More than half of the zoom lenses traded on the Japanese camera marketplace Minna Camera in the first half of 2026 had a focal length of 200mm or longer, according to new data from the retailer.

Minna Camera's analysis of zoom-lens transactions shows: lenses reaching 200mm or longer accounted for 51% of all zoom-lens transactions, narrowly exceeding the 48.8% share for lenses whose longest focal length was below 200mm.

Importantly, Minna Camera classifies lenses by their longest focal length, rather than their 35mm-equivalent field of view. A 24-200mm and a 70-200mm lens therefore both fall into the 200mm category, while lenses designed for different sensor formats are not converted to a common 35mm equivalent.

Top 10 traded zoom lenses by focal length at Minna Camera (H1)*

*Approx. used prices in USD and GBP added by Digital Camera World.

Canon accounted for the largest brand share

Among the five manufacturers for which Minna Camera supplied brand figures, Canon accounted for 38.1% of zoom-lens transactions, followed by Nikon at 27.2% and Sony at 16.6%.

Sigma accounted for 4.1% and Tamron 3.4%.

Looking instead at the proportion of each brand's zoom transaction that reached 200mm or longer shows a different picture. Tamron had the highest figure at 65.6%, narrowly ahead of Canon at 64.2%. Nikon stood at 49.7%, Sony at 39.7% and Sigma at 37.8%.

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The Nikon Z8 has just received a new firmware update. Something I really appreciate about Nikon is its dedication to supporting cameras long after their release, and over the years the ‘Big N’ has rolled out big updates, including mammoth upgrades for the Z8 itself. But not every firmware update can be ground-shaking. Firmware Version 3.11, as reported on by Nikon Rumors, is a quality-of-life upgrade; it fixes a few problems, but doesn’t introduce anything new.

As always, unless any of the fixes are vital to your workflow, I recommend letting new firmware updates sit for a week or two before installing them yourself, just to ensure no teething problems are reported. If it’s been a while since you last updated your Nikon Z8’s firmware, installing this latest update will automatically install all prior updates, such as the big Firmware Version 3.00.

Nikon Z8 Firmware Version 3.11 fixes:

• Unsupported features would sometimes become selectable when wirelessly connected to NX Tether.
• The [High-frequency flicker reduction] setting would sometimes change when [High-frequency flicker reduction] and another role, such as [Protect], were assigned to the same custom control.
• The camera would sometimes stop responding during shooting if certain operations were performed after settings were made in [Manage Picture Control].

You must also ensure that you know how to update your Nikon camera’s firmware and that you maintain good practice. Nikon makes it clear that you should only update the firmware of your Z Series camera with a Z-mount Nikkor lens or Nikon FTZ adapter attached. Updating firmware with a third-party lens attached has been known to cause a camera malfunction.

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Wildlife photographer Rodrigo González Pairoa faced challenges when capturing birds in Albatross Islet, Magallanes and Chilean Antarctica, Chile. Now his image of a Black-browed Albatross, shot with a full-frame DSLR that was released 14 years ago, was honored as the winner of the Birds Without Borders category in the 2026 Audubon Photography Awards.

Pairoa recalls the situation, "It was almost ​​​​impossible to keep the camera steady. In the remote Almirantazgo Sound, the biting cold, ever-changing light, and unpredictable wind forced me to readjust my stance and refocus after every blast of photo."

The albatross was calm and Pairoa was able to approach it slowly.

He explains, "In an almost comical moment, it tilted its head, as if observing me with the same curiosity with which I was photographing it. I filled the frame with its face, revealing the dark outline around its eye and the sculptural texture of its plumage.

"In that brief moment, the wind ceased.

"The resulting image captures a fleeting moment of silent, intimate connection with an iconic species of the Southern Seas. I hope that whoever views it feels that same sense of ​​​​closeness."

Birds Without Borders Winner

Contest: Chile and Colombia
Species: Black-browed Albatross
Location: Albatross Islet, Magallanes and Chilean Antarctica, Chile
Gear: Nikon D600 + Nikon AF-S 300mm f/4D IF-ED
Exposure: 1/1600 sec, f/11, ISO 400

Bird Lore
The Black-browed Albatross is one of the smaller and most widespread albatross species. It breeds on islands in the sub-Antarctic and southern oceans, and ranges at sea as far south as the Antarctic continent and north to offshore waters of Brazil and Australia.

While the birds might seem free to wander the seas of the world, studies show that individuals from different nesting colonies tend to migrate to different regions of the ocean outside the breeding season. Those from South Georgia Island, for example, mostly move to waters off southern Africa, while those from the Falklands favor the seas east of South America.

Judge’s Take (Claudio Contreras Koob)
"This image caught the judges’ attention because it offers an almost abstract view of the albatross.

"The skillful use of a modest background, which does not distract the viewer, allows the eye to instead follow the lines and tones that lead us to the albatross’s piercing gaze, the focal point of the composition."

The Audubon Photography Awards is a competition celebrating photographers who use their skills to highlight the beauty, challenges and threats facing birds across Chile, Colombia, Canada and the United States. You can explore all 2026 winning images here.

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Are you a huge Nikon fan like me? Then you absolutely have to watch this retro documentary about the legendary optical manufacturer’s history. I first caught wind of The Eye of Science – Nikon via Japanese news outlet Digital Camera Life, which linked to the YouTube video by @NPO法人科学映像館 (below).

This 30-minute documentary was produced in 1966. For context, that’s the same year that England won the World Cup and Star Trek debuted on TV. But in Nikon terms, it was the year after the Nikon F Photomic T and Nikkormat FT/FS were released.

And indeed, the film showcases the aforementioned then-latest additions to the Nikon line-up being manufactured and carefully assembled by hand. The film also includes Nikon F cameras undergoing shutter durability tests: said to be “approaching 150,000 consecutive cycles”.

Perhaps the most interesting process is the manufacturing of lens elements. They start life as huge, rugged blocks of glass that are chipped down into carefully selected cubes. They’re then heated, pressed and precisely ground into spherical lens elements before being polished and assembled.

The film doesn’t just lift the lid on the company’s manufacturing processes; it also touches upon Nikon’s then-impact on the wider world, including the Nikon F’s Motor Drive, which enabled 4-fps burst shooting. That’s nothing today, but it was revolutionary back then. Even Nikon’s waterproof 35mm film camera, the Nikonos (I), makes an appearance.

And of course, Nikon’s business is much more than just its imaging division. The documentary also touches upon the company’s other optical products, including microscopes, telescopes, medical equipment and more. If you have any interest in Nikon or camera manufacturing in general, and have a spare 30 minutes, this video is definitely worth watching.

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Glance at this image momentarily and you get an instant sense of how this bird on the left is feeling. Fierce. Defiant. Ready to take on all comers.

That open beak, that unblinking stare. It has "apex predator readying for battle" written all over it. Well, that's what I thought anyway. Turns out I was totally wrong.

According to the Italian photographer who took it, Philipp Egger, "the open-beaked chick appears fierce, almost defiant, but the call is about hunger." No one is squaring up for a fight. Just asking for dinner.

The photograph, titled Born of Silence, won the Winged Life category at the California Academy of Sciences' 13th annual BigPicture: Natural World Photography Competition.

It shows two Eurasian eagle owl chicks at a nesting site near Prad am Stilfserjoch in Italy's South Tyrol; so close together their outlines briefly merge into one shape.

The importance of patience

Egger has photographed this same site across many consecutive generations of owls, which is how he got close enough to notice the contrast between the two siblings in the first place. And that contrast is certainly profound.

As Egger puts it: "The sibling seems withdrawn, eyes half closed, already embodying the calm intensity that defines the species. At this age, the birds are still covered in soft down, yet their features already carry the structure and presence of adult predators."

Observing the nesting site for so long has enabled Egger to study the owls’ behavior and rhythms. In this case, neither the chicks nor the adult birds were aware of his presence. And that's key: the birds weren't performing for the camera because, as far as they were concerned, there was no camera to perform for.

As a result, we end up with a picture of two clearly distinct personalities, rather than two startled animals reacting to an intruder.

Technical details

Egger shot this on a Nikon Z9 with a 400mm f/2.8 lens, but rather than opening that lens up wide – as most wildlife photographers would, to isolate a subject and blur the background – he stopped it down to f/22.

This was smart, enabling him to hold both owl faces sharp, given how close together they were and how easily a shot like this could fall apart if one chick's eyes drifted out of focus.

Even at f/22, the recorded depth of field at this focus distance was just 5cm, which shows how unforgiving long glass is even stopped almost all the way down. That both faces stay crisp within a window that narrow says much about Egger's positioning and timing.

That, in turn, speaks to Egger's patience. "I spend weeks, months, sometimes years in one place, waiting for that single moment when everything aligns," he says.

This depth is reflected in his photographs, which have been exhibited across the globe, as well as his work as a cinematographer for documentaries such as Universum, Austria's renowned nature and documentary TV series.

BigPicture: Natural World Photography Competition is run by the California Academy of Sciences. The winning and finalist images are currently on display at Cal Academy in San Francisco.

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The BCN Awards, sourced using data from major Japanese electronic retailers, has published its 2026 results and Nikon features in three categories: Mirrorless, DSLR, and binoculars, coming third, second and third in each category, respectively.

Nikon Rumors has posted BCN’s findings along with a short analysis of the brand’s fortunes. The rumor outlet praised Nikon’s presence within a very competitive market, while stating: “to climb higher, focusing on entry-level mirrorless or hybrid video capabilities could help.”

I couldn’t agree more! I’ve been saying for years that Nikon’s decision to focus on enthusiast and pro gear will hurt its imaging business in the long term, because brand loyalty is such a huge deal in photography.

The profit margin on an entry-level camera might not be as good as premium offerings, but it captures consumers at the very beginning of the funnel. Once you’ve bought into a system and got used to it, you’re likely to stick with that system when you eventually upgrade.

If Nikon isn’t fostering beginner photographers, it’s missing a crucial moment in which to build that connection. And I believe it’s even more important for Nikon to catch consumers early than some other camera manufacturers, because it’s competing directly with Canon and Sony. Let me explain…

Direct competition

Nikon, Canon and Sony are all going after the same corner of the market. They all build full-frame mirrorless cameras, boast huge collections of mirrorless glass, are jostling for the next big innovation in camera technology and are focusing increasingly more of their resources towards video cameras.

As such, they’re the go-to choice for professional landscape, portrait, wildlife and sports photographers, as well as run-and-gun video creators. The problem is that their customer bases are extremely loyal – fanatical, if you will.

Of course there are always exceptions to the rule, but most people who want to buy a serious mirrorless camera will choose one of the above manufacturers, not two, not three, just one. After all, they all pretty much do the same thing.

If you have a Nikon Z8 and buy a Nikon Z 24-70mm f/2.8 S II for $2,797 / £2,599 / AU$4,599, what’s the point of also investing in a Canon EOS R5 Mark II and then having to buy a Canon RF 24-70mm f/2.8L IS USM?

But other manufacturers such as Fujifilm, Leica and OM System don’t have to play by the same rules. You could very much own a Z8 and fancy picking up a Fujifilm X100VI, a Leica D-Lux 8 or the just-announced OM System PEN as an everyday carry.

Maybe the Nikon Zf and Nikon Zfc fill the role of something slightly different, but the majority of Nikon’s catalog is standard enthusiast- to pro-grade fare.

Entry-level gold

As a huge Nikon fan, every single Black Friday it pains me to see the utterly fantastic Canon EOS R100 become even more ridiculously good value, only to wonder why Nikon doesn’t have a camera like that. And while the Nikon Z30 and Zfc get close, they’re not truly affordable beginner cameras in the same vein as the EOS R100 or Nikon D3500.

Extenuating circumstances such as component shortages, the memory crisis, Trump tariffs and general economic instability mean it’s a difficult market out there for every camera manufacturer. And while Nikon isn’t in trouble, its financial results haven’t been where they ought to be of late.

Don’t get me wrong, Nikon is a huge company and its imaging division isn’t the only area it’s focused on. But to ensure a steady stream of Nikon photographers from now until well into the future, please, Nikon, don’t neglect entry-level photographers any longer.

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Open gate is the video buzzword nowadays, and despite the Nikon ZR boasting supreme image quality, internal 32-bit float audio, and a huge four-inch rear screen, I couldn’t help but be disappointed about the lack of open-gate recording. Well, not anymore! Kind of…

You see, Nikon’s big announcement yesterday was the development of a range of nine Z Cinema lenses, but it’s a firmware development announcement that’s really got me champing at the bit. Nikon has said that it’s developing firmware 2.00 for the Nikon ZR, and beyond that it’s developing several requested features, including open-gate recording and a de-squeeze display for anamorphic lenses. Nikon is aiming to roll these out at some point next year.

This is huge news for both existing and prospective Nikon ZR owners. Due to the ZR’s fanless design, I had assumed a lack of open gate was the compromise since it produces more heat, but clearly Nikon has found a workaround.

Nikon ZR: Firmware 2.00

What’s destined to arrive before then is firmware 2.00. This is currently scheduled for release before the end of the year and, according to Nikon, is set to feature…

• Support for Log3G10 and REDWideGamutRGB in H.265 video file type for a greater ability to stand up to color grading while keeping file sizes minimal
• A new [High ISO NR] option available with H.265 Log recording that enables imaging tailored to filming intent and the tone of the work
• Support for the focus peaking display with recording at an R3D NE1 video file type setting for more precise focus confirmation

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It’s like I always say: “You can’t put a good full-frame DSLR down!” Despite mirrorless cameras dominating the interchangeable-lens market, people are still buying up full-frame DSLR cameras. And while many have disappeared from the shelves of official retailers completely, a select few stalwarts are still available to buy new.

And it’s not hard to see why. The best DSLR cameras are reliable and of high quality, and in the case of Canon and Nikon especially, they open you up to a veritable smorgasbord of used lenses that you can pick up for some very low prices indeed. If you’re a photographer on a budget looking for a decent lens platform, a full-frame DSLR may still be the way to go.

It’s true that a lot of DSLR tech now lags behind mirrorless offerings, such as burst speeds, autofocus and video, but provided you’re happy with the resolution, image quality has remained largely unchanged, and plenty of full-frame DSLRs boast premium pro-grade features such as extensive weather sealing and optional battery grips.

Personally, if you’re working on a budget and want to pick up a full-frame DSLR, my recommendation would be to visit a reputable used retailer such as KEH (US), MPB (US/UK) or LCE (UK). That’s because even very good condition used DSLRs tend to be a lot cheaper than new retail prices.

What full-frame DSLRs can you buy new?

I decided to look at US retailer B&H Photo and UK retailer Wex Photo Video to find out what full-frame DSLRs are still available to buy new, and I was surprised by the choice.

Even though some of the models, such as the Canon EOS 5D Mark IV and Nikon D750, have been officially discontinued, stock is still lingering on shelves in some cases. My own personal favorite DSLR of all time is the Nikon D850, a camera I used to own and in my mind – and in the mind of many others – one of the greatest cameras ever made.

Ultimately, we really are in the twilight years of the DSLR. As it stands, Pentax remains the last bastion of modern DSLR development, with both Canon and Nikon having quietly shelved DSLR development in favor of a mirrorless future. Still, if you’re a stills photographer first and foremost and don’t need all of the cutting-edge tech, you could do a lot worse than a full-frame DSLR and a good set of compatible lenses.

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It’s been a slow year for Nikon. I’ve been champing at the bit for a big release, and while I’ll have to settle for a development announcement, it doesn’t come much bigger than this. Nikon has just announced the development of not one, but nine Z Cinema lenses. The news comes almost a year after the launch of the ‘Big N’s’ first cinema camera, the Nikon ZR, making this a huge step forward for the legendary Japanese manufacturer’s video ambitions.

What we know about Nikon’s cine lenses

Only one of the nine lenses has been confirmed thus far: the Z Cinema 50mm T1.9 VV. However, Nikon has confirmed that the entire range will feature the same T-stop and “highly precise” autofocusing mechanisms.

The eagle-eyed will notice the ‘VV’ designation at the end of the lens series’ name. This is because each lens in the series will have an image circle that can accommodate RED’s large-format V-Raptor [X] VV sensor, measuring 40.96 x 21.60mm.

This is a clever move. Accommodating both formats opens up the possibility of cross-compatibility between Nikon and RED products. Presumably, this would mean that if you’re shooting with a V-Raptor [X] Z Mount, you’ll be able to pick up a Nikon ZR as a second body and share the same lenses without having to worry about vignetting.

Nikon ZR is getting open gate?

And that’s not all; the news comes alongside the announcement that Nikon is developing firmware update 2.00 for the Nikon ZR, and is also developing future firmware in a bid to convert the camera to open-gate recording.

Nikon has only released two lenses this year and no cameras, while also announcing the development of the Nikon Z 120-300mm f/2.8 TC VR S. And while I’d still love to see a big camera release before the year is out, this latest development announcement is proof that Nikon’s got plenty in the works. Roll on 2027!

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Nikon silly season is beginning to heat up. As we head into the final third of 2026, the ‘Big N’ has only released two lenses, plus a development announcement for the Nikon Z 120-300mm f/2.8 TC VR S. And with a history of releases in September, October and November, the anticipation is high. So, when Nikon Rumors posts about an “exclusive product presentation” from Nikon UK on September 25 at Grays of Westminster, it’s hard not to get a little bit excited about potential camera rumors.

The event, hosted by Nikon and RED creative, Bruno Murari, is even more curious given that no products are mentioned in the event schedule. What will be on show is simply referred to as “product highlights” or “the products,” which Nikon Rumors has described as "a bit strange" and "cryptic," and I have to agree; it does sound a little coy.

A string of rumors

All of this comes off the back of another Nikon Rumors post that I reported on last week. An Internet sleuth noticed gaps in the schedules of various Nikon Ambassadors, with a series of Nikon events to follow later in September, and theorized that this could point towards a possible product release. Complete conjecture, of course. It wasn’t all that long ago that Nikon Rumors reported on “almost everything” being supposedly delayed until next year, so at this point it’s anyone’s guess.

A release could happen, but it’s far from certain

I keep coming back to the same conclusion: it’s certainly the time of year for a big release, so nothing is beyond the pale. But if the rest of the year is anything to go by, not to mention some less-than-stellar financial results and ongoing market turmoil due to various factors, including Trump tariffs and component shortages. Suffice to say, I’m cautiously optimistic about a major Nikon release this year but heavily tempering my expectations.

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When I first started writing about photography in any professional capacity, Nikon was widely seen in the camera business as one of the unassailable ‘big two’ brands, alongside Canon. But in recent years it’s slipped behind not only Canon, but also Sony and, most recently, Fujifilm, in terms of market share.

The above is no surprise as it’s neither released, or, at the time of writing, even announced, anything new for 2026.

The most recent significant Nikon cameras to appear were the Z5II, an entry-level full-frame mirrorless announced way back in spring 2025, plus the video-first ZR, a collaboration born out of its acquisition of the brand RED, announced last September. So, there’s been nothing new for a full year, at best.

That’s left the rumour mill wide open and commentators scrambling to share ideas of what Nikon could, or should, release next. Might there, for example, be a photography first version of the ZR on the way, or something with its form factor?

Or might, given the demand for fixed-lens compact cameras which we’re constantly told are outpacing all other categories in terms of sales and shipments, Nikon resurrect the idea of a Nikon DL series with a 1-inch sensor, mooted a decade ago but which, unusually for the brand, never made it to market? Back then the demand for compacts was seemingly shrinking. But, however, the opposite is now true.

Something that outwardly resembles the Nikon Zf and Zfc, or at least scoops up some of its DNA, would surely go further towards helping seal the deal for any photographers seeking a retro-styled compact that’s portable, practical, takes great pictures, but moreover, looks to die for. Or could we see a mini-Nikon Z9?

Given the success of high quality, fixed lens compacts including Fujifilm’s much-in-demand X100VI, it feels like a no brainer for Nikon to release something that might come close to competing, satiating Nikon fans seeking a high-quality, street-photography-enabling compact. Moreover, it feels slightly criminal that it hasn’t already released a ‘Fuji X100VI killer’.

Potentially more concrete, but for my money less exciting ‘new’ camera rumors, including potential Z9II and Z7III upgrades, have a greater chance of becoming true before we see anything resembling the above from Nikon. But we can dream.

For my money, away from higher-end, more prestigious models, Nikon is already missing a trick by not reimagining or even re-introducing snapshot cameras from its pocket-sized CoolPix range. Like Panasonic and Canon have done, Nikon could conceivably re-hash formerly discontinued examples in a flashy titanium colored shell, or, failing that, blush pink, and have a new TikTok-watching Gen Z photographer audience immediately on board.

Let’s hope we see a late 2026 release from what continues to be one of the biggest names in the photography business, to save us all guessing. Come on Nikon, what are you waiting for?

The latest mirrorless cameras often come with anything but an affordable price tag, which is one reason buying used gear remains so popular. New data from Japanese camera marketplace Minna Camera shows that one DSLR in particular has risen in popularity over the last month, skipping 31 positions in just 4 weeks, to landing at number 1.

This camera is the Canon EOS 7D Mark II, launched back in November 2014, making it nearly 12 years old. Part of Canon's high-end APS-C DSLR line, it performs well in harsh conditions and its AF (autofocus) system gets moving subjects sharp quickly, making it a favorite among sports and action photographers.

Another notable success was achieved by a mirrorless camera, as the Sony ZV-E10 lands at number 9 after previously ranking at 65. Released in 2021, the very likeable little APS-C camera is not discontinued – which is a rarity in the top 10, as 70% of the models on the list are no longer in production.

Top 10 traded cameras at Minna Cameras (Aug 2026)*

*Release year, discontinued status and approx. used prices in USD and GBP added by Digital Camera World.

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It’s been a little will they won’t they when it comes to Nikon lately. Just last week I wrote about a rumor claiming big delays across the board, and now Nikon Rumors is back with a more positive tale from the grapevine, surmising some kind of Nikon release in September.

Apparently, a reader has looked into the schedules of various Nikon Ambassadors and found that many of them are free during the week of September 12, but scheduled for Nikon events on September 26. This has resulted in the theory that Nikon could be launching something in mid-September and showing it off later in the month.

The argument is supposedly bolstered by Nikon ambassador Kristi Odom, whose schedule is apparently free in both instances. Kristi is an award-winning wildlife photographer, which has caused the same camera sleuth to surmise that she’d be the perfect pro to test a rumored flagship APS-C camera (Nikon Z70) and the Nikon Z 120-300mm f/2.8 TC VR S (which has already had a development announcement).

While something could indeed be released in September, I’ve been burned by the rumor mill so many times lately, I’m not sure picking apart evidence like the imaging equivalent of Hercule Poirot is particularly helpful. After all, only a couple of weeks ago, everything was supposedly delayed…

And yet, if Nikon is intent on releasing something this year, we are definitely heading into the period where that could happen. You don’t have to be Jessica Fletcher to work out that Nikon has a habit of announcing cameras at this time of year. The Nikon Z6 II, Nikon Z7 II, Nikon Z9, Nikon Zf, Nikon Z50 II, and Nikon Zf Silver were all announced in September, October, or November. Anything later is a bit too close to Christmas, and then that’s the year over with.

As to what Nikon could announce, that’s beyond me. Lately we’ve had rumors regarding a Nikon Z70, fixed-lens full-frame Nikon, and of course, a Nikon Z9 II. I, for one, am still keeping my fingers (and toes) crossed for a Nikon Zfc II. So, take your pick. I’ll keep my ear and magnifying glass to the ground and let you know if more Nikon camera rumors surface.

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The weirdest camera in Nikon’s lineup has just received a small firmware update. If you’re a Nikon Coolpix P1100 owner you can benefit from firmware update version 1.1, which Nikon says fixes the following two issues:

• Camera stops responding when adjusting zoom during burst photography (rare).
• Some timestamps in metadata of video files differ from actual date and time of recording.

As always, it’s worth making sure you know how to update your Nikon camera’s firmware before performing the update. While issues are rare, you may also wish to wait a week or two to ensure that there are no problems with the update before updating your camera.

What is it? Nikon Coolpix P1100

The Nikon Coolpix P1100 is the only bridge camera in Nikon’s current lineup – and beyond its predecessor, the Nikon Coolpix P1000, there really isn’t anything else quite like it. The camera’s main selling point is its humongous 125x optical zoom, which equates to 24-3000mm in 35mm terms.

It’s built around a 1/2.3-in CMOS sensor and, while it doesn’t deliver the very best image quality in the world, nothing is going to get you closer to faraway subjects, so the trade-off is well worth it if you ask me.

This is the kind of camera that sports, wildlife and lunar hobbyists will have an absolute blast with. You’re unlikely to capture award-winning images with it but, if your goal is simply to record what you see in the distance, you’re unlikely to find a cheaper or more compact option.

Even if it is an absolute monster-sized bridge camera.

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f/1.2 is impressive, but what about a fast prime that goes way faster than this? Well, it appears that NiSi may have decided that what photography and filmmaking needs is a huge 26mm lens with a frighteningly wide f/0.7 maximum aperture.

According to Chinese video-production news outlet ProNews, NiSi unveiled the unfathomable lens at the recent Beijing International Radio, Film and Television Exhibition (BIRTV) alongside a 50mm T1 cinema prime, having initially teased it via Chinese social media channel RedNote a week earlier.

With an insanely fast aperture and wide-angle view, the 26mm prime is said to weigh a hefty 102oz (2.9kg). It’s also reported that the lens has currently only been produced for Nikon Z-mount.

Although, this makes sense, seeing as Nikon’s system has a 55mm inner diameter and a 16mm flange distance, which Nikon says enables “extremely large” apertures.

We all know that a 26mm lens gives you an expansive perspective. But, at f/0.7, NiSi is seemingly attempting to combine that wide-angle view with extremely shallow depth of field.

This could give filmmakers in particular unmatched subject-background separation firepower combined with light-gathering ability.

The images teased on RedNote included text that, translated, says “Paying tribute to a legend,” which is surely a reference to director Stanley Kubrick.

Kubrick famously used a Zeiss 50mm f/0.7 during the filming of Barry Lyndon. While the Zeiss lens was the first to bring f/0.7 to cinema, the NiSi prime would take extremely fast glass to near-panoramic levels.

However, at just shy of 105oz (3kg), unlike a nifty fifty, the unveiled prime isn't an everyday lens. It seems like NiSi is instead vying for an optical perspective conventional wide-angle lenses can’t replicate.

The original RedNote post announcing the lens has since disappeared, but according to what local media reported, it didn’t mention anything about a release date.

However, with a reported price tag of $29,500 (approximately £22,000 / AU$40,000), it’d be well out of reach for anyone not shooting for an established studio – even if hiring it from a rental company.

I’ve reached out to NiSi for comment, so hopefully we’ll have more information about this insane lens soon.

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Chinese manufacturer Cloud Workshop has released what I can only describe as neck warmers for Nikon lenses. The story was broken by Nikon Rumors, and I’ve since been able to locate a version for the Nikon 58mm f/1.4 G on Chinese e-store Taobao, while a Nikon AF‑S 105mm f/1.4E ED cover is also said to be available.

If you’ve ever used an FTZ II adapter, you’ll know that the peripheral necessarily elongates the mount end of the lens in question, which can look rather awkward, especially if the lens is rather bulbous.

From the pictures, the cover appears to fit over half of the FTZ Adapter and the back portion of the AF-S lens in question. The cover thickens the thin taper created by the adapter and blends into the lens with textured grips akin to control or aperture rings.

While it looks like this is largely an aesthetic choice, it may also improve the handling slightly. I’ve used an FTZ Adapter multiple times, and the tapering it creates can be slightly uncomfortable when cradling the lens with your left hand.

I was curious how these attachments work with both versions of the FTZ Adapter, given that the original incarnation features a rather bulbous tripod foot protruding from the base of the adapter, which was streamlined in the updated FTZ Adapter II.

Imagery on Taobao reveals that there is a gap in the covers, enabling the tripod foot to poke through, providing beyond doubt that the attachments are compatible with both versions of the adapter.

It doesn’t surprise me that in the imagery a Nikon Zf has been used to illustrate the covers in use. Both the Nikon Zf and Nikon Zfc are ideal cameras for using vintage Nikon glass, and since they’re such good-looking cameras, it’s always been a bit of a shame when using them with an unsightly adapter.

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Check out the best Nikon cameras. If you don't want to use an adapter for your Nikon mirrorless, here are the best Nikon Z lenses. And for those looking for something a little different, check out the best retro cameras.

The top three camera makers in Japan have shifted – but a new report is hinting why. Earlier this year, a tally of the top camera makers in Japan showed that Fujifilm had pushed Nikon out of the top three in a major industry shakeup. But a new report reveals that, when it comes to mirrorless cameras, Nikon still sits in the top three.

The new data from Toyo Keizai Inc. takes a different approach than the Nikkei report that first hinted that Fujifilm is now one of the top three camera makers in Japan. The new report shows different numbers for one key reason: The report breaks down the cameras by category.

Comparing the two industry reports reveals that, while Fujifilm has risen up the ranks to spot three, narrowing down the list to just mirrorless cameras doesn’t have the same shakeup. Looking at the number of mirrorless cameras shipped, Canon, Sony, and Nikon are still leading the list.

According to the mirrorless camera report, Canon led with 2.3 million mirrorless cameras, followed by Sony with 1.8 million, Nikon with 860,000, Fujifilm with 750,000, Panasonic at 270,000, and OM System at 120,000.

The two contrasting reports suggest that it’s Fujifilm’s compact cameras like the X100VI and X Half that have pushed the brand into the top three, as when considering just the mirrorless cameras, Fujifilm still sits in fourth.

But while Fujifilm needs the sales of the viral X100VI in order to overtake the longstanding Nikon, the data also reveals just how much growth the company has had in the past two years for mirrorless alone. From 2023 to 2025, Fujifilm has almost doubled the number of mirrorless cameras shipped, moving from 380,000 to 750,000.

Based on the numbers in the overall report, that leaves Fujifilm with a whopping 410,000 compact cameras shipped in 2025 – though that number could include Instax as well as popular models like the X100VI.

Canon still leads even when doing a bit of math to see how many compact cameras were shipped last year. With 4.5 million cameras sold, 2.05 million of those were mirrorless cameras, and 580,000 were DSLRs. That suggests that Canon sold around 1.87 million cameras that didn’t fall into either interchangeable lens category.

Sony sold 2.42 million cameras, according to the report, with 1.8 million of those as mirrorless, leaving around 620,000 fixed lens cameras.

Breaking down the camera shipments by category also shows just how small the DSLR numbers are. Canon shipped around 580,000 DSLRs and Nikon 60,000. While the shrinking DSLR market is expected as brands focus remains on mirrorless, Canon’s DSLR numbers still remain above half a million.

Pentax, the camera brand that remains committed to DSLRs over mirrorless, shipped just 10,000 DSLRs, according to the report.

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Did you ever hear the one about the Nikon Comedy Wildlife Awards' 10th anniversary? Well, you’ve come to the right place, because an immersive exhibition is being held at Frameless, the largest permanent immersive art experience in London, England.

The laugh-out-loud event opens to visitors on September 12, where a curated collection of the competition’s funniest images will be blown up to full scale and immersed within their natural habitat, ensuring that you’re left cackling like a hyena that’s having its tummy tickled.

The exhibition will feature 91 award-winning photos, presented in what Nikon is calling a “spectacular” 15-minute immersive experience.

Far from a cheap laugh, visitors will get to walk through seven different immersive habitats where they’ll be exposed to the sights and sounds of locations such as shorelines and forests.

And of course, they’ll get to meet a variety of hilarious characters including a grinning bear, a ridiculously smarmy fish and a fox stuck headfirst in a patch of snow.

"Being able to show some of the very best entries from our fantastic collection of images at Frameless is an absolute honor for all involved with this competition," said Tom Sullam, co-founder of the Nikon Comedy Wildlife Awards.

"The strength of our message is only as strong as the people that see the images, and this upbeat, positive and enhancing exhibition will be an incredible experience for all visitors. We are genuinely thrilled by this exhibition and can’t wait to see the positivity that comes from it!"

The exhibition will run from September 12 2026 through January 2027, with adult entry from £29.50 and £20 for children. Visit the Frameless website for more information.

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The EISA Awards are back, celebrating the year’s very best tech, and the Nikon ZR has picked up the Photo/Video Camera 2026-2027 award. EISA’s jury of experts praised the Nikon ZR’s “attractive features” and “reasonable price,” while acknowledging the camera’s RED color science and codecs.

They went as far as calling the camera a “unique tool,” and I couldn’t agree more. In a world where, for a better word, compact cinema cameras like the Sony FX5 and Canon EOS C50 rule the roost, the Nikon ZR does offer something different. Beyond the aforementioned RED tech, you also get that giant 4-inch rear screen, a still baffling fanless design, and access to the incredible Z-mount of optics.

EISA also highlights the “excellent audio,” presumably due to its internal 32-bit float recording, as well as praising the camera’s 7.5 stops of IBIS, and autofocus performance. The Expert Imaging and Sound Association (EISA) is a curated collective of experts from 51 magazines, websites and social media outlets from across 26 countries, delivering their verdict on the latest and greatest consumer technology.

I’ve been lucky enough to use the Nikon ZR, and I couldn’t agree more with EISA’s assessment. When Nikon surprised the world by acquiring RED in 2024, it wasn’t a major player in the video sphere, and many questioned how the two brands could maintain their very different identities while also complementing each other.

And I think the Nikon ZR is a huge step in the right direction. If this is what Nikon can turn out at the first time of asking, I couldn’t be more excited for what Nikon x RED collaboration we can expect in the future.

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Want more EISA news? Just released months ago, and already crowned as the compact camera of the year. EISA Awards 2026: no Sony clean sweep this year as Nikon snags "Lens of the Year" crown as photography winners announced. Plus, the latest camera news.

Could your old Nikon SLR or optics do with a little TLC? Well, Nikon Japan is offering its MF Old Product Maintenance Service for a very limited time only. The news comes by way of Digital Camera Watch, and it’s not the first time the ‘Big N’ has opened its doors to retro wares. No doubt a reaction to the boom in film photography in recent years.

Sadly, it’s still only available for customers who reside in Japan, so anyone in the United States and Europe will miss out. It’s only open for applications for roughly a month (September 1 to October 30), and the service can take around three months upon the goods’ arrival at the Nikon Repair Center (Yokohama).

Nikon says that the service is only available via direct delivery to Nikon Repair Center or by telephone and that applications are not accepted through the service center counter or online.

The Nikon Repair Center is able to inspect and clean eligible items, including the Nikon F, Nikon F2, Nikon F3, Nikon FM, Nikon FM2, Nikon FE and Nikon FE2, as well as a range of retro Nikon optics. It would appear, as per previous instances, that the service is largely designed to inspect and clean eligible products, not supply and install replacement parts.

MF Old Product Maintenance Service

MF SLR cameras...

• Winding mechanism inspection
• Rewind mechanism inspection
• Shutter speed accuracy check
• Exposure accuracy check
• Infinity focus alignment check
• Camera back / film chamber inspection
• Mirror operation check
• Speedlight flash firing & sync check
• Exterior light seal (moltoprene foam) inspection & replacement
• Exterior cleaning

MF lenses...

• Infinity focus alignment check
• Distance ring operation check
• Aperture ring operation check
• Aperture blade operation check
• Internal lens element inspection (dust and mold)
• Exterior cleaning

Information from Nikon Japan was translated via Google.

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Want more film-related Nikon goodness? I bought the only film camera I’ll ever need: the Nikon FM is an SLR in its purest form. I think the Nikon FE is a perfect first film camera. Here’s why… I love the Nikon FM2, it was only discontinued in 2001, and that should tell you everything you need to know.

Nikon Image Space is shutting down. The imaging giant announced that the cloud storage service will begin shutting down on October 15, closing the chapter on the dedicated storage space while opening up 5GB of free storage on Nikon Imaging Cloud.

Nikon Image Space is the brand’s dedicated cloud storage platform that included 2GB of free storage, or 20GB of free storage by registering a Nikon camera. Launched in 2013, the platform serves as a backup and cloud storage solution for Nikon photographers.

Nikon says that the Nikon Image Space service will shut down on October 15, after that date, all features will be disabled except for the bulk download tool. Nikon is giving photographers a few more months to save their images using that bulk download tool, until April 15.

Nikon isn’t shutting down Image Space without offering an alternative. In an email to users, Nikon said that the company is adding storage and sharing features to Nikon Imaging Cloud instead. After Nikon Image Space begins the shutdown process on October 15, Nikon will add up to 5GB of storage to Nikon Imaging Cloud.

That's lower than the 20GB formerly part of Image Space with a registered camera, however, and Nikon Imaging Cloud also isn't directly compatible with Nikon's DSLRs.

The move adds more long-term cloud storage to Nikon’s app that already offers unlimited temporary storage for 30 days. Nikon Imaging Cloud is also used for firmware downloads and saving image recipes. Axing Nikon Image Space moves Nikon’s software to fewer, more streamlined options.

Nikon Image Space will shut off every feature except for bulk downloads on October 15 at 9 AM Japan Standard Time – which is 1 AM BST on October 15 and 7 PM EST on October 14.

Nikon Image Space will fully shut down on April 15, 2027 at 1 PM JST (5 AM BST / 12 AM EDT) – after that, any photos and data left on the platform will be permanently deleted.

In a notice announcing the change, Nikon said the move was “due to changes in the market environment,” but did not specify what those changes are.

Camera makers as well as cloud service providers are facing the after effects of the rise in artificial intelligence creating high demand for storage. That demand is increasing the cost of memory components for camera makers, including Nikon, and is also driving up demand and use of cloud storage.

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Eight of the Top 10 best-selling lenses in Japan right now come from third-party manufacturers, according to the latest BCN Raking data.

Sigma and Tamron dominate the chart, with four lenses each, while only one Nikon and one Sony lens make the Top 10 – and there isn't a single Canon optic in sight.

The biggest winner is Sigma, whose 18-50mm f/2.8 DC DN | C takes the No.1 spot for Sony E-mount. The same lens also appears at No.2 in Canon RF-mount and No.4 in Fujifilm X-mount, making it one of the most successful individual lens designs in the ranking. Sigma's 28-70mm f/2.8 DG DN | C also takes third place, giving the brand four spots in total.

BCN's Top 10 best-selling lenses, July 2026

1. Sigma 18-50mm f/2.8 DC DN | C (E-mount)
2. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
3. Sigma 28-70mm f/2.8 DG DN | C (E-mount)
4. Sigma 18-50mm f/2.8 DC DN | C (X-mount)
5. Tamron 17-70mm f/2.8 Di III-A VC RXD (E-mount)
6. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
7. Nikon Z 24-120mm f/4 S
8. Tamron 70-180mm f/2.8 Di III VC VXD G2 (E-mount)
9. Sony E 70-350mm f/4.5-6.3 G OSS
10. Tamron 50-400mm f/4.5-6.3 Di III VC VXD (E-mount)

Sigma's third party lens success in Japan

Launched for Canon RF in 2024, the Sigma 18-50mm f/2.8 DC DN | C was Sigma's first AF (autofocus) lens for the mount – a long-awaited release for Canon EOS R users.

It's an ideal choice for APS-C cameras such as the EOS R7, R10, R50 and R100 and is priced relatively affordably at $659 / £468 (RF-mount).

It offers a useful standard zoom range equivalent to roughly 27-75mm in full-frame and is lightweight, weighing 290g in Sony E and L-mount versions, 285g for Fujifilm X and 300g for Canon RF.

In our review, we highlighted its lightweight design and constant f/2.8 aperture as its major strengths. We also found its AF to be fast and virtually silent, while build quality and weather resistance were further strengths.

Tamron also claims four spots

Tamron accounts for four of the Top 10, with the 17-70mm f/2.8 Di III-A VC RXD at No.5, followed by the 25-200mm f/2.8-5.6 Di III VXD G2 at No.6, the 70-180mm f/2.8 Di III VC VXD G2 at No.8 and the 50-400mm f/4.5-6.3 Di III VC VXD at No.10. All four are Sony E-mount lenses.

Together, Tamron's lenses span everything from fast standard zooms to all-in-one travel lenses and long telephoto zooms – great alternatives to often larger or more expensive first-party options.

That leaves just two first-party lenses in the chart. Nikon's Z 24-120mm f/4 S comes in at No.7, while Sony's E 70-350mm f/4.5-6.3 G OSS takes ninth place.

Canon, meanwhile, is completely absent from BCN's July Top 10 – despite its hugely popular RF 100-400mm f/5.6-8 IS USM previously claiming top spots across different Japanese retailers, like Kitamura.

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The Expert Imaging and Sound Association (EISA) has announced its 2026/27 winners and, unlike last year, which saw Sony win the sweepstakes across the best lens and best camera categories, this year Nikon has mixed things up.

Each year, EISA – a major consumer technology awards group currently formed of 51 technology-related publications – announces winners across a range of technology product categories, including hi-fi audio, home theater and photography.

2026/27 has seen a new “Lens of the Year”: the Nikon NIKKOR Z 24-70mm f/2.8 S II. The Nikon lens, which has already made a name for itself for producing sharp images across the frame, dethroned the Sony FE 50–150mm f/2 GM.

EISA particularly praised the internal zoom construction for bolstering its video-making abilities, calling the Nikon lens professional glass “without any weaknesses.”

The Nikon win meant that there was no Sony clean sweep like last year, but the mirrorless camera giant did retain its “Camera of the Year” crown, which EISA awarded to the Sony A7 V. The latest installment in Sony’s coveted prosumer range, the A7 V has dominated sales charts in Japan since its release just shy of one year ago.

It has been praised for its 33MP hybrid stills-video performance, thanks to the partially stacked 33MP sensor and BIONZ XR2 processor, which deliver fast readout speeds and reduced rolling shutter artifacts.

EISA – whose expert member publications’ editors test all awarded products – commended the A7 V for its “cutting-edge photographic technology”, making it a suitable rig for “virtually” all kinds of shoots.

Sony also captured the “Professional Camera” award with its A7R VI. The 67MP full-frame beast is Sony’s latest release and combines a new dedicated AI processing unit and a fully stacked sensor. EISA said the professional rig boasted “dramatically improved” subject recognition and tracking compared with the previous model, the A7R V.

In other categories, Fujifilm won the “Best Buy Camera” award with the X-T30 III, while the cropped-sensor giant was also recognized as the best APS-C camera producer thanks to the X-E5.

Tamron captured a pair of awards, too, including “Wide-Angle Zoom” with the 16-30mm f/2.8 Di III VXD G2 and “Standard Zoom Lens” for its 35-100mm f/2.8 Di III VXD.

To see all of the 2026/27 EISA Award winners, head to the awards website.

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New cameras often sit at the top of the best-seller list, but this three-year-old mirrorless camera is still so popular that it ranks in the top three on both the new and used sales lists in Japan: the Sony A7C II.

In the latest data from Japanese retailer Map Camera, the Sony A7C II sits at the very top of the used camera rankings. But the camera also ranks third among the new camera sales for July 2026.

The data highlights the A7C II’s longstanding popularity. Released in 2023, it puts a full-frame Sony sensor into a smaller, rangefinder-inspired camera body.

Mixing parts from other Sony cameras into a smaller body, in his Sony A7C II review my colleague Gareth said it's “still one of your best bets” for creators looking for pro features in a small body.

While the A7C II isn’t cheap, the $2,499 / £2,099 / AU$2,999 / CA$2,999 price point makes it not only a more portable option but also a more affordable one than full-frame cameras like the new Sony A7 V or the A7R VI.

While the A7C II continues to trend in Japan, it isn’t the only camera that hits both new and used lists: joining it are the Canon EOS R6 Mark II and Fujifilm X-E5.

Perhaps even more interesting, however, are the cameras that are trending used – but not as popular among new-in-box sales. The Fujifilm X-T5 sits in the second-place spot on the used list, but not on the new list despite being a current model.

Map Camera, however, says that Fujifilm is facing some supply issues in Japan. The X-T5, the store says, is readily available used.

The Nikon Z50 II sits in the third-place spot on the list of trending used cameras, but doesn’t feature among the new options – though its full-frame sibling, the Z5 II, does.

The Z50 II is one of Nikon’s most affordable mirrorless cameras, but it adopts some of the autofocus features of Nikon’s pricier bodies in a smaller crop-sensor camera.

While Nikon only appears once in the top ten list for new cameras, it hits three times on the used trends list. Besides the Z50 II, the Nikon Zf ranks eighth. And appearing on the used top ten for the first time is the Nikon Z8, which Map Camera says has always tended to be overshadowed by the retro Zf.

The list also highlights how new releases bring older models back into the spotlight among shoppers looking for a used deal. The DJI Osmo Pocket 3 ranks in seventh place on the list, in part due to some users trading up for the newly announced DJI Osmo Pocket 4 and Osmo Pocket 4P.

Trending used cameras at Map Camera for July 2026

1. Sony A7C II
2. Fujifilm X-T5
3. Nikon Z50 II
4. Canon EOS R6 Mark II
5. Sony A7 III
6. Fujifilm X-E5
7. DJI Osmo Pocket 3
8. Nikon Zf
9. Canon EOS R7
10. Nikon Z8

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The leading camera brands have seen another shakeup in rankings, according to a report by Japan’s largest financial newspaper. Retro-camera maker Fujifilm’s viral fame has propelled the company into third place, dropping longstanding Nikon out of the top three.

The insight comes from the Nikkei Industry Map 2027, an annual report coming from the region’s largest financial media outlet, analyzed and shared by Digital Camera Life. The report examines Japan’s camera makers and ranks each brand by the number of cameras shipped.

Canon continues to lead in terms of market share and has strengthened that lead by adding nearly a million camera shipments compared to 2024’s data. That leaves Canon with a 45.7% share – that means nearly half of all digital cameras shipped from Japan bear the Canon name.

That’s followed by Sony, which has now held the number two spot for seven years, thanks to the rise of the Alpha mirrorless series. Sony saw slight growth from 2024’s numbers, moving from 2.33 million cameras shipped to 2.42 million.

But the real shakeup comes in third place: Fujifilm. Nikon has held the third spot since the Sony Alpha series pushed the company down to third in 2019. Nikon’s drop to fourth place is affected somewhat by lower sales – dropping from 960,000 to 880,000 – but Nikon would have held onto the third place spot if Fujifilm hadn’t also seriously jumped up in sales at the same time.

The report suggests that Fujifilm shipped 1.16 million cameras in 2025, up from 740,000 the year before. The data gives concrete insight into Fujifilm’s viral fame.

Fujifilm, known largely for its retro-inspired cameras and color science, started seeing accelerated growth after the X100VI went viral, a two-year-old camera that is still in such demand that it’s hard to find in stock without a wait list.

The X100 series' success has bled into other models, like its mirrorless sibling the Fujifilm X-E5, while more budget-friendly models like the X-M5 and X-T30 III have also sold well for the brand.

Neither Nikon nor Fujifilm has announced a new mirrorless camera yet in 2026.

Although Nikon revised its 2026 projections for slightly lower sales during the last investor report, the company says it expects the interchangeable lens market to remain solid over the medium and long term.

While the numbers drop Nikon out of the top three, that’s not the only unusual shakeup. Ricoh has surpassed OM System, moving from seventh to sixth, behind Panasonic. The reason? Ricoh’s camera shipments tripled over the last year.

While the report doesn’t specifically detail how many of each camera were shipped, Ricoh’s growth is likely due to the success of the Ricoh GR IV series.

The pocketable camera that packs an APS-C sensor has long been a popular option, but Ricoh’s refresh of the series last August and the growth of the compact camera segment is likely giving the brand a significant boost.

That puts OM System in seventh place, the last on the rankings, with 150,000 cameras shipped, which is about 10,000 less than the year before.

Panasonic hasn’t changed rank, in the fifth-place spot, but the numbers show a steep growth from 280,000 cameras to 430,000.

While a majority of the largest camera-makers are based in Japan, the Nikkei report’s regional focus means that brands like Leica (Germany) and Hasselblad (Sweden) aren’t tallied and ranked in the report.

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Nikon has released a pair of firmware updates: one for the Nikon Coolpix P1000 bridge camera and another for the Nikon Z5 II entry-level mirrorless camera.

Firmware version 1.9 for the P1000 sorts a rare yet serious issue that would cause the camera to temporarily freeze when adjusting the zoom while in burst mode.

Firmware version 1.20 brings a host of updates to the Z5 II, including more versatile aperture control when recording video and a host of changes to the settings menus.

Nikon Firmware Downloads

Firmware version 1.20 (Nikon Z5II)

Firmware version 1.9 (Nikon Coolpix P1000)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Nikon to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Nikon hasn’t given any technical explanation as to why the Coolpix would freeze while zooming in burst mode. However, it’s thought that processor-heavy burst sequences could overwhelm the camera buffer, causing the device to stop responding.

Arguably, the two most practical updates to the Z5 II are the ability to save focus position to user settings and an extension of the ISO auto shutter-speed threshold.

The former enables your saved custom shooting modes (U1 / U2) to remember your preset focus distance, which is especially useful for tripod or fixed studio setups. The latter offers finer control over when the camera steps up ISO versus dropping the shutter speed, helping avoid unwanted motion blur when shooting handheld.

There’s also a new “auto-switch” option under the Setup menu, giving you more control over toggling between the rear LCD screen and viewfinder. And a new FTP inactivity timeout automatically manages idle connections to preserve battery life.

So, a major update for the Coolpix P1000, which will hopefully solve what was a serious issue for a small number of users. Whereas the Z5II gets a suite of tweaks which, together, could bolster workflows meaningfully.

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Here’s our pick of the best Nikon cameras, and here’s our say on the best Nikon lenses for DSLR.

The Sony A7 V has led multiple best-seller lists since its launch in late 2025 – and the trendy mirrorless camera has once again slid into the top spot in Japan.

But while the number one camera is hardly a surprise, the list of Japan's best-selling cameras in July 2026 highlights a few unusual trends, from Fujifilm's "serious supply shortages" to the resurging popularity of Nikon's most affordable full-frame camera.

The top cameras for July from Japanese retailer Map Camera read like a who's who of the most popular models, with the top three being names that have regularly dominated trends.

The list is led by the full-frame Sony A7 V mirrorless camera, the still-viral Fujifilm X100VI retro compact camera, and the Sony A7C II, a camera that feels like a combination of those two trends as a compact full-frame mirrorless.

Those top three cameras are regular names on Japan’s top ten, but the latest best-seller list highlights a few unusual trends – both in what cameras made the list and the trendy cameras that have fallen out of the top ten.

The Nikon Z5 II has climbed to the top 5

The fourth-place camera hasn’t appeared on Map Camera’s monthly trends list in the last four months – and before that was always sitting towards the bottom of the list: the Nikon Z5 II.

While the Z5 II has climbed unusually high, it’s a well-deserved ranking for the mirrorless camera that puts a full-frame sensor and excellent low-light autofocus into a body that sits at a more entry-level price.

The Canon EOS R6 Mark III is suspiciously absent

While Canon’s PowerShot cameras have regularly appeared on the top ten, the popular brand’s mirrorless cameras have been – rather strangely – less frequent on Map Camera’s list lately.

The Canon EOS R5 Mark II sits in eighth place this time and the EOS R6 Mark II in ninth place. But perhaps even more unusual is the Canon that’s not on the list.

The Canon EOS R6 Mark III debuted in November 2025 – one month before the Sony A7 V – and instantly rose to the number one spot at Map Camera. But it dropped off the retailer's top ten list the following month and has yet to return.

While its predecessor, the R6 Mark II, remains a top seller in Japan, the R6 Mark III brings 7K 60p open gate video and 40fps bursts for still photos. The R6 series is so popular in Japan that both the original R6 and R6 Mark II were among the top three most traded used cameras earlier this summer.

And, in the US, the R6 Mark III has been a regular attender on best-seller lists from B&H – which begs the question, why hasn’t the R6 Mark III seen the same success in Japan?

Fujifilm is "facing a serious supply shortage" in Japan

Another name that appears far less frequently on the July list is Fujifilm. Map Camera says the X-T30 III, X-E5, and X-M5 have been regular best-sellers on the list since the launch.

Fujifilm has the X100VI at number two and the camera that many call the mirrorless version of the X100VI at number ten, the X-E5. But that's it for the brand on the July list.

Map Camera says that the absence of some of Fujifilm’s most popular models isn’t a sign of popularity but of limited stock, noting that Fujifilm is “facing a serious supply shortage.”

While a wait time is typical for Fujifilm’s most popular cameras, like the X100VI, the company has discussed the shortage of memory and silver in recent reports.

A 2023 Sony has risen dramatically in popularity

The Sony A7 V wasn’t the only Sony mirrorless on the top ten list, as the Sony A6700 was ranked at number seven.

While the compact A6700 mirrorless has spent the last seven months on the top ten list, Map Camera notes the camera didn’t appear on the list at all in 2024 and 2025 despite launching in 2023 – suggesting an unusual resurgence in popularity as a bit of an older model.

There’s another Sony camera worth noting that’s not on the list: the Sony A7R VI.

When the A7R VI launched, it debuted at second place on the Map Camera rankings just after the more affordable but lower resolution A7 V – Map Camera suggests the A7R VI's price may be impacting its popularity.

Another Sony had only one day of sales in July, but still rose up to 14th place: The Sony RX10 V, the company’s new superzoom bridge camera. With the camera only being released on July 31, it will be interesting to see where it ends up on the August list.

While the latest trends list from Map Camera contained several surprises, the top ten was also dotted with several expected repeat offenders, like the Ricoh GR IV in fifth place and the Canon PowerShot SX740 HS in sixth. The full list of the top ten cameras from Map Camera includes:

1. Sony A7 V
2. Fujifilm X100VI
3. Sony A7C II
4. Nikon Z5 II
5. Ricoh GR IV
6. Canon PowerShot SX740 HS
7. Sony a6700
8. Canon EOS R5 Mark II
9. Canon EOS R6 Mark II
10. Fujifilm X-E5

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Back in 2019, I got my hands on a Nikon D3500; my first “proper” camera. It was an unexpected 24th birthday gift from my parents, which was around the time I was truly getting into photography and had clearly started to talk to my family about it with some conviction.

Admittedly, it took me the best part of a year to pluck up the courage to turn the dial from auto to manual mode after I finally demystified the exposure triangle with a 15-minute YouTube video.

But at that point, I unlocked the true power of the Nikon D3500 – and what a beginner camera it was. In fact, eight years after its release, I still recommend this camera to photographers starting out.

The main beginner draw to the Nikon D3500 is that it's insanely practical. As a newbie, you don’t want to be faffing with complicated settings and changing batteries all the time. The simplicity of the camera encourages you to shoot, rather than frustrating you.

First off, it’s got a really simple LCD interface that’s intuitive and limited. In the two years that I shot with this camera, I can’t remember a time when I struggled to find a setting or understand what was happening on screen.

It may sound pedantic, but the last thing a beginner needs is a menu packed with pages and pages that will only put them off exploring what their camera can do.

Next up is the battery life, and this is a huge benefit of the Nikon D3500. I kid you not, on a full charge this 14.5oz / 415g beast can snap upwards of 1,500 images. That is absolutely unheard of by today’s mirrorless standards, with entry-level rigs lucky to capture 500 images before their battery runs dry.

As a beginner, you want to shoot. That's it; take pictures and repeat. This is how you build a love for photography. Having to buy several replacement batteries and swap them out after just a few hours can impact this negatively.

Mirrorless cameras do, of course, have their advantages for beginners. I’ve previously argued that they can actually help more on the creativity side of things thanks to all the built-in help. But, in my view, for beginners, practicality trumps creativity.

And while the Nikon D3500 might only feature 5fps bursts, FullHD video and a maximum ISO of 12,800, it’s cheap (roughly $450 / £330 / AU$630) can go for days before dying and is just a joy to use.

So, if you’re thinking about what your first camera is going to be – or, like my parents, you're going to gift someone as theirs – I’d seriously consider the Nikon D3500. While I think practicality is the main selling point, it has other great traits – which you can read about in our Nikon D3500 review, where my colleague Rod called it "an evergreen classic".

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Already got one? Make sure you're using one of the best lenses for the Nikon D3500! And here’s our roundup of the best cameras for beginners as well as our pick of the best cheap cameras.

It’s been a busy week for Nikon camera rumors, with updates regarding a proposed Nikon Z70 and a stills-focused iteration inspired by the Nikon ZR. But Nikon Rumors has published grim reading for anyone hopeful that Nikon’s 2026 will finally burst out of the starting gates any time soon.

The outlet has reported that multiple unnamed sources are warning of delays for “almost everything,” with some releases apparently being pushed into next year.

Now, I love a good camera rumor as much as the next person and actively enjoy getting excited about what’s in the pipeline. But I can’t stress enough that rumors like this should be taken with a grain of salt until the manufacturer releases a statement.

Not a Nikon-only problem

It’s easy to hear about news like this and wonder what’s going on in Nikon land, especially following the Big N’s recently revealed financial results.

However, let’s not forget that camera and lens releases have been sparse across the whole industry so far this year. And there are a multitude of possible contributing factors.

Tariffs, component shortages and memory prices have all driven up consumer tech prices. And with many countries experiencing an increase in the cost of living, not to mention the possibility of tech saturation, consumer reticence has meant camera sales are down.

Nikon Z9 II bottleneck?

It’s also worth noting that Nikon could be in a bit of a transition period, assuming that the much-talked-about Nikon Z9 II is on the horizon.

A second-generation flagship is a huge milestone and, if it follows the same trajectory as the Nikon Z9, it will lock in the overarching technology for future Nikon camera releases for years to come.

With that in mind, it’s possible that a release like the Z9 II could act as a bottleneck, because anything Nikon releases prior to a new flagship camera’s launch will surely be running on current-generation tech.

This is fine for potential releases like a Nikon Zfc II or Nikon Z30 II because, assuming they follow the same blueprint as their predecessors, they would borrow tech from the existing Nikon Z50 II.

But anything more advanced, like the rumored Nikon Z70 (assuming it’s a flagship APS-C mirrorless), would likely include next-gen tech. If that’s the case, surely the Nikon Z9 II would need to be released first or adjacent to.

Look no further than Nikon’s last flagship APS-C camera for evidence. The Nikon D500 launched alongside the full-frame flagship Nikon D5, famously borrowing some of its pro-grade sibling’s tech.

Ultimately, rumors will always circulate, but we’re never quite sure what’s happening behind Nikon’s closed door until there’s an official line. But one thing’s for sure: it’s a challenging environment out there for everyone. There’s no need to panic.

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As a self-confessed Nikon fanboy, there’s nothing I enjoy more than a good rumor about a new Nikon camera. And if there’s one camera rumor I’m holding onto more than a Nikon Z70 or a Nikon Z9 II, it’s talk of a stills-focused Nikon ZR. Especially if it turns out to be Nikon’s first full-frame fixed lens compact camera in the Z era.

Nikon Rumors has caught wind of a teeny tiny sliver of information that could have huge consequences, were this camera ever to make it to market. This unnamed and unsubstantiated Nikon camera was previously said not to feature a viewfinder, à la the Ricoh GR IV. But now, the rumor mill is saying it will have an EVF. Talk about whiplash!

Personally, this is music to my ears. I’m trying not to get caught up in Internet talk, but I cannot help but be extremely excited about even the slimmest prospect of this camera blossoming into reality. And while I was willing to live with it, I really wasn’t keen on the no-viewfinder talk.

To my mind, a camera like the Fujifilm X-M5 entirely warrants not having a viewfinder. Not only is it a capable stills and video hybrid camera, but it’s incredibly small. So small in fact, it’s about the closest you can get to an interchangeable-lens compact camera (however much an oxymoron that is).

Removing the EVF was a crucial design element in maintaining that incredible form factor. Another example is the GR IV or any model from the GR Series. These cameras are true compacts in that they can slip into the most conservative of pockets. A viewfinder would spoil that.

Obviously, it depends on what (if anything) Nikon is planning. If it’s aiming for the most portable design possible, then an EVF probably isn’t warranted. But if its intention is to compete with the larger compacts of the world, like the Fujifilm X100VI or Panasonic Lumix L10, then I think a viewfinder is absolutely necessary. Essential, even.

Interestingly, the rumor post doesn’t mention the fixed-lens aspect. It simply refers to “rumored Nikon camera without an EVF,” and talks in terms of the Fujifilm X-E5 and Sony A7C II. So, I guess there’s always the chance this camera could have an interchangeable-lens design. If it exists…

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Japan's sales numbers give us a great indicator of broader camera-buying trends, but the six-month figures are arguably more revealing than the monthly charts.

A new launch promotion can push a camera to number one for a month, but six months of sales give us a better idea of which models are consistently popular – and which could end the year as Japan's best-selling camera.

Major retail aggregator BCN+R has now published its list of the best-selling mirrorless cameras for the first half of 2026. And while we've seen some extraordinary releases this year, the top spot goes to an APS-C camera that was released in March 2023 – and Sony's record-breaking A7 V only makes eighth place.

The Canon EOS R50 triumphs at number one. Available for just $729 / £649 and despite being more than three years old, it continues to prove hugely popular.

Featuring a 24.2MP APS-C sensor, full-width 4K video and a wealth of social media-friendly shooting modes, it makes a great choice for beginner photographers, enthusiasts and content creators.

BCN's Top 10 best-selling mirrorless cameras, First half of 2026

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-T30 III
8. Sony A7 V
9. Olympus PEN E-P7
10. Nikon Z50

Eight of the top ten cameras are APS-C, with one Micro Four Thirds camera at number nine – the Sony A7 C is the only full-frame camera on the list.

That suggests that photographers in Japan are still strongly drawn to cameras that are relatively compact, affordable and easy to use – rather than simply buying the newest or most expensive technology.

BCN's data is based on sales units, rather than revenue, and covers major electronics retailers and online stores in Japan.

Japan's #1: Canon EOS R50

The Canon EOS R50 combines a 24.2MP APS-C sensor with a compact body, interchangeable lenses and beginner-friendly controls, making it a natural upgrade for someone moving beyond a camera phone or compact camera.

But it's also unusually well-suited to modern content creation, featuring non-classic shooting modes. The EOS R50 can record vertical video via an orientation sensor that embeds rotation data. It also includes display aspect markers to help creators frame footage for different social platforms.

There's even a dedicated Movie for Close-up Demos mode, designed to make it easier to show products close to the camera – a particularly useful feature for product reviews and demonstrations on TikTok, Instagram and YouTube.

Its compact size and all-around make it one of the best travel cameras, while its affordable price and beginner-friendly design continue the Canon EOS M50's legacy as one of the best cameras for vlogging.

Record-breaking Sony only makes 8th place

Sony's latest full-frame hybrid camera launched in December 2025 and quickly became one of the most talked-about new cameras in Japan, dominating sales charts for months across different Japanese retailers.

The Sony A7 V offers a 33MP full-frame sensor, fast continuous shooting, AI-powered subject recognition, strong video capabilities, and the kind of performance aimed at serious enthusiasts and professionals.

Yet it only ranks eighth in BCN's first-half sales data. Which doesn't mean that the A7 V isn't popular; the important distinction is that BCN is ranking units sold.

A high-end full-frame camera costing several times more than an entry-level APS-C model doesn't need to sell anywhere near as many units to generate substantial revenue.

And that's where the EOS R50 has an obvious advantage. At around $729 / £649, the Canon is far more accessible than the A7 V, which is priced around $2,898 / £2,799.

For someone buying their first interchangeable-lens camera, the R50 offers plenty of image quality and flexibility without requiring a huge investment in the camera body.

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Parts of North America and Europe were wowed by the standout astrophotography event of the year, yesterday evening: a total solar eclipse. Switzerland-based Nikon photographer Angel Fux (@angelfux) traveled to Spain to capture the phenomenon in the optimal location, following over two years of preparation. She had just 103 seconds to capture the moment, all while operating two Nikon cameras and following strict safety precautions.

I was lucky enough to chat to the landscape and astrophotographer – who is known for hiking out to secluded mountainous locations – just days before the event. Angel had promised to deliver a stunning photograph of the total eclipse for publication, and as you read on to find out just how much planning was involved, you’ll realize that the gorgeous images that populate this article were never in doubt.

How Angel Fux prepared for the 2026 total solar eclipse

Digital Camera World: It took you over two years to prepare for this shoot. How did you go about researching the location?

Angel Fux: “When I first learned that a total solar eclipse would cross Europe in August 2026, I immediately felt there was an opportunity to create something very different from my usual astrophotography work. I knew I wanted to approach it as an artistic project rather than simply documenting the event.

“Like most of my projects, the research started on Google Earth. I spent countless hours virtually exploring landscapes along the path of totality, looking for locations that resonated with the kind of scenery I’m naturally drawn to. Mountains have always been where I feel most inspired, so I was searching for landscapes that carried some of that feeling while still preserving the identity of northern Spain.

“Along the way, it was recommended that I look into a particular area, and a viewpoint immediately stood out. It required a bit of scrambling to reach the summit, but the panorama was exactly what I had hoped for.

My decision to choose Spain was mainly driven by weather. Greenland and Iceland were incredibly tempting, but for an event that lasts only a few precious minutes, I wanted to maximize my chances of clear skies.”

DCW: You even rehearsed the shoot beforehand: How on Earth does that work?

AF: “It sounds funny at first – how do you rehearse an eclipse when you don't actually have one? The reality is that you're not rehearsing the eclipse itself; you're rehearsing everything around it. Over the past few months, I've repeated my entire shooting sequence many times. The goal is to make every movement almost instinctive by the time totality arrives. That means practicing camera settings, timing, switching between cameras, checking focus, and following a precise sequence under time pressure.

“The only step I obviously don't perform is removing the solar filter, because the sun isn't eclipsed during practice. Everything else can be rehearsed exactly as it will happen on eclipse day.

“Practice sessions are also invaluable for testing exposure settings. I compared different apertures, shutter speeds and ISO combinations, then carefully reviewed every frame afterwards to determine what works best for my equipment. By the time the eclipse happened, I wanted as many decisions as possible to have already been made.”

DCW: What split-second decisions could you be forced to make when the Moon passes in front of the Sun?

AF: “Ideally, none.

“The entire reason for months of preparation is to reduce the number of decisions that have to be made during those precious minutes. Every step is carefully planned beforehand. If something does require a last-second adjustment, it’s most likely weather-related. Even thin clouds passing in front of the sun can change the exposure enough to require small adjustments.

“Another important consideration is focus. Because this eclipse happens very close to sunset, atmospheric turbulence becomes more significant as the sun approaches the horizon. I therefore plan one final focus check just before totality begins to ensure everything remains perfectly sharp. The less you have to think during totality, the more you can actually experience it.”

DCW: You’re shooting with two cameras; does this double the decision-making process in the moment?

AF: “Not necessarily. The two camera setups have been designed to complement each other rather than compete for my attention. One camera is dedicated to a close-up view of the eclipse, while the other captures a much wider perspective.

“Because those two shots have different technical requirements, I’ve deliberately planned the sequence so I don’t have to perform critical actions on both cameras at exactly the same moment. It certainly adds more steps to the workflow, but they’re sequential rather than simultaneous.”

DCW: How and why did you select the Nikon Z8, Nikon Z 400mm f/4.5 VR S and Nikon Z 14-24mm f/2.8 S?

AF: “The Nikon Z8 has become a camera I know and trust completely. I’ve been working with Nikon equipment for over fifteen years, and the Z8 has accompanied me through some very demanding environments – from freezing alpine nights to high-altitude expeditions. Reliability becomes incredibly important when you only get one chance.

“The Nikon Z 400mm f/4.5 VR S was chosen because I wanted something between 300mm and 500mm that offered an excellent balance between reach, image quality and portability. For this project, it felt like the perfect focal length. The Nikon Z 14-24mm f/2.8 S lens, on the other hand, is probably the lens that best represents my photography.

“Most of my landscapes and night sky images are made somewhere within that focal range. It allows me to place the eclipse within its wider environment while capturing the dramatic changes happening across the sky during totality.”

DCW: Are budget solar filters effective or are quality alternatives worth investing in?

AF: “For me, certified solar filters are absolutely worth investing in. Beyond protecting both your eyesight and your equipment, a well-designed filter can also make your workflow significantly smoother.

“For example, I’m using a magnetic filter system that allows me to remove and replace the filter very quickly during the narrow window around totality. When you’re working with seconds rather than minutes, that kind of practical advantage

becomes very valuable. Ultimately, you’re protecting equipment worth thousands of dollars – and more importantly, your eyesight. That’s not an area where I’d personally choose to compromise.”

DCW: Has working with mirrorless tech made checking your exposure and focus much easier?

AF: “Yes, although I usually start by letting autofocus acquire the sun first before switching immediately to manual focus for the remainder of the sequence. Modern mirrorless cameras make that entire process much easier.

“Being able to magnify the live view, use focus peaking and check exposure in real time gives you a level of confidence that simply wasn’t available years ago. The autofocus systems themselves have also become remarkably reliable, so acquiring initial focus is incredibly straightforward before making those final manual refinements.”

DCW: What’s your top tip for beginner photographers looking to get into astro or solar photography?

AF: “I’d actually separate astrophotography and solar photography because they’re very different disciplines.

“For astrophotography, my advice is simple: start with the equipment you already own. That’s exactly how I began, with a fairly basic wide-angle lens and a tripod. The most important thing is simply getting outside and experimenting. Every night teaches you something new, and little by little you’ll understand what additional equipment would genuinely benefit your photography.

“Solar photography is quite different. Personally, I find it becomes much more exciting with longer focal lengths, but it’s also a field where safety has to come first. Before thinking about the photograph itself, learn how to properly protect both your eyes and your equipment using certified solar filters. Once that’s in place, experimenting with longer focal lengths opens up a fascinating world of detail that most people never get to see.”

DCW: Can you tell me a little bit about the short film you’re making with Nikon?

AF: “The film isn’t intended to explain how to photograph an eclipse – it aims to capture what it feels like to prepare for one. One thing I heard over and over while listening to experienced eclipse chasers or people who have experienced one, is that a total solar eclipse is almost impossible to describe. Everyone says the same thing: You simply have to experience it for yourself. That became the starting point for the film.

“Rather than making a technical documentary, we’re creating something much more cinematic and emotional. The story follows the anticipation, the preparation, the uncertainty, and ultimately that overwhelming sense of awe that comes from witnessing one of nature’s rarest spectacles.

“Alongside the film, I’ll also be unveiling the final artwork created for this project, which forms one of the central creative threads throughout the story. The film is being co-directed and produced together with filmmaker Prince Berkoh, whom I’ve known for several years. From the beginning, I felt he was the perfect creative partner for this project. He immediately understood the emotional direction we wanted to take, and collaborating with him has been instrumental in bringing this vision to life. Together, our goal isn’t simply to show an eclipse, but to inspire people to experience one for themselves.”

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Looking for a step-by-step guide to photographing a future solar eclipse? Here's how to photograph a total solar eclipse. If you're looking for other subjects to photograph in the sky, here's our guide to Astrophotography in August 2026. Plus, here are the best cameras for astrophotography.

The latest cameras often come with anything but an affordable price tag, which is one reason buying used remains so popular. New data from Japanese camera marketplace Minna Camera shows that demand for some older cameras is pushing their used prices higher.

Of the 32 models with a clear price movement during the first half of 2026, 28 increased in price – around 88%. The biggest rise was a striking 24.1%, while even the tenth-placed camera increased by 7.8%.

The top spot goes to a discontinued DSLR released in 2016, the Nikon D5600, while the rest of the top 10 is made up of a trio of compacts and twice as many mirrorless cameras. The second-biggest rise came from the Sony A7 IV, which increased by 11.9%, while the Ricoh GR III followed at 10.9%

Top 10 cameras that rose most in price at Minna Cameras (H1 2026)*

*Used cameras price: Q1 avg → Q2 avg; discontinuation status and approx. used prices in USD and GBP added by Digital Camera World.

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Turns out the Nikon Z 600mm f/6.3 VR S is proving popular. Really popular. So much so that Nikon Japan has had to temporarily suspend orders.

That’s according to a report by Nikon Rumors, which published correspondence – supposedly from the Big N – citing an “overwhelming number of pre-orders (...) which far exceeds our expectations.”

Obviously the big question mark over all of this is, why the Nikon Z 600mm f/6.3 VR S? And why now?

As Nikon Rumors rightly points out, retailers appear to have stock and this isn’t even a new lens. It was announced all the way back in 2023!

Apparently, the suspension has been active since August 08, but there appears to be no word as to when orders will resume. Although, naturally, the statement does stress that orders will be fulfilled as quickly as possible.

Now, this is pure conjecture from yours truly… but I couldn’t help but think back to a recent report from the same rumor outlet, highlighting evidence claiming that Nikon Z 28-75mm f/2.8 units were being manufactured in Vietnam – a lens that was otherwise manufactured in China.

I’m well aware that this is one heck of a swing, but I cannot help but wonder: could Nikon’s struggle to fulfill orders of the Nikon Z 600mm f/6.3 VR S be linked to something similar?

Of course, the other option is that people have suddenly realized what an incredibly good lens this comparatively lightweight supertelephoto prime really is.

We gave it a perfect five stars on test, with my colleague Matthew RIchards citing its weight, high-spec build and handling, and superb image quality and performance as its best attributes in his review.

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It’s been a while since we’ve had a good tangible Nikon camera rumor to set pulses racing – but that’s exactly what we’ve got this week, thanks to a supposed Apple oversight on a list of compatible ProRes RAW products.

The report from New Camera claims that beneath the Nikon section, the listing was as follows: Z6 III, Z70, Z8, Z9, ZR. Wait a minute… Z70? There’s no such thing as a Nikon Z70. Or is there?

The error has since been removed, leaving Nikon fans to ponder two possibilities: either it was a completely innocent typo or an unreleased device.

What makes the news even more tantalizing is the timing. Nikon’s had an exceedingly quiet 2026 thus far. We’ve only got two lens releases in the Nikon Z 24-105mm f/4-7.1 and Nikon Z 70-200mm f/2.8 VR S II, and one lens development announcement in the Nikon Z 120-300mm f/2.8 TC VR S.

And with Nikon’s latest financial results laid bare, the time seems ripe for a big camera launch.

Spiritual successor to the Nikon D500?

Still, the Nikon Z70 wasn’t on my bingo card. Most of the Nikon rumors have centered around a fixed-lens full-frame compact camera and a Nikon Z9 II. And indeed, in my own mind, I’ve been patiently waiting for a Nikon Zfc II.

But there’s a possibility that a Nikon Z70 could turn out to be exactly what I’ve wanted all along: a mirrorless successor to the Nikon D500.

This is pure conjecture, of course, but thus far, any Nikon Z Camera with a ‘0’ has been an APS-C camera: namely the Z30, Z50 and Z50 II. And in a world where the already very capable Nikon Z50 II exists, you’d have to assume it’s either going to be a more entry-level or premium offering.

Add to that Nikon’s clear targeting of the enthusiast-to-pro market in recent years, alongside rumors of a high-end crop-sensor offering, and it seems most likely that if a Nikon Z70 were in the works, it’d be a flagship APS-C camera, à la Nikon D500.

New Camera also makes the important point that if there’s stock in the Apple post, it would suggest the ability to capture internal ProRes RAW, which is a high-end video feature.

The outlet then goes so far as to list the rumored specs of a surmised Nikon flagship APS-C mirrorless, including a 26MP sensor, IBIS, dual card slots, and high-end Nikon AF and burst speeds.

If Nikon were to release such a camera, I would also hope that it would follow in the footsteps of the Nikon D500 in delivering extensive weather sealing.

So, there you have it. Let me know your thoughts on whether or not you'd like to see a Nikon flagship APS-C camera in the comments below.

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Imaging giant Nikon is expecting a drop in camera sales, which hits at the same time that the camera maker's costs are increasing in part due to the AI-driven memory crisis. In Nikon’s latest financial report, the camera maker shared that camera sales are down for the first three months of the fiscal year.

The report suggests that Nikon sold 910,000 interchangeable lens cameras over the last year, along with 1.3 million lenses. But, as the camera giant posted a -7.1 percent drop in revenue and a three percent drop in operating profit over the same time last year for the imaging division, the company also revised the predictions for the rest of the year, dropping expectations for camera sales by 300,000.

Nikon says much of that drop is due to the camera market in general, and in particular, reduced demand in China. However, the company says that expectations for long-term demand for interchangeable lens cameras remain more solid over the long term.

But the slight downtrend comes as several camera manufacturers are facing rising costs due to the demand for memory created by AI data centers. Nikon isn’t excluded from the effects of those higher costs and expects operating profit to decline as a mixed result of lowered sales volumes and higher memory costs.

Nikon has yet to introduce a new mirrorless camera in 2026 – but the brand is far from the only major player in the industry with a quiet first half of the year, as Fujifilm and OM System also haven’t had major mirrorless launches yet in 2026.

Nikon has, however, launched two new lenses in 2026 so far: the Nikon Z 24-105mm f/4-7.1 and the Nikon Z 70-200mm f/2.8 VR S II. Nikon also shared that a Z 120-300mm f/2.8 TC VR S is in development, but that telephoto with a built-in teleconverter has yet to officially debut in stores.

While Nikon’s launches have been quiet so far in 2026, the rumors have not. Nikon fans have been quick to point out the age of the Z7 II (2020), Z9 (2021), and Z30 (2022).

But, Nikon’s own medium-term plan had some hints, as Nikon says it plans to “strengthen proposals focused on enhanced core performance and emotional value, including heritage-inspired design.” Those last three words have led to speculation on more Zf-like retro cameras.

Cameras aren’t Nikon’s only business, but the imaging division was responsible for 44 percent of Nikon’s quarterly revenue, the highest percentage out of all of the company’s different divisions. While imaging was down in both revenue and profit for the first quarter compared to the previous year, Nikon overall shared a 3.8 percent increase in revenue, but flat performance in operating profit due to higher costs.

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Think DSLRs are dead? Not quite, even in 2026. Nikon may have moved firmly into the mirrorless era, but it hasn't forgotten its high-end DSLRs.

Nikon's D780 and flagship D6 are both six-year-old full-frame DSLRs, but both have just received new firmware updates that fix a handful of exposure-related bugs.

There are no flashy new features here, but it's a reassuring sign that Nikon is still ironing out the quirks of these older DSLRs.

Firmware overview

Nikon D780
Ver 1.21 – Download link for Windows and Mac OS

Nikon D6
Ver. 1.71 – Download link for Windows and Mac OS

Improvements

Nikon D780
• Fixed an issue where photos taken would sometimes be underexposed when zoom was adjusted during burst photography in high-speed continuous release mode

Nikon D6
Fixed the following issues:
• Photos taken would sometimes be underexposed with a D-type lens attached
• Recalling shooting functions would sometimes limit the shutter speed to 1/250 s with auto FP high-speed sync

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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After reviewing the Hasselblad X2D II 100C, Digital Camera World called the 100MP medium-format marvel the "finest stills camera ever made." Now, in Japan's latest best-selling camera rankings, the Hasselblad flagship has – once again – been beaten by full-frame rivals.

The latest chart of the best-selling cameras for the first half of July at Yodobashi is in, and the highly-prized Sony A7 V is back at the top of the chart. Right behind is the Sony A7C II, a familiar model that regularly features in the rankings across different retailers in Japan. The Hasselblad X2D II 100C lands in third place.

While some might say it's no surprise to see the Hasselblad X2D II 100C outside the top spot, given its premium price tag of $7,799 / £6,690 and its medium-format territory, the camera has proven that it can reach No.1 from time to time. However, the Sony A7 V has often been hot on its heels, and the full-frame camera is available for a much lower price of $2,898 / £2,799.

Yodobashi's 10 best-selling cameras (1st Half Jul 2026)

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Hasselblad X2D II 100C
4. Sony A7C II | Silver | Black
5. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Canon EOS R5 Mark II
8. Nikon Z50 II Double Zoom Kit
9. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
10. Nikon Z8

"Yodobashi Camera Best Sellers Top Ten" announces the best-selling rankings from the shopping site "Yodobashi.com" and all 24 Yodobashi Camera stores nationwide.

The medium-format marvel

Landing at No.3 in the chart is an impressive result for a luxury 100MP medium-format camera. The Hasselblad X2D II 100C continues to prove that quality counts, even if its sales volume doesn't quite match its full-frame rivals.

It's a standout choice for medium format photographers, combining luxurious ergonomics with a tilting OLED screen, built-in 1TB SSD for high-volume shooting, a 100MP medium-format sensor, and true end-to-end HDR color.

Full-frame champion

Since its release in December 2025, the Sony A7 V has broken sales records in Japan, dominating the chart for months and holding the top position as one of the country's most popular full-frame cameras.

Ironically, it first lost the No.1 spot in the second half of May 2026 – to the Hasselblad X2D II 100C.

The Sony A7 V combines a 33MP partially stacked sensor with upgraded AI subject detection, making it a highly capable full-frame hybrid camera for both stills and video.

While rivals are giving it a run for its money on the video front, its combination of speed, image quality and versatility continues to make it a popular choice globally.

It will be interesting to see if these two very different cameras go once again head-to-head in Yodobashi's next sales chart, or whether the Sony A7 C II – another popular best-seller in Japan – can beat them both with its impressive price-to-performance ratio.

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When the Nikon Zfc released back in 2021, it brought with it the lovely retro-themed Nikon Z 28mm f/2.8 (SE). And while the absence of an aperture ring seemed like a bit of a missed opportunity, I assumed that more retro Nikon Z lenses would be on the way. Jump to the release of the Nikon Zf in 2023, along with the Nikon Z 40mm f/2 (SE), and my heart sank. Another super affordable, retro-cool lens, without the substance (an aperture ring) to back it up.

The Nikon Zf and Z fc are modeled on the legendary Nikon FM2 from the early ‘80s. And they’re by far the most faithful replications of a film-era SLR on the mirrorless camera market today. Their slimline profiles and seriously lacking grips make them feel gratifyingly unwieldy and their chunky physical dials are a tactile pleasure to shoot with. The only thing missing, then, is a lens with an aperture ring!

I’m not alone in my grievances. Such feedback has plagued the Nikon Zf and Zfc ever since each retro camera's respective release, but thankfully, third-party options are available. However, none are quite as lovely as Voigtlander’s Z-mount line up.

Voigtlander immediately gets plenty of kudos because all of its Z-mount lenses are developed and manufactured under licence, so it’s got an official thumbs up from Nikon. What’s more, a trio of specialist APS-C (DX) optics are available, such as the Voigtländer D23mm f/1.2 Nokton Z Aspherical, alongside a broader range of 10 full-frame optics, like the Voigtländer 15mm f/4.5 Super Wide-Heliar Z Aspherical. That’s a decent lineup of glass!

Each Voigtlander lens feels authentically retro, too, boasting all-metal lens barrels, as well as manual-focus only designs, with many also featuring beefy scalloped grooves for better purchase. But they haven’t omitted the mod cons entirely. Lenses feature electronic contacts to supply EXIF data and work in tandem with IBIS.

And yes, they all have aperture rings.

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Want more of my Nikon ramblings? The Nikon Z 180-600mm f/5.6-6.3 VR bridges the gap between budget teles and pro-grade glass – and it’s a personal favorite. You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday! Plus, alien world of photomicrography displayed at Tokyo Photographic Art Museum celebrates 101 years of Nikon microscopes.

Last year, Nikon celebrated the centenary of the launch of its JOICO microscope, the very first product in what would become the-then Nippon Kogaku’s microscope division, still a vital part of the Nikon Healthcare Business Unit today. Successes such as this are what ultimately paved the way for Nikon’s play into the camera market in 1948 with the Nikon I and beyond.

This year marks the 101st anniversary of the JOICO microscope and Nikon is once again celebrating its precision-optics lineage via a special exhibition at the Tokyo Photographic Art Museum called Nikon Small World / Nikon JOICO Award Exhibition: “The Microscopic World – Illuminating the Future of Life”.

The exhibition, which runs until August 23, invites visitors to journey through Nikon’s microscope history, all while being treated to some jaw-dropping imagery courtesy of Nikon Small World (see last year's incredible stills winner above).

This global microscopic image contest celebrates the art of photomicrography, whereby a camera is attached to a microscope and used to capture incredible microscopic images. Nikon Small World includes both stills and video competitions, and features a panel of experienced judges. The 2026 competition is now closed for entries but the winners haven't yet been announced.

The Nikon Small World / Nikon JOICO Award Exhibition runs from July 25 to August 23, 2026. Standard opening hours are from 10:00 to 18:00. General admission costs 700 JPY (approx $4.50/£3.30/AU$6.30), students and 65+ rates are 500 JPY (approx $3.20/£2.40/AU$4.50), along with free admission for high-school students and younger.

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After cooling off for a while, there are fresh camera rumors about the Nikon Z7 III – which is purported to be a "high resolution camera" with a resolution of up to 61MP.

While Sony's latest resolution-focused body, the Sony A7R VI, has upped the full-frame ante to 66.7MP, a pixel count of 61MP would put the Nikon Z7 III on the same playing field as resolution monsters like the Sony A7R V, the Leica SL3 and the Sigma fp L.

The new report comes courtesy of Ordinary Filmmaker, citing a source he has known for a couple of years that he believes to be reliable:

"I do have news from a known source about the Z7 Mark III. Nikon is working on a Z7 Mark III that will be a high-resolution camera. We have confirmation on that, but don't have many specifications.

"The autofocus will be much improved over the Z7 Mark II. Okay, yes, that one was a gimme. That was an easy one. But let's get to the sweet spot, the resolution of the Z7 Mark III: Nikon's testing a resolution between 56 and 61 megapixels."

There is something of a precedent for this, as there have been rumors dating back as far as 2019 that Nikon was planning to use a 60MP Sony sensor for an upcoming camera.

I think the company would certainly do well to further differentiate its products at the top end, as currently there are a trio of Z bodies using a 45.7MP sensor (the Nikon Z7 II, Nikon Z8 and Nikon Z9) so having a dedicated "resolution model" would help give the Z7 line a distinct identity.

That would give us a full-frame lineup comprising the Nikon Zf for relaxed, retro-focused users, the Nikon ZR for dedicated video, the Nikon Z6 III for hybrid and action shooting, the Z7 III for the highest fidelity capture and the Z8 and Z9 for ultimate performance.

It would also leave Canon in the lurch as the only one of the "big three" full-frame brands without a high-resolution camera, which increasingly feels like a gap in its lineup.

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The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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Into Nikon? Check out the best Nikon cameras and the best Nikon Z lenses. Plus, You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday!

I am never surprised to see that the Nikon Z 180-600mm f/5.6-6.3 VR is trending on Google. From the moment this formidable Nikon Z lens was launched back in 2023, it’s been a hugely popular optic for Nikon.

Indeed its spiritual forebear, the Nikon AF‑S 200‑500mm f/5.6E ED VR, is still a fixture in both hides and trackside the world over.

A fantastic performer that stops short of pro-level prices

The Nikon Z 180-600mm f/5.6-6.3 VR sits firmly within the enthusiast bracket, but I’ve known pros to favor its blend of reach, affordability and relatively light weight, too.

Essentially, it’s a middle ground between lenses like the Tamron 70-300mm f/4.5-6.3 Di III RXD ($699 / £699 / AU$1,199) and the Nikon Z 28‑400mm f/4‑8 VR ($1,449 / £1,399 / AU$2,299), and serious pro-grade optics that arguably begin with the Nikon Z 100‑400mm f/4.5‑5.6 VR S ($2,949 / £2,699 / AU$4,799) and ends with the Nikon Z 600mm f/4 TC VR S ($16,199 / £15,499 / AU$28,299).

The Nikon Z 180-600mm f/5.6-6.3 VR is priced at $2,199 / £1,999 / AU$3,099, placing it firmly in the middle. However, it’s important to remember that this is an extremely long lens.

The Big N doesn’t make many 600mm optics and the Nikon Z 180-600mm f/5.6-6.3 VR is the cheapest of the bunch. It might not be the fastest lens in the world, but it’s still very workable in a variety of situations – especially given the enhanced low-light capabilities of the best Nikon cameras and the industry-rocking power of AI noise reduction.

I get it, 2,000 bucks is a lot of anyone’s money and it’s beyond the reach of some creatives. But for sports and wildlife photographers, having a long lens like the Nikon Z 180-600mm f/5.6-6.3 VR in their arsenal is quite simply more important than the camera.

A lot of enthusiasts have no problem dropping big bucks on a body or two (or three), but shy away from investing in the optics they need to fulfill their creative ambition.

If you can’t afford the Nikon Z 180-600mm f/5.6-6.3 VR but have a Z-Series camera, my recommendation would be to pair a secondhand F-mount lens – such as the Nikon AF‑S 200‑500mm f/5.6E ED VR – with the Nikon FTZ adapter.

Right now, MPB is selling said lens from £589 / $849, but there is a wealth of long lenses on the used market that you can find for less.

Nikon Z 180-600mm f/5.6-6.3 VR: How does it fare in 2026?

The Nikon Z 180-600mm f/5.6-6.3 VR is a lovely lens to shoot with, delivering gorgeous image quality and a slick, internal zoom design.

But while the internal zoom does provide a more premium feel, it does mean that this lens will take up plenty of space in your kit bag. So much so that even a standard bag may struggle to accommodate this lens while it’s attached to a camera.

You get 5.5 stops of Vibration Reduction (Nikon’s proprietary optical stabilization) and customizable function buttons, as well as some decent weather sealing. It doesn’t boast the greatest tripod collar and foot, though, with the latter being rather small and uncomfortable when used as a handle, but this is easily replaced if it bothers you enough (I’ve kept mine).

And while the f/5.6-6.3 aperture range might seem a bit slow, with some cunning subject positioning it’s not hard to blur the background – especially as you’ll likely spend most of your time at the telephoto end anyway.

Overall, the Nikon Z 180-600mm f/5.6-6.3 VR represents just as good value and delivers just as good a performance three years after its release. I’d recommend it to anyone.

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Two years with the Nikon Z 180-600mm f/5.6-6.3 VR: Still a wildlife or sports enthusiast’s dream lens. I chose the Nikon Z 180-600mm for its value and reach, but my chiropractor would recommend the Z 100-400mm. And here are the best lenses for bird photography.

When people think about professional sports photography, they usually imagine cameras firing at ridiculous speeds, enormous telephoto lenses lining the edge of the field and photographers transmitting images to waiting news desks before the action has even finished.

For a long time I bought into that philosophy as well, because speed was everything – or at least, that was what sports photographers were constantly told.

The more frames your camera could capture, the greater your chances of recording the decisive moment. Miss the shot and somebody sitting three feet away from you would almost certainly have it – which meant fast frame rates, deep buffers and responsive autofocus were considered the defining qualities of any serious professional sports camera.

At the time I was using the Nikon D3, a camera that deserved every bit of praise it received. Its 12MP sensor might sound rather modest by modern standards, but it delivered excellent images, dependable autofocus and the sort of speed that pro sports photographers required.

It was a proper working camera, built to survive difficult conditions, constant travelling and thousands upon thousands of shutter actuations.

Then Nikon announced the Nikon D800, and suddenly my understanding of what a professional sports camera could be changed completely.

I was fortunate enough to see an early preview through Nikon Professional Services and, the moment I learned what the camera could do, I knew it was going to become my game-changer both on and off the sports field.

This was a 36.3MP full-frame DSLR arriving at a time when most sports photographers were still concentrating almost entirely on frame rates, buffer depths and how quickly they could fire another burst.

The Nikon D800 was not designed as an obvious replacement for the D3, and its 4fps continuous shooting speed at full resolution looked positively pedestrian beside Nikon’s flagship sports cameras.

However, I could see something in the D800 that went far beyond the numbers on a specification sheet.

I ordered two bodies almost immediately and was fortunate enough to be among the first group of photographers to receive them, before taking both cameras to one of the most demanding assignments of my professional career.

One of their first major outings was the Badminton Horse Trials, one of the biggest equestrian events in the world, where I was photographing athletes competing at the highest level of the sport for the FEI (Fédération Equestre Internationale).

Taking a pair of Nikon D800 bodies into that environment might have seemed like a strange decision, because high-resolution cameras were still widely considered tools for studio, landscape and commercial photographers rather than fast-moving sporting events.

My work, however, was already beginning to sit between those different worlds. I was not only photographing riders for editorial coverage; many of my clients were brands that wanted images showing their products being used by leading equestrian and human athletes in the field.

These clients needed photographs for advertising campaigns, promotional displays, websites, brochures and sometimes enormous exhibition stands. That was where the Nikon D800 gave me an advantage, because its 36.3MP files captured a level of detail that was remarkable at the time.

Logos on clothing, saddlecloths, riding boots, protective equipment and horse rugs were clearer and more usable than they had been in my 12MP files. Clients could crop a photograph while still retaining sufficient resolution for professional advertising work, and I could offer them considerably more flexibility with every image I delivered.

That cropping freedom was particularly valuable in equestrian sport, where a horse and rider can change position incredibly quickly.

There are times when the perfect expression, stride or product placement occurs slightly outside your intended composition, and the D800 gave me room to straighten, reframe and crop without immediately degrading the quality of the final photograph.

It did not mean that composition suddenly stopped mattering. In fact, the additional demand for images made me think more carefully than ever about where I positioned myself, which backgrounds I used and how many different angles I could capture during a single competition.

At some events, I had a roster of around 20 clients requiring photographs – and they were not always interested in just one rider. On occasion, I needed to cover more than half of the competitors in the field, all while keeping track of which athlete was using which client’s product.

That meant planning my positions carefully and understanding exactly how the competition was likely to unfold.

I could not simply stand in one place, point a long lens towards the action and hope everything worked itself out; I had to know the course, understand the sport and anticipate where each photograph was most likely to happen.

The Nikon D800’s comparatively modest frame rate also forced me to trust my timing.

I could not rely on holding down the shutter button and returning home with dozens of almost identical frames from every moment, so I had to understand the rhythm of a horse approaching a fence, anticipate the point of take-off and press the shutter when the image was actually there.

Its autofocus was more than capable of keeping pace and, when everything came together, the resulting files were extraordinary. The photographs had the resolution that my commercial clients wanted while retaining the responsiveness, durability and familiar handling I needed from a professional DSLR.

As brands and advertising agencies began asking for increasingly detailed files, my decision to adopt the Nikon D800 put me ahead of the curve.

I could provide editorial photographs when required, but I could also deliver files capable of being cropped, enlarged and adapted across multiple advertising formats without compromising the fine detail that clients expected.

That combination helped me build long-term relationships and eventually maintain a substantial roster of brands at major events. The camera did not do the job for me, because no camera ever will, but it gave me a tool that perfectly matched the direction in which my professional work was moving.

Those two Nikon D800 bodies went on to capture hundreds of thousands of photographs during my ownership. They endured demanding equestrian events, unpredictable weather, long days beside competition arenas and the constant pressure of delivering images to multiple clients, earning their place in my camera bags many times over.

They remained an important part of my working setup until I retired from professional sports photography – and they proved that outright frame rate was not the only specification that mattered at the highest level.

A camera capable of producing detailed, flexible and commercially valuable files could be every bit as useful as one designed simply to fire as many frames as possible.

The funny thing is that high-resolution cameras at major sporting events no longer look unusual. Modern photographers routinely use cameras with 40, 50 or even 60MP sensors, often combined with burst rates that would have seemed unbelievable when the D800 first appeared.

Resolution and speed are no longer treated as opposing choices, but the Nikon D800 helped demonstrate that high-megapixel cameras belonged in professional sport.

It showed that the value of a sports image was not determined solely by how quickly the camera could capture it, but also by how much detail, flexibility and commercial potential that photograph could offer afterwards.

Today, the Nikon D800 has naturally found its way onto the second-hand market, with used examples often available for very reasonable prices through retailers such as MPB and marketplaces like eBay.

It may no longer represent cutting-edge technology, but its 36.3MP files remain extremely capable, particularly for photographers who do not require the fastest burst rates or the latest mirrorless autofocus systems.

For me, though, the Nikon D800 will always represent something far more important than its current used price or its place in camera history.

It was the camera that encouraged me to look beyond the accepted rules of sports photography, recognize what my clients actually needed and build my professional approach around resolution as well as speed.

The Nikon D3 might have been the conventional sports camera, but the D800 became the camera that changed my professional career. It gave me an advantage when other photographers were still concentrating entirely on speed, and it proved that sometimes the best tool for the job is not necessarily the most obvious one.

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You can be the biggest company in the world. Make the biggest leaps in technology. And even make the best products. But there’s one thing you can’t buy, innovate or earn, and that’s heritage. Heritage is the driving force behind luxury brands such as Rolex, Ferrari, and Gibson. The photography industry is full of heritage brands, and not only is Nikon one of the biggest, but it’s also one of the oldest, having just celebrated its 109th birthday.

From S-mount to F-mount

The ‘Big N’s’ history can be traced all the way back to the merging of three optical companies in 1917 to form Nippon Kōgaku. However, it would be several decades until it released its first Nikon camera, 1948’s Nikon, which would ultimately become known as the Nikon I. This rangefinder 35mm film camera debuted the company’s S mount, but according to Nikon Museum, its unusual 3:4 (24 x 32mm) format prevented its export to the US, so it wasn’t a big seller.

Still, the S mount would persist over the coming years with various camera releases until it was discontinued in 1964. What hastened its demise was arguably the single most important invention in Nikon’s history, which started with the release of the Nikon F in 1959. That invention was, of course, the F mount. The company’s first SLR mount would remain relatively unchanged for over 60 years, making it far and away the longest-running 35mm SLR lens mount of all time.

Nikon’s digital revolution

During that time, Nikon spawned a huge number of classic cameras such as the Nikon FM2 and Nikon F3, and in 1988 the company name would be officially changed to Nikon. In 1999, just 2.5 years after the release of the company’s flagship Nikon F5 film camera, it would launch an innovation that would kickstart a shift so monumental, it would send reverberations throughout the entire industry.

I am, of course, talking about the release of the Nikon D1. The company had already flirted with digital tech, launching its collaborative E series with Fujifilm in 1995 and releasing the Nikon Coolpix 100 in 1996, but the D1 was the first DSLR camera produced and marketed solely by Nikon. In a world where film was still very much the go-to format, the Nikon D1 was one of the first DSLR cameras to start attracting the attention of professionals as a serious alternative to film.

In the early noughties, the company would launch its first bridge camera, the Nikon Coolpix 5700, and Nikon DSLRs would go from strength to strength. But film wasn’t done yet. In 2004, Nikon would release its last film camera, widely regarded as the greatest film camera of all time, the Nikon F6, which would, rather remarkably, remain in production until 2020.

The ‘Big N’ would finish the 2000s amidst a cacophony of Coolpix and DSLR cameras, before shaking up the industry once again in 2012 with the release of the megapixel monster that was the Nikon D800. But the camera that nobody can forget came in 2017, taking the D800’s visionary DNA and refining it to perfection in the Nikon D850.

The move to mirrorless

Unbeknownst to Nikon faithful at the time, the Nikon D850 was something of a swan song for Nikon DSLRs, because the following year, the Z mount would burst onto the scene and with it Nikon’s first full-frame mirrorless cameras. This wasn’t the first time Nikon had made the move to mirrorless, having launched the doomed Nikon 1 System back in 2011. But far from a pocket-sized 1-inch-type oddity, the Nikon Z6 and Nikon Z7 were serious cameras for serious photographers.

Still, there was life in the old DSLR yet, as evidenced by the release of Nikon’s final DSLR camera and lens in 2020, the Nikon D6 and Nikon 120-300mm AF-S f/2.8E FL ED SR VR. But rather than prolong the inevitable, the following year brought the introduction of the Nikon Z9, the company’s first proper mirrorless flagship.

Some incredible launches such as the retro Nikon Zf, Nikon Z8, Nikon Z50 II and more would follow, but 109 years on from Nippon Kōgaku’s inception, the Z9 era is where we find ourselves. But if the best camera rumors are to be believed, we could be getting a follow-up at some point soon, ushering us into the true second generation of Nikon Z mount.

So, there you have it, a very potted history of Nikon. I could have waxed lyrical about the Noct, an eye-wateringly expensive Nikon fisheye, and how the inventor of the DeLorean ended up designing Nikon cameras. But maybe I’ll save that for next year’s 110th.

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With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

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While a few high-end Nikon Z lenses are still made in Japan, the ‘Big N’ famously shifted Nikon camera production to Thailand back in 2020, with lens production now split between Japan, China, and more recently, Vietnam. As far as I was aware, only the Nikon Z DX MC 35mm f/1.7 is produced in Vietnam, but according to Nikon Rumors, it appears to have been joined by the Nikon Z 28-75mm f/2.8.

The rumor website was tipped off by the proprietor of another website called Photosynthesis, which is dedicated to cataloguing Nikon lenses. Although not confirmed by Nikon, an image of the Nikon Z 28-75mm f/2.8 clearly showing ‘Made in Vietnam’ on the underside of the barrel adds credence to the claim and you have to wonder if other optics could follow.

Nikon Rumors points towards new US tariffs as being the likely catalyst for the decision, surmising “moving manufacturing from China to Vietnam incurred additional expenses (...) which will be reflected in pricing.” As a Nikon photographer myself, it’s certainly nice to know where the company’s products are produced, but as far as I’m concerned it’s business as usual.

Sure, potential price rises are always going to be a concern, but that’s not a Nikon-specific problem. We know that both component scarcity and costs, along with a challenging economic climate and higher cost of living, are affecting consumer electronic prices across the board. Nikon also has an established presence in Vietnam, so it's not like it's starting from scratch.

Plenty of imaging goods are produced in Vietnam. Canon, Tamron, and Ricoh all have Vietnamese factories, and I can’t see there being any noticeable differences in quality from Nikon lenses produced in China, after all, the Nikon Z DX MC 35mm f/1.7 was awarded 4.5 stars on test. I’ll be interested to see if more ‘Made in Vietnam’ Z lenses appear and will, of course, update you if Nikon makes an official announcement.

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Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026. It’s like When Harry Met Sally: Suddenly, I’m looking at the Nikon ZR like it’s a viable stills camera. My screen time is already atrocious – in a world where retro compact cameras are king, I’d like to see more hybrid viewfinders.

Photographers are getting tired of carrying around heavy full-frame cameras, if the latest numbers from Japan are any indication. The latest data from retail tracker BCN+R for trending mirrorless cameras in June 2026 is almost entirely made up of cameras known for smaller designs – and more affordable prices.

The monthly data also featured a camera that made the top ten for the first time, despite launching a year ago: The OM System OM-5 Mark II. The Micro Four Thirds mirrorless slid into 8th place in the monthly rankings.

The OM System OM-5 Mark II is a compact mirrorless body built for the outdoors with IP53 weather-sealing. Part of the lure of the camera is also the stabilization system, which means fewer shots that need a tripod.

The OM-5 Mark II, however, is far from the only smaller-bodied mirrorless on the list. In fact, nine out of the top ten cameras have cropped sensors (APS-C or Micro Four Thirds) and only one is a full-frame model.

According to BCN+R, these were the top mirrorless cameras in Japan in June 2026:

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Sony A7 V
7. Fujifilm X-T30 III
8. OM System OM-5 Mark II
9. Fujifilm X-M5
10. Nikon Z50 II

That’s a list packed almost entirely with APS-C bodies – though it’s worth noting that the data from BCN+R often doesn’t match up directly with major Japanese camera stores like Map Camera. BCN+R only tracks around 40 percent of electronics sales in Japan, and much of the data comes from general tech stores rather than retailers geared specifically for serious photographers, which tend to lead more towards advanced models than BCN+R’s lists.

Regardless, the list is an interesting look at the latest mirrorless trends in Japan. Of course, crop sensor cameras also tend to be more affordable than their full frame counterparts, so beyond the smaller size, the format also tends to fit into more beginner budgets.

The Sony A7 V is the lone full-frame model on the list, a mirrorless camera that has topped charts across several sources and multiple regions since its launch. The A7 V mixes a full-frame sensor with blackout-free 30 fps shooting and smarter autofocus.

But, the Sony name dominates the list. Both of Sony’s APS-C video mirrorless models, the ZV-E10 and ZV-E10 II made the list, along with the more stills-focused crop sensor, the Sony A6400.

The Canon EOS R50 tops the list; however, a crop-sensor beginner camera with a low price point that has proved exceptionally popular, driving the R50 to numerous bestseller lists since launching in early 2023.

The Canon EOS R10 is still a crop-sensor camera, but is more advanced than the R50 with an autofocus system and burst speeds geared towards fast action.

Fujifilm similarly had two models make the top ten – and both fall on the more affordable end of the brand’s X-series. The X-T30 III is a budget model that still has Fujifilm’s retro looks and a viewfinder, where the X-M5 is Fujifilm’s cheapest, smallest current mirrorless body, but it lacks a viewfinder and is more geared towards vlogging.

Sliding into the tenth-place spot is the Nikon Z50 II, a popular ASP-C model that brings some of Nikon’s high-end speed and autofocus into a more affordable crop-sensor body.

The sales data from general retailers tends to lean more towards affordable beginner models than photo specialty stores. From Yodobashi in Japan, for example, the latest trends list is led by pricey models like the Hasselblad X2D II 100C; but cameras like the A7 V, X-M5, X-T30 II, Z50 II, R50, and ZV-E10 II make both lists.

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Dive into the best mirrorless cameras or the best cameras for beginners.

I’ll die on this hill: the Nikon F5 is the best 35mm SLR camera you can buy.

Camera opinions are rarely worth dying over, but I have one that I will defend for as long as there is breath in my body and film in my refrigerator: the Nikon F5 is the best 35mm film camera out there. It is not the prettiest, the lightest, or the most discreet film camera ever made, but I firmly believe it is the best.

Furthermore, it can be bought surprisingly cheaply secondhand – I have seen bodies on sale recently for around £300 / $400 (although obviously actual prices will vary hugely depending on condition).

I know that statement will immediately upset the Leica faithful, Nikon F3 owners, Canon EOS-1V devotees, and anyone who believes a “proper” film camera should be fully mechanical, covered in brass, and operated entirely through dials. That is fine. You are welcome to meet me on this hill, but I am not moving.

The Nikon F5 represents the moment when 35mm photography reached its professional peak. It arrived in 1996 as Nikon’s flagship autofocus SLR, built primarily for photographers who had to return with the picture rather than those who simply enjoyed the process of trying to take it. Nikon designed the camera around speed, reliability, and professional use, giving it five-area autofocus, Dynamic AF, 3D Color Matrix Metering, and a 1,005-pixel RGB metering sensor.

With the dedicated MN-30 battery, the F5 could advance film at up to eight frames per second. That might sound financially irresponsible now that every press of the shutter carries a noticeable cost, but you do not have to burn through an entire roll in a matter of seconds to appreciate what that specification represents. It tells you that the F5 was engineered without compromise.

This was not a camera designed to look attractive on a shelf or appear tastefully beside a flat white on Instagram. It was built for sidelines, press pens, racetracks, war zones, fashion studios, and any other environment where missing the photograph was not an acceptable outcome. That is why I believe it remains the best 35mm camera to buy today: the F5 does not ask you to romanticize inconvenience. It simply gets out of the way and lets you take photographs.

Film photography has become strangely obsessed with limitations. We praise cameras for slowing us down, forcing us to concentrate, and making every frame more deliberate. There is truth in that, of course, but sometimes I think we confuse inconvenience with creativity.

A camera does not make you more artistic simply because it lacks autofocus. A light meter that requires a separate handheld device does not automatically produce better photographs, and manually winding the film does not make the final image more meaningful. Those things can make the experience enjoyable, but they do not necessarily make the camera better.

Sample images

The Nikon F5 gives you the character, latitude, grain, color, and unpredictability of film without requiring you to abandon the practical advantages of a modern professional camera. Its controls feel familiar, its autofocus works, its metering is remarkably dependable, and the body is shaped like something designed to be held for hours rather than admired through a glass cabinet. It is, in many ways, the perfect bridge between analog and digital photography.

That matters because the F5 allows someone accustomed to a DSLR to begin shooting film without first having to relearn the entire process of operating a camera. Load a roll, set your exposure mode, select your focus point, and start shooting. The image is still being recorded onto 35mm film, but getting it there does not have to be unnecessarily difficult.

Some film photographers will consider that a weakness, but I consider it one of the F5’s greatest strengths. I have owned and used mine for more than 15 years, and during that time I have never felt creatively restricted by it.

I have used the F5 with relatively modest lenses, fast primes, professional zooms, a Nikon 200mm f/2, and even a huge 600mm f/4. The fact that a camera released in the mid-Nineties can still communicate with such a wide selection of Nikon F-mount lenses remains one of its greatest practical advantages.

That enormous lens selection means the F5 can become almost anything you need it to be. Fit a 50mm prime and shoot everyday documentary work, add an 85mm lens and use it for portraits, attach a 70-200mm and photograph sports, or put a 600mm lens on the front and turn it into an analog wildlife machine. There are more romantic cameras, but few are more versatile.

Naturally, the F5 has its critics. It is big, it is heavy, and it requires eight AA batteries in its standard configuration. Nobody is going to mistake it for a pocket camera, and carrying one around your neck all day will certainly make its presence known. However, I would argue that its size is part of the appeal.

The grip is substantial, the controls fall naturally under your fingers, and the integrated vertical shutter release makes portrait-orientation shooting feel just as natural as holding the camera horizontally. With a larger professional lens attached, the body provides the balance needed to make the entire setup feel manageable. It feels purposeful because it is purposeful.

The use of AA batteries is often presented as another sign of the camera’s age, yet it may be one of the most practical power solutions ever fitted to a professional camera. You can find AA batteries almost anywhere, with no discontinued proprietary battery to hunt down, no specialist charger that becomes useless when it fails, and no need to worry about whether a decades-old rechargeable pack can still hold a meaningful charge.

Put eight batteries into the F5 and get on with taking photographs. It really can be as simple as that, and there is something reassuring about using a camera that does not depend on an increasingly rare power source to remain functional.

Yes, the F5 relies heavily on electronics, and eventually every electronic camera carries the possibility that something will fail. However, mine has endured years of use and abuse, while other cameras I have owned have long since given up. The F5 was never intended to be disposable technology; it was a professional investment designed to survive the demands of photographers who worked every day.

There is also the question of the Nikon F6. On paper, Nikon’s final professional film SLR is arguably the more technically advanced camera. It is newer, more refined, and equipped with a more sophisticated autofocus system, but I would still choose the F5.

The F6 feels like an exceptional film camera created at the beginning of the digital age. The F5 feels like the camera that conquered the film age, and there is something gloriously uncompromising about it.

Nikon did not build the F5 as a nostalgic tribute or a luxury object. It built the camera to become the new professional standard, and almost three decades later, that intent remains obvious every time you pick one up.

Other cameras may offer a purer analog experience. A Nikon F3 provides beautiful simplicity, a Leica M offers discretion, precision, and one of the greatest viewfinder experiences in photography, while a compact camera can fit into a coat pocket and accompany you everywhere. However, if you asked me to choose one 35mm camera to photograph everything for the rest of my life, I would take the Nikon F5.

I could use it for portraits in the morning, street photography in the afternoon, and professional sports in the evening. I could attach decades of Nikon glass, rely on its autofocus when the subject started moving, trust its metering when the light became difficult, and know that the body was built to handle more punishment than I would ever reasonably give it.

That, to me, is what makes a camera the best. The best camera is not always the one that creates the most romantic shooting experience; it is the one that gives you the greatest chance of making the photograph you saw in your head.

The Nikon F5 might not make you look like a fashionable film photographer. It might not match your vintage camera strap, and nobody will describe it as small or elegant, but it will take the photograph. I will die on the hill that, when it comes to 35mm film cameras, nothing does that job better.

Shop the Nikon F5

Nikon is doubling down on its commitment to video, according to Nikon President Yasuhiro Omura. The interview, published by Japanese news outlet Jiji Press and sourced via Digital Camera Info, sheds light on the camera giant’s proposed strategies for the near future.

Nikon’s imaging business is said to account for roughly 40% of consolidated sales. It’s not surprising, then, following the company’s high-profile RED acquisition in 2024, RED technology is seen as a way to boost Nikon’s video credentials and therefore camera division, given the increasing importance of video tech. Mr Omura was quoted as saying “Robustness is also important for video cameras. We want to cultivate a brand known as ‘Nikon for video’.”

The ‘Big N’ could also meet the predicted rising demand for semiconductor lithography equipment by investing heavily in its semiconductor business. According to Mr Omura, an investment of around 360 billion yen (approx $2.2 billion / £1.65 billion) could be allocated, largely to the business, through to the fiscal year 2030.

It’s not been a particularly positive year for Nikon, thus far, with the company publishing huge losses at the end of the fiscal year and no new camera releases to speak of (yet...). However, it’s far from doom and gloom for Nikon’s imaging business, because it wasn’t the main culprit. Most of its ‘losses’ can be attributed to an acquisition within its Digital Manufacturing Business.

In short, a metal additive manufacturing company that Nikon bought in 2023 hasn’t been as profitable as it predicted, causing the company to readjust its books. This highlights big losses, but in relation to projected targets, so money hasn’t actually changed hands. Nikon’s plan to boost profits in this part of its business, according to Mr Omura, is to focus it on “aerospace and defense sectors”.

If Nikon is able to follow through with its strategy and become a key player in the video sphere, all while making its 3D printing business profitable, it’ll certainly be in a good place. Here’s hoping the camera giant's rocky start to 2026 spawns a fruitful 2027 and beyond.

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