unfamiliar system from a small manufacturer. That doesn't mean these decisions caused Pixii's financial difficulties, but it demonstrates just how challenging it can be to turn an interesting photographic concept into a commercially sustainable product.

For the wider camera industry, I think this is where the real disappointment lies. We have reached a point where major manufacturers such as Canon, Nikon, Sony and Fujifilm dominate much of the market, while Leica continues to occupy its own established position in the premium rangefinder world. Independent manufacturers like Pixii are important because they challenge the established formula, experiment with ideas that larger companies might consider too risky, and remind us that not every camera needs to follow the same design philosophy.

Pixii was never going to threaten Leica's dominance overnight, but it offered something different in a category where genuine alternatives remain surprisingly limited. Losing that competition, along with the potential for its technology to influence future products, would be a shame for photographers and the industry alike.

There are also immediate questions for existing Pixii owners, particularly concerning warranty support, repairs, replacement parts, and future software updates. These are important considerations for anyone thinking of purchasing remaining stock, and at present the long-term support arrangements remain unclear.

There is still a possibility that another manufacturer or investor could acquire Pixii's intellectual property and continue developing its technology, particularly as the company had reportedly been searching for partners to help bring a next-generation rangefinder to market. I sincerely hope that happens, because although Pixii didn't get everything right, it was a manufacturer willing to take risks and rethink what a modern camera could be. And in an industry that sometimes feels increasingly predictable, that's exactly the kind of thinking we need more of.

Check out the best rangefinder cameras you can buy today

It’s quite staggering that, broadly speaking, a good two-thirds of Fujifilm camera sales are of Polaroid-style Instax instant print cameras alone.

This takes some getting my head around because, when thinking of Fuji, I typically visualize one of its sleek, metal-bodied APS-C sensor incorporating ‘X’ series mirrorless cameras. Or even its ambitious medium-format GFX lineup, via which it has built a solid reputation among enthusiasts and pros. As a member of the photo press, those large-sensor digital cameras are the ones I most typically experience – and value.

But as for Fuji itself, does it still value the ‘X’ series in the same way? Especially when it been almost exactly a year since the previous ‘X’ camera launch in the X-T30 III, which was preceded by the slightly gimmicky X-half.

Sure, competing manufacturers have had a very quiet 2026 too, but that’s not quite true of Fujifilm.

While there have been no new ‘X’ models this year, at the time of writing there have been four new Instax cameras in the Instax Mini Evo Cinema, the Instax Mini 13. the Instax Square 2 and the Instax Pal 2. Alongside these, there have been two Instax standalone portable printers launched this year in the Mini Link+ and the Link Wide 2, aimed at smartphone photographers.

It’s therefore not such a stretch to assume Instax is now the priority for Fujifilm and its X and GFX cameras for enthusiasts and professionals are, by contrast, on the back burner. It would come as no surprise to learn the typical Fuji customer is now a young female, not the middle-aged male typically found at photo shows.

If so, is there anything wrong with that? It makes sound business sense to go where the money is. Instax sales have boomed in recent years and there’s little apparent slowdown. All Fuji is doing is feeding the beast; that ‘beast’ being someone who likes cutesy, shiny things.

However, does that mean its traditional photographer audience is feeling slightly neglected right now, or worse still, alienated?

Not quite yet, I’d argue. Us photo enthusiasts are used to ever-lengthening gaps between new camera iterations – and, in the specialist photography market, a wait of one, two, three or even five years between models isn’t unheard of. Especially when the wider industry is beset by chip shortages and production delays.

However, no new Fujifilm ‘X’ cameras at all in the space of a year still feels unusual.

It’s too early to tell if this is a blip or the new normal, but, given the evidence above, I’d wager that it may well be the latter.

Check out the best Fujifilm cameras you can buy right now

Leica might be about to bring back another classic lens, and if the latest rumors are anything to go by, we could soon see a new Summaron-M 35mm f/2.8 joining the legendary M-mount lineup.

According to reports from Leica Rumors, subsequently picked up by Japanese photography website Digital Camera Life, Leica is reportedly preparing to revive the historic 35mm lens for around €2,000 ($2,240 / £1,685).

Now, as someone who has spent years shooting with Leica cameras and has always had a soft spot for the brand's older glass, this is exactly the sort of announcement that gets me excited. However, while I would absolutely love to see another classic Summaron return, there is one part of this rumor that I am finding particularly difficult to believe, and that is the price.

To put things into perspective, Leica already offers the beautiful Summaron-M 28mm f/5.6, a modern recreation of its classic 1950s design, which currently costs around $3,600 / £2,750. That is an extraordinary amount of money for a relatively slow, manual-focus lens, but then again, this is Leica we are talking about.

The company has never positioned itself as the affordable choice, and much of the appeal comes from its craftsmanship, heritage, and unmistakable approach to photography. So, while the idea of a newly manufactured Summaron-M 35mm f/2.8 arriving for just €2,000 sounds wonderful, I cannot help but think that figure is a little optimistic, especially given the pricing of Leica's existing 35mm lenses.

Interestingly, the secondhand market tells a rather different story. The original Summaron 35mm f/2.8, which was produced between 1958 and 1974, can still be picked up for around $1,500 / £900, depending on its condition and version. Meanwhile, its older and arguably more characterful sibling, the Summaron 35mm f/3.5, can often be found for as little as $550 / £400.

The latter was produced in much larger numbers, predominantly in the older Leica Thread Mount (LTM) screw fitting, although native M-mount versions were also produced in smaller quantities, and screw-mount examples can be adapted for use on modern Leica M cameras. For photographers who appreciate classic rendering rather than absolute optical perfection, it remains one of the most interesting and relatively affordable ways to experience vintage Leica glass.

And this is where my personal preference comes into play. While I can certainly understand the appeal of Leica bringing back the Summaron-M 35mm f/2.8, I would actually be far more excited to see a modern recreation of the earlier 35mm f/3.5. I have admired this lens for years, particularly for its wonderfully old-fashioned rendering, with that almost uncoated-looking character, gentle glow around highlights, and beautifully restrained contrast. There is something rather magical about the way these older lenses handle light, particularly when shooting black-and-white photography, where the flatter tonal profile can give images a timeless, almost cinematic quality. In a world where manufacturers are constantly chasing sharper corners, greater contrast, and clinical optical perfection, I find myself increasingly attracted to lenses that do precisely the opposite. In fact, I have often considered buying an original Summaron 35mm f/3.5 just to experience that character on my digital Leica cameras.

Which brings me back to that rumored €2,000 price tag. If Leica really is planning to introduce a more affordable classic Summaron, I would personally think a recreation of the slower 35mm f/3.5 makes considerably more sense. It would offer something genuinely different from the company's current 35mm lineup, appeal to photographers who love vintage rendering, and potentially sit at a more accessible price point without stepping too heavily on the toes of its modern Summicron and Summilux lenses. Better still, if Leica could preserve the original's wonderful optical personality while adding the convenience and build quality of a modern M-mount lens, I think it could be an absolute winner. At around €2,000, I would genuinely struggle not to be among the first to place an order.

Of course, if the rumors are correct and Leica really is preparing a Summaron-M 35mm f/2.8 instead, I would still welcome it with open arms. I simply cannot see Leica selling such a lens for €2,000 when its current 28mm f/5.6 costs considerably more. If I had to make an educated guess, based purely on my experience of the brand and its pricing over the years, I would expect something closer to €3,000 ($3,360 / £2,525) for a modern 35mm f/2.8 recreation. And if Leica somehow manages to surprise us all and bring it to market for less than that, I would consider it something of a bargain by Leica standards.

For now, though, we must take all of this with a generous pinch of salt. Leica has not officially confirmed that a new Summaron is coming, let alone which version it might revive or how much it would cost. The rumored specifications and pricing could change, or the lens might never materialize at all. Nevertheless, I love the idea of Leica continuing to celebrate its extraordinary optical heritage rather than simply chasing the next technical breakthrough.

Whether that means a new Summaron-M 35mm f/2.8 or, as I am secretly hoping, a recreation of the gorgeous little 35mm f/3.5, I would be delighted to see another classic return. I just wouldn't get too attached to that €2,000 price tag quite yet.

Check out our guide to the best Leica M lenses you can buy right now

The Canon RF 28-70mm f/2 L USM is a popular pro lens thanks to an unusually bright aperture – but a recent patent indicates that the optical engineers at Canon are exploring the possibility of an even longer f/2 zoom.

A recent patent published in Japan details a design for a compact, high-performance zoom lens that uses three or more focusing groups rather than the current RF series’ more typical two. Tucked in among the different patent drawings for potential lenses with such a design is a 70-200mm f/2 lens.

The patent, published in Japan on October 16 and first spotted by Canon Rumors , details a design that uses three focusing groups in order to create smaller zooms. While the patent isn’t specifically for one lens, the drawings reference a potential 70-200mm f/2 among even lenses like a 50-85mm f/1.4.

The challenge of making a bright zoom is making it small enough to carry at the same time. Reducing the size of a zoom means bringing optical groups closer to each other. The problem with that, the patent says, is that it leaves no room for the autofocus groups.

The patent hints that using “three or more” focus units could help shorten that distance, making it possible to create a bright zoom lens while avoiding a significant increase in size to get that brighter aperture.

The patent isn’t Canon’s first to reference using more than two focus groups. Another patent earlier this year from Canon explored using three focus groups to increase focusing performance.

Using more focus groups isn’t a completely new idea for Canon either – the company’s Dual Nano USM lenses use two autofocus motors. The newer VCM or Voice Coil lenses often pair the magnetic VCM system with a second smaller Nano USM autofocus motor, like with the Canon RF 35mm f/1.4L VCM.

The recent patent details several potential designs that could use three autofocus groups in order to create a brighter aperture without creating an overly heavy lens. But the possibility of a 70-200mm f/2 is drumming up a bit of excitement, considering how popular the 28-70mm f/2L USM lens is.

The Canon 28-70mm f/2L USM uses an ultrasonic autofocus motor and cuts some of the wide angle off of a more typical 24-70mm – but the lens is still notably heavier than the 24-70mm f/2.8L IS USM.

At 3.1 pounds / 1430g, Canon’s 28-70mm f/2L is actually heavier than the RF 70-200mm f/2.8L IS USM. That’s a perfect example of just how challenging making a reasonably sized 70-200mm with a bright f/2 would be.

Canon’s patents hint at what the company is working on behind the scenes – but the existence of a patent doesn’t guarantee that such a design will eventually become a real product. Canon often sets records for the number of patents filed in a year, which means many of them don’t become actual products. That leaves the concept of a 70-200mm f/2 zoom as wishful thinking and rumors, for now.

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GoPro’s previously announced plans to merge with US optics brand Starman Optical Inc. are moving forward as the action camera giant files preliminary stock market paperwork.

On October 19, GoPro filed the preliminary proxy statement with the Securities and Exchange Commission, bringing the two companies closer to finalizing the proposed merger.

"Filing the preliminary proxy is the next step toward closing, and we're working closely with Starman to complete the remaining steps efficiently," GoPro founder and CEO Nicholas Woodman said.

The CEO of Starman Holding, meanwhile, says that the filing is a signal that the process is on track. “Both companies and management teams remain fully aligned and committed to completing the proposed transaction on the previously announced terms as quickly as possible,” Starman Holdings CEO Charles Tebele said in a statement.

Earlier this year, the action camera giant announced plans to merge with the US-based company that manufactures optical transceivers, a key component in building AI data centers. Woodman previously said that the merger would help GoPro become more diversified, reassuring fans of its action cameras that “Making amazing cameras for all of you is our core DNA and reason for being and that will never change!”

With the proxy statement, GoPro also released updated financial statements after an audit conducted as part of the merger indicated errors in debt accounting. The refiled quarterly and annual financial reports show that GoPro’s first-quarter loss and 2025 fiscal year loss were both better than originally reported, though the company’s second-quarter results were worse than originally reported.

GoPro says those accounting errors were for defaults on debt agreements, which do not affect the reported revenue and cash flows, and that the company has already obtained waivers.

The planned merger stems from GoPro’s announcement back in May that it was considering potential mergers or sale. Shortly after, GoPro filed stock market paperwork that warned of “substantial doubt about the Company’s ability to continue” if the company’s financials did not change.

If the merger proceeds as originally planned, the move would leave GoPro largely debt-free. Woodman said that the move could help GoPro "grow across consumer, commercial and defense markets."

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Take a look at the best GoPro cameras or the best action cameras.

Flashback’s first screen-free digital camera went viral for looking – and feeling – like a disposable film camera. But the company’s newest screen-free camera has an entirely different inspiration: Half-frame film. The Flashback One75 is a screen-free camera built with brass accents, eight film-inspired presets, and even the option to shoot double exposures.

The Flashback One75 has a small OLED screen at the top that allows photographers to choose from one of eight film-inspired presets and adjust settings like turning the flash on and off. But the camera is "screen-free" in that there’s no way to view the photos on the camera itself, bringing some of the wait of film.

That same mini OLED also powers access to a new feature that allows the camera to shoot double exposures, layering two shots together into one.

The One75 is inspired by half-frame film cameras from the 1970s. The sensor and viewfinder are oriented vertically rather than horizontally, as half-frame cameras fit two frames in the space a 35mm camera would fit one. The One75 shoots 13MP images – though the company did not share specifications like sensor size – and uses a built-in Xenon flash.

Where the FlashBack One35 V2 is meant to feel like a disposable film camera, the One75 uses an aluminum top plate and brass accents for a more high-end feel. The camera also has a tripod mount and a 25mm thread on the front of the lens to add accessories like filters and add-on lenses.

The One75’s mini OLED makes it possible to adjust settings without the app, but “developing” the photos is all done through the Flashback One app. Like with the earlier camera, the One75 shoots “rolls” of 27 photos. Then, those photos are “developed” in the Flashback app.

Users can use a 24-hour “developing” wait before seeing those photos, or photographers can use the digicam mode to access photos without the wait. The camera can also be plugged into a computer to transfer RAW files, rather than the JPEGs transferred through the mobile app.

An update to the app will also allow photographers to create their own presets with adjustable sliders for halation, chromatic aberration, saturation, and exposure. The earlier One35 V2 camera will also be able to access custom presets with the beta version of the app. The app update will also allow users to “redevelop” an exsisting roll in another film preset.

The One75 is meant to sit alongside the earlier One35 V2 – it’s not a replacement for the earlier camera, which also has a 13MP resolution.

The Flashback One75 is available for pre-order directly from Flashback, retailing for $179 / £139.95 / AU$249.95 / CA$254.95. The company says that pre-orders will arrive before Christmas.

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Take a look at the best screen-free cameras, or browse the best retro cameras.

Until now if you wanted to go really wide with a Fujifilm GFX camera, your widest option would have been the Laowa 15mm f/4.5R Zero-D Shift Lens, while Fujifilm's widest GF offering would be the GF20-35mmF4 R WR. But now AstrHori has absolutely smashed the wide-angle record for GF-mount lenses with its new MF 8mm F2.4 Circular Fisheye Lens. For context, an 8mm medium format focal length equates to just 6.3mm in full-frame terms, and it results in a colossal 220-degree field of view. That's so wide that this lens can actually see behind itself, and it also means you've even got to be careful when hand-holding the camera, as your own fingers may start encroaching into the image frame!

Obviously being a circular rather than rectilinear fisheye lens, this field of view means each shot will contain a circular image projection within a black frame, and distortion will be integral to the circular rendering, but that's all part of the fun.

Despite the immense field of view, the lens itself is surprisingly compact for a medium format optic, measuring just 62mm long and weighing in at 517g. Focussing is manual only, but that's really no issue with a lens with such a short focal length, as depth of field will be huge, even at the maximum f/2.4 aperture. This is also fast enough to make the lens suitable for astrophotography, should you want to capture more of the night sky than ever before in a single frame.

Inside the metal barrel is a 10-element optical stack arranged in 8 groups, containing two extra-low dispersion elements and two high refractive index elements to help reduce chromatic aberrations - vital on a lens with such a wide field of view. The aperture diaphragm is comprised of 10 blades, which has the potential for creating smoother bokeh, but you'll have to fully exploit the 0.1m minimum focus distance to create anything close to a shallow depth of field with a lens this wide.

The AstrHori 8mm f/2.4 Circular Fisheye Lens is available to pre-order now, in either Fujifilm GF or Hasselblad X mounts, each priced at $398, which is makes this one of the least expensive new medium format lenses available.

Pre-order now from B&H

All listed lens models in the latest Top 10 chart published by major Japanese retailer Yodobashi are zoom lenses. This might not be a big surprise, as zoom optics are a popular choice among photographers of all levels and all genres. While one manufacturer dominates the ranking, a third-party model, described as a "high-flying all-in-one superzoom," is the real showstopper.

Yodobashi shares that in the second half of September, the No.1 spot goes to the Sony FE 24-70mm f/2.8 GM II, followed by the Sony FE 70-200mm f/2.8 GM OSS II and Sony FE 100-400mm f/5.6-8 OSS. The manufacturer dominates the chart with a total of four models, including the Sony FE 16-35mm f/2.8 GM II at No.10.

However, the third-party lens that stands out – which is the only third-party zoom in the chart – is the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 for Sony E-mount in fifth place. Here's why the optic is a great all-in-one travel solution and its catch.

Yodobashi's 10 best-selling lenses (2nd half Sep 2026)

1. Sony FE 24-70mm f/2.8 GM II
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Sony FE 100-400mm f/5.6-8 OSS
4. Canon RF 70-200mm f/2.8 L IS USM Z | White | Black
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Nikon Z 70-200mm f/2.8 VR S II
8. Nikon Z 24-120mm f/4 S
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 16-35mm f/2.8 GM II

The "high-flying all-in-one superzoom"

Available for $899 / £729 for Sony E-mount, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a lens that can "genuinely replace a pair of standard and telephoto zooms," as DCW reviewer Matthew Richards states. And with the V3 firmware, you can also shoot macro subjects.

The only catch with this super-all-in-one solution is that it's only available for Sony cameras. Photographers working with other systems are missing out.

For Nikon shooters, the own-brand Nikon Z 24-200mm f/4-6.3 VR would be a great choice. While this lens is not listed in the Top 10, it adds optical stabilization and has marginally more wide-angle coverage, available for $846.95 / £879.

The Canon RF 24-240mm f/4-6.3 IS USM is an option for RF-mount, available for $949 / £959. While it features a slower aperture, it provides a wider focal length at the short end and a longer focal length at the telephoto end.

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Browse the best Sony lenses, the best Nikon Z lenses, and the best Canon RF lenses. We also curated a guide to the best standard zoom lenses and telephoto lenses.

The new episode of Bokeh Face: The Digital Camera World podcast is now live on our YouTube channel and available to stream from Spotify, Apple Podcasts and all your favorite podcast services.

New episodes of Bokeh Face are released bi-weekly, every other Monday, so our next episode will be released on November 02.

DCW's Content Editor, Chris George, joins me, James Artaius, DCW Editor-in-Chief, for our usual format where we discuss a burning issue in the world of imaging, dive into the kit bag to examine what we've been shooting with lately, and then troubleshoot a technical or creative camera issue.

You can watch the episode in full below:

Above: watch the latest episode of the Bokeh Face on YouTube

In this episode, we Gear Up with Samsung’s beloved but buried mirrorless system and talk about how it’s making a little bit of an unlikely comeback.

In Focus, Kodak has inexplicably eclipsed Fujifilm in Japan! Admittedly, it’s the small battleground of film sales, but impressive on Kodak’s part nonetheless.

And finally, in Trouble Shooting we tackle the electronic shutter: When should you use it? Should you use it? And in some cases, why you have no choice but to use it…

We'd love to hear your thoughts and feedback on the show, along with any questions or troubleshooting queries you might have, so please get in touch with us at bokehface@futurenet.com. We hope you enjoy the episode!

• Watch on YouTube
• Listen on Spotify
• Listen on Apple Podcasts

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Check out all our previous episodes of Bokeh Face, take a look at the best Fujifilm cameras, and here are the best Kodak cameras.

Voigtländer is celebrating 100 years of its legendary Skopar lens with a rather beautiful special edition of one of its most recognizable optics.

The new Color-Skopar 35mm f/2.5 Skopar 100th model takes the tried-and-tested formula of the long-running Color-Skopar 35mm f/2.5 P II and gives it an elegant silver makeover, complete with a matching metal lens hood and a specially designed aluminum rear cap.

It's a fitting tribute to a lens name that has been part of photographic history for an entire century, and one that should certainly catch the attention of Leica rangefinder enthusiasts.

One of the biggest attractions of the Color-Skopar has always been its remarkably compact design, and this anniversary edition is no different. Measuring just 23mm in length, it's an incredibly slim lens that looks perfectly at home on a Leica M camera.

Despite its small dimensions, Voigtländer hasn't compromised on the handling experience, with a carefully shaped focusing lever that sits naturally beneath your finger and a beautifully tactile aperture ring with precise clicks. It's the sort of mechanical simplicity that makes shooting with a manual-focus lens so enjoyable, particularly for street and documentary photographers who appreciate a more considered approach to photography.

The anniversary treatment extends beyond the silver finish, with Voigtländer including a specially designed metal bayonet-mount hood featuring distinctive slits. Not only does it complement the overall appearance of the lens, but its design also helps minimize viewfinder obstruction when shooting with a rangefinder camera.

There's also a rather unusual three-piece rear lens cap, precision-machined from aluminum to provide a premium metallic finish without adding unnecessary weight. These might seem like small details, but they're exactly the sort of touches that make a commemorative lens feel a little more special.

Sample images

Underneath that elegant exterior, the Color-Skopar retains the traditional manual-focus experience that has helped make Voigtländer lenses so popular among rangefinder photographers.

Its all-metal helicoid focusing mechanism is precision-machined and carefully adjusted, while specially selected grease provides the right amount of resistance for smooth, accurate focusing.

The lens also features a high-precision rangefinder coupling mechanism, allowing photographers to focus accurately through compatible rangefinder cameras, even when shooting at wider apertures.

The Color-Skopar 35mm f/2.5 Skopar 100th model features a VM mount compatible with Leica M-mount cameras, although it can also be adapted for use with modern mirrorless systems.

Its full-frame image circle makes it suitable for both 35mm film and full-frame digital photography, while the compact design is particularly appealing to photographers who want to keep their camera setup as small and unobtrusive as possible.

For those who appreciate the craftsmanship, simplicity, and character of traditional rangefinder photography, this anniversary edition is a lovely reminder that sometimes the most appealing lenses aren't necessarily the biggest, fastest, or most complicated.

Check out our guide to the best Leica M-mount lenses

While I wouldn’t first and foremost describe myself as a Canon user, I have tried and tested almost every new camera it’s released over the past 25 years. I even have a Canon DSLR as a backup to my mirrorless setup.

I think we can all agree it’s a solid, reliable brand, no matter your skill set. And on initial glance, its latest mirrorless offering in the entry-level full-frame Canon EOS R8 Mark II feels like it continues that consistency of excellence. It’s a good bet for fledgling photographers seeking to throw their weight behind a system.

However, I could say the exact same thing about Nikon’s equally new Z5IIc, likewise a full-frame mirrorless aimed at beginners, or suggest its marginally older Z5II, if having an eye-level viewfinder in the case of the latter is a deal-breaker.

While Canon has always enjoyed better support in terms of the volume and variety of directly compatible lenses and accessories, with its equally long and distinguished heritage, Nikon is no slouch when it comes to own-brand and third-party support either.

Moreover, for those seeking to make the step up from an APS-C sensor camera, fixed lens compact or even smartphone, a further alternative is Sony, now Canon’s closest competitor for sales. Worth considering here is its own lightweight full-frame mirrorless A7C II camera with a handy, fully articulating touchscreen, or the even older but still available and more keenly priced A7 III.

Sticking with electronics manufacturers, the Panasonic Lumix S9 is a further viable full-frame option, particularly suited to those getting into content creation. Or, circling back to Canon, how about the manufacturer’s own step-up model in the EOS R6 Mark II, which, despite the lower numerical identifier, boasts more of a workhorse construction, a weather-sealed body and two card slots.

While the R6 Mark II may win for robustness, both it and the EOS R8 Mark II share the same 24.2MP full-frame CMOS sensor and DIGIC X processor. So, it depends whether your photography will benefit from the R6 II’s extra heft and slightly better spec, including in-body image stabilisation, or not.

In short, yes, there are better options than the latest EOS R8 Mark II out there. However, that doesn’t negate the fact that, at this point in time, it may well still be the best option for you.

I’ve got a love-hate relationship with pre-made presets and filters. On the one hand, they can prevent photographers from finding a unique editing style, and on the other, they’re an incredible force for good. Let’s get the negative bit out of the way first.

Everything looks the same

My biggest problem with pre-made presets and filters is that they can make people’s work look tonally very similar and also allow photographers to avoid learning how to edit their images altogether. Now, I’m not saying you absolutely have to edit your images, but I do think editing brings about an extra layer of creative agency. If you learn to edit, you suddenly have another avenue of creativity to go down if you so wish.

As for tonally similar images, I guess the same could be said for film. Beyond a little darkroom trickery, Kodak Portra 400 looks like Portra 400. And of course, there is much more to an image than just tones. So, what about the benefits?

Presets can be proactive

Perhaps the biggest benefit of using ready-made presets is that they allow you to spend less time sitting at a computer and more time out and about with your camera. They can also remove what I think of as a kind of editing anxiety – the need to create the ‘perfect’ edit every time. This can lead to overediting, which in turn results in even more time spent at a computer and less time out and about with a camera.

Becoming proficient at editing can also cause you to become a little lazy when taking photos, relying on the edit to manage the exposure, sharpening softness or heavily crop compositions. This is especially true when shooting with pliable RAW files. Presets and filters are applied to JPEGs, so they’re also a great lesson in exposure discipline, because if you get it wrong, you’ve got limited wiggle room in post in which to save the image.

Presets and filters can also boost your confidence. This is especially useful in the era of the EVF. You can see exactly what the scene in front of you will look like with a filter applied, and this can be a real confidence booster, because the images you are capturing in real time give you instant feedback and they look good. Another upshot of this is the ability to take images straight from your camera and upload them to online galleries or social media.

The recipe middle ground

Thankfully, there’s a middle ground. Most camera manufacturers such as Fujifilm, OM System and Nikon now allow you to edit filters to create what the industry calls recipes. This means you can start with a base filter and tweak various tonal qualities such as contrast and saturation to meet your own requirements.

This means you don’t need to spend hours in an editing suite, but can cultivate your very own look that you can apply to every photograph you take. Often, photographers think that they have to shoot RAW. And while I think it’s a great idea to shoot RAW+JPEG, so you have the backup files should you ever get into bespoke editing, recipes are a great middle ground that can boost your confidence and, more importantly, keep you taking photos.

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Take a look at the best Fujifilm cameras and the best retro cameras. Plus, here's the latest camera news.

A photographer has shared on Reddit how he was able to “reverse engineer” the firmware on his Sony A7 IV to add a shutter angle feature to the mirrorless hybrid stills-and-video camera.

Reddit user Mr_BananaPants shared the feat of software engineering in a thread, although he didn’t go into the specifics of how exactly he achieved it. “I found a path traversal bug allowing me to get the fully decrypted firmware of the A7 IV, which nobody had managed to do before,” the videographer said.

Shutter angle is a way of measuring exposure time relative to your video’s frame rate. Measured in degrees, it determines how much motion blur appears in each frame of footage.

While photographers measure exposure in absolute time – such as 1/250 second – cinematographers prefer shutter angle because it automatically scales when you change your frame rate, enabling consistent motion blur without having to do any mental math.

Although the A7 IV would be perfectly capable of calculating shutter angle, Sony restricts the feature to dedicated FX cinema-line models, which include similarly priced models such as the FX30, as well as higher-end rigs such as the FX6.

After the initial hacking success, Mr_BananaPants then tried to enable 8K video recording on the A7 IV, despite the self-professed “major risk of bricking the camera.”

Failing to heed his own warning, the videographer’s next update in the Reddit thread was simply: “camera is bricked and stuck in a bootloop.” That’s to say, the camera had become unresponsive, rendering it useless and requiring a professional service.

Luckily, as Mr_BananaPants kept the details of the firmware bug under wraps, other users in the thread weren’t able to copy him. “Thank you for not publishing full details before you proved the hack – you probably saved dozens of people from bricking their cameras too,” said another Reddit commenter, HeavyDuty_Ken.

It’s not only the risk of bricking your camera that makes fiddling around with its firmware super risky, either.

Sony Alpha Rumors also covered this story, and someone left a comment on its article claiming to have even been contacted by a law firm representing Sony after publicly sharing that they’d used a similar firmware hack to enable 30fps shooting when using a Sigma 300-600mm f/4 lens on an A1 Mark II body.

“Be very cautious. I got a serious cease and desist legal letter served and several threatening phone calls,” said ScottOphoto.

I think it’s safe to say that, between potentially bricking your camera and facing legal action, it’s probably not a good idea to try to reverse engineer firmware. I know I won’t be attempting it anytime soon.

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Here's our pick of the best Sony cameras and the best Sony lenses to complete your setup.

Back in July we reported on the announcement of Voigtländer's new APO-Lanthar 90mm F4 Close Focus VM; a compact medium-telephoto prime lens designed for full-frame Leica M-mount rangefinder cameras.

It was originally scheduled to arrive in August 2026, but after a slight delay we can now confirm that the lens available to buy from B&H in the US and Wex in the UK, either in black or silver finishes, both priced at $749 / £599.

The APO-Lanthar name denotes that the lens is derived from the Apochromat design. This manufacturing process was developed to reduce chromatic aberration in film photography, but the technology is claimed to still be effective for supressing fringing in digital photography today.

Inside the APO-Lanthar 90mm F4 Close Focus VM you'll find eight elements arranged in seven groups, with six elements made from anomalous partial dispersion glass which is said to deliver high resolution, strong contrast, and consistent performance across the frame.

Despite its advanced optical design, the lens measures just 54.8mm long and weighs only 235g. The compactness is helped by the relatively f/4 modest maximum aperture, which negates the need for the large elements which would be required for f/2.8 and faster optics. Another benefit of the smaller barrel size is it reduces viewfinder blockage when the lens is used with an optical rangefinder.

Image samples

Close-focusing performance is another major aspect of the lens’s appeal. The APO-Lanthar 90mm f/4 Close Focus VM can focus down to 0.5m, extending beyond the typical 0.7m limit for many rangefinder-coupled lenses.

At its closest setting, it offers a maximum magnification of 0.28x, while Voigtländer says the apochromatic correction helps maintain image quality even when photographing subjects up close.

The lens also includes a high-precision rangefinder coupling mechanism, an all-metal helicoid for smooth focusing, and a click that identifies the point where focusing moves beyond the coupled range.

A compact dedicated metal hood is included, extending by only around 9mm to reduce flare without significantly interfering with the camera’s framelines.

In 1920 The Czech playwright Karel Čapek had introduced the word "robot" to the world in his play R.U.R., where it meant an “automatic worker”.

The term seemed to fit, for while most manufacturers concentrated on making cameras that produced a single carefully composed photograph, the Robot was designed to make many photographs quickly, reliably, and almost automatically. In many respects it anticipated the motor-driven cameras that would not become commonplace for another 30 years.

The Robot story begins with Heinz Kilfitt, who later became famous for his Kilfitt lenses and other camera designs. He was the son of a German watchmaker and inherited an intimate understanding of precision mechanisms. During the early 1930s, he admired the Leica cameras, but wondered why the photographer needed to wind the film. Could not the camera do that?

So Kilfitt designed a clockwork spring motor, much like that used in a movie camera. A single winding of the spring advanced the film and cocked the shutter, allowing rapid-fire photography for the first time. Yet, both Kodak and Agfa rejected his proposals.

Fortunately, a young entrepreneur, Hans (Heinrich) Berning, saw its potential and founded Otto Berning & Co. in Düsseldorf to manufacture Kilfitt’s design. The original Robot immediately stood apart from every other miniature camera.

Among its innovations were the spring-motor film advance, which allowed shots to be taken at the breakneck speed of 4 photos per second. This was unheard of in the 1930s and foreshadowed the motor drives and winders of the 1960s and 70s. He also pioneered the rotary shutter, variations of which were used in many later cameras, such as the Olympus Pen F and the American-made Mercury. And because it was a focal-plane shutter, it accepted interchangeable lenses.

But the most brilliant idea was the adoption of a 24 x 24 mm negative, which allowed 50 exposures on a 36-exposure roll. When shooting at around four frames per second, this made a huge difference to film costs, and mimicked the format of the Rolleiflex.

Just prior to World War Two, in 1938, the Robot II refined the original design with better film transport, flash synchronization, a somewhat larger body for easier handling, and more interchangeable lenses.

During World War Two, the Robot became far more than a civilian camera as it was adapted to serve as Luftwaffe gun cameras and for reconnaissance and use in bombers for bomb-damage assessment. The spring drive was ideal for military use because it required no batteries and functioned reliably under harsh conditions. The compact size and rapid sequence capability made them invaluable.

After the war, Berning resumed civilian production and in 1951 brought out the Robot IIa, which was now compatible with Kodak’s new, standardized 35mm film cartridges, making the camera much easier to use.

It was followed by the Robot Star, which introduced an improved finder and automatic filml rewind. It became the classic, post-war Robot. Perhaps the ultimate Robots were the Royal 34 and Royal 36, which featured coupled rangefinders, interchangeable finders (for the different lenses) and speeds approaching six frames per second!

The Royal 24 and Royal 36 were intended as premium professional cameras competing with Leica and Contax. Mechanically, they were masterpieces, but commercially they struggled because they were expensive and arrived just as Japanese cameras were beginning to dominate photography.

Ironically, Robot achieved its greatest commercial success outside consumer photography. Thousands of Robot cameras were sold for bank surveillance, industrial inspection, scientific recording, and traffic enforcement. The spring motors were eventually replaced by electric drives and very large film magazines.

Many European (and some North American) speed trap cameras of the 1960s through the 1990s were, in essence, heavily modified Robot cameras.

Civilian Robot cameras continued in small numbers into the 1990s, with the last collector-oriented models appearing in 1996. By then, however, the company's primary business had shifted to industrial, surveillance, and traffic-enforcement imaging systems. The Robot name later became part of the Jenoptik group and survives today in industrial imaging rather than consumer cameras.

Robot cameras have an outsized reputation because they remained in production for over 60 years. But they were always a specialist product. Nobody knows for sure, but a realistic estimate is that approximately 110,000 to 130,000 consumer Robot cameras were built between 1934 and 1996.

The Robot remains one of the more interesting cameras of the twentieth century, despite never approaching the commercial success of Leica, Nikon, or Pentax. But it introduced many features that we now take for granted, long before their time.

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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Of all the mirrorless cameras introduced in 2026 so far, the GoPro Mission 1 Pro ILS is arguably the most unusual. The camera is not much larger than GoPro’s usual action camera, but it mixes a one-inch sensor with a Micro Four Thirds sensor and 8K an entry-level price point. Now, the ILS has been named one of TIME’s Best Inventions of 2026.

The TIME Best Inventions of 2026 is made up of 300 products, from bidets to folding coolers, based on originality, efficacy, ambition, and impact. The Mission 1 Pro ILS isn’t the only camera on the list – Nikon’s ZR also got a nod, while the unusual Instax Mini Evo Cinema also earned recognition.

Time wrote that while action cameras aren’t known for Hollywood-level footage, the ILS “shatters that silver ceiling.”

GoPro’s first mirrorless camera is both unlike any other GoPro before it – and unlike any other mirrorless camera. The ILS uses the same one-inch sensor as the new fixed-lens Mission 1 and Mission 1 Pro, enabling videos up to 8K. But the ILS pairs that with a larger Micro Four Thirds lens mount.

The ILS, however, doesn’t have electronic contacts in the mount, making the mirrorless a manual-focus-only camera that doesn’t support focus-by-wire lenses. The ILS’s build, which is almost identical in shape and size to the fixed-lens camera, makes it the smallest 8K camera yet, but that also means the ILS needs an external support system when working with heavier lenses.

The swappable lenses also mean that, unlike a traditional GoPro, the ILS isn’t waterproof – though it can be splash-resistant with a sealed lens mounted on the front.

But as unusual as the ILS is, GoPro is going after a small niche of creators looking for high-quality 8K in a portable and affordable package. The camera retails for $699 / £599 / AU$1099 / CA$949.

In the Mission 1 Pro ILS review, I wrote that “There's really nothing like the GoPro Mission 1 Pro ILS, at least not in the same price range. 8K60 and 8K30p open gate at this price point with swappable lenses is a rare beast.”

The Mission 1 Pro ILS does feel like more of a niche, highly specialized camera, as there are several limitations. But for as limiting as the manual focus and one-inch sensor are, the charm of the ILS lies in its small, affordable design that still reaches 8K.

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I’ve always thought of the Ricoh GR camera lineup as appealing to a rather select crowd of photographers. Namely those prepared to pay a premium for an advanced, yet portable fixed-lens compact, who at the same time value image quality way above a trendy design.

It never struck me as something that would find favor with the masses.

Yet now, with compact cameras all the rage, the latest GR camera variants are making multiple appearances in Japan’s top ten camera sales placings. Plus, to reference recent Nikkei Industry Map data from Japan, Ricoh is currently overtaking OM System sales overall. In fact, Ricoh has tripled its volume of camera sales to give it a 2.1% share of the digital camera market.

While despite the sturdy magnesium alloy body I wasn’t initially a fan of Ricoh compacts’ rather sensible, frill-free design, I’ve come round to its less-is-more appearance. Especially when we’re otherwise constantly over-stimulated by the increasingly digital aspects of daily life – much more so than we were when the GR Digital first appeared in 2005, successor to the late 90s GR1 film camera.

The most recently announced GR IVx, due to arrive toward the end of this year, looks to be continuing a golden lineage, squeezing a 25.74-megapixel APS-C sensor into its chassis and pairing it with another high-quality fixed lens; this time a 40mm f/2.8. Protecting against possible camera shake is five-axis image stabilisation, an improvement on paper over its GR IIIx predecessor’s three-axis IS.

Just prior to this model hitting the shelves, we have the tease of the limited edition (of 6,000 units) Ricoh GR IV 30th anniversary kit, boasting the same sensor with a wideangle 28mm f/2.8 lens, plus a pin badge, finger strap, and metal hotshoe cover to satiate the collectors.

With its cameras not only being steady sellers but also witnessing markedly increased sales, it begs the question as to why rival manufacturers haven’t wanted a slice of Ricoh’s big sensor / small camera market segment?

My guess is that, like me, until now they’ve considered the audience for Ricoh GR cameras to be too niche and too specialised to come up with their own competitive offerings.

Alternatives can be found in Fujifilm’s chunky fixed-lens, APS-C sensor X100VI of course, but it’s not quite the same thing. Ditto the luxury likes of Leica’s Q compact series, which similarly offers street and travel photography possibilities. However, it likewise doesn’t feel like a direct competitor to me.

It’s clear that when it comes to Ricoh’s GR series, it continues to plough its own singular furrow.

And for rivals looking on, it is very much the case that if you can’t beat ‘em, don’t bother joining ‘em.

Writing about a toothbrush on Digital Camera World wasn’t exactly on my bingo card for 2026, yet here I am – not just detailing how the Dyson CameraJet incorporates a camera into its design, but praising it. Or rather, Time Magazine has praised it by including it in its list of the best inventions of 2026.

The list, which also includes the Nikon ZR and HoverAir Aqua, features 300 of the year’s best inventions, and while a toothbrush might not sound like the most exciting addition, kudos to Dyson for coming up with what is arguably the biggest toothbrush innovation since it went electric.

Time Magazine praised Dyson for combining an electric toothbrush and water-jet flosser, of which the CameraJet is the result. And of course, the article highlighted the minuscule camera that the tech company has managed to insert into brush heads. This camera uses what’s called Gap Optical Targeting to precisely jet liquid between gaps in teeth, which is illustrated in the header image. And yes, you can live-feed the inside of your mouth, too (see above image).

When I wrote about the CameraJet last month, I was naturally interested in its camera specs. It turns out that it’s built around a 100,000-pixel camera and sports a teeny-tiny macro lens, which captures and analyzes 28 images each second. And yes, before you come up with any bright ideas, a resourceful photographer has already hit the streets with a CameraJet to take some unconventional, 'conventional' photos.

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The retro compact camera trend has driven up demand for pocketable cameras – but one camera in particular has increased in value fivefold over just the last three years. The Canon PowerShot G9, a 2007 advanced compact camera with manual modes and a 6x zoom lens, has seen the biggest surge in demand – and price increase – in the last three years, according to used camera retailer MPB.

Part of the PowerShot G9’s allure is its advanced tools inside a pocketable design. The G9 uses a 12.1MP, 1/1.7-inch sensor inside a camera that weighs 320g / 11.3 oz. But the G9 is geared towards more serious photographers, with full manual modes, a viewfinder, a hot shoe slot, a metal body, and even a built-in neutral density filter.

Now nearly 20 years old, the camera’s age shows most perhaps in its burst speed, which reaches just 1.5fps, and its video resolution, which tops out at 480p.

Three years ago, photographers could sell a G9 to MPB for up to $45. In 2026, that’s jumped up to as much as $225 (about £34-£168, AU$65-323, CA$63-318).

The PowerShot G9 leads MPB’s list of cameras that saw the biggest price increases for used models in the US – but the G9 isn’t alone in rising in demand. Four Canon PowerShots sit among the top ten.

The top ten in-demand model that fetches the highest price is the Canon PowerShot G7 X II, the predecessor to the viral Mark III. MPB says the G7 X Mark II can sell for up to $880 (about £659 / AU$1,265 / CA$1,244), more than twice its worth three years ago.

The PowerShot G12 sits just behind the G9 in second place, a 2010 model with the same size sensor but a 10MP resolution, 5x zoom, and an articulating screen that now fetches up to $535 from MPB (about £400 / AU$769 / CA$757). Its slightly older 2009 sibling, the PowerShot G11, also makes the list. The only DSLR on the list is the Canon EOS Rebel T2i.

The only compact camera on the top ten that’s not a PowerShot is the Panasonic Lumix DMC-LX5, a 2010 camera with a 10.1MP 1/1.63-inch CCD sensor. Like the G9, the LX5 also has manual modes, a hot shoe slot, and a metal build, but it shoots video at up to 720p and uses a 3.8x optical zoom lens with an f/2.0-3.3 aperture.

Four of the cameras on that top ten list from MPB are mirrorless cameras. Two of those are from the Olympus Pen series: the Olympus Pen E-PM2 from 2012 and the Pen E-P1 from 2009. Both of those Pen cameras are known for their very compact form factor, still fitting in a Micro Four Thirds sensor.

The Panasonic Lumix DMC-GF3, another compact Micro Four Thirds body from 2011, also sits on that top ten list, along with the APS-C Sony Alpha NEX-3N from 2013.

In a recent report, MPB shared that it is now recirculating 615,000 cameras, lenses, and accessories a year, which is up by nine percent from a year ago. Along with putting secondhand cameras into the hands of photographers, the company also recently reached its 100% renewable electricity usage goal.

Those who have found one of those high-demand cameras to sell – or who have other camera gear to sell – can get a free quote from MPB.com.

MPB's top 10 cameras with the biggest price increase in the US

1. Canon PowerShot G9
2. Canon PowerShot G12
3. Panasonic Lumix DMC-LX5
4. Canon PowerShot G11
5. Olympus Pen E-PM2
6. Panasonic Lumix DMC-GF3
7. Olympus PEN E-P1
8. Sony Alpha NEX-3N
9. Canon PowerShot G7 X Mark II
10. Canon EOS Rebel T2i

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The Nikon ZR has been named by Time Magazine as one of the best inventions of 2026, praising the mirrorless camera for attempting to bridge the gap between social-media video creators and high-end video production.

It noted the camera’s integrated RED color science and arguably the Nikon ZR’s most high-profile creator, Jason Momoa. Just last week, the Aquaman actor was given a pair of custom all-brass Nikon ZR cameras for use in his On the Roam documentary series.

A growing list of accolades

Recognition from Time Magazine is the latest in a growing list of industry awards for the Nikon ZR, which took gold at the EISA Awards in the Photo/Video Camera category, while it also triumphed in the TIPA World Awards in the Best Advanced Compact Cinema Camera category, as well as earning product design accolades at the Red Dot Awards and iF Design Awards.

One-of-a-kind cinema camera

It’s not surprising that the Nikon ZR has proven a critical darling. Digital Camera World labelled the camera “a brilliant ‘baby’ RED cinema camera at a barely believable price.” Beyond the camera’s celebrated Z-mount lineage, it stands out among many of its peers for its fanless design, in-camera 32-bit float audio, 7.5 stops of in-body image stabilization, and gorgeous 4-inch rear LCD screen.

The shallow grip and rectangular, viewfinderless form factor is highly riggable, and despite lacking a chunky onboard fan, its passive cooling system manages to keep internals cool by allowing heat to pass through the camera’s magnesium-alloy body. As for core video specs, the headline is that coveted internal R3D NE recording, with video footage maxing out at 6K / 60p and 4K / 120p (cropped).

If you’re a run-and-gun videographer looking for an affordable and portable cinema camera that breaks the mould slightly, then the Nikon ZR comes highly recommended.

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Compact cameras are nearly as popular as mirrorless models in Japan. The latest Top 10 ranking published by Map Camera features five mirrorless cameras, four point-and-shoots, and one gimbal camera.

The No.1 spot takes a full-frame mirrorless, the Sony A7 V – a camera that is known to top the charts. Close behind is the Canon PowerShot SX740 HS / Lite. Third comes the Ricoh GR IV – a cult compact that is especially popular among street photographers.

The DJI Osmo Pocket 4P is the only gimbal camera in the ranking and comes ninth.

Map Camera's top 10 best-selling cameras (Sep 26)

1. Sony A7 V
2. Canon PowerShot SX740 HS / Lite
3. Ricoh GR IV
4. Fujifilm X-T30 III
5. Fujifilm X100VI
6. Sony a6700
7. Canon PowerShot G7 X Mark III
8. Sony A7C II
9. DJI Osmo Pocket 4P
10. Fujifilm X-M5

Sony A7 V tops the chart – again

Since the Sony A7 V launched in December 2025, it has become one of the most bought cameras on the market in Japan. It regularly takes the top spot across different retailers, sometimes month after month.

Map Camera states, "The Sony A7 V is strong! Once again, it has secured the top spot, far ahead of the second-place finisher.

"This is its ninth time at number one since its release in December 2025, excluding May 2026. It seems to have no rivals."

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

Chart-topping compact cameras

Map Camera's Top 10 cameras of September include compact cameras that are trusted by photographers and everyday shooters for years. Older models in the chart include the Canon PowerShot G7X Mark III released in August 2019.

Canon's other PowerShot model, the SX740 HS / Lite, is a compact camera that was relaunched in late 2024; it originally entered the market as the SX740 in July 2018. The Lite edition features the same 8-year-old core tech.

The Ricoh GR IV is the newest model and entered the market in September 2025, just months before Sony's newest full-frame and record-breaking A7 V was launched.

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Can a lens ever be cute? Well, I think this Sigma is. It’s super-small, slender and lightweight, and looks a little beauty. And it looks pretty remarkable as well. I’ve known professional photographers who almost always shoot with prime lenses on their full-frame cameras. If they do have a zoom lens, it’s likely to be one of the best 70-200mm f/2.8 lenses. It’s a classic telephoto choice that combines a versatile zoom range with a fairly fast and constant f/2.8 aperture, making it one of the best choices of wedding and event photography lenses, and more besides.

Despite their huge popularity, I’m not totally sold on 70-200mm f/2.8 lenses, as I feel that they’re often big, heavy and very expensive to buy. As with wide-angle and standard zooms, we’re seeing more ‘alternative trinity’ telephoto zooms that retain the constant f/2.8 aperture but pack it into a much more conveniently compact, lightweight and affordable package. The Tamron 70-180mm f/2.8 Di III VC VXD G2 is a case in point, and one of my personal favorites.

The thing is, we don’t all shoot with full-frame cameras. There are particular advantages to crop-sensor cameras, and the APS-C format has long been a popular choice. Lenses tend to be smaller, lighter and less expensive, but that doesn’t mean we should have to compromise on quality or versatility. With that in mind, Sigma started making a set of alternative trinity f/2.8 zooms, kicking off with the wide-angle Sigma 10-18mm f/2.8 DC DN | C and standard Sigma 18-50mm f/2.8 DC DN | C lenses, in Canon RF-S, Fujifilm X, Sony E and L-mount options.

The eagerly awaited follow-up is the Sigma 50-120mm f/2.8 DC OS | C that I’m reviewing here. It follows suit in most of the same mount options, but not L-mount. I’m not surprised. Off the top of your head, can you think of any current APS-C format L-mount cameras? Anyway, the new Sigma tele zoom looks an absolute little gem. Let’s see if its beauty is more than just skin deep.

Sigma 50-120mm f/2.8 DC OS | C: Specifications

Sigma 50-120mm f/2.8 DC OS | C: Price

Splash out on a set of conventional, full-frame trinity zooms and you’ll need deep pockets to afford them and a deep bag to put them in. The APS-C format Sigma 50-120mm is comparatively small, light and affordable at $799 / £699 / AU$1,400. It completes the set, building on the previously launched Sigma 10-18mm f/2.8 DC DN | C at $729 / £649 / AU$1,178 and the Sigma 18-50mm f/2.8 DC DN | C at $659 / £479 / AU$807. If you want an even faster standard zoom, there’s also the Sigma 17-40mm f/1.8 DC Art at $919 / £799 / AU$1,650.

For further context, the full-frame compatible Sigma 70-200mm f/2.8 DG DN OS Sports costs $1,649 / £1,499 / AU$3,040, while the Tamron 70-180mm f/2.8 Di III VC VXD G2 sells for around $1,099 / £999 / AU$2,449. Equivalent APS-C format telephoto zooms with a constant f/2.8 aperture are very thin on the ground, but there’s the Fujifilm XF 50-140mm f/2.8 R LM OIS WR, which is about twice the price of the Sigma 50-120mm in most world regions, at $1,899 / £1,449 / AU$2,399.

Sigma 50-120mm f/2.8 DC OS | C: Design & Handling

The Sigma 50-120mm f/2.8 DC OS | C is so small that it comes in a pint-sized little cardboard box (with fully recyclable packing, no less). It’s so lightweight that when I picked up the box, I thought it was actually empty and they’d forgotten to put the lens in it. Talking specifics, or rather specifications, the Sigma measures 67x99mm / 2.6x3.9in and weighs 390g / 13.8oz. So it’s less than 4 inches long and weighs less than a pound. Over in the heavyweight corner of the ring, the Fujifilm XF 50-140mm f/2.8 R LM OIS WR is about 7 inches long and weighs 35oz (about 2.5x as much). Remarkably for a constant f/2.8 zoom, the Sigma also has a small 55mm filter attachment thread, compared with the Fujifilm’s 72mm thread.

The Sigma packs a complex optical path into its downsized design, comprising no less than 18 elements in 13 groups. Specialist glass includes 3 SLD (Special Low Dispersion) elements, one top-tier FLD (‘Fluorite’ Low Dispersion) element and 4 aspherical elements, the last of these enabling further physical shrinkage as well as enhancing image quality.

Before I get too carried away about just how small this lens is, I should point out that unlike most 70-200mm full-frame lenses, the Sigma physically extends at longer zoom settings. I say ‘most’, but not all full-frame lenses of the genre have an internal zoom mechanism, the Canon RF 70-200mm f/2.8L IS USM being a notable exception. But while the Sigma has an extending inner barrel, the total amount of physical extension is only about an inch, as you zoom from 50mm to the longest 120mm setting. You can see how that looks in real life by comparing the images above and below.

The zoom ring itself operates with smooth efficiency and has a nice tactile feel throughout its range. There are no stiff or jerky spots along the way and while only modest torque is required to rotate the ring, the lens doesn’t suffer at all from any zoom creep, even with the added weight of the hood being attached. Indeed, no zoom lock switch is featured in the design. There are also no switches for swapping between autofocus and manual focus modes, nor for switching the optical stabilizer on and off. In keeping with the compact design, these settings are deferred to menu options in the host camera body.

Further tech shoehorned into the lens includes an HLA (High-response Linear Actuator) autofocus motor, which is essentially a linear stepping motor by another name. It aims to deliver fast, snappy and consistently accurate autofocus for stills, along with smooth and virtually silent autofocus transitions when shooting video. As usual for this type of arrangement, the autofocus motor is also employed during manual focusing, being driven by the electronically coupled manual focus ring.

Although handling feels broadly similar to that of Sigma’s sibling 10-18mm and 18-50mm zooms, the 50-120mm lens gains a dedicated aperture control ring. It’s clearly labelled in full f/stop increments, with one-third f/stop interim marker lines. As usual, it has an A (Auto) setting just off the narrow end of the scale, next to the f/22 setting, which enables the aperture to be controlled from the host camera. This is essential for using the camera in Program and Shutter-priority shooting modes. As with AF/MF and optical stabilization, however, there are no companion switches for the aperture ring, so you don’t get a de-click option for shooting video, nor a locking switch for the Auto position.

The lens comes complete with a circular-profile hood. This has the usual bayonet fixing and can be reversed on the lens for compact stowage. It feels a high-quality item, perfectly matching the lens itself.

The hood is tailor-made and only adds about an inch to the physical length of the lens. Using the hood not only helps to fend off ghosting and flare when shooting into the light, but also offers physical protection for the front glass element against any knocks and scrapes.

Build quality feels very good throughout. The construction feels robust despite its lightweight design, and features multiple weather-seals including a rubber gasket around the metal mounting plate.

A nice finishing touch is that the lens is not only supplied with front and back caps and a hood, but also with a neat drawstring pouch. It’s rather a featherweight compared with the padded soft cases that Sigma often supplies, but more in keeping with the relatively small and lightweight nature of this lens.

Sigma 50-120mm f/2.8 DC OS | C: Performance

As advertised, the autofocus system proved rapid and consistently accurate in my tests. The lens is capable of a tight depth of field, especially when shooting wide-open at f/2.8 at short object distances or towards the long end of the zoom range. This makes consistently accurate autofocus all the more important. I also found that the autofocus system was well able to track fairly fast-moving objects.

An excellent hit rate is assured, not only by the autofocus system, but also by the optical stabilizer. I tested the lens with a Sony A6000 body that has no IBIS (In-Body Image Stabilizer) and that holds true for most APS-C format Canon EOS R system cameras, most back-catalog Sony Alpha cameras and some Fujifilm X system cameras. The Sigma’s optical stabilizer is definitely worth having, even if your camera does feature IBIS. Optical stabilizers tend to perform better than IBIS at telephoto focal lengths and this one’s worth from 6.5 stops to 4.5 stops as you stretch through the zoom range from 50mm to 120mm.

The ‘effective’ 75-180mm zoom range in full-frame terms isn’t quite a match for the 70-200mm of conventional ‘trinity’ telephoto zooms, but it’s not far off. The Canon RF-S mount actually comes a little closer at maximum telephoto reach, equating to 80-192mm in full-frame terms, thanks to Canon’s 1.6x rather than 1.5x APS-C crop factor. Using the Sony E-mount version, I didn’t notice any real difference at the short end of the zoom range, and if you desperately need that extra bit of reach at the long end, a little creative cropping can often suffice. Either way, the images above and below demonstrate the overall zoom range, taken of the same subject from the same position at focal lengths of 50mm and 120mm respectively.

I found that levels of sharpness and clarity to be excellent, both throughout the entire zoom range and across the whole image frame. Color rendition is also beautiful. I was less enamored that the aperture ring rotates with clearly audible click steps. That can be problematic when shooting video, as there’s no de-click option for the aperture ring. Naturally, due to the telephoto nature of the lens, you’ll need to stop down to medium apertures to gain sufficient depth of field, when shooting 3-dimensional objects that are fairly close by. At least, you will if you want most or all of them to look sharp, as demonstrated in the bicycle image below.

For this kind of lens, there’s another facet of performance comes to the fore, and that’s the quality of bokeh. It can be a struggle for APS-C format lenses to deliver a tight depth of field, as this is more dependent on the ‘actual’ rather than ‘effective’ focal length. Again though, the Sigma impresses with attractively soft and smooth bokeh in defocused areas, along with a natural looking roll-off between focused and defocused elements in a composition. The aperture diaphragm is particularly well-rounded, being based on 11 blades, which helps to maintain the quality of bokeh when stopping down.

Axial/longitudinal chromatic aberration (also referred to as ‘bokeh fringing’) is also well controlled around high-contrast transitions just in front of or behind the plane of focus. All of these facets are demonstrated in my test shot below, taken of a phrenology head at a focal length of 92mm, wide-open at f/2.8.

There’s fairly good control over distortion which is well within the boundaries of automatic in-camera correction, and there’s virtually no color fringing to be seen even with in-camera correction disabled. The lens also does well to maintain clarity and contrast while minimizing ghosting and flare, when shooting against the light. For the following image, I was shooting towards the sun, with lots of light coming in from the sky as well as bouncing off the sea. The lens maintains good contrast while keeping ghosting and flare very much at bay.

Sigma 50-120mm f/2.8 DC OS | C: Sample Images

The following gallery comprises images taken on a sunny morning at Weston-Super-Mare, a popular tourist destination on the boundary of the Severn Estuary and Bristol Channel in South West England. The first few shots in the gallery were taken in pairs, captured of the same scene from the same position, but at both extremities of the zoom range. This gives you an idea of the total zoom range on offer. I also shot a variety of other images, using various focal lengths and aperture settings, including the widest aperture of f/2.8 to show the quality of bokeh with the minimum depth of field.

Sigma 50-120mm f/2.8 DC OS | C: Lab Results

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

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center-sharpness is very good wide-open at f/2.8, becoming excellent with just a single f/stop reduction to f/4, throughout the entire zoom range. Extreme edge-sharpness doesn’t look too great based on short-range shooting of our lab charts, but at more typical focus distances, it proved impressive in our real-world tests, as you can see in my sample images.

Fringing:

Both lateral and axial chromatic aberrations are entirely negligible. You’d hard pressed to see any color fringing anywhere in the image frame, even with automatic in-camera correction disabled. That holds true throughout the entire zoom and aperture ranges.

Distortion:

There’s a little pincushion distortion at 50mm, a little more at 70mm, and it can become fairly noticeable towards the long end of the zoom range. However, the Sigma relies much less on automatic in-camera correction for distortion, compared with many modern lenses for mirrorless cameras, especially those designed with compactness in mind. With auto correction applied, distortion becomes a non-issue.

Sigma 50-120mm f/2.8 DC OS | C: Verdict

I have a bit of a love / hate relationship with ‘proper’ trinity telephoto zoom lenses. I love their versatility and usefulness for anything and everything from daily shooting to action, sports, wildlife and portraiture, and especially for weddings and events. But I hate that they’re typically big, heavy and very expensive to buy. The Sigma 50-120mm f/2.8 DC OS | C for APS-C format Canon, Fujifilm and Sony cameras gives me all of the good stuff, but miniaturized into an amazingly compact and lightweight package that’s also much more affordable to buy.

That ‘good stuff’ includes an effective 75-180mm zoom range (80-192mm for Canon), complete with fast, virtually silent and consistently accurate autofocus and effective optical image stabilization. Image quality is top-drawer, combining superb sharpness, clarity, contrast and color rendition with smooth and dreamy bokeh.

I like that the lens includes a dedicated aperture control ring, but I feel it’s a bit of a shame there’s no click/de-click switch, nor switches for auto/manual focusing modes and stabilization on/off. However, I’m happy to forego these in the pursuit of downsizing, and it also keeps the control layout relatively simple and straightforward. Ultimately, this Sigma makes a compelling case for using a crop-sensor camera instead of a full-frame body. It’s a proper pocket rocket!

Alternatives

The Fujifilm Instax Mini Evo Cinema is unusual as far as cameras go – for starters, it has a “time travel” dial that recalls styles of past decades, and it’s an instant film camera that “prints” videos. But the retro camera’s design is unusual enough that the camera just earned a new title: A Time Magazine Best Inventions of 2026.

When I tried out the Evo Cinema earlier this year, I called it the “strangest camera that I’ve ever used” based on the camera’s incredibly fun decade dial that calls up a specific video style from the past. That’s not the only unusual part, though – the Evo Cinema also feels like a modern, miniature remake of an old Super 8 video camera with its trigger-style recording.

The editorial staff at Time must have agreed. The Best Inventions awards are given out based on four key factors: originality, efficacy, ambition, and impact. The Evo Cinema’s originality is obvious in the unusual design, and creating a video camera built around the Instax still photo system also certainly feels ambitious.

Time writes that the Instax Mini Evo Cinema “offers oodles of analog charm in a digital-friendly package.”

While the Evo Cinema is a unique camera, it shares several features in common with other Instax digital hybrids, including a 5MP 1/5-inch sensor and a built-in printer that uses Instax Mini film. Last year, Time also gave a Best Invention title to the Instax Wide Evo.

The Instax Mini Evo Cinema wasn’t the only camera on TIME’s list of 300 inventions. The Nikon ZR also earned recognition for its compact design mixed with a full-frame sensor and RED color science. GoPro’s first mirrorless camera, the Mission 1 Pro ILS, also earned honors.

Along with those cameras, TIME's Invention of the Year also recognized gear like the HooverAir Aqua waterproof drone, Aura’s e-Ink digital picture frame, Honor’s gimbal-clad Robot Phone, and even a light meter, the Lit Duo 1.

It feels entirely appropriate that the time-traveling Instax Mini Evo Cinema has also earned a place in modern tech history as one of the Best Inventions of 2026.

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A rising awareness of screen overuse has given way to a screen-free camera trend. But one upcoming camera that wants to fit in this low-tech category technically has a screen – it just uses it for game-like animations instead. The Dinooh is a “digital film” camera with a retro advance lever and a tiny screen to gamify photography.

Rather than being screen-free, the Dinooh is a “playback-free” compact camera. The small screen can’t be used for previewing or reviewing photos. Instead, the screen is built for retro, gamified animations ranging from cute dachshunds to a girl with bubble gum.

Created by a California-based startup, the Dinooh feels built for the digital minimalist movement. The camera shoots photos with one of four built-in filters. A “film” advance lever needs to be pulled after every shot. And there’s no mobile app at all, just a USB-C port to transfer images.

That advance lever is built with resistance and springs to feel like an old film camera, but the company says its purpose is simply a reminder to slow down.

The creators behind the camera say that the Dinooh is designed to be “a camera that you can just pick up, play with, and carry around without thinking too much about the perfect shot.”

Built by a designer from the Harvard Graduate School of Design, the compact form, lever, and built-in filters were inspired by “the playful spirit of ‘90s electronics,” including that Game Boy-like screen. The front includes a small drawing with the words, “time to be a dinosaur.”

The Dinooh is listed on Kickstarter as “coming soon” – and at this early stage, details like technical specifications and price haven’t yet been shared. While the campaign for the compact camera hasn’t yet opened to backers, a sign-up list is open for a launch-day notification.

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The compact camera’s viral success has brought a revival of the once-decimated category – but it’s not just the oversized sensors that can outperform a smartphone that have seen a resurgence in sales. The best-selling cameras in Japan across several major retailers, including Amazon, are dominated by budget point-and-shoot cameras.

The data comes from BCN+R, a Japanese research firm that tracks sales across more than 2,300 stores, which recently shared the best-selling compact cameras for September 2026.

The list is dominated by budget point-and-shoots. Four out of 10 carry the Kodak name, but are built by JK Imaging and license the Kodak name.

None of the cameras on the list carry a sensor larger than 1/2.3-inch.

BCN+R’s best-selling compact cameras for September 2026

1. Kodak PixPro ZF55 (black)
2. Kodak PixPro C1 (black)
3. Kodak PixPro C1 (brown)
4. Fujifilm Instax Mini Evo (Brown)
5. Kodak PixPro WPZ2
6. Canon PowerShot SX740 HS
7. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (silver)
8. Panasonic Lumix TZ99
9. Kenko Tokina KC-AF11
10. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (black)

While none of the cameras on the list use a larger sensor, BCN+R’s rankings differ from those of dedicated photo retailers in Japan like Yodobashi, who regularly include larger-sensor compacts like the Canon PowerShot G7 X Mark III, Ricoh GR IV, Fujifilm X100VI, and Sony RX10 V.

That makes sense considering the sources – serious photographers may be more likely to use a dedicated photography shop, while someone looking for a compact camera to spend less time on a smartphone may be more likely to visit larger retailers like Amazon and big box stores.

The list dominated by cheap point-and-shoots points to a broader trend – and that’s that photographers aren’t the only ones buying cameras. Before the smartphone, families owned a camera to capture memories, even among those not serious about photography as a hobby. The rise of the smartphone put a major hit on that camera market, but now the point-and-shoot is returning, even among buyers who prioritize price over sensor size. Digital minimalists are looking for a camera without the distractions of smartphones, sparking a rise in screen-free compact cameras.

BCN+R also ranks weekly sales, and looking at that narrower time frame hints at which cameras may be rising up those ranks. In addition to the cameras that are already on the monthly list, the short-term list includes the waterproof OM System Tough TG-7 and the vlog-focused Sony ZV-1F.

One newly launched compact camera has risen up on the weekly rankings as well: The Instax Pal 2. The Pal 2 is a tiny 3 oz / 87g digicam with retro dials and a tiny screen placed at the top. The Pal 2 has been particularly popular in the US, where it ranks at the top of B&H’s top trending cameras.

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Yashica is bringing a 1959 compact film camera into the digital era – and it comes with a retro dial to unlock different looks. The Yashica Y16 Pocket Camera is a compact digital camera built to mix the retro camera trend with a budget point-and-shoot.

The new Yashica Y16 Pocket takes its design inspiration from a 1959 camera by the same name (minus the Pocket). While the Yashica name has changed hands since then, the upcoming compact camera mimics that retro camera’s shape and dials.

Yashica previously teased the new Y16 last month, but that teaser left out a few key details, including the price. Now, Yashica has unveiled more details, including a price of $114.42 / £86.48 / AU$163.98 / CA$162.63.

There’s still one key detail missing from the Y16's list of features, however: Yashica hasn’t shared what size the sensor is. The Y16 has a 12MP default resolution, as well as a low-fi 5MP option, and the built-in lens is 27mm (full-frame equivalent).

Based on the price and pocketable design, that sensor is likely to use a smaller design, perhaps similar to the 12MP 1/3.06 from the new Yashica Crew. While there are no official details on the sensor size, Yashica has shared a set of sample photos that suggest the camera is built for low-fi nostalgia over serious image quality.

While the Y16 is a budget point-and-shoot, the camera does include a few controls. The dial at the top allows creators to choose from eight different built-in digital filters.

The Xenon flash also has three adjustable levels, allowing users to adjust to the lighting conditions – or perhaps the level of retro, direct flash look. The flash also has an auto mode in addition to those three manual levels.

The Y16 shoots videos as well as photos, with the highest resolution being 4K at 22 fps. For a more traditional 30p video, resolution drops to 2K.

The Y16 includes both an optical viewfinder and a small 1.45-inch LCD screen. An eye sensor will automatically turn off the LCD when the camera is brought up to the eye for more traditional viewfinder shots.

Those features are wrapped up in a retro body that weighs 93g / 3.28 ounces. The camera is 9.1cm / 3.5 inches on the longest side and just 2.9 cm / 1.14 inches deep.

Yashica says that the new Y16 is scheduled to begin shipping the week of November 30.

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For an idea of what to expect, take a look at the Yashica Tank review or the Yashica City 100 review. Or, browse the best retro cameras.

The Japanese market research firm BCN+R has released its monthly roundup of the top 10 best-selling interchangeable-lens cameras for September, and this month’s ranking features an unlikely Micro Four Thirds (MFT) shooter: the Olympus PEN E-P7.

The 20MP, lightweight, entry-level MFT model placed fifth for last month – albeit as part of a double-zoom lens kit including a 14-42mm EZ and 40-150mm lens – climbing three spots from eighth position in August.

While rankings from other market analyst firms, such as Kitamura and Yodobashi, pull data from specialty photo retailers, BCN+R tracks point-of-sale data from over 2,300 brick-and-mortar and online retailers across Japan, meaning more budget-model cameras, sold at places like Amazon, are typically included.

BCN+R's top 10 best-selling camera models are typically determined from around 120 different camera bodies and respective lens bundle combinations, of which only an estimated 15% are MFT cameras.

And in a world dominated by super-spec full-frame mirrorless and legacy DSLR cameras, the E-P7 has held the fort down for the MFT system in this ranking.

Since being released in 2021 (Europe/Japan only) – the first Olympus model produced by OM System after it acquired the imaging division of Olympus – the E-P7 has featured in BCN+R’s monthly top-10 roundup at least once in each of the last three years, as well as in its release year.

BCN+R top 10 best-selling interchangeable-lens cameras September 2026

• Sony ZV-E10 II Double Zoom Lens Kit (Black)
• Canon EOS R10 RF-S18-150 IS STM Lens Kit
• Canon EOS R50 Double Zoom Kit (Black)
• Canon EOS R50 Double Zoom Kit (White)
• Olympus PEN E-P7 EZ Double Zoom Kit (Silver)
• Sony A7 V Body
• Fujifilm X-M5 XC15-45mm Lens Kit (Silver)
• Sony A6700 High-Magnification Zoom Lens Kit
• Sony A6400 Double Zoom Lens Kit (Black)
• Sony ZV-E10 Double Zoom Lens Kit (Black)

The remainder of this month’s ranking was mostly a showdown between Sony and Canon, with a sprinkling of Fujifilm. The Sony ZV-E10 II took the top spot, followed by the Canon EOS R10 and two lens-combination variations of the EOS R50.

The latter half of the rankings was made up of the Sony A7 V, Fujifilm X-M5, Sony A6700 and A6400, as well as the Sony ZV-E10. Aside from the A7 V, all the other camera models came as part of a lens bundle.

Looking at the full list and how it's packed with rigs boasting full-frame and APS-C sensors, it's even more surprising to see an MFT model like the E-P7 make the top 10.

However, last month, OM System unveiled the new PEN, which carries a retro compact design but has weather-sealing and in-body stabilization. It doesn't start shipping in Japan until the end of October, but it will be interesting to see if the E-P7 is swapped out for the new PEN in future rankings.

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Here’s our pick of the best Micro Four Thirds cameras from Olympus, OM System, and Panasonic.

Digital creator Kai George claims that an LA-based camera repair shop has returned her heirloom Rolleiflex camera in a significantly different state than was originally supplied. The camera, which belonged to her late grandmother, is at the center of a dispute that George has dubbed ‘Camera Gate’ on her Instagram account (@kailaide), posting regular video updates as the situation has unfolded.

The Rolleiflex camera

The camera at the heart of the dispute is a Rolleiflex 3.5F Planar, a legendary German-made twin-lens reflex medium-format film camera produced from 1958 to 1976. Rolleiflex prices vary wildly on the used market, depending on the exact model and condition. However, such cameras can regularly be found used for upwards of $1,000.

The camera dispute

Roughly a week ago, George posted a video explaining that her grandmother’s old Rolleiflex camera had been found in a drawer and that she had taken it to LA-based Walter’s Camera and Digital Repairs for cleaning.

Another video was posted showing an initial interaction with a shop employee, who assessed the camera. He explained that the lens element was in good condition, but the mirror needed replacing and the shutter was sticking. George was quoted $450 for the work.

The dispute began when George returned to pick up the camera, captioning the video with the following allegations: “Missing parts, dents and scratches??!” This is the first of multiple video posts detailing the ongoing dispute in which George has challenged the camera repair store directly, going so far as to discuss the matter with the police, who explained that the dispute was a civil matter.

The basis of George’s claims is that the camera is not in the same condition as it was when it was handed over, citing various discrepancies, alleging that some parts are different or missing.

In the second video, a store employee can be heard explaining: “The tools that allow you not to damage small, intricate pieces, they do not make them anymore.” At the beginning of another video, the employee says: “It dissolved the leather piece,” when referring to alcohol application on the camera’s leather.

The current situation

In the most recent video, George takes the camera to another repair shop, Rolleiflex camera specialist Rollei Repairs, and explains to the owner that the serial numbers match: “So, yeah, got the camera now, the serial numbers match, they… I feel like it just looks in worse condition than what I actually gave it to them in.”

Digital Camera World has reached out to Walter’s Camera and Digital Repairs for comment, but has not yet received a reply. This article will be updated accordingly should the website receive one.

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Check out the latest camera news. If you're interested in vintage cameras, take a look at the best film cameras. If you'd like something that looks old but functions like a modern device, he are the best retro cameras.

The viral popularity of the compact camera has sparked a renewed interest in pancake lenses – and now budget lens maker TTArtisan has introduced an optic that fits an f/3.8 aperture and autofocus in a lens that weighs 57g / 2oz.

The TTArtisan AF 24mm f/3.8 Mini is a full-frame pancake lens coming to Sony E and Nikon Z mounts. Once mounted on the camera, the lens sticks out just 16mm / .6 inches. To put things in perspective, that’s about ten pennies stacked together or the measurement of one side of standard game dice.

Despite the compact size, TTArtisan has managed to fit a VCM, or voice-coil motor, autofocus inside. That autofocus can lock on to subjects as close as .3m / 11.8 inches from the front of the lens.

The lens fits in six optical elements in six groups, including two extra-low dispersion elements and two aspherical elements.

Even capping the front of the lens for storage doesn’t add to the lens’ size. The lens uses a built-in lens cover that’s deployed using a slider at the front. (A rear cap is also included in the box.)

TTArtisan also built a USB-C port into the metal mount for firmware updates.

The China-based TTArtisan is no stranger to building budget compact lenses, but the new 24mm Mini is smaller than the TTArtisan AF 27mm f/2.8 and AF 14mm f/3.5, which are both built for APS-C sensors.

The TTArtisan AF 24mm f/3.8 Mini is already available to order for the Sony E-mount, with the company saying that the Z Mount is coming soon. Orders are open through TTArtisan as well as retailers like B&H (US) and Clifton Cameras (UK). The pancake lens retails for $99 / £89 (about AU$142 / CA$136).

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SanDisk has introduced a new range of microSD cards designed for high endurance applications, such as security cameras and dash cams. The new Guardian Series cards are built to sustain 24/7 recording to ensure the best possible reliability in critical applications.

SanDisk Dash Cam card

Designed to pair seamlessly with a variety of dash cams, this microSD card has been tested to endure up top 40,000 hours of recording, while also being able to perform reliably in extreme cold, heat and humidity - the kind of environments likely to affect a vehicle's interior. With many of the best dash cams now offering 4K front+rear video recording, a microSD card intended for dash cams needs to be capable of fast performance. The SanDisk Dash Cam card is rated for up to 100MB/s read and 40MB/s write speeds; that's some way off the pace of the quickest microSD cards, but it should still be fast enough for even the most demanding 4K dash cams. Capacity options range from 32GB ($22.99/£20.99) up to 512GB ($149.99/£150.99), with all capacities being available to buy now.

SanDisk Security Cam card

A memory card for security cameras needs to be even more durable than one designed for a dash cam, as it's likely to be operating continuously, 24/7. Consequently, the SanDisk Security Cam card is rated to handle up to 4 years of continuous recording. That's great for cameras that only store footage locally, but it can also be invaluable as a back-up for cloud cameras, should your internet connection ever drop out. Like the Dash Cam card, this version is capable of up to 100MB/s read and 40MB/s write rates, making it suitable for high resolution recording up to 4K, and it's built to survive harsh outdoor environments, including extreme heat, cold and humidity. You also get the same 32GB-512GB capacity options, with identical pricing to the Dash Cam cards. SanDisk Security Cam microSD cards are available now and are backed by a 2-year limited warranty.

The constant aperture f/2.8 zoom tends to be a lens category that’s both expensive and heavy, but there’s a growing number of options built specifically for APS-C that put that coveted f/2.8 into a zoom the size of a kit lens. The new Tamron 16-50mm f/2.8 A is one such lens.

Built for APS-C bodies across Sony E, Canon RF, Nikon Z, and Fujifilm X mounts, the lens comes in at a 10.8oz / 305g package. I twisted the lens on a compact Sony A6700 and took it on a fall color hike, and the price and aperture are going to make it a very tempting choice for everyday carry.

Tamron 16-50mm f/2.8 A review: Price and Availability

The Tamron 16-50mm f/2.8 A sits at a price point that feels excellent for APS-C shooters. It’s well under the price of first-party lenses like the Sony E 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II, but it also sits at a price that competes with other third-party optics like the Sigma 18-50mm f/2.8 DC DN Contemporary.

The lens price varies slightly by mount. The E-mount and X-Mount sit at $529 / £399 / CA$749, while the Z-Mount and RF-Mount sit at $549 / £429 / CA$749.

The E-Mount and RF-Mount ship first on October 29, with the Z-Mount following on November 19 and the X-Mount on December 17.

Tamron 16-50mm f/2.8 A review: Specs

Tamron 16-50mm f/2.8 A review: Build and Handling

The Tamron 16-50mm f/2.8 A is deceptively small. It looks small enough to be a kit lens, not a constant-aperture zoom. The 10.8oz / 305g weight and 3.2 inch / 79.6mm length make it an easy lens to take on long hikes.

The lens is an external zoom type, which means the lens does get slightly longer as it zooms in.

The lens itself carries a minimalist design – there’s no bank of control switches at all, just a focus ring, a zoom ring, and a USB-C port for firmware updates and Tamron Link support.

My only complaint about the design? I would have loved an aperture ring, but tiny lenses can’t pack everything, and that’s one of the sacrifices to get a lens this lightweight.

But Tamron didn’t sacrifice weather seals in order to bring down the weight and price. The lens has several weather seals throughout. I only had a sunny weekend with the lens, but I gave the lens a few squirts with a plant mister, and the lens (and camera) was unbothered.

The lens ships with a removable petal-shaped lens hood.

Tamron 16-50mm f/2.8 A review: Performance

I took the Tamron 16-50mm f/2.8 A on a weekend hike to photograph the fall colors. The lens squeezes an excellent range and bright aperture into a lightweight optic. Close focusing capabilities up to 6 inches / .15m on the wide end and 11.5 inches / .29m on the long end add to that versatility.

Images coming from the lens have decent sharpness, with subjects that are crisp but without being overly so.

Unaltered, the lens has some barrel distortion at 16mm and barrel distortion at 50mm, but using the lens profile inside Lightroom corrects this in a click for RAW files.

Some images have a light vignetting at the corners, more noticeable at 50mm than at 16mm. Again, the lens profile does a nice job of quickly cleaning up those corners.

Turning from leaf peeping to pixel peeping, I did spot some occasional purple fringing when shooting backlit, high-contrast scenes and viewing the photos at 100 percent. This chromatic aberration was stronger in the untouched RAW files than on the JPEGs, and wasn’t strong enough to notice without viewing at 100 percent.

That f/2.8 creates some lovely bokeh. Large points of light create round bokeh balls; through smaller, more distant bokeh does take on some onion ringing.

Shooting towards the sun, I was able to capture some lovely, hazy lens flare. Filtered through the leaves, this flare looked like added sparkle. On the flip side of that lovely flare, however, there are some occasional purple ghosting spots when shooting into the sun.

I had just a weekend with the lens to test it out ahead of launch – lab testing and more challenging autofocus tests are needed before I can give the lens an official rating. But my initial experience is that the lens delivers a solid balance of sharpness and bokeh. There’s some minor purple fringing, while the vignetting and barrel distortion correction rely heavily on the lens profile to correct.

Tamron 16-50mm f/2.8 A review:

The Tamron 16-50mm f/2.8 A is so small that it feels like a kit lens, yet it packs in a constant f/2.8 aperture. The lens is a fantastic option to replace a narrow-aperture kit lens, but the versatile zoom and close-focusing capabilities also make it a great everyday lens, as well as a tempting travel lens.

It’s a lens that's light enough to carry around for hours, while still offering weather-sealing. I missed the aperture ring a little, but that may be a worthwhile sacrifice for the weight savings.

The lens expertly balances image quality with portability and price. Images are sharp, and bokeh and flare are lovely. There’s some vignetting and barrel distortion corrected by the lens profile, and some occasional purple fringing to contend with, however.

The price is also highly competitive, coming in close to the Sigma 18-50mm f/2.8 DC DN Contemporary, with a steep price difference compared to first-party lenses.

Alternatives

The f/2.8 constant aperture zoom is considered the professional standard, but the category tends to sit at both a high price point and a heavier design. But Tamron has just built an f/2.8 zoom built for everyday carry – and for matching the compact size of APS-C shooters from Canon, Sony, Nikon and Fujifilm.

I took the Tamron 16-50mm f/2.8 A on a fall color hike. Weight-wise, shooting with the new lens felt like using a kit lens. The lens sits at just 10.8 oz / 305g and it’s only about 3.2 inches long (though the Nikon Z mount sits at 4.8 inches / 121.3mm and 11.2oz / 315g).

But while the weight felt like a kit lens, the bokeh from shooting at f/2.8 did not. Shooting at 50mm and the minimum focus distance of 11.5 inches / .29m on the long end created a lovely mix between sharpness and bokeh.

The 16-50mm doesn’t reach as far as competing 16-55mm lenses, but I thought the range was an ideal balance between versatility and keeping the lens lightweight. I was happy to fit some wide shots, longer shots, and close-ups – though not quite macro territory – all without swapping lenses.

Like a lot of modern lenses that prioritize size, using the lens profile is a must to avoid vignetting and barrel distortion. The one quirk that I couldn’t quite completely fix in one click was some occasional purple fringing when shooting backlit branches – minor enough not to spot when viewing the whole image, but detectable when pixel-peeping at 100 percent.

Another feature that didn’t feel like a kit lens? The Tamron 16-50mm f/2.8 A does have weather seals for shooting in rain and snow, as well as helping prevent dust buildup.

The new Tamron is built for budget as well as size, sitting between $529 / £399 / CA$729 and $549 / £429 / CA$749 depending on the mount - that converts to around AU$757-AU$786.

The Tamron 16-50mm f/2.8 A joins a growing list of lenses built for crop sensor shooters that mix a bright aperture with a compact design. Tamron’s biggest competitor here is probably the Sigma 18-50mm f/2.8 DC DN Contemporary, which is slightly lighter but also a bit less wide.

First-party competitors like the Sony 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II have a larger price gap, along with being heavier optics.

The Tamron 16-50mm is launching first to the Sony E-Mount and Canon RF Mount with an October 29 ship date. A Nikon Z mount is expected to follow on November 19th, and a Fujifilm X mount on December 17.

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Read the full Tamron 16-50mm f/2.8 A review. Or, take a look at the best lenses for travel.

Ask any photographer who shoots real film the reason behind choosing analog, and I’m guessing the answer is going to have the word “color” in it. The new Fujifilm Instax Square 2 instant film camera has a built-in party trick just for color.

The Instax Square 2 feels like a larger version of the Instax Mini 13 in that it’s a fully automatic camera built to be simple enough that nearly anyone can find success with it. But the one unusual feature the Square 2 hides gives creators more control over moody colors with a built-in warm (orange) and cool (blue) filter that’s activated with a flick of a switch.

Fujifilm Instax Square 2: Specs

• Film: Fujifilm Instax Square
• Film size: 86mm x 72mm
• Picture size: 62mm x 62mm
• Developing time: Approximately 90 seconds
• Viewfinder: Reverse Galilean finder, 0.4x with target spot
• Lens: 65.75mm 1:12.6
• Exposure: Automatic, 1/2 to 1/400 shutter speed with slow syncro for low light
• Flash: Constant fire with automatic light adjustment
• Lens range: 0.3m and beyond
• Battery: 4 AA batteries, lasts about 30 packs of film
• Dimensions: 139 x 119.5 x 71mm / 5.47 x 4.7 x 2.79 inches
• Weight: 450g (without batteries, film, or strap)

Fujifilm Instax Square 2: Price

The Instax Square 2 is expected to retail for $119.95 / £94.99 / CA$139.99. That puts the camera at a bit higher price point than the smaller format Instax Mini 13, but under the price of the Instax Square SQ40.

The cost of film is always a consideration with any analog camera, and the Instax Square film packs sit at about $22 for a pack of 20, which comes to about $1.10 each photo. That’s around half the cost of Polaroid i-Type film, which is $19 for an eight-pack.

Fujifilm Instax Square 2: Build and Handling

The larger film format creates a chunkier camera – but the trade-off is that it also gives the Instax Square 2 a more comfortable grip than cameras like the Instax Mini 13. The camera is rather oversized at 139 x 119.5 x 71mm / 5.47 x 4.7 x 2.79 inches, but competing Polaroids aren’t “compact cameras” either.

That larger design does give my hands a nice grip to wrap around, which is also where the four AA batteries hide. The shutter button rests right where my index finger lies naturally, so it’s a comfortable design considering the size.

Twisting the control around the lens turns the camera on and also houses the three modes: landscape, standard, and close-up.

A switch near the lens controls the camera’s new “mood modes,” which can create a cooler or warmer look to the shot. There’s also a small mirror on the front to aid with selfies.

The back of the camera houses the door for the film packs. Loading is simple; just remember to line the yellow on the film pack with the yellow mark on the camera. There’s a small window that shows the number of shots remaining.

The camera uses a classic optical viewfinder.

Fujifilm Instax Square 2: Performance

The Instax Square 2 is almost a fully automatic camera, right down to the flash that can’t be switched off. That makes the camera very easy to use. The only thing to remember is to adjust the lens, which has landscape, standard, or close-up mode based on what you are shooting.

While the Square 2 is simple enough that a kid could use it, serious photographers may be more disappointed by the lack of controls. I would love for a Square version of the Instax Mini 99 with a bit more tools to customize the shot, but that’s not what Square 2 is – and thankfully the price reflects its beginner status.

The instant photos spit out the top and take a rather quick 90 seconds to develop.

I’ve shot with several Instax Mini cameras, and the Square 2 delivers everything that I’ve come to expect from Instax film, just in a larger, square format. I didn’t spot any unusual lines that may indicate a roller error or other negative surprises.

The photos pack in the colorful charm of analog film and often feel a bit moodier than the real-life scene.

The Square 2 has a built-in warm and cool filter that allows for controlling that mood a bit more. The cool filter creates a more hazy look that I think would be great for urban portraits and indoor parties, while I wanted to leave the warm filter on permanently while photographing fall colors.

The fully automatic design meant a few occasional exposure errors. Not being able to turn off the flash can create bright spots, particularly when shooting close to the subject.

On the flip side, shots taken just before golden hour in a forest rendered a little too dark.

The camera's three lens modes do leave room for focus errors, particularly with close-ups. The close mode is meant for .3 to .5m (about one foot to 1.6 feet). The standard mode is meant for .5 m to 3m (about 1.6 feet to 9.8 feet), and the landscape mode for anything beyond that distance.

That is, of course, all par for the course when shooting instant film, which is meant to be more charming than perfect. The images from the Square 2 met my expectations and were exactly what I was expecting after using Mini series cameras like the Instax Mini 13.

Fujifilm Instax Square 2: Verdict

The Fujifilm Instax Square 2 is a fun, simple-to-use instant film camera with a classic square film that’s competitively priced compared to Polaroid refills. With nearly everything automated, it’s an analog camera that anyone can use.

There are just two things to control on the camera – the lens mode (landscape, standard, close-up) and a moody color filter to add warmth or cool down those film tones with a simple switch.

More serious shooters may wish for more controls and creative modes like double exposures. But for easy analog? The Square 2 is an easy win.

Alternatives

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

Shooting film is all about the retro colors – but Fujifilm’s new square format shooter levels up its color game with built-in blue and orange filters. The Fujifilm Instax Square 2 is an instant film camera with classic square prints and a surprisingly easy set of features.

Announced late on October 13, the Square 2 ends a three-year gap since the last square-format shooter from Instax, the SQ40. Instax's square cameras have been hard to find in many regions, with Fujifilm Japan apologizing earlier this year when production couldn't keep up with orders for the six-year-old original SQ1.

Now, the Instax is back with a new model, along with a new film, Instax Square Haze, which is designed for reduced contrast and a softer look.

The Instax Square 2 is almost fully automatic. The exposure is fully automatic, and the flash can’t be turned off. But photographers do need to remember to twist the dial on the lens to close-up, standard, or landscape mode to get the subject in focus.

While built for simplicity rather than advanced controls, there is one unusual creative tool built in. Flipping a switch on the front of the lens adds a blue or orange filter across the lens. The blue filter creates moody shots that feel a bit more hazy with cooler colors. The orange filter, meanwhile, adds a pop of warmth – I didn’t want to turn it off when out snapping photos of fall colors.

While serious photographers may have been hoping for something with controls more along the lines of the Instax Mini 99, the Square 2 is simple enough that I think even older kids could use it. The built-in filters add more mood to the already charming instant film.

I’ve shot with several Instax cameras. The Square 2’s larger film format comes with a much chunkier camera than the options from the Instax Mini series. It’s a 450g / 15.9-ounce camera without the film or batteries loaded. Like the Instax Mini SE, the Square 2 also uses replaceable AA batteries instead of a rechargeable one.

That simpler design also heralds in a more basic price point, with the camera expected to retail for $119.95 / £94.99 / CA$139.99. That’s not much higher than the Instax Mini 13 and is under the list price of the existing Instax SQ40 – though the older camera is hard to find at US retailers.

The new Instax Square Haze film pack brings a softer look to the photos and is expected to list for $18.99 / £9.99 / CA$16.99 per pack. Both the new camera and film are expected to begin shipping before the end of October.

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Take a look at the Instax Square 2 review, or browse the best instant film cameras.

The top three mirrorless cameras at major Japanese retailer Yodobashi all come from the same brand. Topping the chart is a full-frame camera that made headlines before its launch in December 2025 and has since won multiple industry awards.

The No.1 mirrorless camera in Yodobashi's ranking for the second half of September is the Sony A7 V, followed by the ever-popular Sony A7C II with a zoom lens kit. In third place is the same full-frame camera in its body-only version.

Sony dominated previous Yodobashi rankings, with its camera accounting for 50% of the Top 10. Now, the manufacturer remains in the lead, but its presence has fallen to four models. Canon follows with three cameras: the EOS R50 (No.4), EOS R6 Mark III (No.8) and EOS R10 (No.9).

Yodobashi's Top 10 mirrorless cameras, 2nds Half Sep 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Sony A7C II | Silver | Black
4. Canon EOS R50 Double Zoom Kit | Black | White
5. Fujifilm X-T30 III XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
8. Canon EOS R6 Mark III
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Nikon Z50 II Double Zoom Kit

Japan's No.1: the "Camera of the Year"

The Sony A7 V is a camera many photographers have been waiting for.

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

It also highlighted the partially stacked Exmor RS CMOS sensor, which offers a dynamic range of up to approx. 16 stops and blackout-free continuous shooting at up to 30 frames per second (fps) in 14-bit RAW.

Designed as a true hybrid all-rounder, the Sony A7 V combines high-speed performance and advanced autofocus (AF) in a more affordable body.

Since launch, the A7 V has regularly topped sales charts across major retailers in Japan. It features a couple of headline-grabbing improvements we haven't yet seen debuted in other Sony cameras, as DCW's Reviews Editor Gareth Bevan highlights. He calls the full-frame a "more affordable jack-of-all-trades body."

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Browse the best mirrorless cameras, the best Sony cameras and the best Sony lenses.

The market for pocket-sized gimbal cameras is becoming increasingly crowded, with manufacturers seemingly falling over themselves to offer more features, better video quality, and ever more impressive specifications. But in a sea of products that often feel remarkably similar, Insta360 has somehow managed to cut through all the noise with the Luna Pro.

Just look at what the Insta360 Luna Pro offers: stunning 8K video recording, Dolby Vision color, Leica color profiles, and a beautiful Leica co-engineered lens. I mean, on paper, it sounds incredible. And having spent the past month using one, I can tell you that it really is incredible. But here is the thing. None of those features are what make this, in my eyes, the best pocket gimbal camera on the market. That honor goes to one seemingly simple addition that completely changes the way you use it: the removable control center with its 2-inch OLED touchscreen.

When I first saw that little screen detach from the camera, I genuinely thought I was looking at the future of filmmaking. Now, after a month of putting it through its paces, I am convinced that it is the future. It is revolutionary, not necessarily because the technology itself is particularly complicated, but because of the creative freedom it gives you.

Suddenly, you can position your camera almost anywhere, step away, monitor your framing, and control everything from the palm of your hand. It sounds almost too simple, but that is precisely why it works so well. However, the most important thing about this entire experience is something that rarely gets discussed enough when we talk about cameras. It is fun. Proper, laugh-out-loud, make-you-want-to-go-out-and-film-something fun. And in my book, fun is absolute gold.

I have never had so much fun with a little camera in my life. I am talking about the kind of fun that has me channeling my inner Casey Neistat, filming my morning coffee for absolutely no reason other than the fact that I can.

I have found myself putting the Luna Pro in trees, positioning it in ridiculous places, and standing several feet away talking to what must look like a small piece of technology growing out of a branch. Anyone walking past probably thinks I have lost the plot, but I genuinely don't care.

That is the beauty of this camera. It makes me want to create things, experiment with angles, and capture moments I would ordinarily walk straight past. And when a camera makes you want to use it more, that is when you know a manufacturer has got something right. Fun sells, but more importantly, fun inspires creativity.

Of course, all that enjoyment would mean very little if the results were disappointing, but the Luna Pro absolutely delivers where it matters. The 8K footage looks fantastic, the subject tracking is remarkably effective, and the combination of Dolby Vision and those lovely Leica color profiles gives you plenty of creative possibilities straight out of the camera. Then there is the audio.

Having a microphone built directly into the detachable control center is such a clever idea that I am surprised more manufacturers haven't embraced it. You can simply hold the screen in your hand, talk to it, and capture your audio without needing to rig up an entirely separate microphone system for everyday pieces to camera. It feels professional, it looks professional, and, most importantly, the results are professional. There is a reason this little camera has Pro in its name.

What really strikes me, though, as someone who also operates a Red cinema camera, is just how much creative freedom the Luna Pro offers without all the usual friction. If I wanted to create a comparable tracking shot with my Red, I could be looking at a tripod or support rig, a LiDAR autofocus system, and potentially another operator to manage the camera movement. Suddenly, what should be a simple idea becomes a production in itself.

There is equipment to set up, things to balance, cables to manage, and time disappearing before you have even pressed record. With the Luna Pro, I can switch it on, unfold those wonderfully simple paperclip-like tripod legs, position it on a fence post, trash can, or wall, activate the subject tracking, and start filming in seconds. No additional operator, no complicated setup, and no unnecessary fuss. Just an idea and a camera that is ready to capture it. That is practical, that is efficient and, above all, that is fun. Yet the finished footage can still look remarkably professional.

Now, don't get me wrong, there are plenty of situations where my Red cinema camera will absolutely be the right tool for the job, and I would never suggest otherwise. But for the other 99% of everyday life, the little moments, the adventures, the spontaneous ideas, and those occasions when you simply want to create something because you feel like it, the Insta360 Luna Pro is becoming an essential part of my everyday carry.

It is compact, capable, and genuinely exciting to use, which is a combination that is becoming increasingly difficult to find in a world obsessed with specifications and technical perfection.

I have spent years working with cameras of all shapes, sizes, and prices, and very few have made me feel quite like this. The Luna Pro has somehow managed to make this rather sensible, bordering-on-boring journalist want to go outside, experiment, create, and act like a complete goofball with a camera again. And you know what? That feeling is absolutely priceless.

Accordning to Leica Rumors, Light Lens Lab is preparing to expand its growing lineup of apochromatic lenses, with reports suggesting that a new 50mm f/2 APO lens for Leica M-mount cameras is currently in development.

According to Leica Rumors, the upcoming optic is expected to arrive sometime in 2027, giving Leica rangefinder photographers another potentially exciting alternative to the German manufacturer's own premium glass.

For anyone familiar with Leica's legendary APO-Summicron-M 50mm f/2 ASPH., the prospect of another apochromatic 50mm lens is certainly interesting. APO lenses are designed to minimize chromatic aberration, delivering exceptional sharpness, contrast, and color accuracy, particularly in challenging lighting conditions. Leica has long been regarded as a benchmark in this area, but its lenses command some extraordinary prices, which makes the arrival of another manufacturer developing high-performance APO optics particularly appealing.

Light Lens Lab has already demonstrated its ambitions with the introduction of its 35mm f/2 Apochromatic lens, which features an advanced optical formula incorporating four aspherical elements and a floating lens group. That lens marked the beginning of a much larger project for the Chinese manufacturer, which has been steadily building a reputation for producing beautifully constructed, traditionally styled lenses inspired by some of photography's most celebrated optical designs. Its new APO series represents an interesting departure from recreating classic lenses, concentrating instead on developing original, high-performance optics.

The rumored 50mm f/2 is also expected to be one of several new additions to the company's apochromatic lineup, with reports suggesting that 28mm f/2, 75mm f/2, 90mm f/2, and even 135mm f/2 lenses could follow. That's an ambitious selection of focal lengths, and if Light Lens Lab can deliver the optical quality it is promising, it could become a serious contender in the premium manual-focus lens market. As someone who has spent years shooting with Leica cameras, I find this particularly exciting. More choice in the M-mount system is always welcome, especially when manufacturers are prepared to push optical performance rather than simply reproduce the character of vintage glass.

There is still plenty we don't know about the upcoming 50mm f/2 APO, including its optical construction, dimensions, weight, and, perhaps most importantly, its price. The company's existing 35mm f/2 APO starts at $2,099, so this certainly isn't a manufacturer exclusively targeting the budget end of the market. However, with Leica's own APO-Summicron commanding a considerably higher price, the prospect of a new 50mm APO alternative is something worth watching closely. Whether Light Lens Lab can genuinely challenge Leica's optical excellence remains to be seen, but 2027 is already shaping up to be an interesting year for M-mount photographers.