What's more fun than visiting a cool city you've never been to before? Visiting a cool city you've never been to before with a brand new camera you've never seen before.

I was lucky enough to attend the launch event for the new OM System PEN in Germany. I booked a seat with extra legroom on the plane, so I could stretch out and rest my limbs before pounding the pavement on Berlin's streets, and loaded my hand luggage with a few lenses I thought would suit the assignment.

I didn't know at the time that the PEN would launch alongside the new OM System M.Zuiko 14-42mm f/3.5-5.6 III – a compact, weather-sealed 28-84mm equivalent – so I packed a versatile walkabout lens: the M.Zuiko 12-40mm f/2.8 Pro, giving me an effective 24-80mm zoom.

That would cover close range, but I needed a pocketable telephoto – so I paired it with the M.Zuiko 40-150mm f/4.0-5.6 R, an 80-300mm equivalent that's smaller and slimmer than a soda can. And, because it's literally the size of a cookie, I also popped the 9mm f/8 Fisheye Body Cap, just because.

It turns out I barely needed the Pro lens, aside from a couple of times indoors where I needed that extra 4mm on the wide end or the additional stop of light to shoot in the dark. I didn't use the tele that much, either, though it was definitely useful for magnifying a couple of scenes and isolating subjects at distance.

Having used OM (and, before it, Olympus) kit for well over a decade, I was immediately at home with the new PEN despite having never seen it.

It looks and feels, unsurprisingly, like a cross between the Olympus PEN-F (a "holy grail" camera that has become a cult classic) and the Olympus PEN E-P7 (my daily driver, which is smaller but lacks a slew of features).

And it performs a whole lot like the OM System OM-5 Mark II – again unsurprising, given that the PEN shares many of the same specs and tech.

While it is, on paper, an entry-level camera – evidenced, if nothing else, by its $999 / £849 / AU$1,499 price tag – it boasts an impressive arsenal of flagship firepower inherited from the OM-1 and OM-3. And, indeed, it packs some computational photography tools that aren't found even in the most expensive cameras from other manufacturers.

This includes functions like High Res Shot, which uses the 5-axis in-body image stabilization (IBIS) system to power a pixel shift multi-shot mode that enables the 20.4MP sensor to produce 50MP or 80MP images – albeit only on static subjects, as movement invariably creates unpleasant artefacts.

However, the computational feature I used the most – handily accessed, along with the entire suite, via the CP (computational photography) button – was LiveND.

This brilliant bit of innovation gives you a "live" simulation of the blurred motion that you'd normally need a neutral density filter to achieve. However, by turning on this tool (offering up to a virtual four-stop filter), you can achieve creative slow shutter speed effects without needing a physical ND on your lens.

It embodies what the OM System PEN is all about: empowering you to create, and capture those unexpected everyday moments, even when you go out without your full kit. No ND filters? Turn on LiveND. No tripod? Rely on the 5.5-stop in-body stabilization. No medium format camera? Get a 50MP or 80MP image with High Res Shot.

Here's what people don't understand about the PEN: it's not supposed to be the best at shooting everything, but it enables you to shoot anything – even when you didn't anticipate it.

A few days of street shooting proved that perfectly. For candid portraiture, the human subject detection algorithm made sure that faces were in focus – along with the backs of heads and bodies, if they were facing the other way.

For shooting in poor light, even with a tiny-irised f/8 lens, the IBIS made it possible to shoot handheld at slow shutter speeds. For getting crunchy, black-and-white, Leica-like street photos, or color-popping graffiti images, or faded filmic 35mm-style shots, I could dive into the color and mono profiles along with selection of Art Filters.

It's those intangibles that are more important than having the most megapixels, the largest sensor or the latest tech. Because they enable you to create, on the spot, in the moment, without missing a beat – and then beam the shots straight to your phone to share on social or WhatsApp.

You make the magic in-camera – there's no need for post-production if you don't want to. And after a thousand shots in Berlin – and a few thousand more in less exotic locales – I sure do love making magic with this thing.

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The world has waited five years for this retro camera to make a comeback, but customers in Japan will have to wait a little longer – the brand new OM System PEN has received so many orders that it is currently facing delays in Japan.

Parent company OM Digital Solutions has just announced that, due to overwhelming demand for the aggressively priced and excitingly specced camera, some pre-orders "may be delayed until November or later" in the region.

While orders are currently unaffected in other territories, the new PEN has been so well received that it wouldn't surprise me to see similar demand across the globe.

This Micro Four Thirds camera is not only one of the most stunning-looking bodies on the market, it's also comparable in size to the ever-popular (and ever out of stock) Fujifilm X100VI – making this a great option for anyone seeking a compact, capable camera.

Moreover, the PEN represents unbelievable value for money; for just $999 / $849 / AU$1,499 it offers weather sealing, in-body image stabilization and an electronic viewfinder, a combination virtually unheard of at that price.

It also possesses a suite of impressive features. While its native resolution is 20.4MP, it can shoot 50MP and 80MP high-resolution stills, boasts advanced features like 30fps pre-capture (aka Pro Capture), as well as computational photography tools such as software-driven neutral density filters to achieve slow shutter speed effects without the need for a physical ND filter.

I'm a big fan of the camera, calling it "the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists" in my OM System PEN review.

It's available for preorder now, shipping in late September across Europe and late October in the US – and judging by demand in Japan, you should probably get in early if you want one at launch!

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If the OM System M.Zuiko 14-42mm f/3.5-5.6 III seems familiar, that's because we've seen it at least three times before (there was the original lens, a mark II and a mark II "R" before this one).

It's always tempting to overlook a kit lens, but in the case of the OM System M.Zuiko 14-42mm f/3.5-5.6 III that would be a mistake. You see unlike most kit lenses, this one is weather sealed – which is both a breath of fresh air and a case of OM putting its money where its mouth is.

After all, every camera in its lineup boasts weather sealing – including the new and technically entry-level OM System PEN. But what good is a sealed camera if the lens that comes with it isn't sealed as well?

In addition to IPX1 certification, the OM System M.Zuiko 14-42mm f/3.5-5.6 III also boasts a new look and refined operation – eschewing the cumbersome lock switch for an elegant and satisfying twist-and-click mechanism.

Yes, the optical formula is the same – but this lens is a far better performer than most give it credit for. If you're thinking of picking up the latest PEN, or you just want a compact and budget-friendly weatherproof lens to complement an existing OM camera, this deserves your attention.

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Specifications

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Specifications

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Price & availability

The OM System M.Zuiko 14-42mm f/3.5-5.6 III carries a standalone price of $350 / £349 / AU$479. However, it's really designed to be bought with a camera – where it effectively only costs $100 / £100 / AU$300.

If you pick up the lens in a kit with the OM System PEN, it will cost $1,099 / £949 / AU$1,799.

OM also makes another lens with the same focal length and aperture range, but with a non-weather sealed pancake design and a motorized zoom – the OM System M.Zuiko 14-42mm f/3.5-5.6 EZ, which is priced $349 / £329 / AU$429.

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Build & handling

First of all, in case you've ended up here while searching for OM's other 14-42mm f/3.5-5.6 lens, this is a very different proposition to the electronic zoom pancake lens!

The OM System M.Zuiko 14-42mm f/3.5-5.6 EZ is a much smaller optic, thanks to its collapsible pancake design, and also boasts a motorized zoom – which can be handy for remote shooting as it enables you to zoom in and out. However, it's not a weather-sealed lens.

This new OM System M.Zuiko 14-42mm f/3.5-5.6 III is a much larger lens, though it still collapses to palm-size when not in operation. It is, as noted, IPX1 certified to dust and splash resistance, but the zoom is not motorized – meaning you have to manually 'telescope' the barrel, upon which the lens extends about an inch.

Unlike older versions of the lens, which had a lock switch that had to be disengaged during the twist-and-deploy motion, the mark III has a more elegant click mechanism that simply locks and unlocks as you turn the barrel.

Generally this lens was a joy to use and shoot with – the only downside is that, because you have to extend it in order to start shooting, I was occasionally a step slow off the mark because I'm used to just turning the camera on and stabbing the shutter. You get used to it, but it still trips me up occasionally!

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Performance

I primarily tested the OM System M.Zuiko 14-42mm f/3.5-5.6 III with the OM System PEN, though I also tried it out with the OM System OM-3 and Olympus OM-D E-M5 Mark II.

While the form has certainly changed, the function hasn't. This lens has the same optical formula as its previous iterations – and, as I expect our lab results to bear out as soon as we can read OM's latest RAW format, its optical performance is also essentially identical.

I certainly didn't experience any huge difference from the earlier versions I've used in years past – but that's not the end of the world. While most people sleep on kit lenses (and, for some reason, this lens in particular), it's a surprisingly pleasing performer.

It performs best, as you'd might expect, at its widest focal length – and honestly, at 14mm f/4 is has a brilliant amount of bite. Sharpness does drop the longer you go, but this is compensated by the correspondingly ascending apertures. Honestly, I'm happy with the performance of this lens anywhere it lands in its zoom range.

The first sample image below is a great example of what the OM System M.Zuiko 14-42mm f/3.5-5.6 III can do; the details of the dayglo gnome and the hairy leaves at his feet alike are piercingly sharp.

Focusing is impressive in all respects, too. Autofocus is nice and snappy, the ability to focus as close as 0.13m comes in very useful for an everyday lens, and the fact that it supports focus stacking makes it a very versatile performer for anyone looking to get creative.

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Sample images

There are dozens more sample images in my OM System PEN review, but here's a selection of shots I took with the OM System M.Zuiko 14-42mm f/3.5-5.6 III in various conditions and situations, indoors and outdoors, using a variety of settings, filters and profiles.

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Lab tests

We've put the OM System M.Zuiko 14-42mm f/3.5-5.6 III through our battery of lab tests, but we are currently unable to analyze the results (until we can process OM's newest RAW format).

I will update this review as soon as we've completed the lab analysis.

Until then, given that this lens has the same optical formula as the previous iterations, you can expect almost identical performance.

OM System M.Zuiko 14-42mm f/3.5-5.6 III: Early verdict

While I need to wait until we can process our lab tests before I can officially assign a score to this lens, I'm familiar enough with its predecessors (with which it shares the same optical formula) and happy enough with the thousands of frames I've shot to say that the OM System M.Zuiko 14-42mm f/3.5-5.6 III performs well.

In real-world use I'm impressed with its sharpness, particularly wide and wide open at 14mm f/3.5 where it gives satisfying levels of crispness and crunch – dial it down to f/5.6 and you get pretty much all the bite you could possibly want.

However, I don't think sheer sharpness alone is really the metric by which this lens should be judged. It's a lens that costs you $100 / £100 / AU$300 if you buy it with a camera or $350 / £349 / AU$479 when bought on its own – for that price, the fact that it's impressively sharp and weather sealed is pretty dang amazing.

After thousands of shots on multiple camera bodies, I can safely conclude that I would be delighted to use this lens as my daily driver – which is its intended purpose. Yes, when I'm setting out to shoot something intentionally, I'll snap on a dedicated lens – like the M.Zuiko 45mm or 75mm f/1.8 for portraiture.

But as an everyday companion for my everyday carry camera, the the OM System M.Zuiko 14-42mm f/3.5-5.6 III does everything I could possibly ask of it – and does it well. It is the perfect lens to pair with the OM System PEN, but honestly I think it's an even better partner for the slightly chunkier OM-5 family.

The equivalent 28-84mm focal range is perfect for everyday shooting, with enviable close focusing, fast and faithful autofocus, and even support for in-camera focus stacking. If you want a cheap, compact, capable lens that shoots whatever you want, whatever the weather, you just found it.

When OM System split from Olympus, the revived camera brand narrowed its focus to cameras built for the outdoors – and the company’s latest lens makes that outdoor push exceptionally clear. The new OM System M.Zuiko 14-42mm f/3.5-5.6 III, on the surface, is just a refreshed kit lens – but it also means that even some of the brand’s cheap optics are coming with weather-sealing now.

Launched alongside the long-awaited OM System PEN on September 09, the 14-42mm is a compact, budget kit lens. But while the lens comes at a $349 / CA$499 price – and even less when part of the PEN kit – the lens carries the same weather-sealed rating as the new camera body.

The new kit lens is IPX1 rated. That’s not as robust as OM System’s IP53 rating across its pricier camera bodies and lenses, but it’s impressive considering the price point. The X in the rating means it wasn’t tested for dust resistance, but the lens is sealed against rain and snow.

Mixed with the OM System PEN launch, there’s an obvious theme here – that even the brand’s most affordable options are beginning to arrive with some level of weather-resistance. The newly announced PEN is rare in its mix of weather-sealing and stabilization for the price point, but of course, the camera needs a sealed lens to go with it – and the M.Zuiko 14-42mm f/3.5-5.6 III is that lens.

The lens continues the brand’s compact, lightweight kit lens design, coming in at 50.5mm / 1.98 inches long when retracted and 125g / 4.4 oz.

Beyond the zoom range, the kit lens aims for versatility by allowing autofocusing as close as .13m / 5.2 inches from the front of the lens. Adding in the Micro Four Thirds crop factor, that creates a magnification of up to .53x in 35mm equivalent.

An affordable kit lens launch like this probably won’t make many Micro Four Thirds shooters immediately rush out to buy one – but a weather-sealed camera without a weather-sealed lens isn’t really rain-resistant at all, so it’s nice to see OM System build an affordable sealed lens to go along with its new sealed camera.

The new kit lens will add $100 / £50 / CA$150 to the body-only price of the OM System PEN, but the new lens will also be sold separately for $350 / £349 / CA$499. Like the new camera, shipping is estimated to begin in late October in the US and late September / early October in Europe.

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The popular retro Olympus PEN series is entering its OM System era. The OM System PEN is a compact mirrorless camera mixing the PEN legacy with simple controls and a design that’s small enough – and durable enough – to want to carry every day.

The OM System PEN, announced on September 09, carries the same unstacked 20.4MP Micro Four Thirds sensor and TruPic IX image processor as cameras like the OM-5 Mark II, but revives the longtime favorite PEN series with its retro, rangefinder-inspired design and yet sits on the more affordable end of OM System’s lineup.

Take a look at a guided tour of the camera:

The PEN has an unusual mix of stabilization and weather-sealing for the price

Price-wise, the PEN slots in between the Olympus OM-D E-M10 Mark IV and the OM System OM-5 Mark II, making the new camera one of the brand’s most affordable options, second only to the last remaining camera to carry the Olympus name.

Priced at $999 / £849 / AU$1,499, the OM System PEN brings two features that are difficult to find in this price bracket of mirrorless category: weather-sealing and in-body image stabilization.

The OM System PEN isn’t just weather-sealed but rated as IPX1 splashproof. That rating isn’t as robust as the IP53 rating for most of OM System’s higher-priced cameras, but weather-sealing is rare among budget-priced cameras and rarer still to come with an official IP rating. The IPX1 rating means the camera is rated to withstand rain (but not water spraying from every direction), while the X means that the camera wasn’t tested for dust resistance.

The OM System PEN also houses a stabilization system rated for 5.5 stops.

Weather-sealing and stabilization are arguably the two biggest features that OM System is known for, as the camera brand has positioned itself as an outdoor camera brand in the wake of the split from Olympus. With the launch of the PEN, even the cheapest mirrorless camera that carries the OM System name has those two features.

Finding both stabilization and weather-sealing in a mirrorless camera under $1,000 is hard to do without picking up an older or used model – though not impossible. The similarly priced Nikon Z50 II is weather-sealed but doesn’t have IBIS. Canon’s cheapest mirrorless with both weather-sealing and IBIS is the EOS R7 ($1,499 / £1,349 / AU$1,799); Sony’s is the A6600 ($1,399 / £1,450 / discontinued in AU), and Fujifilm doesn’t get to both features until the X-T5 ($1,699 / £1,399 / AU$2,699).

The biggest competition to the PEN for bringing both stabilization and weather-sealing is fellow Micro Four Thirds camera maker Panasonic, which offers five-axis sensor-shift stabilization with splash and dust seals on the Lumix G97 at about $850 / £899 / AU$1,499 with a lens.

The OM System PEN is the first in the PEN series to include weather-sealing, a move that makes a lot of sense for what the camera is meant for. OM System is targeting this camera both towards beginners and photographers looking for an everyday carry camera – and it’s hard to carry a camera every day if that camera can’t withstand a little rain.

The OM System PEN still maintains a gap between the brand’s next camera up in the lineup – the OM-5 Mark II – however. The OM-5 Mark II has better IP53 weather-sealing and up to 7.5 stops of stabilization, but also faster performance at 10 fps with a mechanical shutter to the PEN’s 6 fps. The PEN’s electronic shutter can also reach 30fps, but focus is fixed on the first frame.

Both the PEN and OM-5 Mark II share a 121-point autofocus system, though the PEN also has pet and human eye subject detection (albeit in stills only).

The OM System PEN keeps a retro but easy-to-use design

Like earlier PEN cameras, the newest addition to the series uses a viewfinder that’s placed off in the corner, rangefinder-style rather than the SLR-style centered placement. While the camera favors a retro design, the dials and controls are geared more towards simplicity and usability, featuring a more traditional mode dial. OM System describes it as “a timeless design for the joy of photography.”

But, like earlier digital PEN cameras, the 2026 PEN still has a dedicated control dial for creative control to easily switch between different color or monochrome looks. The PEN has the same color profiles as the OM-3, including the ability to customize different looks, but OM System is also launching an update to the OI.Share app that allows tweaking color recipes in the app and uploading to the camera – including creating new recipes based on an inspiration photo.

The PEN’s touchscreen is tilt-capable and includes a selfie mode that triggers shots with the touchscreen when flipped forward.

Alongside weather-sealing and stabilization, computational photography remains a big push for OM System, and the PEN features a dial just for those modes as well, including high-res mode, live NDs, and focus stacking. Additional modes, such as multiple exposures, are available inside the camera’s menu.

The OM System PEN is more geared towards stills, but the camera does offer 4K shooting, both vertical and horizontal videos, and the wider dynamic range modes OM-Cinema1 and OM-Cinema2, along with supporting the same creative controls for stills for shooting video.

The Olympus PEN series has long been a favorite among retro camera fans, spanning both the original film camera in 1959 to modern digital options like the 2016 Olympus PEN-F. The OM System PEN aims to pay homage to that inspiration as a camera that’s beginner-friendly, but that more serious photographers may want to reach for as a compact, everyday carry camera – and the weather-sealing and stabilization mixed with the retro design will go a long way towards those goals.

The weather-sealing makes the new OM System PEN slightly thicker than the PEN F, but the mirrorless still comes in at a compact 43.4mm depth and a lightweight 393g – including a new battery that’s rated to 410 shots.

The OM System PEN is expected to begin shipping in late October in the US, or late September / early October in Europe, along with the newly announced kit lens, the M.Zuiko Digital 14-42mm f/3.5-5.6 III.

Pre-orders have already opened at several retailers. The camera, available in black or silver, retails for $999 / £850 / AU$1,499.99 / CA$1,399 body only, or $1,099 / £999 / AU$1,799.99 / CA$1,549 with the kit lens. In North America, the camera will also be offered in a two-lens kit for $1,299 / CA$1,799 with 14-42mm and 40-150mm lenses.

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In my heart of hearts, I knew that the OM System PEN wasn't going to be a named successor to the Olympus PEN-F. But while it doesn't carry the "F", this new PEN is absolutely a spiritual successor to the PEN-F. And in every way possible – perhaps including its looks – it's a better camera.

I know that OM System can be a tough sell for some people, so let's quickly take an objective look at what the OM System PEN offers for the price.

For just $999 / £849 you get a camera that's weather-sealed, has in-body image stabilization (IBIS) and an electronic viewfinder (EVF), is loaded with pro features like 30fps Pro Capture, has computational photography tools like simulated ND filters (Live ND) and 80MP High Res Shot, has algorithmic autofocus (including astrophotography) and packs a stack of film-inspired picture profiles.

On top of all that, the OM System PEN is one of the best-looking retro cameras on the market. Seriously, aside from a sensor size prejudice, what's not to like about it?

Okay, there are a couple of things – like the 8-bit video, though honestly this is a stills-first camera to its core – but overall this is a frankly obscene amount of firepower in a camera that's sublimely small and effortlessly cool.

Take a look at my quick guided tour of the camera:

OM System PEN: Specifications

OM System PEN: Price & availability

The OM System PEN will be available in both silver and black in late September / early October with a price tag of $999 / £849 / AU$1,499 body only.

It will also be available in a bundle with the new, weather-sealed OM System M.Zuiko 14-42mm f/3.5-5.6 III kit lens (a 28-84mm equivalent) for $1,099 / £949 / AU$1,799.

In the US and Australia, a double-lens kit that adds the M.Zuiko 40-150mm f/4.0-5.6 R lens (80-300mm equivalent) will also be available for $1,299 / AU$2,099.

For reference, Fujifilm's cheapest body with weather sealing, IBIS and an EVF is the Fujifilm X-T5 at $1,999 / £1,699, while Canon's cheapest is the Canon EOS R7 at $1,649 / £1,449. (Call me churlish, but I'm discounting the Panasonic Lumix G97 due to its primitive contrast-based AF system.)

OM System PEN: Build & handling

The OM System PEN is almost identical in size to the PEN-F, with handling that's very familiar all-round – from the rangefinder-like positioning of the EVF on the left shoulder to the presence of the Profile Control switch on the front.

While it doesn't boast the same premium heft and construction as the PEN-F (as in, don't expect a single block of milled aluminum), in the hand it drives much as the F did – only this time you have the benefit of IPX1-certified weather sealing and operation in environments from 32°F / 0° to 104°F / 40°C.

Another big upgrade from the PEN-F is the presence of a dedicated memory card door on the side of the body – rather than stowing the card in the battery compartment, which these days is a mark of entry-level cameras.

Another upgrade for many, and something that has been adopted from the Olympus PEN E-P7 (a brilliant 2021 camera that was only released in Europe), is the repositioning of the power switch to the right-hand side of the top plate.

This makes it possible to turn on and operate the camera one-handed, for quickfire street shooting – or, as my friend Emily from Micro Four Nerds calls it – "Festival Mode". I personally never use a camera this way, but I know how important it is for a lot of photographers.

Also making its way across from the E-P7 is the aforementioned Profile Control switch, rather than the full Creative Dial from the PEN-F.

This is a simple flip switch that enables you to access the picture profiles menu while shooting, giving you access to the Color and Mono profiles, along with Color Profile Control and general recipe settings. (The Creative Dial offered dedicated positions for Color, Mono, Art (Filters) and CRT – the Color Creator / Profile menu.)

The battery compartment at the bottom contains a brand new battery design for OM, the squat (almost square) BLS-7. CIPA rates the battery as good for 410 shots (or 80-130 minutes of video), but I've got well over 600 shots out of a battery before recharging.

OM System PEN: Performance

The OM System PEN embodies everything that I've always loved about the PEN family, dating all the way back to the original E-P1 in 2009 (which was Olympus' first ever mirrorless camera).

It's a quick, nimble camera with agile autofocus that enables you to react instantly to the world around you. Paired with the compact new M.Zuiko 14-42mm f/3.5-5.6 III kit lens, it's a weather-sealed and near-pocketable marvel – making this a truly take-anywhere, shoot anything, whatever the weather setup.

True to the PEN ethos, "as simple as pen and paper", this camera can be used as a straight-up point-and-shoot; stick it in auto or semi-auto and it's a fire-and-forget snapper that gives you great results. But the more you investigate the many magic tricks up its sleeves, the more you realize what a creative powerhouse this thing really is.

Like Fujifilm cameras, the OM System PEN is loaded with film-inspired picture profiles and a slew of Art Filters. So, if you want to level up your images, you can enable a profile or filter and effectively "pre-produce" your image – giving you gorgeous JPEGs, straight out of camera, with no need to tinker in post production.

Want to jazz things up even more? You can fine-tune these profiles or dive into the Color Creator to customize the presets or make your own photo recipes.

You can even upload and share these using the OI.Share app (which, for my money, is the best companion camera app on the market if for no other reason that it actually works – and is brilliant for transferring files and remote shooting).

Want to get even more creative? Use the CP button to unlock a suite of computational photography features, including Live ND – a software-powered set of neutral density filters, enabling you to shoot long-exposure movement shots without the need for physical lens filters.

Or how about High Res Shot mode, which enables you to capture 80MP RAW images for those moments when you want hyper texture and detail – but without being bogged down by the everyday bulk of a medium format camera.

Experiment with in-camera focus stacking, shoot a spot of astrophotography with Starry Sky Autofocus, try light painting with Live Composite, shoot fast action like a professional with 30fps Pro Capture (which records the 12 frames before you fully press the shutter, so you never miss the magic moment)…

There is so much creative potential packed into the OM System PEN that you will become a more versatile and more adventurous photographer almost by osmosis.

But there are, of course, some limitations. The biggest one, as is ever the case with OM System and Olympus cameras, is the resolution; while Panasonic has graduated to 25MP sensors, OM is still using trusty 20MP affairs (for reference, this is the same one found in the OM-5 Mark II).

Personally, this makes no odds to me. As I've said before, ad nauseum, this is more than enough resolution for anything shy of larger physical prints; I have magazine covers and double-page spreads shot on 20MP and even 16MP OM / Olympus sensors. And if you do need the extra pixels for printing, High Res Shot gives you 80 million of them.

Really, though, the biggest limitation comes in terms of video; given that this camera uses the OM-5 Mark II sensor, you can only shoot 8-bit video. And while the OM System PEN adds the subject detection AF (for humans and animals) that was sorely missing from the OM-5, it only works for stills – not video.

In short, this isn't a vlogging camera; it's a pretty pure photography camera. If you want to shoot a bit of video for social media, or you need to snag a bit of B-roll, it's ideal – but moving pictures are absolutely secondary to still images. But make no mistake, those still images are stunning.

OM System PEN: Sample images

OM System PEN: Lab tests

While we've put the OM System PEN through our battery of lab tests, we are currently unable to process the results (until we can adequately de-crunch OM's newest RAW format).

I will update this review as soon as we've completed the lab analysis.

Until then, given that it uses the same sensor, you can probably expect the same ballpark performance as the OM System OM-5 Mark II's lab results.

OM System PEN: Verdict

I've been waiting half a decade for this camera; it's the first new member of the PEN family since the E-P7 launched way back in 2021 (which, incidentally, was also the first camera released after OM System splintered off from Olympus).

Some will opine that the OM System PEN isn't a PEN-F II. And I hear that, because few people wanted a PEN-F II more than me. But I'll be absolutely honest – this camera pretty much is a PEN-F II in everything but name.

The image quality is better. The stabilization is better. The autofocus is leagues better. The video, while limited, is also way better. It's IPX1 weather-sealed. And it's stuffed to the gills with clever computational features.

Heck, it's arguably better looking, too – though I'm sure plenty of people will pick a fight with me over that one.

Truthfully? There is now precisely zero reason for me to pick up my PEN-F. This new PEN does everything the F could, just bigger, better, more.

In terms of function, this camera feels a lot like the OM-5 Mark II – though I'd argue that the PEN is actually better thanks to the addition of the Profile Control switch and especially subject detection autofocus (which was the only real weakness of the OM-5, though it does boasts slightly better sealing).

However, as much as I'm inclined to compare it to other OM offerings, my biggest takeaway is actually how the OM System PEN compares to the Panasonic Lumix L10. And I should preface this by saying that I love shooting with the L10.

But the PEN is smaller and lighter. It's weather-sealed. It has IBIS. It's got dual exposure dials. In other words, it ticks all the boxes that the L10 missed – and of course, you can also change the lenses. Sure, the L10 absolutely annihilates it for video, but let's be real – nobody is buying the Lumix primarily for video, and the same is true of the PEN.

I would argue that anyone considering the L10 would be better off (quite literally, where cash is concerned) opting for the PEN. Not only does it offer acres more creative capacity, you'll also struggle to outgrow it – unlike the Lumix, which will leave you wanting the moment you fancy trying macro or telephoto photography.

The OM System PEN is the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists.

The big three camera market leaders are Canon, Nikon, and Sony. Now, fresh sales numbers from major Japanese retailer Kitamura are in, and one global player accounts for 50% of the Top 10 best-selling cameras in August 2026, while one brand is nowhere to be found.

According to Kitamura, Sony takes 5 out of the Top 10 spots. Nikon didn't make the ranking with a single camera.

At No.1 sits the Sony A7C II, "recommended for users who want to carry a full-frame camera with them at all times and don't want to compromise on performance," as Kitamura explains. Right behind is Sony's A6700 in No.2, followed by the A7 IV. Sony's latest full-frame release, the A7 V, takes No.6 and the ZV-E10 II comes ninth.

Canon has two models: the Canon EOS R6 Mark II and Canon EOS R6 Mark III, placed fourth and tenth.

OM System and Fujifilm fill the remaining three spots in the sales ranking. The OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit comes fifth; the OM System OM-1 Mark II is seventh, and the Fujifilm X-M5 XC15-45mm Lens Kit is eighth.

Kitamura's 10 best-selling cameras, August 2026

1. Sony A7C II
2. Sony A6700 High-Magnification Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Canon EOS R6 Mark II
5. OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit
6. Sony A7 V
7. OM System OM-1 Mark II
8. Fujifilm X-M5 XC15-45mm Lens Kit
9. Sony ZV-E10 II Power Zoom Lens Kit
10. Canon EOS R6 Mark III

Sony's chart-topping cameras

No.1 Sony A7C II
Kitamura says, "The successor to the A7C, which debuted as the world's smallest and lightest full-frame mirrorless camera. Packed with the latest features into a compact body, it delivers performance that exceeds its appearance."

No.2 Sony A6700
"This kit includes the A6700 camera and the high-magnification zoom lens "E 18-135mm F3.5-5.6 OSS".

"Despite its compact size, this lens can zoom up to the equivalent of 202.5mm, allowing you to shoot a wide range of subjects, including landscapes, snapshots, flowers, animals, and sports, all with just this one lens," explains Kitamura.

No. 3 Sony A7 IV
Kitamura says, "This camera is Sony's most standard full-frame mirrorless camera. With high-precision real-time tracking, it keeps track of your subject, ensuring you never miss a moment for both still images and videos."

No.6 Sony A7 V
"The A7 series has finally reached its 5th generation.

"By adopting a newly integrated partial-stacked sensor and the next-generation image processing engine "BIONZ XR2," it achieves highly accurate AI subject recognition and blackout-free continuous shooting at up to approximately 30 frames per second.

"It is a high-performance camera that is hard to believe is a basic model," explains Kitamura"

No.9 Sony ZV-E10 II
Kitamura says, "This is the successor to the ZV-E10, which has gained popularity as a video camera for shooting vlogs and YouTube videos.

"It features the same BIONZ XR image processing engine as higher-end models, resulting in improved video capabilities and autofocus performance. It's a recommended camera for anyone who wants to shoot cinematic videos."

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In 1967, Olympus (now OM System) unleashed its Trip 35 on an unsuspecting world. It was a simple, compact point-and-shoot camera with an absolutely stellar 40mm f/2.8 lens, programmed autoexposure and a selenium exposure meter.

As the name implies, it was intended for those who wanted a simple, easy-to-use, compact camera for vacations. Though nothing about it was revolutionary, it shaped a generation – and it ended its lengthy production run in 1984 with over 10 million Trip 35s sold!

It all started back in 1956, when a young Yoshihisa Maitani (1933–2009) joined Olympus fresh out of university.

After spending a couple of years rotating through all the firm’s departments, learning the company's manufacturing processes, he was given a challenging assignment: design a camera that could retail for just ¥6,000 (about $17 / £6 / AU£7 8s 10d at the time), at a time when Olympus's least expensive camera cost more than triple that amount.

To meet that target, Maitani rethought camera design from the ground up, choosing the half-frame format (18 x 24mm) that produced 72 exposures on a standard 36-exposure roll of 35mm film.

He insisted on a high-quality, 4-element (Tessar-style) 28mm f/3.5 lens despite the low price. And he simplified the camera's mechanism dramatically, reducing the number of gears and using a thumbwheel film advance instead of a more expensive rapid-wind lever.

The result was the original Olympus PEN, introduced in 1959 when Maitani was just 26 years old. It was inexpensive, compact enough to fit in a jacket pocket, and capable of image quality comparable to much larger and more expensive cameras.

The Pen became an enormous success and established the design philosophy that Maitani followed throughout his career: small size without compromising photographic performance. That philosophy enabled him to design many of Olympus' most famous cameras.

The PEN was followed in 1962 by the PEN EE (for “Electric Eye”), which used a circular selenium meter cell around the lens (so exposure compensation when using filters would be automatic) and a simple, programmed autoexposure system. The lens was the same Tessar-type, fixed-focus Zuiko lens.

The PEN EE-S arrived in 1963 and was identical to the EE, except that it added zone focusing. In the end, many more PEN models were produced between 1959 and 1983. It was a remarkable 24-year run and, in all, some 17 million were made!

In the mid-1960s Olympus saw a growing demand for a compact full-frame (24 x 36mm) camera that was as easy to use as the PEN series. Which brings us to the Trip 35, introduced in 1967, where Maitani took the experience gained with the PEN and applied it to a full-frame, 35mm camera.

Again Maitani insisted on a top-quality lens, still a Tessar-inspired design but a faster 40mm f/2.8 Zuiko topic. This time the lens was not just good, but astounding given the camera’s price.

The Trip had the trademark Maitani look, with simple controls, and as with the PEN-EE it had a circular Selenium photocell around the lens.

(This arrangement was pioneered by the little-known “Lord Martian” of 1960; though Canon’s Canonet, which came a year later, is often thought of as the first with the design.)

The Trip 35 featured fully automatic, program exposure control and a simple, but effective, zone focusing system marked with four pictograms: the solo subject, two subjects, group and mountain symbols corresponded to approximately 3ft / 1m, 5ft / 1.5m, 13ft / 4m and infinity.

Unlike many later compacts, the Trip 35 was built largely of metal yet weighed just 390g (roughly 14oz). It was replete with both a hot shoe and a PC flash socket, while the exposure system handled films from ASA (now ISO)25 to 400, though a few early examples handled only 25-200. Like the PEN series, the Trip 35 did not require a battery.

This simplicity made it ideal for beginners while delivering negatives that rivalled those from much more expensive cameras, thanks to its very impressive lens. Thus it was often a constant companion for many more experienced photographers.

The Trip 35 remained in production from 1967 to 1984, a remarkable 17-year run. In that time, between 5.4 and 5.6 million Trip 35 cameras were made.

(The larger, 10 million camera number mentioned earlier – and often quoted by Olympus / OM System – included some later, plastic-bodied variants that also bore the “Trip” name.)

While there were some 17 million PEN cameras made, that number was divided among 19 models. The 5.4 to 5.6 million number was for just the original Trip 35 model alone, making it one of the world’s most successful compact film cameras ever.

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

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The secret is out: in an abnormally revealing teaser, OM System has revealed that a new compact, retro mirrorless camera is coming on September 09. But while the teaser has longtime fans hoping for a revival of the beloved PEN F series, the upcoming launch comes at a time when reports suggest the company’s mirrorless sales have dropped.

In a teaser revealed earlier this week, OM System shared a glimpse of the back and top sections of what looks like a retro, compact mirrorless camera. The first teaser revealed far more than most, without using the usual tactic to cast the camera in shadow. The rangefinder-style viewfinder had many fans hoping the camera is a refresh of the long-requested PEN series.

Then, a second teaser seemed to hint at a PEN legacy even more, displaying the 1959 Olympus PEN and the 2009 PEN E-P1 (the brand’s first digital mirrorless).

The teased camera will be the brand’s first major camera launch of 2026, as the company hasn’t launched a new model outside of the specialized OM-3 Astro and OM-1 Mark II Infrared. While it’s not unusual for OM System to launch only one camera a year, the teaser comes as the company is facing a sales slump.

OM System isn’t a publicly traded company, so unlike Canon, Nikon, Sony and Fujifilm, there’s no publicly available insight on the company’s sales and profits. But a recent report in Japan suggests that the company’s camera sales have dipped by 10,000 compared to last year, with an operating profit in the red to the tune of -¥1.6 billion – about -$9.9 million / -£7.4 million / -AU$13.9 million.

That echoes an earlier industry report ranking Japan’s top camera brands by the number of cameras shipped, which also said that OM System shipped 150,000 cameras, a drop of about 10,000 compared to the year before. That list showed Ricoh overtaking OM System, but more due to Ricoh’s sales numbers tripling, likely due to the popularity of the Ricoh GR IV series.

OM System has used a 20MP sensor on its Micro Four Thirds line since 2016, moving through two sensor variants with the same resolution in the past decade. While OM System says sensor development is ongoing, the company has focused on building rugged, outdoor cameras taking advantage of the Micro Four Thirds' more compact designs, well-loved stabilization system, and the brand’s computational photography prowess.

If the teased camera is in fact a refresh of the PEN line, I can see such a camera boosting the brand’s camera sales, regardless of whether or not the upcoming launch still uses a 20MP sensor. The PEN series is well loved, yet the last time the company launched a PEN with worldwide availability was still in the company’s Olympus days, back in 2020. (The Olympus PEN E-P7 launched in 2021, but was limited to Asia and Europe.)

Regardless, I think OM System fans are eagerly awaiting whatever’s next on September 09.

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UPDATE: OM System Japan has dropped a second teaser for its new PEN camera, due to launch on September 09.

This time there is less focus on the new camera itself, as it remains entirely in shadow (unlike the original teaser, which gives us a great look at the body). Instead, it positions the new product as a new chapter in the history of the PEN lineup.

First it shows the original Olympus PEN half-frame film camera from 1959, then the Olympus PEN E-P1 from 2009 – which was the company's first ever mirrorless camera. Finally, it shows the outline of the new camera – which, as I discuss below, certainly looks like a PEN-F II. Or maybe a PEN E-P5. Or maybe something new altogether… 

ORIGINAL STORY: Has the day finally come? OM System has just dropped a teaser video for a new camera – and it sure as sugar looks like it could be a successor to the iconic Olympus PEN-F.

"Stay tuned. Something new is coming" states the text on the video (which I've embedded below) announcing a reveal on September 09. Unlike a lot of teasers, we get a surprisingly good look at the camera – which, as you can see, boasts the rangefinder-style silhouette of the manufacturer's PEN cameras (rather than the SLR-style shape of the OM series).

And I may be biased, so you tell me – take a look at the camera shown in the teaser next to three of my PEN cameras: the original Olympus PEN-F film camera, the PEN-F digital camera and the Olympus PEN E-P7, which was the last PEN camera to hit the market:

As you can see, the new camera that OM is teasing bears the same signature two-tier top plate as the PEN-F digital. Most PEN models have had a similar design that homages the original film PENs, but as you can see with the PEN E-P7 – it has been much more subtle, with only the PEN-F digital having a stepdown that's anywhere near as pronounced as we see in the teaser.

Other signposts that we might be looking at a PEN-F II are the fact that the teaser camera has an electronic viewfinder (EVF). Famously, the PEN-F digital was the only camera in the product line that possessed an EVF.

Taking a look at the power switch, I'll grant you, it looks a lot more like the design found on the EP-7 (and it's on the same side, too). However, if you look at the second (rear) dial, you'll note that the E-P7 had both exposure dials on the top plate while the PEN-F digital had the rear dial positioned essentially on the back of the camera – in the same position seen on the teaser.

Finally, the E-P7 has a pop-up flash on the left shoulder and a tilt-only screen. As you can see, the teaser camera – like the PEN-F digital – has no pop-up flash and has a hinged screen that indicates a fully articulating affair.

So, does all this mean that we're looking at an OM System PEN-F II? Well, not necessarily.

While this is certainly a PEN camera, it's entirely possible that this is an evolution of the EP series or even a new line altogether. The old rules, under the Olympus regime, don't necessarily apply any more – so the fact that it has an EVF and articulating screen don't necessarily mean that it's a PEN-F.

But then, by the same token, the old Olympus missive that the PEN-F had to be a premium camera milled from a single ingot of aluminum – which made it a pricey camera that therefore sold under expectations – don't necessarily apply either. This can be a PEN-F that isn't made of aluminum and doesn't carry a high manufacturing cost.

If the Lumix L10 has taught us anything, it's that there is still a huge appetite for a pretty-looking Micro Four Thirds camera – which this new PEN, whatever its designation, is guaranteed to be. But it also has to have modern specs to match – and that's a department where OM System, which is still trotting out long-in-the-tooth 20MP sensors and underwhelming video specs, faces the biggest challenge.

OM has previously told me that every lens it launches will be weather-sealed, because it has styled itself as an outdoor brand. Thus, I expect this camera to be similarly sealed – and it would be the first PEN to possess the feature.

This might also explain what looks to be the OM System M.Zuiko 17mm f/1.8 II on the front of the camera in the teaser video. That's a perfect outdoor 35mm equivalent lens for street photography, so it would make sense, though it does pour cold water on hopes for a new pancake lens (like an upgraded version of the M.Zuiko 14-42mm EZ Pancake that doesn't suffer a fatal cable issue).

Whatever it is, we've only got a couple of weeks to wait until OM reveals what this new camera is, does and looks like. You can bet I'll be right there to tell you all about it – quite possibly with my credit card in hand…

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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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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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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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A lightweight 130g prime has just received a free firmware update that promises faster autofocus (AF) and fixes an issue that could prevent continuous AF from working correctly during video recording on some camera models.

The SG-Image AF 25mm f/1.8 Micro Four Thirds (MFT) gets firmware Ver. 1.1, with the update specifically targeting AF performance. While the lens is available in several mounts, including Sony E, Fujifilm X, and Nikon Z, this particular update is for the MFT version.

For photographers and videographers using the compact budget prime, the update should make focusing more responsive while addressing a potentially frustrating AF-C issue when shooting video.

New firmware Ver. 1.1

SG-image AF 25mm f/1.8 Micro Four Thirds
Ver. 1.1 – Download link

Improvements
- Improved AF (autofocus) speed
- Fixed an issue where continuous autofocus (AF-C) might not function correctly during video recording on some models

SG-Image on how to update your lens
1) Download it to your computer
2) Link your lens to your computer through the USB-C port on its side, and it should show on your computer as "SG-image"
3) Copy and paste the firmware from your computer to your lens, and that's it

There is a txt file on the lens that shows the firmware version and its release date. It should show the firmware version you upgraded it to.

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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Sony’s new every-genre 25x bridge camera hasn’t even begun shipping yet, but the Sony RX10 V has already clawed its way up to the top of best-seller lists. The new RX10 V tops US retailer B&H’s list of top trending cameras for July.

The Sony RX10 V’s early rise to the top likely doesn’t come as a surprise for fans of the format – many were disappointed when Sony discontinued the RX10 IV. But then in July, Sony annoucened it’s sucecssor, adding a large-sensor option to the bridge camera format that’s popular for photographers who want a long reach without a mirrorless camera.

While compact cameras are seeing a resurgence in trends, the bridge-style RX10 V feels more like a small DSLR – but it’s considerably more compact than carrying a 24mm, 600mm and macro mirrorless lenses.

The RX10 V’s dominance before it begins shipping in early August suggests a steep number of pre-orders, suggesting the price jump compared to the early model wasn’t enough to dissuade fans of the large sensor super zoom.

Screen-free cameras are rising in trends

But what’s surprising are the cameras that follow the RX10 V on B&H’s trending list. The RX10 V is followed by the Camp Snap CS-Pro, an affordable retro compact camera with a screen-free design that caters to digital minimalists, and the odd little Godox C100 Mini, a low-fi camera that looks more like an instant film frame than a traditional camera.

The rise of the Camp Snap CS-Pro hints at the growing craving for capturing memories without the distraction of a smartphone screen. The CS-Pro comes from the company that originally launched as a way for kids to take a camera to screen-free summer camps, but it feels like a far more grown-up version than the original.

I used the CS-Pro when I gave up screened cameras for nearly two weeks, and the camera delivers an ideal balance between features and simplicity. The 16MP camera has plenty of resolution, but uses a lens that still gives the images the feel of disposable film photos, particularly when using the built-in filter dial. A key selling point? The CS-Pro retails for just $99 / £90 / AU$153 / CA$141.

The CS-Pro is followed by one of the more unusual camera launches to come in 2026: The Godox C100 Mini. Like the CS-Pro, the C100 doesn’t have an LCD screen, but Godox’s first camera is essentially an oversized viewfinder used for taking snapshots.

While the C100 doesn’t look like a typical camera, Godox’s appearance on the best-seller list suggests the camera’s unusual design is more quirky than strange. The C100’s resolution is just 2MP, putting the camera firmly in the low-fi category – but that’s offset by a $45 / £39 price.

The C100 even doubles as a light meter for film photographers. DCW’s James Artius got his hands on one and aptly called it “ludicrously good fun.”

Just one mirrorless sits on the overall July trending list at B&H

The C100 and CS-Pro aren’t the only surprises on the list – the trending list for all camera categories oddly only includes one mirrorless camera for July, the new Sony A7R VI that mixes the A7R-series’ high resolution with a snappy 30 fps burst speed. The Kodak Charmera that has been part of an overwhelming number of B&H’s trending lists since its launch isn’t on the overall list (though it does slide in on the list of trending compact cameras).

I’m not at all surprised to see the OM System Tough TG-7 on the list either – while there are lots of waterproof compact cameras, the TG-7 uses a bright aperture and has a fantastic macro mode. The TG-7 is my favorite beach camera, so it makes sense that this 2023 launch would pop back up on a trending list mid-summer.

The remainder of the list is made up of longstanding compact camera favorites, including two Canon PowerShots, the Canon PowerShot ELPH 360 HS A budget point-and-shoot, and the advanced Canon PowerShot G7 X Mark III. The RX10 V’s compact sibling, the pocketable Sony RX100 VII with 8x zoom, also makes the July trending list.

July’s Top Trending cameras at B&H

• Sony RX10 V
• Camp Snap CS-Pro
• Godox C100 Mini Camera
• Sony A7R VI
• OM System Tough TG-7
• Canon PowerShot ELPH 360 HS
• Sony RX100 VII
• PowerShot G7 X Mark III

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Last time we looked at the compact camera rankings from Japanese retailer Yodobashi, we saw a brand-new release skyrocketing to No.1. Panasonic's newest premium compact, the Lumix L10, reached the top position just 12 days after its launch. Now, the retailer reports that the Canon PowerShot G7 X Mark III is the new No.1 compact, despite the fact that it was released nearly seven years ago.

Famously hard to find in stock, the G7 X Mark III can now command second-hand prices higher than its original retail price of $879.99 / £899.99. For example, it's currently out of stock at US retailer B&H, while used examples are listed on MPB for around $1,499.

While there's no sign of the Lumix L10 in the first half of July 2026 rankings, the best waterproof camera returns: the OM System Tough TG-7. The rankings reflect just how diverse the compact camera market has become, but product shortages remain significant, with the top three compact cameras currently on backorder at Yodobashi.com.

Yodobashi's top selling compacts, 1st Half Jul 2026

1. Canon PowerShot G7 X Mark III | Black | Silver (backordered)
2. Canon PowerShot SX740 HS / Lite | Silver | Black (backordered)
3. Fujifilm X100VI | Silver | Black (backordered)
4. Panasonic Lumix TZ99 / ZS99 | Black | White
5. Sony ZV-1 II | Black | White
6. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
7. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
8. Leica Q3 43
9. Kodak Pixpro C1 | Brown | Black
10. OM System Tough TG-7 | Red | Black

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

Japan's champion: Canon PowerShot G7 X Mark III 

The Canon G7 X series has long rivalled Sony's RX100 line, but its appeal is less about winning the spec sheet and more about portability, image quality and ease of use.

The G7 Mark III combines a 1-inch sensor with a compact body and straightforward controls, making it an appealing alternative to both smartphones and larger mirrorless or DSLR cameras.

That balance has helped the G7 X become something of a cult camera. These cameras prove that you don't always need the latest specs – just tools that get out of the way and let you create.

Why is the Canon G7 X Mark III so expensive second-hand?

The G7 X Mark III's popularity has created an at-first-glance unusual situation for an older camera: used prices can now be higher than its original retail price.

But the G7 X Mark III isn't alone in benefiting from the renewed interest in older compacts.

Social media has helped fuel a point-and-shoot revival, with creators and photographers celebrating cameras that offer a different look and shooting experience from a smartphone.

The G7 X Mark III has become one of the standout examples of that trend.

With the camera now difficult to find in stock, that popularity has collided with limited supply – pushing second-hand prices well above what you'd normally expect from a camera release in 2019.

Back after three month: OM System Tough TG-7

The other notable camera in Yodobashi's latest rankings is the OM System Tough TG-7, which re-enters the Top 10 at No.10 after a three-month absence.

Unlike the G7 X Mark III, the TG-7 is built for adventure. It's waterproof, shockproof and dustproof, with a 4x zoom, RAW shooting, 4K video and useful macro mode.

It will be interesting to see if the G7 X Mark III can defend its No.1 spot, and whether the Panasonic Lumix L10 returns to the chart.

For now, though, the G7 X Mark III shows that newer doesn't always mean more desirable – especially when it comes to the point-and-shoot revival.

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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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Sitting at my desk, a flash of movement outside my window caught my eye. When I looked up, my hands reflexively went for my wildlife photography gear. Right outside my cabin, a flock of cedar waxwings decided to feast on the moths, mayflies, and dragonflies right outside my window.

I’ve always loved cedar waxwings because their wings look impossibly smooth, almost plastic. But perhaps even more importantly for wildlife photography, the birds didn’t seem to mind at all at a human presence, darting right over my head to catch bugs in mid-air.

Birds are the great equalizer in wildlife photography. I can’t photograph a wild giraffe or monkey without a plane ticket. But, from the pigeons on a New York City apartment balcony to cardinals at a country bird feeder to puffins in the Arctic, birds are nearly everywhere.

Sometimes, I plan my wildlife photo hikes – which I often use as a much-needed mental health break – well in advance. I research the best spots and rearrange my schedule so that I can head out when wildlife tends to be the most active.

But other times, wildlife photography opportunities present themselves when I least expect. I’ve often longed for my wildlife gear when spotting a bird that I haven’t photographed before in a grocery store parking lot.

I can’t count the times that I wish I weren’t driving when I spotted wildlife, like the kestrel I saw scoop up a field mouse or the eagle that swooped right out of the fog towards me one morning, his wings feeling nearly as large as my windshield.

I consider myself only a hobbyist wildlife photographer (because when you turn both of your creative passions into a career, something needs to remain a sacred hobby). Thankfully, the cedar waxwings were enjoying the feast of bugs in my yard for more than an hour. That gave me the opportunity to watch, wait, and try for some action shots.

I wasn’t quite fast enough to get the birds swooping midair, but I managed to photograph a few wings poised in mid-flight, along with a few bugs clutched in beaks. A bald eagle even flew overhead while I was out photographing the cedar waxwings.

I walked back in the door, memory card bursting, and a smile plastered on my face – sometimes it’s the most unexpected photo shoots that bring the most joy.

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Despite newer flagship releases from Canon, Sony, and Nikon, one full-frame camera launched in 2023 continues to outperform far newer models in Japan's sales charts. Part of Sony's compact full-frame line, which debuted with the "world's smallest and lightest 35mm full-frame mirrorless camera", the Sony A7C II brings that same philosophy and performance to a newer generation. With built-in electronic viewfinder, in-body image stabilization and 33MP sensor, it has become one of the industry's biggest long-term success stories.

Major Japanese camera retailer Kitamura has now published its June sales rankings, with the camera once again taking the No.1 spot.

Launched nearly three years ago, the Sony A7C II has earned a reputation as a full-frame "sweet spot" camera, striking an impressive balance between performance, portability and price. Available for $2,098 / £1,799, it continues to prove that photographers don't always need the latest release to get the camera they want.

Kitamura's 10 best-selling cameras, June 2026

1. Sony A7C II
2. Canon EOS R10 + RF S 18-150mm IS STM Lens Kit
3. Fujifilm X-M5 + XC15-45mm Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Canon EOS R50 Double Zoom Kit
6. Sony A7 V
7. Sony A7 IV Zoom Lens Kit
8. Sony ZV-E10 II Power Zoom Lens Kit
9. OM SYSTEM OM-5 Mark II + 12-45mm f/4 PRO Lens Kit
10. Nikon Z30 Double Zoom Kit

Lightweight design marvel

The Sony A7C II features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS), and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

Even with its compact form, the A7C II retains a built-in electronic viewfinder – known as a must-have feature for many photographers.

Weighing just 514 g (1 lb 2.2 oz), it delivers full-frame image quality in a remarkably compact body that's particularly well-suited to travel photographers and hybrid creators. Despite its small size (124 x 71.1 x 63.4 mm), Sony has retained a built-in electronic viewfinder – a feature that many photographers still consider essential.

While some compact and creator-focused mirrorless cameras now rely solely on the rear LCD, the A7C II offers an eye-level shooting experience without significantly increasing its size.

Nearly three years after its launch, the A7C II still delivers everything most photographers want or need.

While camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

The year is already more than half over – and yet 2026 has been an unusually slow year for camera launches – so slow, in fact, that three key camera brands have yet to introduce a major camera in 2026.

The first half of the year has brought cameras like the Sony A7R VI, the surprise Panasonic Lumix LX10, the video-focused Canon EOS R6 V, the black-and-white Ricoh GR IV Monochrome, and the Leica SL3-P.

But the first half of the year has been largely quiet for Nikon, Fujifilm, and OM System. Nikon has yet to introduce a camera body in 2026. Fujifilm has launched the time-traveling Instax Evo Cinema and Instax Mini 13, but no X series cameras. OM System has introduced specialty models of existing cameras for astrophotography and infrared, but no major overhauls yet in 2026.

Even the brands that have launched new cameras this year have been a bit sporadic, with the first three months of the year unusually quiet. Has the pace of camera development slowed with longer gaps between launches, or is something else going on?

Fujifilm is in the quiet before the storm

Fujifilm has been a key player in both the retro camera and compact camera trends lately, two factors that likely led to the camera giant posting record revenue in 2025. Fujifilm has been steadily picking up momentum – so what’s with the quiet first half of 2026?

Fujifilm is in that pause between one generation and the next. Fujifilm’s X series has largely all been upgraded to the fifth generation of X-Trans sensors, with the 40.2MP X-Trans CMOS 5 HR across most models and the 26.1MP X-Trans CMOS 5 HS across speed and budget-focused models.

There are some exceptions – notably the Fujifilm X-Pro3 still using a third-generation sensor despite the brand's confirmation that it hasn’t abandoned the series – but Fujifilm’s X series is largely caught up.

Fujifilm’s quiet few months are likely the quiet before the storm, before the sixth generation of X Trans sensors makes its first official appearance. And, in the meantime, the 40.2MP is no slouch.

Fujifilm tends to bring the new sensor to higher-end options like the X-H series and the single-digit X-T series first, so as a photographer with an older X-T4 still in my bag, I’m eager to see what’s next.

Nikon needs a high-end camera launch

Nikon has fewer mirrorless bodies in its lineup than Canon and Sony, so it’s not entirely unusual that the camera giant hasn’t yet blessed fans with a new camera in 2026. But, by this time last year, Nikon had introduced the Coolpix P1100 and the Z50 II, so 2026 feels off to an unusual start.

I think Nikon’s recent financial reports hint at what could be coming next for the company. Earlier this year, Nikon told investors that one of the reasons that profit is down is that the brand’s cheaper entry-level cameras, like the Z50 II and Z5 II, are selling so well.

The Z5 II was introduced in 2025, and the Z50 II at the end of 2024, so I think it’s time for Nikon to give some love to its higher-end models. I’m less confident in speculating what high-end cameras might be getting a refresh soon. The Z6 III was a 2024 launch, and the 2020 Z7 II is aging fast, but any successor would need to offer something substantially different than the highly regarded pro Z8. Z9 II rumors are also making the rounds.

Of course, I could be totally off base – the Z30 is getting up there in years, and more compact designs are trending. I’m also hoping that one of Nikon’s recent comments about “heritage-inspired design” means photographers will get more cameras like the Nikon Zf.

OM System has been quiet – but not unusually so

OM System often only has one or two major camera launches a year, so the quiet first half of 2026 isn’t unusual for the brand known for its Micro Four Thirds cameras. And, technically, the brand has launched cameras this year, but just specialized ones, including the OM-3 Astro and the OM-1 Mark II Infared.

The bigger question is what’s next for OM System. The brand's mirrorless line has been using 20MP resolution since 2016 (though in two different variants), but when I asked the company about it last year, Eiji Shirota, Head of Business at OM System, told me, “the development and evolution of a new image sensor is an ongoing effort.”

But, he also said that the company’s focus on smaller, rugged fast cameras has been working, with 60 percent of OM-5 users in North America completely new to the brand. Computational photography and a High Res Shot mode instead help the OM System to get more resolution out of its 20MP sensors.

The Olympus OM-D E-M10 Mark IV still carries the Olympus name nearly five years after the switch to OM System, but any upgrade would have to not eclipse the OM-5 Mark II. Other key OM System speculation? Fans have long been asking for the PEN series to return (though it's still alive and well in Japan), and with compact cameras trending, perhaps now is the time for a tiny PEN mirrorless.

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At the beginning of the year, I set the cat firmly among the pigeons when I claimed that I only recommend the ‘Big Three’ camera brands for serious wildlife photography: Canon, Nikon and Sony. As you can imagine, Micro Four Thirds camera (MFT) photographers were not happy.

So, Luke from OM System got in touch with me and offered to lend me some kit so I could put my money where my mouth was. Cue the arrival of the flagship OM System OM-1 Mark II and the mighty ‘Big White’ M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro, as well as the M.Zuiko Digital ED 100-400mm f/5.0-6.3 IS and M.Zuiko Digital ED 40-150mm f/2.8 PRO. Lucky me!

Determined to put the kit through its paces, I headed off to wetland wildlife reserve WWT Slimbridge and the Hawk Conservancy Trust in a bid to photograph some of the most challenging wildlife subjects on Earth: birds. So, read on to find out why I hold my hand up and admit that I was so very, very wrong about MFT. Just don’t expect a puff piece – I’m not ready to give up my full-frame kit just yet…

Wildlife photography weight saving

MFT is renowned for the small size and light weight of its cameras and lenses. But in my review of the ‘Big White’ 150-400mm f/4.5, I called it a bit of an oxymoron. That’s because it’s a 12.4in long, 1,875g behemoth. Still, compare it to a full-frame 600mm f/4 lens and it’s a minnow. It’s also the largest MFT lens on the market, aimed squarely at sports and wildlife professionals.

The M.Zuiko Digital ED 100-400mm f/5.0-6.3 IS is just eight inches long and 1,102g, with the M.Zuiko Digital ED 40-150mm f/2.8 PRO measuring 6.3in and weighing 880g. To put that into perspective, every MFT lens on the market (even the ‘Big White’) is smaller and lighter than the Nikon Z 180-600mm f/5.6-6.3 VR. And while the OM System OM-1 Mark II is very small and light for a flagship camera, it’s not so prominent that longer lenses feel unbalanced, which is a good thing in my book.

I’m no stranger to heavy kit. I’ve owned a Nikon D800, Nikon D850 and Nikon Z8, and as I get older and my back becomes more temperamental, the weight of my kit is something I’m becoming more and more aware of. Most camera gear seems manageable when you pluck it off the shelf in an air-conditioned store and wave it around for a few minutes. You’ve got to imagine yourself in blistering heat, trudging your way up a gravel track to get to that secluded hide. Or standing on a cliff-top, capturing pan after pan of soaring seabirds.

And indeed, while walking around with my OM System kit, I couldn’t quite believe that I was packing two super-telephoto and one telephoto lens, plus a flagship camera. My own personal Nikon Z 180-600mm f/5.6-6.3 VR is so long, a lot of camera bags are too small for me to pack it with a camera attached. No such problem here. For hide photography I do prefer to use some kind of support, be it a tripod, monopod, or beanbag, but the M.Zuiko Digital ED 100-400mm f/5.0-6.3 IS, especially, is an absolute joy to stroll around with.

Even the ‘Big White’ is easy to cart about. And doing so netted me my favorite image of this little project. I was leaving a hide, ‘Big White’ in hand, when a sparrowhawk landed in a tree, right in front of me (above). I couldn’t believe my luck! I simply raised the M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro, took full advantage of its huge 800mm effective focal length and squeezed off a burst. No cropping needed.

If you’re physically unable to lug around heavy kit, know that it will impact your enjoyment, or even become a wildlife photography barrier, you simply cannot put a price on MFT’s weight-saving properties. However, it comes with a bit of a caveat: image quality.

How good is MFT image quality?

At the epicentre of MFT’s weight-saving strategy is its 4/3 sensor, which measures 17.3 × 13mm, roughly half the dimensions of a full-frame sensor (36 × 24mm) and roughly ¼ of the surface area, while also being smaller than an APS-C sensor (23.5 x 15.6mm).

This results in what tends to be a combination of lower resolutions and smaller photosites resulting in more noticeable noise, which means MFT images tend not to hold up to extreme cropping as well as their APS-C and full-frame counterparts. The flip side is that 2x crop factor, which means you’re effectively doubling your lens’s given focal length. In practice, this is often a big advantage, but there's one situation where it's more of a hindrance. Let me explain…

So, the big plus point here is that you can fill the frame with your subject, while standing further back. This means you’re less likely to stress or scare wildlife, or better your chances when restricted to a hide. But, this advantage is curtailed somewhat because it leaves you far less room for cropping.

A lot of photographers will tell you to get it right in camera. It’s sound advice, but doesn’t always work out in practice. Wildlife and sports photographers, in particular, often rely upon cropping simply because they cannot get close enough to the subject. This levels the playing field somewhat when it comes to high-resolution full-frame cameras that can be cropped significantly.

If you’re shooting at 400mm on a full-frame camera, you can crop to the point that you can end up with a similar field of view as an MFT camera (800mm), but a 45.7MP or 60MP sensor will still leave you with less resolution than a 20.4MP MFT sensor. However, the margins are fine and the advantage with extensive cropping is that you get more control over your composition. If you’re capturing slower wildlife or wildlife portraits then I think getting it right in camera is definitely what you should be aiming for and in this context the extended reach of an MFT setup can work to your advantage.

But I spent a lot of time capturing birds in flight during the Hawk Conservancy Trust’s excellent flying displays and what I found out was that even though I could get much closer to the subjects using my OM System camera, I was missing more shots. The reason is simple, the larger the subject is in the frame, the less room you have for error.

When the subject is an erratic bird, you really do need to pull back slightly to give yourself some wiggle room and help prevent unintentionally cropped wing tips, beaks, etc. So, while MFT gives you the advantage when capturing portraits or slower subjects, a high-resolution full-frame camera wins for extreme action such as birds in flight.

OM System OM-1 Mark II: Suitable for wildlife?

I really enjoyed using the OM System OM-1 Mark II. After all, Digital Camera World’s resident MFT fanatic, James Artaius, awarded it five stars in his review. For starters, it’s a fantastic price. It’s an expensive camera, but you can find it for under $2,000 / £2,000, which is enthusiast-camera prices for flagship technology. What really surprised me, though, is the camera’s ergonomics.

I’m going to go out on a limb here and say that the OM-1 Mark II is the most comfortable camera I’ve ever had the pleasure of using. The grip feels just right, your thumb naturally rests on the ISO button and your left hand is free to alter the AF mode or burst speed without ever moving your eye away from the viewfinder. I was using my Nikon Z8 on the day to compare and the OM-1’s AF isn’t as good as the Nikon’s, but you’re talking about a more expensive, larger and heavier camera.

Do I still recommend ONLY the ‘Big Three’ for wildlife photography?

I guess I’m recommending the ‘Big Four’ for wildlife photography now. ‘Big Five’ if you include Panasonic’s wildlife-worthy Lumix G9 II. I still stand by my original article in that if someone were looking for the very best wildlife photography setup money can buy, I’d lead them down the full-frame route. But if budget or your back is a concern or if you’re a hobbyist who really doesn’t need to be buying the cream of the pro-grade crop, then Micro Four Thirds is not only a solution, its unique advantages mean that it’s not even a sub-par option. It’s just a different option.

My feeling is that it really comes into its own when photographing almost any wildlife that isn’t birds in flight. The extended reach increases your chances of getting it right in camera, making it a fantastic system for wildlife reserve trips or safaris. However, I still think the ability to widen your framing and crop in post is the better choice when capturing birds in flight.

But that’s what’s great about the photography industry today; there really is a system for everyone. So don’t let me or anyone else tell you that Micro Four Thirds isn’t an ideal fit for wildlife photography. If it meets your budget and saves your back, it’s the system for you. Right then, Fujifilm photographers. Come at me!

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Looking for a waterproof camera that can survive your next hiking trip, ski holiday, or beach adventure? While retro compact cameras are having a moment, rugged compacts remain the better choice for photographers who need a camera that can handle drops, dust, and water.

Unlike fashionable point-and-shoot cameras, the Pentax WG-8 ($426.95 / £429) and OM System Tough TG-7 ($549.99 / £449) are designed for use where camera phones and conventional compacts struggle.

Waterproof, shockproof, and freeze-proof, they're built for demanding adventures. Better still, both offer optical zoom lenses, dedicated macro modes and 4K video, making them far more versatile than an action camera alone.

Pentax WG-8

A real Captain Scarlet of a compact camera

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it.

It's perfect if you want a camera that's truly adventure-proof, without spending big. With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms).

It shoots decent photos and 4k video at 30fps. It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail.

It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

OM System Tough TG-7

Indestructable camera, impressive results

The OM System Tough TG-7 is built to be a companion on any adventure. It's waterproof, shockproof, and dustproof, so you never have to worry about weather or terrain.

Sure, its 12MP sensor is smaller than some other cameras, but that actually helps underwater photos by capturing more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments.

The TG-7 has a handy 4x zoom (approx. 25-100mm in 35mm terms) with a bright aperture and a standout macro mode that lets you snap amazing close-ups and 4K video.

It's simple, durable, and versatile – the perfect point-and-shoot to toss in your bag when you need a reliable camera that won't quit.

Discover more and browse the best travel cameras, best compact cameras and best point and shoot cameras

Until the recent revival in the fortunes of the humble, fixed-lens compact camera, or point-and-shoot camera, it’s fair to assume that, for most of us, this type of pocket camera had disappeared completely. 

By the 2010s, we were all using smartphone cameras, and so most low-resolution, standalone snapshots with their 3x or 4x optical zooms were banished to a drawer or listed on eBay. The manufacturers themselves also contributed to the demise of compact cameras. As demand decreased, they simply stopped manufacturing them.

Or did they?

Well, not entirely. While the vast majority vanished from retail, the compact cameras that survived offered something smartphones did not. 

I’m talking toughened, waterproof compacts that could be covered in mud, dirt and sand and simply rinsed clean without damage. Or accidentally elbowed off a table onto a stone floor and avoid shattering into several pieces, thereby allowing image capture to continue. 

To test durability, and because I was feeling cavalier, I once packed an early Kodak ‘tough’ series camera in airplane hold luggage. It arrived at my destination with lens glass shattered; but that was very much the exception rather than the rule.

Through the period post-2015 when digital compacts were mostly nowhere to be seen, OM System, formerly Olympus, and Ricoh/Pentax continued to market shockproof, freezeproof and water-proof cameras, as opposed to action cameras. All around them, bog standard compacts sunk without trace. 

Successful models offering the ability to shoot pictures and videos in conditions that would have been wholly unsuitable for most smartphones included OM System’s TG-7, and the rugged WG series from Ricoh/Pentax. Recent notable examples have included the flagship Pentax WG-8 and the entry-level WG-1000. Other models still selling at the time of writing include the Pentax WG-90 and near outwardly identical Ricoh WG-80.

Such cameras have consistently catered to a dedicated, niche subset of the compact camera market for sure, but they kept it going when others found the going too tough. There were toughened compacts released by the likes of Nikon (the Coolpix AW series) and Fujifilm (FinePix XP), for example, but these also got abandoned.

Obviously, the rugged cameras that stayed the course did so not just because they were alternatives to trashing our phones, but because of the different user experience. If, like me, you’ve been snorkelling or diving with a toughened compact and experimented with the various underwater-enhanced modes, you’ll know exactly what I mean. OK, so I’m not going to get mirrorless or pro DSLR-like quality, but for providing a visual memento, they’re perfectly fine.

And now, a mix of smartphone fatigue and social media has renewed and widened interest in cheap digital point and shoots at one end of the scale, and ‘slow photography’ options like the Pentax 17 film compact at the other. 

But, sitting in the middle, there was always consistently an alternative in the toughened, waterproof digital compact.

For much of the last few years, the Canon EOS R10 has been one of the best-selling mirrorless cameras in Japan, consistently holding top position as a go-to option for beginners entering photography.

Now, the latest sales data from Japanese retailer BCN reveals that a video-first camera – without a viewfinder – has overtaken the long-time bestseller. The new leader is the Sony ZV-E10 II, a compact mirrorless interchangeable lens camera designed primarily for video creators, vloggers, and hybrid shooters.

On paper, the Canon EOS R10 and Sony ZV-E10 II compete in the same APS-C mirrorless category. However, they represent two very different shooting philosophies.

BCN+R best-selling cameras (May 26)

1. Sony ZV-E10 II Double Zoom Lens Kit | Black
2. Canon EOS R10 + RF-S 18-150 IS STM Lens Kit
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z50 + 16-50 VR Lens Kit
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | White
7. Sony A7 V
8. OM System Olympus Pen E-P7 EZ Double | Silver
9. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver
10. Sony ZV-E10 II Power Zoom Lens Kit | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

Canon EOS R10 vs. Sony ZV-E10 II

The Canon EOS R10 follows a more traditional camera design. It includes an electronic viewfinder, a deeper grip and handling that feels closer to DSLR-era photography.

The Sony ZV-E10 II, by contrast, is designed first and foremost for creators. It removes the viewfinder entirely, prioritising a compact body, lighter weight, and video-focused features.

While traditional photography tools still matter, a growing number of users appear to prioritize video creation, portability, and ease of use over classic still-first design.

Why no viewfinder can be better for video creators

The missing viewfinder – most photographers consider essential – plays a much smaller role in modern content creation workflows.

In video-first shooting, users are typically working at arm's length or with the camera mounted on a tripod or gimbal. As a result, flip-out screens, touch controls, selfie framing, and AF systems such as face and eye tracking become far more important than eye-level composition through a viewfinder.

Removing the viewfinder also has a practical design benefit. It allows manufacturers to reduce the overall size and weight of the camera body, contributing to the compact, lightweight form factor that many creator-focused cameras are designed around.

Whether the ZV-E10 II's rise is a sustained trend or a temporary spike remains to be seen – but its climb from fifth place last month to No.1 suggests a shift in buyer priorities.

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Fresh sales data from Japan suggest that one of photography's most unexpected trends is showing no signs of slowing down. While smartphone cameras continue to become more advanced – consumers are increasingly turning to compact cameras that come cheap.

According to the latest sales figures from Japanese retailer BCN, many of Japan's best-selling compact cameras are the most affordable ones on the market. The Kodak Pixpro FZ55, which once again tops the chart, costs $139.99 / £114. The Kodak Pixpro C1, which is in both second and third place, is even cheaper, available for $99.99 / £79.

Japan's best-selling compact cameras aren't premium models packed with advanced features – they're inexpensive point-and-shoot models that prioritize simplicity and ease of use and feature something smartphone cameras can't.

BCN+R compact camera ranking (May 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Fujifilm Instax Mini Evo | Black
5. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
6. Fujifilm Instax Mini Evo | Brown
7. Panasonic Lumix TZ99 / ZS99
8. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Black
9. OM System Tough TG-7 | Red
10. Kenko Tokina KC-AF 11 | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

The rise of smartphone fatigue

The popularity of these compacts may also reflect a growing trend often referred to as "smartphone fatigue."

Smartphone cameras have never been more capable. Flagship devices now feature larger sensors, advanced computational photography and image processing developed in partnership with established camera brands like Leica and Hasselblad.

Yet, for some users, taking photos on a smartphone no longer feels like using a camera at all.

A dedicated compact camera – even a 'simple' one – offers a different experience no smartphone can give shooters. There's a physical shutter button, a separate device devoted entirely to photography, and a more intentional shooting process.

Many of the top-performing models feature simple interfaces, physical controls, and retro-inspired styling. Unlike enthusiast cameras, they require little photographic knowledge and can be picked up without knowledge of shutter speeds, aperture settings, or ISO settings.

For many buyers, that's the appeal.

In Japan, compact camera buyers are not chasing the latest technology; affordable, straightforward models win again – and this trend is not expected to change.

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The OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro is undoubtedly the ‘grail’ lens for any wildlife or sports photographer with a Micro Four Thirds (MFT) camera. And what better camera to test this monster "Big White" optic than the flagship OM System OM-1 Mark II?

These two MFT titans combine to create a truly formidable pro-grade package. The lens itself delivers an incredible 35mm equivalent zoom range of 300-800mm, extended to a whopping 375-1,000mm with the built-in 1.25x teleconverter. Add an external 2x teleconverter to the mix and you get 2,000mm!

And while it’s a huge lens for a system that’s known for its pint-sized optics, the OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro still exceedingly small and light for a lens of its class.

This OM System classic is, without a doubt, targeted at the most serious MFT wildlife / sports enthusiasts and professionals on the planet. So, I decided to visit both WWT Slimbridge Wetland Centre and the Hawk Conservancy Trust to put this top-tier optic through its paces, photographing birds in flight.

The question on my mind is whether its premium build and performance are enough to justify that premium price tag…

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Specifications

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Price

The OM System M.Zuiko Digital ED 150-400mm f/4.5 TC1.25X IS PRO is not a cheap lens. It retails for $8,999.99 / £6,799 / AU$11,999, making it the most expensive optic in OM System’s lineup by some margin and the most expensive MFT lens on the market.

This is because it represents the pinnacle of OM System’s optical engineering and feature set. This may jar with some users because the MFT system is often framed as a more cost-effective alternative, especially when it comes to premium bodies and optics.

It’s difficult to compare the "Big White" to OM’s competitors because it offers an equivalent zoom range and speed that simply isn’t available in full-frame.

The Nikon Z 400mm f/4.5 VR S retails for around half the price at $3,499.95 / £3,299 / $5,499, but it’s a prime lens and doesn’t have a built–in teleconverter.

At the other end of the spectrum, you have the Nikon Z 400mm f/2.8 TC VR S, which has a built-in 1.4x teleconverter, but is also a prime and has a faster maximum aperture. This lens retails for roughly twice the price of the M.Zuiko 150-400mm f/4.5 at $14,699.95 / £13,499.00 / $24,299.00.

It’s a similar story when it comes to both Sony and Canon, but perhaps the closest offering is the relatively recent Sigma 300-600mm f/4 DG OS Sports, which retails for $6,599 / £5,899 / AU$12,995, although it doesn’t have a built-in teleconverter.

Ultimately, though, the OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro sits right within the mix of the world’s most premium lenses and, in that respect, it offers up a comparatively middling price point.

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Design & Handling

When I first picked up the OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro, I was struck by two things: its weight and build.

The lens weighs 1,875g / 4.13lbs (without lens hood and cap) and measures 314.3 x 115.8mm, which is comparatively huge compared to other MFT lenses, but comparatively small next to range-topping full-frame lenses.

To put that into perspective, you’re getting a full-frame-equivalent focal length of 300-800mm (375-1,000mm with the teleconverter) in a package that you can actually handhold. The lens hood is big and solid, but a carbon-fiber build means it’s also surprisingly light.

That said, wildlife photography often requires an awful lot of waiting around – and holding a near 2kg lens for long periods of time will fatigue any photographer, so I’d still opt to bring a tripod, monopod or beanbag in reserve.

The good news is that the lens is light enough that you don’t have to pair it with a hulking tripod that weighs you down. My Manfrotto Befree Advanced travel tripod had no problem accommodating it.

When it comes to the lens’ build, it reminds me very much of a pro-grade DSLR optic. I’ve often thought that premium DSLR glass feels slightly more solid than most top-tier mirrorless offerings, so I mean that entirely as a compliment.

Its magnesium-alloy construction might be light, but it feels reassuringly solid in all aspects, from the barrel to on-board controls. I’m also a sucker for an internal zoom, which adds a premium feel to any lens.

I’ve personally never encountered a species that’s more bothered by a white lens than my presence, but some wildlife photographers like to cover white lenses in a camo skin, of which plenty are available specifically for the OM System 150-400mm f/4.5.

However, the white paint job doesn’t just look good; it serves a purpose as part of a three-layer heat-repellent coating.

As you’d expect from a Pro-line OM System lens, the 150-400mm f/4.5 has an extensive IP53 rating, meaning it’s splashproof and dustproof.

I carry a rain cover in my camera bag at all times and won’t trust any standard camera or lens in a consistent downpour, but I did use the 150-400mm f/4.5 on a day with frequent light showers and felt entirely confident that not only would it hold up but it could weather plenty more.

You’ll have to forgive me for waxing lyrical about a tripod collar and foot, but the designers have thought about almost everything in this instance. It’s a shame that the tripod collar isn’t removable to shed even more weight – although the foot can be removed – otherwise this is a near-perfect feature.

The foot is Arca-Swiss compatible for quick release/attachment, and I’m particularly impressed by the rubber lining on the inside surface. I can only assume this is so you can use it as a handle when carrying the lens around, without worrying about it slipping out of your hand in wet or sweaty conditions.

You’ll find two attachment points on the collar for a strap and, while you can rotate the collar to level your horizon at any angle, it also clicks securely into four different positions set at equidistant intervals at twelve, three, six and nine o’clock – each lining up perfectly with one of four custom buttons set further down the barrel.

These buttons are set before the focusing ring so you’re in no danger of inadvertently nudging it.

Both the focus and zoom rings are suitably smooth and the throw of the zoom is short, so you can quickly amend your framing.

The switch for the built-in 1.25x teleconverter is cleverly positioned on the right-hand side of the barrel, very close to the host camera’s grip. This enables you to toggle the converter on/off by extending a single finger while still clasping the grip.

With a little practice, you’ll start to do this instinctively, without pulling your eye away from the viewfinder. The switch also features a locking mechanism, which is a neat touch, although I found the switch itself to be robust enough that you’d have to be really unlucky to trigger it by accident.

And while it’s purely cosmetic, I really like the blue band that frames the lens’ front element. It’s a little touch that screams quality.

Unfortunately, the drawstring canvas bag that comes with the lens is a bit of a letdown, especially if you were anticipating the robust kind of cases that come with Sony, Canon and Nikon’s range-topping wildlife optics.

There’s minimal padding around the barrel, more padding around the base (but not enough) and although it was workable, I couldn’t completely close the bag with the OM-1 Mark II attached.

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Performance

Real-world testing presents difficulties when working with super-telephoto optics due to phenomena such as heat distortion and camera shake.

Camera shake is the bane of the super-telephoto photographer’s life, but the first thing I noticed about the OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro is just how stable it is.

Despite that monster 35mm-equivalent 1,000mm potential, the Sync IS (optical image stabilization) achieved by the lens and OM-1 Mark II working in tandem delivered up to 8 stops of compensation – meaning I was rarely bothered by camera shake.

In a world where high-resolution sensors are causing photographers to double or even triple the reciprocal rule, it’s a joy to shoot with a long lens (and camera) that isn’t working against you. And of course, that constant f/4.5 aperture certainly helps in poorer lighting conditions.

I did notice some chromatic aberration, but this was easily mitigated via editing software corrections.

When it comes to overall image quality, the OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro performs very well, but stops short of being exceptionally sharp. Even for a lens that debuted in 2021, I couldn’t help but feel slightly left wanting from what is ultimately a range-topping optic in a very high-end price range.

However, it’s also important to remember that the equivalent focal range made possible by an MFT sensor means you’re getting much closer to the subject than you would with a full-frame setup. This, in turn, reduces the amount of cropping required, meaning you’re less likely to hack away at the resolution of your images.

What impressed me was the quality of the built-in teleconverter, which really doesn’t impact image quality that much at all. Really, the only penalty is the narrower aperture; beyond that, the teleconverter feels a little like a cheat code in the best way possible. So much so that I could easily forget it was engaged.

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Sample Images

The following gallery of sample images was captured with the flagship OM System OM-1 Mark II at both the Hawk Conservancy Trust and WWT Slimbridge.

This meant that I was able to test the lens in a challenging real-world environment by photographing birds in flight, while also dealing with inclement weather.

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Lab Results

Our lab manager, Ben Andrews, runs a variety of tests in controlled conditions using the Imatest Master testing suite. Photos of test charts are taken across the lens’s zoom and aperture ranges (where available), which are then analyzed for sharpness, distortion and chromatic aberrations.

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

Testing a super-telephoto Micro Four Thirds lens is always a challenge. The 2x crop factor means that you need to allow for double the distance between lens and test chart, compared to a full-frame lens.

Consequently, Ben was not able to test the 150-400mm at its full 400mm zoom. There simply isn’t enough space in the lab and, because lighting must be carefully controlled, outdoor testing is not an option. The best he could achieve was 367mm – and even this required a shooting distance of over 18 meters.

Sharpness:

Sharpness in the central region is good, although never particularly special. You do, however, get very good consistency throughout the focal range. Only at f/16 and narrower does center sharpness really dip. Corner sharpness is noticeably softer, though consistency across all focal lengths and apertures is excellent.

The lab also tested the optic’s sharpness at 150mm with the inbuilt 1.25x teleconverter enabled, resulting in a 187.5mm focal length (equivalent to 375mm). Teleconverters often noticeably reduce sharpness, but in this case, the reduction is minimal, and sharpness remains consistent with the results at other focal lengths.

Fringing and distortion:

There is some chromatic aberration, but it's not strong enough to be obvious in real-world shooting. And thanks largely to firmware-based distortion correction, which cannot be disabled, the lens appears to be almost distortion-free.

OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro: Verdict

The OM System M.Zuiko 150-400mm f/4.5 TC1.25X IS Pro is a bit of an oxymoron in that it’s a large, $9K / £6.8K / AU$12K optic for a system that’s built around the concept of portability and affordability. And yet, compared to full-frame range-topping super-telephoto optics, it’s significantly cheaper and lighter.

This isn’t the lens for your average MFT photographer; it’s a serious piece of equipment for a dedicated enthusiast or wildlife / sports professional.

When it comes to the design and build of the 150-400mm f/4.5, it’s about as good as it gets. It’s an absolute joy to operate and carry around, and it’s a rare example of a super-telephoto lens that I actually like to look at. It’s a bit of a beauty to say the least.

The price tag and top-tier status can draw unavoidable but unhelpful comparisons with full-frame glass, but it’s important to remember that these lenses tend to be twice the price and sit on sensors that are twice as big.

That said, I did expect slightly better image quality in both lab and real-world testing, although the quality of the teleconverter and image stabilization was extremely impressive.

Ultimately, the design and operation of this lens blew me away, the performance felt solid, if not quite exceptional. And yet, this lens undoubtedly complements Micro Four Thirds’ inherent advantages.

The monster zoom range and built-in teleconverter will get you closer to subjects than ever before. Its premium handling will increase your chances of capturing the moment you envision.

A small MFT sensor’s superior stability synced with this lens’ excellent optical image stabilization will enable you to shoot at slower shutter speeds without experiencing camera shake. And its rock-solid build and weather sealing mean it can accompany you on dusty safaris, in muddy forests and on damp hills.

Alternatives

Macro photographer Barry Webb specializes in photographing slime mold – tiny organisms that come in remarkable shapes, textures, and iridescent colors. His striking work has earned awards before, including recognition at the Close-up Photographer of the Year for an image of a 15mm tall ear-pick fungus.

Now, Webb has won the Botanical Britain category at the British Wildlife Photography Awards 2026 with his image featuring a slime mold species measuring just '1mm tall'. But creating the image was far from simple.

Webb used focus stacking to overcome the razor-thin depth of field that comes with extreme macro photography, capturing a total of 87 separate images at different focus points before merging them into a single final shot – all captured with a Micro Four Thirds camera that introduced two world-first features.

Botanical Britain | Winner

Image details
Title: Slime Moulds and a Water Droplet
Species: Slimemould (Lamproderma scintillans)
Location: South Buckinghamshire, England

Shot info
Gear: OM System OM-1 + M.Zuiko 90mm f/3.5 Macro + 2x teleconverter
Exposure: 0.6sec, f/14, ISO 200

The story behind the still
Webb explains, "These 1mm-tall Lamproder mascintillans were found on a tiny fragment of wood, on a very wet woodchip pile.

"When the water droplet evaporated on the two fruiting bodies on the right, they dried out and reverted to their original blue colour.

"It is thought that the iridescent surface of these fruiting bodies may act as a water repellent in order to protect the spores within the sporocarp.

"A total of 87 shots were focus bracketed and then focus stacked to create the final image."

The BWPA competition

The British Wildlife Photography Awards (BWPA) is one of the UK's most respected nature photography competitions, celebrating the diversity and wonder of wildlife.

Photographers compete across adult and youth categories, with winning images published in a hardback book by Graffeg.

For more winning images and full results, visit the BWPA website and explore the incredible work of this year's photographers.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from May to December.

The OM System Tough TG-7 underwater compact camera and its predecessors, such as the Olympus Tough TG-6, have built up a substantial ecosystem of accessories.

Some of these add increased damage protection, while others improve the cameras’ capability for particular types of photography (such as macro or underwater) or provide scope to be more creative.

In this article, I’m going to take a look at the most popular Tough accessories from OM System. I’ll give an outline of what they do and my opinion on how useful they are.

Probably the biggest-selling underwater housing for a camera ever made, the PT-059 increases the depth to which you can safely take your TG-7 from 15m to 45m (from 50ft to 150ft) – making it much more useful for scuba divers.

It's worth bearing in mind that, to maintain the waterproof rating of your Tough camera, OM System recommends getting the internal seals serviced every year – which isn’t cheap. So keeping it safe inside an underwater housing, even when using it in shallow water, makes sense.

The OM System PT-059 is also supported by a substantial range of third-party accessories, such as lighting trays and wide-angle wet lenses. As underwater housings go, it’s light, relatively low-cost, well-made and comfortable to use. That’s why they are the underwater housing I recommend most often to TG-7 users.

See my full OM System PT-059 review

If you’ve owned a conventional compact camera before getting a TG-7, something that you will notice early on is that there isn’t a lens cover that closes when you turn the camera off.

The surface of the lens is exposed, which isn’t ideal if you want to pop it in your pocket when not in use. You will find you get fingermarks on the lens and there is an greater risk of scratching the lens surface than with other cameras.

The LB-T01 deals with this by fitting onto the camera in place of the original removable lens ring. You then have a manually operated lens protector that opens and closes with a twist of its outer ring.

It won’t fit inside an underwater housing but, as TG accessories go, it’s bordering on a must-have.

Like the lens barrier, this adapter replaces the removable lens ring on any TG camera from the TG-1 to the TG-7.

Fitting the CLA-T01 opens up a big range of extra accessory options for increasing the capabilities of your Tough. The adapter has 40.5mm screw fitting to accept the TCon-T01 Teleconverter and the FCon-T01 or T02 Fisheye Converters.

You can also use it to fit filters such as protective UV filters, like the OM System PRF-D40.5 Pro, or third-party options with a 40.5mm thread such as circular polarizing and ND filters.

If that wasn’t enough, it will also accept a 40.5mm lens cap such as the ones made for the OM System 14-42mm kit lens – so you can keep the lens protected despite not being able to have a lens barrier fitted.

If you have the CLA-T01 adapter, then you can fit the TCon-T01 x1.7 teleconverter, which ups the TG’s 100mm maximum equivalent focal length to 170mm.

For wildlife and sports photography, it will give valuable extra reach, but bear in mind that increasing the focal length will make camera movement more likely to cause blur in your pictures.

While this lens can be used underwater, I don’t recommend it as it’s best to reduce the distance to a subject whenever possible to help keep images sharp and colorful.

This converter screws onto the CLA-T01 adapter and gives an exceptionally wide angle of view to your Tough. With the camera zoomed to its widest, you get the circular fisheye effect; zooming in removes that, but you will have some barrel distortion.

This lens can be used for underwater photography when on the camera without an underwater housing. It will give a narrower angle of view, because everything appears closer underwater.

You can also use this lens with an Ikelite underwater housing that can be fitted with a domed port to accommodate the lens. The dome port corrects for the effect of water, giving an angle of view the same as in air, but you are tied to shooting wide-angle pictures for a whole dive when using it – because the lens is within the airspace of the housing.

Like many accessories, this circular diffuser fits onto your TG using the fitting that the removable lens ring occupies. It carries the light from the built-in LED to give a close-up light source.

Without the Light Guide in place, you can use the LED as a focusing light when light levels are low and you are still able light subjects with the built-in flash. Adding the Light Guide means that you have to use the LED as the light source to achieve your exposure.

Where subject and camera movement aren’t an issue, that will be fine. But for most still macro photography, if you need even light from all directions, I’d go with a ring flash diffuser.

In my view, where the LG-1 would be useful is in shooting macro video. You can set the LED to be on constantly and then, with the TG-7 or TG-6, use Super Macro Focusing to get very close to your subject.

The LG-1 can be used underwater, but only when using the camera without a housing.

Similar to the LG-1 Light Guide in appearance, if you want to take macro images this is definitely the better option of the two. It will give you an even light at a short distance from the camera, with the movement-freezing benefit of flash.

While ring diffusers and flashes do have a tendency to reduce texture in images, the light is also softer and doesn’t produce as much glare from shiny surfaces (such as beetle carapaces) that I’ve found the bare built-in flash of the TG camera often does.

This is one of those accessories that some people will find absolutely essential – in particular people using the TG for scientific or medical photography – while a lot of the folk who bought the camera for its toughness when doing outdoor activities won’t need at all.

Like the LG-1 Light Guide, the diffuser can be used underwater when the camera isn’t in a housing. I would suggest you take care when using them, because they aren’t anywhere near as robust as the camera itself.

This silicone rubber cover for the TG-7 adds considerable extra protection. While the TG-7 has a drop-proof rating, hitting rocks or concrete from even a fairly short height is likely to put some scratches on it – and unless you are very lucky, it’s likely to end with a trip to the repair shop or an insurance claim.

This cover gives you access to the controls, including having gaps for the dials and zoom, but adds some extra padding to much of the camera.

It does make it bulkier, and you’ll have to remove it to fit some accessories.

This a wrist strap that is buoyant enough to keep your TG camera floating at the water surface. Obviously it’s attached safely to your wrist, you don’t need it to keep your camera floating.

However, if you should accidentally let your camera go or drop it in the water, the CHS-09 will stop it plummeting into the depths. It’s also a well-padded wrist lanyard that would be nice to wear when using your camera for snorkelling.

And for people doing other water activities like kayaking, or using the Tough in everyday situations where they don't want it attached to their wrist all the time, the float feature is helpful.

As someone who’s accumulated a multitude of cameras, lenses and other equipment, individual cases aren’t something I tend to go for. But if your TG is your one and only piece of camera kit, this case might be for you.

I’d suggest that it’s more suitable for storing and travelling, rather than for when you want it ready to use. The TGs are quite weighty little cameras and they do have an impressive ability to find their way to the bottom of a bag, where a hard drop can cause damage if the padding isn’t sufficient. I’m speaking from experience on that one.

This case would definitely prevent damage in transit but, as someone who can’t stand having things bouncing around on the outside of a backpack, I probably wouldn’t use the built-in carabiner to clip it on.

Likewise, having a substantial hard case attached to a belt or the waist strap of a rucksack probably isn’t going to be comfortable.

I’ll be honest, I was completely unaware of this accessory before I started writing this article! It’s a relatively new piece of kit released for the TG-7 that gives you a protective cover/holder that can be attached to a belt or backpack strap, combined with a carabiner attachment and a spiral cord.

The spiral cord means that you can take the camera out of the holder, but still have it attached to you to prevent it from being dropped.

I can see this being useful for those doing outdoor sports such as climbing, hiking and kayaking, where they want the camera easily accessible with one hand but dropping it would be a disaster.

See our guides to the best waterproof cameras and to the best underwater housings

The OM System PT-059 is an underwater housing produced for the OM System Tough TG-7 and older, but nearly identical, Olympus Tough TG-6 Tough compact waterproof cameras.

While both of these compact cameras have a waterproof rating, an underwater housing enables you to take them to greater depths when scuba or free diving. It also adds an extra layer of protection against water entering your camera, which occurs if seals on compartment doors are dirty or the internal seals fail due to age.

An underwater housing doesn’t just increase protection from water, though; it opens up the ability to add more accessories to your underwater photography setup, increasing its capability.

OM System PT-059: Price

The recommended retail price for the OM System PT-059 is $ 399 / £329 / AU$579 and it is found widely on sale at camera retailers and online stores, as well as from OM System direct – so there is no need to go to a specialist diving shop.

There are cheaper housings available for the TG-6 and TG-7 but, considering the build quality, layout and features, the PT-059 in my opinion is the best value option.

OM System PT-059: Specifications

OM System PT-059: Build & handling

The OM System PT-059 is the lightest underwater housing available for the TG-7, making it ideal for travel. I take mine with the camera in hand luggage when I fly.

That’s paid off on one trip where a bag containing some of my larger underwater camera equipment was delayed; I still had a camera and housing to shoot with for the first day diving while the bag caught up with me.

Despite being lightweight, the PT-059 is robust and hardwearing. I’ve taken mine on a lot of diving trips and so far it has functioned perfectly.

The low weight is achieved by the housing being predominantly made from polycarbonate plastic, which is strong enough to protect your camera down to 45m / 147ft. For most recreational divers this is enough depth – and certainly for me it is. As an underwater photographer, I seldom venture below 25m / 82ft.

Plastic housings can be less long-lived than metal ones. In particular, if sand gets into a button or dial and you don’t remove it, the surrounding plastic can be worn away – causing an irreparable leak.

The lens port is scratch-resistant coated glass and is recessed in a metal surround, so you have to be trying pretty hard to get it scratched.

The ports on plastic housings are more prone to fogging up than on metal ones, but the PT-059 has a recess for a silica gel pack to help prevent that.

A front grip for your right middle, ring and little finger, and a raised thumb rest on the rear make it easy to hold. All the controls can be operated while the camera is in the housing, and I find that I can adjust most of them with my thumb while I keep my index finger on the shutter release.

With the camera inside, the PT-059 is almost exactly neutrally buoyant. If you let go of it when it isn’t attached to you it will sink pretty slowly, so you’ll have a good chance of getting it back.

There’s an attachment fitting for a pair of fiber optic strobe cables, which neatly clips onto the diffuser for the camera flash.

An included wrist lanyard is what I use for securing the housing when I’m using it on its own or as part of a small underwater photography setup.

The included port cap is something of nuisance in the water, and I’d suggest taking it off completely when in use and not having it drifting around on the cord it comes supplied with.

OM System PT-059: Performance

For me, being able to use the built-in flash as a light source when the camera is in the housing is a major advantage that the PT-059 has over most other TG-7 housings.

You do have to be quite close to subjects to light them using the camera flash (I’d suggest getting within about 50cm or less), but for close-up and macro photography it does a reasonable job.

When starting out taking underwater pictures, it’s a wise move to get used to taking photos using the built-in flash or ambient light before adding the bulk and added task load of using an external strobe.

A cold shoe mount facilitates the attachment of a focusing light or action camera to the top of the housing. You could add an external strobe or video light to this mount on a short arm but, with the mount being screwed onto the body of the housing, I’m a little wary of putting too much weight and leverage on it in case it breaks off.

The housing base has a plate with three tripod-sized screw holes, enabling you to mount it on a tripod or a lighting tray with handles for attaching strobes or video lights.

With a single strobe attached to a tray with a left handle, the controls are easy to operate. But with a two-handle tray you may find operating the shutter release lever while holding the right handle is too much of a stretch.

You can hold the side of the housing with your hand between it and the right handle, but that can be uncomfortable. A third-party extension for the shutter release lever or trigger style attachment will enable you to take shots while holding the right handle.

A 52mm screw thread on the housing port makes it possible to attach wide-angle wet lenses by brands such as Inon, Aoi and Weefine. Inon and Nauticam also make specific quick-change bayonet mounts to fit the PT-059, so their bayonet-fitting wet lenses can be used.

Being able to quickly remove or fit a wide-angle lens while underwater enables you to switch between taking pictures of large marine creatures, like turtles and sharks, over to the tiniest of animals.

You do have to take some care when using the PT-059, though. While the waterproof nature of the camera provides extra protection, a severe leak of your housing at depth can still kill your camera.

A visual check of the O-ring for debris should be done before every use, and you should ensure that the O-ring that seals the door is kept suitably lubricated.

OM System PT-059: Verdict

The OM System PT-059 does an excellent job as an underwater housing, combining good build quality with a reasonable cost. It’s comfortable to use on its own and readily expandable with a large range of third-party accessories available from quality underwater photography brands such as Inon, Nauticam and Aoi.

It would take a really impressive housing at the same or lower price point to persuade me to stop recommending the PT-059 to my customers and students.

OM System PT-059: Alternatives

Check out our guide to the best underwater housings for other cameras and phones

Compact cameras are selling so well right now that finding one in stock is a challenge – but the newest list of bestsellers from Japan carries a common theme: Zoom.

Japanese retailer Yodobashi recently shared the list of bestselling compact cameras for the first half of April 2026. With a number of major camera brands headquartered in Japan, sales data from the region often hints at trends in the camera industry.

The latest list is topped by cameras that offer a zoom lens. Zoom has been traditionally much harder to find from smartphone cameras – though there are an increasing number of smartphones with big zoom ranges, like the Leica Lietzphone.

Vlogging cameras, budget options, and large sensors are also common themes in Japan’s current best-selling compact cameras.

Compact cameras with zoom are among the trendiest options

The list is topped by the Canon PowerShot SX740 HS, a point-and-shoot that mixes a 40x optical zoom with a 20.3MP 1/2.3-inch sensor and a pocketable design. While the retailer delivered enough backorders for the camera to sit at the top of the listings, the compact is out of stock. The camera is similarly out of stock at Canon’s US and UK webstores, hinting at high demand.

The Panasonic TZ99 / ZS99, which sits in the fifth place spot on the best-seller list, is also heavy on zoom. The camera puts a 30x optical zoom into a pocketable camera with a 1/2.3-inch sensor – and unlike Canon’s 40x compact zoom camera, it’s easy to find in stock.

Pairing a larger sensor with a zoom lens is a challenging balance, but it’s one that the Sony RX100 VII, which sits in eighth place, balances well. The camera is a 2019 launch, but the pocketable camera has an unusual mix of a larger one-inch sensor with a versatile 28-200mm equivalent optical zoom and 20 fps burst speeds. Another rare feature is that it still has a hidden pop-up viewfinder.

The OM System Tough TG-7 – one of the most recommended waterproof cameras – offers an entirely different feature that’s hard to find on smartphones: a waterproof and shockproof design. The camera also has a 4x optical zoom – and a fantastic macro mode. It sits in 6th place.

Vlogging cameras are selling well

The zoom theme continues – albeit to a lesser extent – with the second-place model on the list, the Sony ZV-1 II. The ZV-1 II’s zoom lens is a smaller 2.7x, 18-50mm equivalent range, but it’s paired with a larger one-inch sensor. The ZV line is geared towards vloggers with its 4K video features, though it can still snap still photos as well. Unlike the SX740, the ZV-1 II is easier to find in stock.

Canon’s more video-oriented PowerShot also makes the list, as the V1 slides into 7th place. Yodobashi notes that it’s the PowerShot V1’s first time back on the after dropping out of the top ten for two months. While geared more towards video, the PowerShot V1 balances a 1.4-type with a lens that still has a bit of zoom with a 16-50mm equivalent.

Budget cameras remain popular

Canon’s most affordable compact camera slides in third. The Canon IXY 650, which is called the PowerShot 360 HS A in the US, is the brand’s most affordable point-and-shoot. While it doesn’t have the zoom of the SX740 HS or the larger sensor of the G7 X Mark III, the more affordable PowerShot slides in with a 12x optical zoom and 20.2MP 1/2.3-inch sensor.

Budget cameras remain a popular option within the compact camera category – the Kodak PixPro C1 also slides into the top five. The affordable compact has a retro pocketable design, but the zoom is only digital, and image quality – and versatility – is limited.

Large sensor compacts are still in demand, but hard to find

Two Ricoh GR series cameras round out the list in the ninth and tenth place spots: The GR IV and the GR IV Monochrome. Both of the APS-C sensor compact cameras are out of stock at Yodobashi – suggesting that if availability weren’t so limited, those cameras perhaps could have appeared higher on the list.

The full list of best-selling compact cameras for the first half of April 2026 at Yodobashi includes:

1. Canon PowerShot SX740 HS
2. Sony ZV-1 II
3. Canon IXY 650m / PowerShot 360 HS A
4. Kodak Pixpro C1
5. Panasonic Lumix TZ99 / TS99
6. OM System TOUGH TG-7
7. Canon PowerShot V1
8. Sony RX100 VII
9. Ricoh GR IV
10. Ricoh GR IV Monochrome

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It looks like OM System could be about to take a page out of Leica's playbook: a rumor is doing the rounds that an OM System OM-3 Monochrome is on the way.

In case this all sounds a bit strange to you, let me explain.

While most cameras have a monochrome mode (and, obviously, you can perform a conversion in post), the best cameras for black-and-white photography have a dedicated mono sensor – as in, a sensor that only shoots black-and-white.

A few years ago this was an incredibly niche idea. But since Leica kickstarted the idea in 2012, there have been over half a dozen black-and-white cameras – including some of today's hot sellers like the Leica Q3 Monochrom and Ricoh GR IV Monochrome.

Still, it's quite a boutique idea – so you won't see Canon, Nikon or Sony releasing such a camera, but that leaves the door wide open for OM System (which has already launched a niche model of the OM-3 in the form of the OM System OM-3 Astro).

If true, this would turn my favorite feature of my favorite camera into a dedicated product. After all, the OM-3 already has the best mono profile of any camera out there – at least, in my opinion. But see for yourself:

I can hear some of you asking, "If the OM-3 already has a great mono mode, why do we need a mono-only version of the camera?"

Well, obviously if you shoot color then you probably don't want one. But if, like me, the majority of what you shoot is black-and-white, there are some huge advantages for a monochrome sensor.

Mono sensors eschew the Bayer filter found on color sensors. This employs demosaicing and interpolation to produce color data – but does so at the expense of both resolution and clarity.

As such, a mono sensor produces images that are crisper, clearer and cleaner – the latter being having the most profound impact, as noise is reduced enormously even when shooting at higher ISO levels.

There are a couple of trade offs – the lack of color data means that there's less leeway to recover highlights, and mono sensors make it hard to implement phase detect AF – but I can live with this in return for flawless mono files.

While this is all far from official, 43 Rumors reports that an OM-3 Monochrome could be released this year. And if it is, I predict that it will be one of 2026's best-selling bodies.

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Psst – if you like the above OM-3 mono images, the same profile can be found in both the Olympus PEN-F and the Olympus PEN E-P7!

New tech isn’t the only thing that has the list of best-selling cameras looking quite different from just a few years ago – trends for compact cameras and retro designs seem to have played a massive role in which cameras are coming out on top. A major retailer in Japan has just shared a year’s worth of best-selling cameras, and the list makes it clear that camera trends go well beyond the spec sheet.

Map Camera, a large retailer based in Japan where several major camera companies are headquartered, recently shared the list of best-selling cameras from the last fiscal year, between April 2025 through March 2026. And while the list contains several names that I expected to see, I wouldn’t have predicted how heavily the list is dominated by compact retro designs, nor that a brand outside of the three biggest names would take nearly half the top ten spots.

According to Map Camera, the best-selling cameras between April 2025 and March 2026 are:

1. Fujifilm X-M5
2. Fujifilm X-E5
3. Nikon Z5II
4. Sony A7 V
5. Fujifilm X100VI
6. Fujifilm X Half
7. Sony A7C II
8. Ricoh GR IV
9. Ricoh GR IIIx
10. Canon EOS R6 Mark II
11. Fujifilm X-T5
12. Nikon Zf
13. Fujifilm X-T30 III
14. Nikon Z50 II
15. Canon EOS R6 Mark III
16. OM System OM-3
17. Nikon ZR
18. Sony A7 IV
19. Canon EOS R5 Mark II
20. Fujifilm GFX100RF

I’m a Fujifilm shooter myself, but I was still surprised to see that’s the brand listed most on the list. I would have predicted the impossible-to-find-in-stock X100VI would be on the list alongside its mirrorless equivalent, the X-E5.

But the X Half had some mixed reactions at launch – it’s more affordable and retro, but doesn’t have RAW. The medium format GFX100RF is an excellent camera, but the price of medium format tends to make the genre a rarity among best seller lists. Yet, both of those cameras have been selling well in Japan.

Fujifilm’s most affordable – and most compact – current model takes the number one spot with the X-M5. The X-M5 doesn’t have Fujifilm’s best specs at 26.1MP with no viewfinder, but it’s small, affordable, and stylish, three things that have undoubtedly led to strong sales.

The X-E5 has fewer compromises than the X-M5 but is still rather compact – and it’s really the closest mirrorless to the viral X100VI compact camera. The X-T5 is Fujifilm’s retro SLR-inspired camera, and it has the weather-sealing and dual card slots that the X-E5 lacks. The X-T30 III likely makes the list for one of the same reasons as the X-M5 – it’s a more affordable but still capable option.

Nikon is also holding its own on the list. I’m not surprised that the Nikon Z5 II is the brand’s best-seller in Japan. The camera offers a full-frame sensor at a more affordable price point, and the low-light autofocus rating beats even pricier cameras.

The Nikon Zf also makes the list – which I find unsurprising because it’s one of the few retro-styled mirrorless cameras that offer a full-frame sensor. The Z5 II’s little sister, the Z50 II, also makes the list, along with the video-focused Nikon ZR.

The Sony A7 V is another camera that I would have predicted would hit the list – it’s been dominating Japan’s monthly ratings since its launch in December. The camera was only available for a few months out of the time period tracked by Map Camera – I suspect it may jump up a few spaces on the 2026 annual list.

Sony’s smaller full-frame camera, the A7C II puts a full-frame sensor inside and the rising trend for smaller camera systems. The Sony A7 IV, a longstanding favorite, also makes the list.

The Ricoh GR IV and older but longer-lensed GR IIIx is another camera duo that I would have expected to see on the list – but perhaps not so high up. The cameras pack APS-C sensors into a tiny design, and, like the X100VI, they are difficult to find in stock.

Perhaps the biggest surprise is that Canon nearly missed the top ten entirely – unusual considering Canon has been the number one seller of interchangeable lens cameras for 23 years. I wouldn’t let the rankings worry Canon fans, though – Canon has been posting record camera sales lately, so Canons are still clearly a popular choice.

The Canon R6 Mark II was the best-selling Canon mirrorless for the retailer, and its replacement the R6 Mark III – whose recent launch means it didn’t have 12 months of sales like some other models – also ranks high on the list.

The R6 series’ big sister, the R5 Mark II, also slides onto the list at 19th place.

There's just one Micro Four Thirds camera on the list: The OM System OM-3, a capable camera that blends the retro and compact trends nicely.

Camera sales in Japan don’t always translate to other regions, but with many camera brands based in Japan, the region’s best-seller lists are ones that photographers tend to watch.

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Photographer Jacek Hensoldt's work focuses on "the little wonderful things that we usually don't notice." To capture the hidden complexity of the macro world, he uses a powerful technique that brings out extreme details in tiny subjects: focus stacking.

Hensoldt applied this technique to capture Parasite – an image that was selected as a Finalist in Close Up Photographer of the Year's 'Death & Decay' challenge.

The photo reveals extraordinary detail in a cluster of shield bug eggs parasited by the wasp Trissolcus semistriatus – with one adult already emerged and others developing inside the remaining eggs.

Finalist 'Parasite'

Shot info
Gear: Olympus OM-D E-M1 Mark III + M.Zuiko Digital ED 90mm f/3.5 Macro IS + MC-20 2x teleconverter
Accessories: Godox V860III flash with diffuser
Exposure: 1/50sec, f/13, ISO 200
Post-processing: Focus stack of 32 shots merged in Helicon Focus

Hensoldt says, "This is a cluster of shield bug eggs parasitised by the wasp Trissolcus semistriatus. The females lay their eggs inside the host eggs, where the larvae feed on the contents – the death of one becoming the prerequisite for the life of another.

"Through the translucent eggshells, the tiny heads of the developing wasps are already visible; in some, you can even distinguish compound eyes and antennae. One adult has already emerged but seemed in no hurry to leave without its siblings, which allowed me to photograph the scene at a relaxed pace.

"The adult wasps are only 0.9–1.3mm long and completely harmless to humans. What fascinates me most is how symmetrically the eggs are arranged. The final image is a focus stack of 32 frames merged in Helicon Focus."

The CUPOTY competition

The main Close Up Photographer of the Year competition invites photographers from all levels and corners of the globe to showcase their finest close-up work, captured with any camera, camera phone, or even microscope.

Next to this annual competition, the CUPOTY runs themed challenges with a specific theme, like 'Death & Decay'. For more information and to discover more winning images, visit the CUPOTY website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from April to July.

I was really excited when I heard that OM System had produced an Astro version of its OM-3 camera. Mirrorless and DSLR cameras modified for astrophotography have been released regularly by Canon, Fujifilm, Nikon and Olympus in the past ten years. But few of them stay on sale for long. Released as special editions, they disappear almost as soon as they appear - a bit like a twinkling star!

The OM System OM-3 Astro has particular interest as the OM-3 already has a few features that make it an appealing option for astrophotography, such as its Starry Star AF system. But the appeal of the special addition is the modified sensor that is optimized to see the red Hydrogen Alpha (Hα) part of the spectrum, which is crucial for the best photos of nebulae and dying stars.

Historically, this kind of narrowband imaging has not been for the faint-hearted. Previously, obtaining an astro camera meant you modified a camera's sensor (in a similar way to an infrared conversion), to reveal the hydrogen alpha emission. But this came at the expense of rendering your camera warranty void and even run the risk of ruining the camera. A dedicated, out-of-the-box astro camera avoids these worries - so it is great to see this new OM System option.

It is worth pointing out that even with the OM-3 Astro, you are still going to need a star tracker. A budget option that I have tested and recommend is the MoveShootMove Nomad. A star tracker aligned to the celestial pole and coupled with dark skies, will reveal this nebulosity as glowing regions of deep red, crimson light. Areas of emitting hydrogen alpha gas (656nm) are formed by energized ultraviolet radiation, creating ionization of surrounding gas clouds. Although not directly visible to the unaided eye, the OM-3 Astro's converted sensor reveals another layer to the universe behind the lens of an astro image.

The camera comes out the box with a modified Infrared Cut Filter. Custom presets are selected by using the presets: CL 1 & 2 for different visual effects. CL 1 preferable for Ha emission; CL 2 for starry nightscapes.

For the short time, DCW had the use of the OM-3 Astro camera, I was ongly able to test for a handful of nights with far from ideal conditions. With the waxing gibbous moon (and the unpredictably of the British weather). But once the moon had set, I had approximately 30-minutes to trial and error the camera to capture the galactic core over the dark skies of The Mendip Hills Area of Outstanding Natural Beauty (AONB).

With a $2,499/£1,899 price tag, this option is a more affordable option compared to astro-camera options that have been released before. It is important to note that it does not have a full frame sensor, using a Micro Four Thirds sensor which around a quarter of the size

The camera is weather-sealed. It is reassuring to know if imaging for prolonged periods of time, condensation will not affect image performance internally or within more rugged environments. A lens heater however, is highly recommended for unexpected environmental conditions that may result in condensation on the lens (such as the CooWoo Lens Heater or the one from MoveShootMove).

I recommend a good quality lens when using this camera – one with greater light gathering and glass – such as the M.Zuiko Digital ED 7-14mm f/2.8 PRO lens – notot only to reduce coma and vignetting, but to result in an overall sharper image and greater light gathering in a short space of time. My tests, unfortunately, were made using the less-than-ideal M.Zuiko 17mm f/1.8. Shooting wide has the benefit of capturing a greater coverage of sky for more dynamic, wide-angle/fisheye perspectives of the night sky. The camera can also be used with telephoto lenses for images of galaxies and nebulae to reveal the Hydrogen-Alpha emission.

Starry Sky AF (incorporated into the OM-3 Astro) applies a special algorithm to focus on stars, even for smaller, dimmer pinpoint sources of light. This is a great consideration for those who may be less familiar with astro focusing and processes in low-light environments. Although this AF option as good, my personal preference is to manually focus stars on the stars for greater manual control. But equally good to know the technology is there for ease.

The 3-inch rear LED monitor is optimized for low-light environments and makes focusing stars way easier. Boosting the signal in low-light environments is easier to focus on stars without affecting both optical and imaging performance, offering another option to obtain focus over manual focus or the use of a Bahnitov mask. The ergonomics of the LED monitor allow for an articulated screen to flip and swivel at various angles – this is ideal for astrophotography when composing images at more complicated angles to align terrestrial and celestial subject matters.

Built into the camera is a specialized “stacking-based shooting” mode. This feature enables utilisation, alignment and stacking of 12 images in-camera (without need for a star tracker at shorter exposure) to produce a rendered 50mp image output. This process increases Signal-to-Noise-Ratio (SNR) for a cleaner result with noise minimised. A great consideration for Astrophotographers developing their skillset, but also allows photographers to obtain their rushes for more manual control in post.

When taking images just shy of an hour, battery levels of the OM-3's BLX-1 rbattery emained at 95% allowing for good imaging time of a single charge. Over its life span, a single charge is typically rated to last 590 shots per charge whilst operating the LCD monitor. A final consideration is the incorporated USB-C connection port, which allows for an external power bank to be attached and operate for longer durations outdoors.