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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Browse cameras from your favorite brand – these are the best Canon cameras, the best Sony cameras, the best Fujifilm cameras, the best Panasonic cameras, and the best OM System cameras. Or, compare the popular Ricoh GR series options.

The rise of the camera phone was met with a near-instantaneous plummet in the traditional camera industry. Now, more than a decade later, the industry is starting to show signs of a recovery – but can video cameras say the same thing?

The Ministry of Economy, Trade and Industry in Japan – where several key camera brands are located, including Canon, Sony, Fujifilm, Nikon, Panasonic, Ricoh and OM System – recently shared statistics suggesting that camera production is showing signs of recovery after both the growth of the smartphone and the COVID-19 pandemic.

The report echoes what the Camera and Imaging Products Association (CIPA) has already shared, but the chart that tracks the rise of the smartphone with the crash of the camera industry highlights another interesting trend: while the camera industry is recovering, video cameras are not.

Video, which is represented in blue while stills cameras are orange, drops off the chart entirely in 2021 – and, despite signs of recovery for still cameras, does not reappear in subsequent years.

Social media algorithms are far more video-heavy than ever before, so why aren’t cameras for video more popular than before? I believe there’s a very simple technological shift that highlights why video cameras have not recovered despite the popularity of the format on social media: the hybrid camera.

Dedicated camcorders are becoming fewer and farther between, as the industry shifts towards a hybrid approach. The transition towards hybrids started slowly with the rise of the mirrorless camera. While DSLRs could shoot video (albeit without the optical viewfinder), the transition to mirrorless brought smoother, smarter autofocus performance and in-body stabilization.

While camcorders are more scarce, “video cameras” are not – they’ve just taken on a new format. Video-focused mirrorless cameras have risen along with the social media video trend. Nearly every major manufacturer now offers at the very least a hybrid camera, but most now have entire series of mirrorless cameras that are video-first, photo-second.

Sony has the FX cinema camera line that includes models like the FX3 and dedicated cameras for vlogging like the ZV-E10 series. Canon has models designed with V for video, like the Canon EOS R50 V, and C for cinema, like the Canon EOS R5 C.

Nikon went and bought cinema-maker Red and launched the Nikon ZR. The Panasonic Lumix S1H even earned the Netflix stamp of approval, a first for mirrorless, with bodies like the Lumix S5IIX being a staple for content creators.

While the chart looks worrying for video cameras, it all comes down to how cameras are categorized. Cameras like the Sony FX3 are technically a mirrorless camera, but are far more geared towards video than still photography.

As the technology has shifted, cameras are becoming increasingly versatile – and harder to fit in just one single category.

And while camera makers have been selling more in the past couple of years than in the early 2020s, CIPA is predicting a slight slowdown for mirrorless cameras in 2026…

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Take a look at the best hybrid cameras, or dive into the best cameras for video.

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

New episodes of Bokeh Face are released bi-weekly, every other Friday, so our next episode will be released on September 04.

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

You can watch the episode in full below:

We Gear Up with the Polaroid Go Gen 3, while delving into one of the greatest comeback stories ever told. Make no mistake, the instant camera is more than just a flash in the pan!

In Focus this episode, we delve into the whip-fast world of AI-powered autofocus. But has it taken the skill and/or fun out of photography?

And in Trouble Shooting, James and Chris broach the truly riveting subject of lens hoods. What are the benefits? Are they essential? And should they come with every lens that you buy?

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

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

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Check out all our previous episodes of Bokeh Face, take a look at the best instant cameras, and if you haven't got a lens hood, try lens flare photography!

Canon has launched a photo exhibition for visually impaired students, saying the bespoke art display will enable young people with impaired sight to experience photography in a “completely new way”.

The private exhibition – which, unfortunately, isn't open to the public – is a collaboration with the Royal Society for Blind Children (RSBC), taking place at RSBC Dorton College in England.

On display are portraits created by seven of the college’s students during a Canon creative workshop, held at the college last year, which the camera manufacturer has now printed using raised, tactile ink.

Neale Conroy, marketing director at Canon UK & Ireland, said that the elevated-print technology will help visually impaired youngsters to “connect with creativity.”

He added: “It’s wonderful to see how this project has helped students experience photography in a completely new way.”

Canon developed the relief prints using its proprietary Prisma Elevate XL – a software application that uses height maps and multiple layers of UV-curable ink to build raised textures up to 4 mm high, giving images a physical dimension that can be explored by hand.

Prisma Elevate XL only works with compatible flatbed printers, with Canon using one of its own Arizona series models for this series. These printers have built-in UV lights to which the ink is exposed upon printing so that it hardens.

“Seeing students engage with their own work in such a tactile and meaningful way has been incredibly rewarding,” said Sarah Mallion, vice principal at RSBC College Dorton.

“The project has shown how technology can open up new ways for young people to connect with creativity.”

According to the RSBC, there are some 37,000 blind and partially sighted children and young people in England and Wales, and 4 more children are diagnosed with sight loss daily.

Mallion hopes that the Dorton College display, which will remain permanently, “marks the beginning” of more accessible exhibitions and learning experiences for visually impaired people.

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Here’s our pick of the best photo printers along with our review of the best Canon cameras.

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $500 at Adorama.

The Panasonic Lumix S5 IIX is now just $1,897.99 – this new low price lets you save $300 from its original $2,197.99 price tag.

The Sony A7 IV Bundle is now just $1,998 – you save $500 off the bundle's RRP of $2,498. (The body alone is reduced to $1,998...)

The Nikon Z5 Bundle is now just $1,146.95 – you save $300 off its previous $1,446.95 price. (The body alone is reduced to $1,146.95...)

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX as for the Sony and Nikon lineups, but there are plenty of third-party options from the likes of Sigma (a founding member of the L-Mount).

And if you want to keep using your older glass, adapters (such as Canon EF to L-mount) are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR and, thanks to the FTZ adapter, you can continue using your trusted Nikon F-mount lenses seamlessly. The only downside is that the Z5 doesn't have IBIS, which is usual at this price point. That means handheld shooting with longer lenses or video might require a steady hand or a tripod.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Wex – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Various news outlets have reported on the moment that an influencer, Tayane Dalazen, was bitten by a nurse shark while swimming off the Brazilian coast. But according to the BBC, in under a year no fewer than three influencers have been attacked.

The report goes a step further by highlighting evidence from a journal that both influencers and photographers are less likely to follow safety instructions.

This doesn’t surprise me one bit – and I suspect it’s a similar case on land. Earlier in the year I wrote an article about an incident where a photographer chased an owl around a field and refused to stop.

This past week, news broke that a stag in London’s Richmond Park was shot after attacking a man having a picnic. This wasn’t a photography-related incident, but the nature reserve is notorious for guests getting too close to the wildlife. And that includes photographers.

I’ve said it before and I’ll say it again: there’s a reason why the best wildlife photography lenses tend to be the expensive telephoto and super-telephoto variety. These optics are built precisely to enable photographers to get close enough without having to physically encroach on the animal’s territory.

And even with super-long lenses, you can still end up bothering wildlife. Skittish species, animals with young or animals in season can be easily spooked or aggressive.

I’m not going to go into the ins and outs of wildlife ethics right now – it’s a very broad subject – but if you leave this article with one thing in your mind, let it be this: if the animal’s behavior has changed, you’re probably too close and should slowly back off.

To be fair to the influencer involved in the latest wildlife incident, she was on an organized shark-diving trip and the BBC did report that “she says she 'wasn't there for social media' and didn't touch or provoke the shark”. And footage of the incident posted on Tayane's Instagram (above) shows that she didn't have a phone or camera in hand.

But these stories need to be told and creatives need to be warned, in a bid to help avoid incidents like this happening in the future. Tayane ended up with a big gash on her leg, but thankfully it was nothing worse. And kudos to her for talking about the experience and warning others.

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For more photography news, horrific photograph of starving polar bear still stands out as stark warning this World Photography Day. Now you can play Doom on this 26-year-old DSLR! Is Panasonic ditching Micro Four Thirds? This YouTuber thinks that an APS-C L-Mount camera might be on the cards – and it could spell the end for MFT.

The Canon PowerShot G7 X Mark III launched in 2019 at a time when compact cameras were losing steam to smartphones. But then, five years after it launched, something unusual happened: influencers discovered what the camera’s one-inch sensor and zoom lens could do. And suddenly, the aging G7 X Mark III was a viral sensation.

But because the Canon PowerShot G7 X Mark III’s viral fame came as point-and-shoots were declining, the camera’s fame came at a cost – literally. With the unexpected surge in popularity, the G7 X Mark III quickly went out of stock. Used prices shot up, and third-party sellers started charging far more than the camera’s $879 / £859 / AU$1,349 list price.

Canon hasn’t been sitting on the trend, either – the camera maker has already increased compact camera production several times. Last August, Canon officially said that the G7 X Mark III was among the models that had increased production and the company resumed orders for the popular camera in Japan.

But one year later, the Canon PowerShot G7 X Mark III is still so popular that it’s hard to find in stock – at least, at list price. In the US, even used models of the G7 X Mark III are selling for more than $1,500 at reputable used camera stores like KEH, MBP and Adorama.

The PowerShot’s popularity isn’t unwarranted. The camera uses a 20.1MP, 1-inch sensor that’s larger than that of the average point-and-shoot camera.

But while compact cameras with larger sensors aren’t hard to find, the G7 X Mark III also packs a 24-240mm equivalent zoom lens. That longer lens is more flattering for portraits, helping to drive the camera’s viral popularity among influencers and content creators.

But creators also rave about its built-in flash, which is far more powerful than that of a smartphone's. Where a phone uses LED lights, the G7 X Mark III uses a Xenon flash – which is more powerful and helps deliver that more retro direct flash look.

As compacts have resurged in trends, camera makers have been scrambling to add new options – and there are now far more to choose from than when the G7 X Mark III first went viral in 2024. Yet the camera still has a unique blend of sensor, lens and flash.

The new Panasonic Lumix L10 has a larger Micro Four Thirds sensor and a 24-75mm equivalent zoom, but there’s no flash.

The longtime favorite Sony RX100 VII – released the same year as the G7 X Mark III – has a longer lens and still has a flash, but the aperture isn’t as bright, and the list price is far higher (though about equal to what used G7 X Mark III’s are selling for).

Canon’s own PowerShot V1 has a similar sensor, but uses a wider lens with a shorter 16-50mm focal range for photos. Because the V1 is meant more for vlogging, the camera doesn’t have a built-in flash (though there’s a Multi-Function Shoe that supports some Canon flashes and standard flashes with a hot shoe adapter).

This year marks the PowerShot series’ 30th anniversary – and the milestone is coming at a time when compacts have made a comeback, despite the capabilities of camera phones.

Canon has increased compact camera production multiple times since the G7 X Mark III went viral and said that production will increase again in the second half of 2026. The question that remains is this: when will the Canon PowerShot G7 X Mark III be readily available at list price?

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A photography competition hosted by a pair of biological science journals has revealed the winner of its 2026 edition, with the crowned image depicting a damsel that's rather curious – not in distress.

Now in its third year, the BMC Ecology and Evolution and BMC Zoology image competition celebrates photos depicting the beauty and diversity of life on Earth. Photographers have to be affiliated with a research institution and work in either ecology, evolutionary biology, paleontology or zoology.

This year’s overall competition winner, Window to the Wetlands, came from Sritam Kumar Sethy, a nature photographer and self-professed “science enthusiast” studying at Berhampur University in northeastern India.

His photo captured an orange-tailed marsh dart damselfly (Ceriagrion cerinorubellum) framed by a hole in a leaf. Rather than flying away in distress, the curious insect stayed put, peering directly at the camera.

The competition judges praised the image as “beautifully composed and vivid,” with Sethy commenting that it sheds light on the “often-overlooked world of freshwater biodiversity.”

Along with Sethy’s overall winning scene, the judges crowned images in three separate categories.

First place in the Relationships in Nature category went to Victor Huertas from James Cook University in Australia, for his “dramatic snapshot” of two male giant Australian cuttlefish (Ascarosepion apama) competing for a female during an annual spawning aggregation.

Liam Brennan of the University of New Brunswick, Canada, took the Research in Action category for his “atmospheric” photo of students investigating the local fish population under a moonlit sky in shallow coastal waters.

Meanwhile, Allen Tian, a researcher at Queen’s University in Ontario, Canada, snagged the Protecting Our Planet category with a creative stereographic drone shot of Long Sault Parkway at the western end of the St Lawrence Seaway.

As the overall winner, Sethy took home €500 (approximately $580 / £420 / AU$820), while each category winner claimed €200 (approximately $230 / £170 / AU$330). The winning images will also feature in an editorial story published in BMC Ecology and Evolution.

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Here’s our pick of the best cameras for macro photography and the best cameras for wildlife photography.

Professional motorsport photographer Jamey Price has highlighted in an Instagram Reel the extreme limits imposed on unaccredited photographers at the upcoming Dutch Grand Prix, which runs this weekend (August 21 to 23) at Zandvoort race circuit.

Like any F1 grand prix, many spectators will be arriving in the hope of capturing the on-track action. But according to Jamey, “You are not allowed to bring anything with a detachable lens,” making the event one of the strictest on the calendar.

But before you blame the FIA (Federation Internationale de l'Automobile), other tracks are more lenient – so it seems like it’s the circuit’s decision. A couple of months ago, I went to the Spanish Grand Prix at the Circuit de Barcelona-Catalunya, which also has its own rules about what camera equipment you can and cannot take.

But although the rules are more lenient than Zandvoort, I still found it to be a frustrating experience, due to conflicting information both online and at the circuit. On the circuit’s ‘Rules for Visitors’ page, it states that capturing photography and video is allowed, but “professional equipment” is prohibited. Talk about loose terminology.

Then it says, “Actually, you don't need to be afraid of taking a high-quality camera with a telephoto lens and a tripod. However, you might have a problem with a large professional camera.” So can I bring a professional camera or not?

Then, on the same website’s FAQ page, it says “Professional-grade equipment (eg, large lenses, tripods) is not allowed unless accredited.” But the previous page said you shouldn’t be afraid of taking a tripod. So which one is it!?

As somebody who was traveling from overseas and had paid a lot of money for the privilege of being a spectator at a race weekend, I decided to take the small Nikon Z50 II and a Nikon Z 28-400mm f/4-8 VR as a precaution. So you can imagine my irritation when I turned up at the track and saw spectators milling around with pro-grade cameras and lenses, and not even hiding them!

I saw one person with a harness, from which three professional DSLR cameras were hanging, each bearing a telephoto or super-telephoto lens. And not a press lanyard or press bib in sight! The icing on the cake was when I found a lovely corner to set up and I had to stand next to a chap with my pro camera and my pro lens that I’d left back home for fear of having them confiscated.

James and I talk about the Sony RX10 V in the latest episode of the Bokeh Face podcast

Still, the Dutch Grand Prix certainly sounds like it’s much more stringent. And if you’re going to take anyone’s advice as to what you can and can’t bring to a race, it might as well be a pro F1 photographer like Jamey.

If you’re wondering what camera to take in light of this weekend’s regulations, the safe option would be a compact zoom camera. The better, but risky, recommendation would be a bridge camera like the recently released Sony RX10 V or Nikon Coolpix P1100. These cameras will give you oodles of reach and they’re both fixed-lens. The Sony would be a great choice as the AF is also top-notch.

However, I will add in the caveat that while they 'seemingly' adhere to the rules, it’s possible that security may question size and assume they’re professional kit. So, if you’re heading to the F1 this weekend to take photos, good luck!

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If you're not bothered about the aforementioned restrictions, check out the best cameras for sports photography. If you'd like to improve your motorsport photography, here's how to capture perfect panning shots. And if you're a petrolhead, here are my top car photography tips.

If you've been thinking about upgrading to a full-frame mirrorless camera or switching systems, now's a great time to make the leap. Featuring one of the highest-resolution sensors, the Sony A7R IVA is now available for just £1,999 at Wex.

With this offer, you save £250 on the 61-megapixel Alpha's regular price tag of £2,249.

If you're after a true powerhouse, the A7R IVA delivers incredible resolution for both stunning photos and cinematic video – without the bulk or high price of a medium format system, making this deal even more tempting.

At the heart of the A7R IVA is a 61MP back-illuminated full-frame sensor that captures razor-sharp detail and performs beautifully even in low-light conditions. This next-gen sensor technology will make your images stand out with clarity and richness.

Want to push the detail even further? With Pixel Shift Multi Shooting, you can create jaw-dropping 240.8MP composite images – this means you get imagery with 19,008 x 12,672 pixels (!)

If you shoot fast genres like action or wildlife, the real-time Eye AF with 567 phase-detection points has your back. It tracks humans and animals across 74% of the frame, so you never miss a moment – whether you're creating photographic or videographic work.

So, if you've ever had your eye on this camera and want to create visuals that rival medium format quality, now's the time to grab the Sony A7R IVA.

Check out our rundown of the highest-resolution cameras available today.

The earliest camera phones came with megapixel counts that required a decimal point. But as modern camera phones are surpassing the triple-digit megapixel mark, one camera store in Japan has noticed a trend: the low-resolution compact cameras from two decades ago are suddenly in high demand.

A used camera store chain in Japan, Five Star Camera, has such a large selection of older cameras – and, in particular, CCD-sensor-based compact cameras – that the store says around 90% of its customers come from overseas.

But a recent interview with the store’s representatives highlights a few key trends in the used camera industry – especially the dominance of early 2000s compacts, which have become so popular that some now sell for 400% their original price.

“Among compact digital cameras, models equipped with CCD sensors of around 5 to 7 megapixels are particularly popular,” Ryoya Hayakawa, the manager for the Nishi-Shinjuku branch of Five Star Camera, told Japanese publication DC Watch (translated by Google).

“Their grainy image quality is favored as a retro style that iPhones can't replicate. However, there's a tendency towards prioritizing looks over specifications, a trend often referred to as the ‘Y2K style.’”

While early 2000s digital compact cameras have been trending for a few years now, the interview highlights a key reason behind the trend: “Looks over specifications.”

The demand for 20-year-old compact cameras is about getting a certain look to the images. Digital cameras have now largely moved away from CCD sensors to CMOS, but the older sensor format is particularly well known for its color rendering.

Whether or not CCD sensors deliver a more “film-like” look is a highly debated topic among photographers, but Y2K-era cameras in themselves have a unique retro look: the lower-resolution files, early digital color science and cheaper lenses inside basic point-and-shoots create a certain quality.

That was often paired with a powerful direct flash that, in itself, also carries a retro vibe.

The drive ”backwards” towards less perfect, low-tech cameras is an interesting turn as digital photography reaches exceedingly advanced capabilities with high resolution, global shutters, and faster frame rates.

The trend towards older cameras highlights the fact that the value in a photograph is often not the technical quality but the memory itself.

Yet there is a downside to the continued trend towards using old compact cameras: price. Five Star Camera noted that some models are going for four times their original price, such as early Ricoh GR series cameras.

The interview echoes a previous report from another camera store in Japan, Komehyo, that hinted the demand for used compact cameras has increased five times over what the market looked like five to six years ago.

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The compact camera trend is putting portability back in the spotlight, but one start-up is working to build a camera so small, it’s only about the size of a lipstick and weighs less than a golf ball. The SNYP Pocket Camera is an unusually shaped camera with a rotating lens.

The SNYP Pocket Camera weighs just 33g, but the rectangular shape and small size mean you'd be forgiven if you mistook it for a tube of lipstick.

The size isn’t the only unusual feature. The camera’s lens, which sits at the top of the “lipstick” tube, can rotate 360 degrees. That rotation allows users to still see the 1.45-inch screen when snapping selfies.

The small camera still manages to fit in a 16MP resolution for stills and 2K for video, though the start-up doesn’t say what size or kind of sensor is tucked inside the tiny camera.

The SNYP Pocket Camera comes with a handful of built-in filters that swap with the press of a button. There’s one inspired by retro film, but there’s also another inspired by CCD sensors and early 2000s compact cameras.

Because of the small size, there's no built-in flash.

Along with shooting photos and videos, the camera has an audio-only mode, allowing it to double as a voice recorder.

At the bottom, the camera has a microSD card slot and a USB-C port for charging and transferring images. At the top, the camera has a vent for cooling and heat dissipation.

The size of the Pocket Camera reminds me a bit of the Kodak Charmera. The camera from SNYP lacks a keychain and comes with an unusual rotating lens and higher resolution, but the compact design, built-in screen, and different filter options feel like the upcoming camera could be trying to go after the same audience.

The SNYP Pocket Camera is launching on Kickstarter, with the campaign ending on August 26. Pledges begin at $49 (about £36 / AU$69 CA$68), with shipping estimated for November 2026. The camera is expected to retail for twice that outside of the crowdfunding platform.

All crowdfunding pledges carry some risk. The Pocket Camera is the first campaign from the startup SNYP.

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One researcher at Michigan State University says he’ll be spending the next three months pulling memory cards on more than a thousand trail cameras – yet the data powered by the camera traps is proving to be more reliable and less intensive than traditional methods of monitoring the health of the endangered gray wolf population.

In Michigan’s Upper Peninsula, the gray wolf population has recovered enough that the species may no longer need to be labeled as endangered, according to the state’s Department of Natural Resources (DNR).

The insight comes from a series of 1,311 trail cameras, the first time the state has successfully tracked and monitored the gray wolf population for an entire year.

While the gray wolf is still a federally protected species, the latest research suggests that the numbers have exceeded the DNR’s population recovery goals. Data from the camera surveys could help the gray wolf be officially reclassified as a recovered species.

While researcher and doctoral candidate Matt Nelson says he will be pulling memory cards to gather the next year’s worth of data from now until October, the series of trail cameras is proving to be a less labor-intensive and less weather-dependent method of monitoring the species’ population.

Previously, the DNR would track the population of the gray wolf using snow tracks in the winter, which could follow wolf packs across as much as 60% of the Upper Peninsula. But monitoring the health of the species by snow tracks only offers a seasonal insight into the population and can be highly weather-dependent.

Using a series of trail cameras, researchers used machine learning software to analyze the images and flag wolves and disregard other species, with researchers fact-checking the computer program for accuracy. The count was then put into an “event-to-space” algorithm that estimates the population based on what the cameras detect.

At the same time, researchers continued to use snow tracks while the trail cameras were used. Both studies found a similar estimate for the wolf population, suggesting that the trail cameras have a similar accuracy.

The snow tracking method estimated 768 wolves, while the camera survey estimated 773 during the winter of 2024. In the fall months, the camera population estimate exceeds 1,000 wolves, with the highest being 1,198 in October 2024.

The fact that the trail camera survey didn’t lead to any surprises compared to traditional survey methods suggests that the tech is accurate. “There were no real surprises. The camera survey worked really well and aligned with what we know about wolf ecology,” Nelson said.

By using a series of trail cameras, researchers were able to monitor the fluctuation of the wolf population across an entire year, noting that the count was the lowest in the winter but surged again in the spring after the birth of new pups.

The cameras tend to detect the most wolves in the fall, as that’s the time of year when the younger pups are old enough to join the pack instead of staying behind in the den.

The Michigan DNR has a similar program for tracking the gray fox, but the trail camera system could eventually be used to track the population of more than those species.

Next, researchers are pulling SD cards from more than 1,000 cameras for the 2025 data.

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Browse the best trail cameras or the best cameras for wildlife photography.

Every year, DarkSky International – a global nonprofit advocating for reduced light pollution and protecting the nighttime environment – runs a photography competition.

From incredible astrophotography to artificially-lit cityscapes, the event highlights truly spectacular scenes (many of which our eyes would never perceive without a camera to reveal) along with the growing threat to our night sky.

The 2026 edition of the competition has now wrapped up and, from the 9 category winners, there were 3 images in particular that stood out to me.

“The Chasm”

It might take a second for your mind to figure out what’s going on in this image. The luminous green lights are glow worms lining the walls of a deep natural cavern, while the Milky Way shimmers overhead.

But even more fascinating than the image is the story behind it. Astrophotographer and guide Tom Rae rappelled more than 330ft / 100m into a vast cave system on New Zealand’s North Island at night.

He told the competition organizers how the “extreme humidity, subtle light from the glow worms and long exposures” pushed his skills to the limit.

Technical details: Tracked panorama | Nikon Z8 + Z7II | Nikkor 20mm f/1.8 + Sigma 40mm f/1.4 | 180 sec / 30 sec • f/1.8 • ISO6,400 / 1,600

“Razorback”

Another New Zealand-based astrophotographer, Paul Wilson, created this image from Razorback Lookout in South Australia’s Flinders Ranges. I love how the majestic Milky Way arches over the distant mountains, while the winding dirt road in the midground almost mirrors it.

According to Wilson, a pair of irregular dwarf galaxies – the Large and Small Magellanic Clouds, located roughly 163,000 and 200,000 light-years away from Earth, respectively – are also visible.

Speaking to DarkSky International, Wilson said: “It celebrates the remarkable clarity of Australia’s dark skies, where multiple celestial phenomena can be experienced together above an iconic outback landscape.”

Technical details: Tracked panorama | Canon EOS R5 | Sigma 28mm Art | 30 secs • f/2.5 • ISO3200

“Aurora over the Prince Christian Sound”

What jumps out to me with this image, captured by Finnish astrophotographer Dennis Lehtonen, is the way the aurora bends through the sky, almost as if painted with a brush.

Lehtonen – who spends his time roaming remote Arctic communities in search of the best Aurora sightings – took the photo near Aappilattoq (also called Rødfjord), a village in the Kujalleq municipality in southern Greenland.

He told the competition organizers he spent hours “jumping from one ice-covered rock to another" searching for a photo location, following a promising aurora forecast. The astrophotographer believes luck was on his side, as the lack of wind allowed for reflections in the water.

Technical details: Single exposure | Sony A7 IV | Sony FE 14mm f/1.8 GM | 2.5 secs • f/1.8 • ISO2000

These three brilliant images not only encapsulate awe-inspiring scenes, but also highlight the importance of why DarkSky International fights for reduced light pollution. Fantastic work from all three photographers!

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Here’s a Jamie Carter, our expert astrophotographer's, pick of the best camera for astrophotography.

Patent applications are always worth keeping an eye on for a hint of what might be coming down the pipeline from major manufacturers – and Canon has just filed an interesting one.

Patent JP 2026-132879 (P2026-132879A), just published by the Japanese Patent Office and reported by Japanese news outlet Asobinet, was filed by Canon and includes multiple lenses with a diffractive optical system that are designed for use with very small sensors – the kinds of sensors that are used in camera phones.

The three lenses themselves are listed as having focal lengths of 5.53mm, 6.79mm and 8.70mm, which on a smartphone sensor would work out to equivalent focal lengths of 45mm, 55mm and 70mm. The listed f-numbers for the three lenses are f/2.5, f/2.7 and f/2.9 respectively.

Naturally, patenting the lenses could mean any number of things. Personally I doubt that Canon is about to start producing its own smartphones, but it could be that the manufacturer is planning on releasing standalone lens attachments for smartphones.

Alternatively – and personally I think this is most likely – it could be that Canon is partnering up with a smartphone manufacturer to lend its tech to a handset’s camera module, the way that Leica does with Xiaomi phones like the Xiaomi 17 Ultra and Hasselblad does with the Oppo Find X9 Ultra.

Our own Gareth Bevan described the Oppo in particular as one of the best camera systems he had ever used on a phone.

I’d definitely be excited to see a smartphone come equipped with Canon camera tech – particularly if Canon’s excellent color science also arrived as part of the package!

Like many tech companies, Canon files patent applications all the time – indeed, it has actually been the Japanese company that files the most patents for more than two decades – and many of them never become released products.

Nevertheless, I’ll be keeping an eye on this one and will be interested to see whether anything more comes of it – after all, Canon has time and again shown itself to be a manufacturer that isn’t afraid to take risks and try new things.

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Check out our roundups of the best Canon cameras and the best camera phones – and who knows, maybe one day soon we will see some crossover between the two?

“Where were you on 9/11?” The answer to that question for many Americans, including myself, is that we were watching the events unfold across our television screens. But for photojournalists, the answer is quite different: they were watching history unfold from behind a camera.

Ahead of the 25th anniversary of the 9/11 terrorist attacks, more than 30 photographers are coming together to share their stories of what it was like to photograph the event that changed modern American history.

Projections NYC is bringing together the photographers, photojournalists and photo editors who witnessed 9/11 and the events that followed firsthand. For 6 days, the organization will broadcast live interviews with the photographers, beginning on September 06 at 19:00 EST.

The series has already confirmed more than 30 photographers, including Spencer Platt, who photographed the moment the second plane struck the World Trade Center; Steve McCurry, who photographed the towers falling from the roof of his apartment building; and Eric Draper, who was the Chief White House photographer at the time.

Additional photographers confirmed to be part of the event include Joel Meyerowitz, Pete Souza, Ron Haviv, Jennifer S Altman, Thomas Franklin, Mark Edward Harris, MaryAnne Golon, Stan Honda, Ruth Fremson, David Friend and Rabbi Irwin Kula.

The series of interviews follows the tragedy of 9/11 across Ground Zero, Flight 93, the Pentagon, the White House and communities across America. Projections NYC says that the series covers not just the first photographs of 9/11 but also the photographers following the aftermath over the ensuing years.

The series arranges the interviews across 6 days, culminating on the 25th anniversary of 9/11. The interviews will both be broadcast live worldwide and recorded for the public record, the organization says.

“Before history was written, it was photographed,” the organization wrote. “… They edited the images that informed the world. They documented not only a single day, but the years that followed, creating an enduring visual record of one of the defining events of our time.”

The series is set to livestream each evening between September 06 and September 11 at 19:00 EST via Zoom. Reservations for the Zoom broadcast are available from Projections NYC.

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £700 at Amazon or Wex.

The Panasonic Lumix S5 IIX + 20-60mm and 50mm is now just £1,699 (inc. cashback) at Wex – you save £700 off the bundle's RRP of £2,399. (The body alone is reduced to £1,399 inc. cashback...)

The Sony A7 IV is now just £1,999 at Wex – this new low price lets you save £401 off its original £2,400 price tag.

The Nikon Z5 is now just £645 on Amazon – you save £604 off its £1,249 RRP.

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX available as is the case within the Sony and Nikon lineups, but there are third-party options like Sigma available.

And if you want to keep using your older glass, Canon EF to L-mount adapters, for example, are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR, and thanks to the FTX adapter, you can continue using your trusted F-mount lenses seamlessly. The only downside is that the Z5 doesn't have IBIS, which is usual at this price point. That means handheld shooting with longer lenses or video might require a steady hand or a tripod.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Wex – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Compact cameras have been rapidly rising in trends, but the latest list of trending cameras from Japan hints at another trend that may be prevailing over size: zoom. Some 40% of the best-selling compact cameras in Japan have at least 15x zoom, including the newly launched Sony RX10 V bridge camera.

The data comes from Japanese camera retailer Yodobashi’s list of best-selling compacts for the second half of July. While the list includes several repeat offenders – like the top-ranked Canon PowerShot G7 X Mark III, the Canon PowerShot SX740 HS and the viral Fujifilm X100VI – one camera on the list is so new that sales were only open for a single day in July.

The RX10 V only became available on July 31, but the bridge camera came as a surprise announcement after Sony had previously discontinued the 1-inch sensor zoom series without a sign of a replacement.

The RX10 V is hardly a “compact” camera; it weighs about 2 lbs / 1,111g, thanks to a highly versatile 24-600mm equivalent lens. As a bridge camera, it looks more like a small DSLR than a point-and-shoot camera, but Yodobashi defines anything with a fixed, non-removable lens as a “compact camera,” so the superzoom made the list.

The Sony RX10 V sits squarely in the middle of the top ten at spot number five, but that’s quite an impressive ranking for a camera that, technically, only had one day of sales compared to the other cameras on the list that were available during that entire time period.

The RX10 V is one of four cameras on the list with a versatile zoom lens. The PowerShot SX740 HS (second place) has the longest of the bunch with a 40x lens, followed by the Panasonic Lumix TZ99 / ZS99 with a 30x zoom (eighth place), the RX10 V with 25x (fifth place) and the Panasonic Lumix ZS300/TZ300 with a 15x zoom lens (tenth place).

The list hints that zoom remains a key feature for compact cameras – even when that zoom makes the camera no longer pocketable, as is the case with the Sony RX10 V.

While the list is dominated by cameras with zoom, compacts with oversized sensors remain highly popular. The Fujifilm X100VI sits in third place, but is out of stock and likely could have ranked even higher had more been available.

The Ricoh GR IV – which, like the X100VI, has an APS-C sensor – is also so popular that it’s out of stock at the retailer, but still manages to earn a sixth-place spot in the rankings.

While much of the list leans towards cameras with zoom, the GR IV and X100VI use lenses without optical zoom, instead fitting a larger sensor and brighter aperture into a portable design.

The list also includes one popular vlogging camera, the Sony ZV-1 II, which has an 18-50mm equivalent lens.

The list also highlights the popularity of point-and-shoots that sit on the more affordable side, with two budget models on the list, the Canon PowerShot Elph 360 HS A (known as the Canon IXY 650m in Japan) and the Kodak PixPro C1.

The best-selling compact cameras at Yodobashi, second half of July 2026

1. Canon PowerShot G7 X Mark III
2. Canon PowerShot SX740 HS
3. Fujifilm X100VI
4. Sony ZV-1 II
5. Sony RX10 V
6. Ricoh GR IV
7. Canon PowerShot ELPH 360 HS A
8. Panasonic Lumix TZ99
9. Kodak Pixpro C1
10. Panasonic Lumix ZS300/TZ300

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Wildlife photography comes with an important responsibility: never get too close or disturb an animal just to get the perfect shot.

Wildlife and underwater photographer Leighton Lum kept his distance when he captured the special moment between a Hawaiian monk seal named Kaiwi and her young pup on a busy beach in Waikīkī.

The heartwarming image shows the pup resting its head on its tired mother, just weeks after being born. The moment was particularly special as the pup marks the sixth Hawaiian monk seal birth ever recorded at this location – one of Hawaii's busiest and most popular beaches.

To keep his distance, Lum used a 500mm telephoto lens and 1.4x extender, giving him 700mm of reach while shooting with one of Canon's finest stills cameras.

Lum has spent nearly a decade teaching photography and leading expeditions around the world, using photography to raise awareness. Now, his photograph of the Hawaiian mother and pup duo has been selected as a finalist in the prestigious Ocean Photographer of the Year awards in the Conservation (Hope) category.

Finalist: Conservation (Hope) – Photographer of the Year

Gear info
Camera: Canon EOS R5
Lens: Canon EF 500mm f/4L IS USM + Canon Extender RF 1.4x

The story behind the still
As Lum explains: "Mothers nurse their pups for around six weeks without feeding, losing up to a third of their body weight while the pup grows rapidly before becoming independent.

"Despite choosing one of Hawaiʻi's busiest beaches to raise her pup, Kaiwi has successfully raised several pups here. It does, however, require the support of conservation teams and volunteers – DLNR enforcement, NOAA and volunteer groups coordinating barriers and round-the-clock patrols to ensure that tourists and locals wouldn't get too close during such a sensitive window."

The winners of the Ocean Photographer of the Year competition will be announced in September. The award is presented by Oceanographic and Blancpain.

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Browse the best cameras for wildlife photography and the best lenses for bird photography and wildlife.

Looking for competitions to enter? Here are 10 global photo contests now open for entries from August 2026 to January 2027.

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

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

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

Nikon Firmware Downloads

Firmware version 1.20 (Nikon Z5II)

Firmware version 1.9 (Nikon Coolpix P1000)

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

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

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

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

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

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

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

Viltrox has a further five new lenses due shortly, increasing its rapidly-expanding lens line-up. The new lenses include the:

• Viltrox AF 35mm f/1.4 Pro (full-frame, E-mount & L-mount)
• Viltrox AF 18mm f/1.2 Pro APS-C (E-mount & L-mount)
• Viltrox AF 40mm f/1.2 Pro APS-C (E-mount & L-mount)
• Two new Air lenses

As the lenses are yet to be officially announced, we don't yet know many specifications. They are however on display at the BIRTV2026 show in Beijing, which takes place August 19-22.

Photorumors.com has several hands-on photos of the AF 35mm f/1.4 Pro, as well as a few details about it. The lens is said to have a 77mm filter thread, a minimum focusing distance of 0.3 meters, VCM (voice coil motor) focusing, and a metal barrel.

As for the 18mm and 40mm lenses; I'd fully expect E-mount variants, but I’m surprised to see that L-mount versions are supposedly due to follow at a later date. This seems a strange mount option, given both are APS-C lenses. There are no new APS-C L-mount cameras, and the few that were produced such as the Leica CL and TL have now been discontinued.

There is a faint possibility that Viltrox might actually be ahead of the game here though. There has been a recent rumor that Panasonic could ditch the Micro Four Thirds sensor format in favour of APS-C. Assuming it would stick with the L mount, then APS-C L-mount lenses would suddenly be in demand.

Back to Viltox though and we can likely expect full details, including pricing and availability of its five new lenses in a matter of days.

Sony’s latest cinema camera, the FX5, was announced back in July to enormous fanfare, huge excitement and massive sales. However, those who put their pre-orders down are going to have to wait – as the previous warnings of shipping delays until September have now turned into an indefinite postponement, with no official release date.

In a statement on its Japanese website, Sony announced that the release of the FX5 and its related accessories – an OLED viewfinder, an XLR handle unit and a timecode adapter cable – will be postponed due to unspecified "production issues".

The announcement comes pretty close to the last-minute, shortly before the camera’s stated release of August 21. And Sony has been unable to specify a new release date, meaning it could be a while before filmmakers can get their hands on the new camera.

The FX5 is billed as a lightweight cinema camera for professionals, slotting into the range between the Sony FX3 and FX6. Its headline feature is its capacity to shoot 5K 60p open gate video that uses the full 3:2 sensor area – though many features like 5K 120p open gate and cropped 4K 240p modes have been confirmed as coming along later, via firmware, and won't be present on the camera as released.

Billed as 'handheld Hollywood', the FX5 proved much more popular than Sony anticipated, with pre-orders flying in immediately after the camera was announced on July 28. It’s unclear whether the delay is related to the huge volumes of pre-orders, or some other unanticipated issue – Sony is remaining pretty tight-lipped about the specifics.

The Sony FX5 costs $4,898 / £4,700 / AU$7,849 body-only, or $5,498 / £5,200 / AU$8,849 in a bundle with the XLR handle. Pre-orders are still open – but I’d say it might be worth holding off for the time being. There are plenty of other excellent Sony cinema cameras you can get your hands on instead…

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Check out our roundups of the best Sony cameras and the best cinema cameras for some options that you CAN get your hands on.

Today is World Photography Day – and if you needed an excuse to finally buy that new camera you have been eyeing up, I really cannot think of a better one.

August 19 is a celebration of photography, photographers and the simple joy of capturing a moment, and B&H has some seriously tempting deals on cameras from Canon, Nikon and Sony right now.

Whether you are looking to move to full-frame mirrorless, upgrade an aging body or even stick with a traditional DSLR, there are savings of as much as $900 to be had.

Starting with two excellent all-rounders, the Canon EOS R6 Mark II is now $2,099, down from $2,299, saving you $200. It might no longer be Canon's newest 6-series camera, but its 24.2MP full-frame sensor, excellent Dual Pixel CMOS AF II autofocus and 4K 60p video still make it a seriously capable hybrid camera.

Nikon shooters have an even bigger saving on the Nikon Z6 III, which has dropped from $2,696.95 to $2,196.95, taking a huge $500 off the price. With its 24.5MP partially stacked full-frame sensor, 6K RAW video and fast autofocus system, it is one of Nikon's strongest do-it-all mirrorless cameras.

Sony also has one of my favorite deals of the bunch, with the Sony A7 IV now available for $1,998 instead of $2,498. That is another massive $500 saving on a camera that still has a lot going for it, including a 33MP full-frame sensor, 10fps continuous shooting and 4K 60p video.

If you need more resolution and have a bigger budget, the Canon EOS R5 Mark II is also discounted, falling from $4,399 to $4,099. A $300 saving is nothing to sniff at on a professional camera packing a 45MP stacked full-frame sensor, shooting at up to 30fps and offering 8K 60p RAW video.

However, the biggest saving this World Photography Day belongs to the Nikon Z8. Normally priced at $4,296.95, B&H has chopped a whopping $900 off, bringing it down to just $3,396.95. For that money, you are getting a 45.7MP stacked full-frame sensor, seriously fast shooting performance, and powerful video credentials including 8K recording.

The Z8 has long been one of Nikon's most impressive professional mirrorless cameras, essentially offering much of the power of the flagship Z9 in a smaller body – and a $900 saving makes it considerably easier to recommend.

And if you are not ready to say goodbye to the DSLR just yet, there is also a brilliant deal on one of the greatest DSLRs ever made. The Nikon D850 is currently $1,996.95, down from $2,596.95, saving you a substantial $600.

Mirrorless might dominate the camera market today, but the D850 remains a photographic powerhouse. And for anyone with a collection of Nikon F-mount lenses or simply a love for an optical viewfinder and traditional DSLR handling, getting a brand-new D850 for under $2,000 is incredibly tempting.

Finally, at the very top end of the market, the Sony A1 II has also received a rare discount. Sony's flagship mirrorless camera is now $6,798 instead of $6,998, giving you a $200 saving. It is still a huge amount of money, of course, but the A1 II is built for professionals who need one camera capable of doing almost everything, with a 50MP stacked full-frame sensor, shooting speeds of up to 30fps, advanced AI-powered subject tracking and 8K video.

World Photography Day only comes around once a year, and with everything from the mighty Nikon D850 to the flagship Sony A1 II currently discounted, there really could not be a better excuse to treat yourself to a new camera.

You need only to watch a single Sir David Attenborough wildlife documentary to know that nature isn’t fair.

But when renowned wildlife photographers, Cristina Goettsch Mittermeier and Paul Nicklen, documented a severely malnourished polar bear during a SeaLegacy exhibition roughly nine years ago, it hit home hard – very hard.

The uncomfortable images and footage captured in August 2017 weren’t just another cruel example of the circle of life, but an image of one of Earth’s most magnificent creatures, reduced to a skeletal shadow of its former self. And depending on whom you asked, it was all our fault.

Cristina herself did explain in an Instagram post (above) that the cause of the bear’s state was impossible to tell. However, comparisons with climate change were inevitable.

Polar bears have long been used to raise awareness of melting glaciers, due to the impact to their habitat. And indeed, the image has been shared, once again, by @pawnewsnetwork with the headline: “The heartbreaking polar bear photo that changed how millions see climate change.”

In a world where questions are being raised regarding the impact of AI on the environment, images such as this are hugely important in raising awareness about the potential wider impact on our planet's species.

When photography can sometimes seem less relevant than it ever has done, instances like this are a stark reminder of the staying power of great imagery.

Even in this age of video, I still believe that a single frame carries more weight. There’s no lead up to the decisive moment, no lingering afterwards, it’s simply there, for the viewer to see whether they like it or not.

What Cristina and Paul captured that day is some of the most visceral, evocative and heartwrenching wildlife imaging I’ve ever seen. As soon as I was assigned this article, I could see an image of the polar bear in my mind’s eye before I even clicked on the link.

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Check out the best camera for wildlife photography. Plus, “I started screaming because I know what shelling looks like” – dolphin photographed performing extremely rare behavior. Photographer paddled a kayak to the edge of the continental shelf and waited. The feeding frenzy that emerged reminds us: the best wildlife shots come from watching, not chasing.

Most multi-colored lights can only reach maximum brightness on the white color setting, but the brand known for its retro-styled lights has introduced a light that can still hit full power up to 120W at every one of its 36,000 possible colors. The Harlowe Max Spectra is a portable LED video light that is not only built for color but uses a “magic lens” to project moving special effects.

Harlowe says that no other light in the same class can create such a wide range of colors at full brightness. The difference comes from designing the LED light so that every color channel has its own power allocation. The light can blend the red, green, blue, cool white, and warm white channels into thousands of different colors, without losing brightness.

While the ability to switch colors without loosing power is key, Harlowe also gave the Max Spectra another unusual feature: a “magic” lens that allows the light to project different patterns. Those patterns can be mixed with the color capabilities to build creative effects, like imitating the look of water ripples.

Harlowe says the lens attachment can be used to create special effects without a gobo projector or VFX, creating special effects – or custom backdrops from a plain white background – using the light and lens attachment.

Besides the lens attachment, the lens uses a magnetic mount that supports modifiers, with a barn door, frosted dome, and honeycomb grid included with the light. A fresnel lens attachment will also be available to boost the light’s brightness by four times.

The light comes in at three different available strengths. The 40W is the lightest and most affordable, the 80W sits in the middle, and the 120W is the most powerful in the lineup. All three lights use the same battery pack, so the 40W can get about 2 hours and 18 minutes at full power, while the 120W can get about 40 minutes at full power.

The light is built to be used on-site with an aluminum build and an IP65 weather-proof 99.36W battery, but the light is also compatible with AC power for studio use. The light can be controlled from the built-in screen and dials, or using a wireless connection to a smartphone app.

The Harlowe Max Spectra launches in three different power variations, but each light also comes in either a standard Creator Kit that includes modifiers, a handle, an AC adapter, and a carrying case, while the Magic Kit adds the lens for creating patterned light. The 40W Creator Kit starts at $849 / £649.20 / CA$1,195.

The light is available directly through Harlowe, with pre-orders also open in the US at B&H Photo.

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When it comes to videogames, there are two certainties in life: Guile's theme goes with everything and everything can play Doom.

From ATMs to calculators and even pregnancy tests, the groundbreaking MS-DOS videogame from 1993 has been played on what seems like every piece of technology. And now, the latest tech to answer the question "Can it play Doom?" is a DSLR that's over a decade old.

The Canon EOS 550D – known as the Rebel T2i in the US and the Kiss X4 in Japan – isn't just one of the best cameras for beginners; it's the best camera if you want to play one of the most iconic first-person shooters of all time.

While it was reported back in May that someone got Doom running on a Nikon Zf, there is some doubt online as to whether it was real or a sneaky bit of video playback.

However, the feat has been performed on the 550D using Magic Lantern – custom firmware developed in 2009 for Canon cameras that runs from a memory card and adds a host of features such as dual ISO, RGB histogram, zebras, new grids like the Fibonacci spiral… and now, the ability to run Doom, as you can see below:

Canon is always telling us how clever its Digic processors are, but I'll bet the company never envisioned that the Digic 4 chip in its 2010 camera would be used to run a videogame!

As you'd expect, the D-pad on the back of the camera is used to navigate while the SET button fires your weapon. The hack even employs the 550D's speaker to emit in-game audio and effects, which again is something I bet Canon's engineers could never have predicted.

According to Tom's Hardware, the developer said that the port only works on a Canon EOS 550D running firmware version 1.0.9, specifically noting, "Do not install this binary on another camera model or firmware version."

There are full instructions on how to install and run everything in the Tom's Hardware report, but I cannot stress strongly enough that Magic Lantern is a completely unofficial project and is in no way endorsed or supported by Canon.

In fact, running it could potentially brick your camera and also invalidates your warranty – so think carefully before you go blasting Martian monsters on your camera.

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Micro Four Thirds (MFT) users received a shock last month when news filtered out that Panasonic had abruptly discontinued three more Micro Four Thirds lenses.

The Lumix S Pro 70-200mm f/4, Lumix G 42.5mm f/1.7, Leica G 12-60mm f/2.8-4 and Leica DG Summilux 25mm f/1.4 II were all listed as discontinued on Panasonic’s Japanese website.

Of course, manufacturers discontinue products all the time. But it’s normally because the products have direct replacements already in the ecosystem – which these lenses don’t.

And this, combined with the fact that there was no formal announcement of the discontinuation, has led some users to be concerned about how committed Panasonic is to the future of Micro Four Thirds cameras and lenses alike.

It was in this frame of mind that I sat down to watch a recent Q&A video by Australian YouTuber, Geeky Nerdy Techy (real name Shane – he’s great), in which he posits that Panasonic might be planning on introducing Super 35mm / APS-C cameras for L-Mount.

Further, that the next camera in its video-centric GH line – presumably the GH8 – might end up joining the L-Mount Lumix S system, with a Super 35mm sensor rather than full-frame.

ABOVE: Watch Geeky Nerdy Techy's video

It’d be similar to what Sony did with the FX30 and, as Shane says, it would make a lot of sense.

The larger sensor could assuage the concerns that some users have over MFT’s low-light ability – even though, as Shane points out, and as my editor James is no doubt screaming as he reads this, that hasn’t really been an issue for several generations now.

It also could be useful for people who are already invested in the ecosystem of L-Mount lenses, enabling them to construct a setup where they can switch between full-frame and Super 35mm and keep using the same glass.

But where would that leave Micro Four Thirds? That’s the thorny question – and Panasonic’s unceremonious discontinuation of its MFT lenses doesn’t inspire confidence.

While manufacturers generally won’t tell you that they’re giving up on a system, products being discontinued without new ones to replace them is often a sign that, as Shane says, "the writing is on the wall".

Look at Canon and Nikon. They never formally announced that they were giving up on DSLRs – they just stopped making new ones. I’m sure if asked, Panasonic would reaffirm that it is committed to Micro Four Thirds. But how many years did Sony spend making the same claims about A-mount?

An MFT to L-mount adapter unfortunately isn’t really possible, due to near-identical flange distances of the two systems (it’d have to be inconceivably tiny).

We’ll have to wait and see what Panasonic’s plans are for the venerable MFT system that it co-founded with Olympus – but I’m hoping there’s still life in the old dog yet.

You may also like…

Our roundup of the best Micro Four Thirds lenses includes many fantastic options still plentifully available for the system.

Japan's latest compact camera sales rankings are in – and the same three point-and-shoot cameras are dominating the top of the chart once again.

At number one is the Kodak Pixpro FZ55, which was crowned Japan's overall best-selling camera of 2025 – a ranking that included mirrorless cameras, not just compacts. But close behind sits the real retro everyday champion.

The Pixpro FZ55 was originally launched in 2023 and features a 16MP sensor with 5x zoom. Available for only $139.99 / £129, the little camera is a familiar face at the top spot. But also on the podium is a camera that we've seen several times: the Kodak Pixpro C1, taking the second and third spots in different color variations.

The Pixpro C1 is a camera you can throw in your bag for casual fun. Compared with the Pixpro FZ55, it features a 2.8-inch rear LCD screen that flips up 180°, making it useful for selfies and shooting from different angles. Priced at just $99.99 / £79, it's the cheapest compact in the list – and its retro look is a big part of its appeal.

BCN+R compact camera ranking (Jul 26)

1. Kodak Pixpro FZ55 | Black
2. Kodak Pixpro C1 | Black
3. Kodak Pixpro C1 | Brown
4. Canon IXY 650 M (aka Elph 360 HS A / Ixus 285 HS A) | Silver
5. Instax Mini Evo | Brown
6. Lumix TZ99 / ZS99 | Black
7. Kodak Pixpro WPZ2
8. Kenko Tokina KC-AF11 BK | Black
9. Canon PowerShot SX740 HS / Lite | Black
10. Instax Mini Evo | Black

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

The Kodak Pixpro series is popular in Japan

In BCN's Top 10 compact cameras of July 2026, 40% of the models are from Kodak's Pixpro line – all relatively low-profile models compared with most mirrorless cameras.

These little point-and-shoots don't chase the latest AI autofocus or 8K video. They're built simply, are easy to carry and require very little photography knowledge to operate.

Those qualities may sound basic, but they are exactly what make these compacts so popular in Japan. For many, simplicity and affordability still beat a long specification sheet – and that's unlikely to change any time soon.

Older compact cameras rule the Japanese market

Japan's best-selling compact models are nearly three years old on average, even as we've seen a new wave of point-and-shoot camera launches.

While that may not seem particularly old for a camera, it's a striking figure in a market known for rapid product cycles.

The oldest model is the Kodak Pixpro WPZ2, released in October 2019, while the newest model is the Kodak Pixpro C1, released in April 2025.

For buyers in Japan, familiarity clearly matters. Established compact cameras have proven themselves over time and continue to sell steadily, even without major updates. And the trend isn't limited to one brand.

There is also a strong element of nostalgia and retro appeal, with compact cameras increasingly seen as fun, lifestyle-oriented devices rather than professional tools.

That's what we see in the success of the retro-styled Pixpro C1, which combines a low price with a design that feels very different from camera phones that most people carry every day.

Sometimes, it seems, people just want a little camera they can take everywhere. And in Japan, some of those cameras have been doing exactly that for years.

You might also like...

Browse the best compact cameras, the best APS-C compact cameras, and the best point-and-shoot cameras.

Each year, the National Portrait Gallery in London, England, runs its Winston Taylor Photo Portrait Prize competition (formerly Taylor Wessing), attracting submissions from both professionals and amateurs across the world. At this year’s edition, 3,977 portraits were submitted.

The event organizers have now whittled these down to just four finalist images, which will vie for the top prize of £15,000 (approximately $20,300 / AU$28,500) and recognition from a lauded art institution.

Entrants were encouraged to interpret ‘portrait’ in its “widest sense”, with judges keen to see portraits emphasizing the “individual identity” of their subjects.

In the running is the proud shot of a teenage Cuban fencer called Neisser, taken by British photographer James Clifford Kent. Neisser comes from an accomplished family of musicians, but the aspiring pentathlete is forging his own path, making a name for himself as one of Cuba’s top fencers.

Challenging are Marcie Doherty (UK) and Katie Hitchcock-Smith (US). Doherty’s gritty rendering of American football culture on a cold UK street corner does away with the glitz and glamor that are lavishly poured on high school sports stars in the US.

Meanwhile, Hitchcock-Smith took a more humorous photojournalistic approach to documenting Nour, Mohamed and their camel. The photographer kitted out the Moroccan men with a cowboy hat from home and a jacket bought at a local market.

The final of the coveted four comes from Max Pattenden, a UK-based 24-year-old photographer. In the black-and-white close-up frame we see Havannah, a 10-year-old girl with a curious yet enlightening expression on her face, leaving it up to the viewer to decide the narrative.

The National Portrait Gallery will announce the winner of the Winston Taylor Photo Portrait Prize 2026 on November 03, with all 56 finalist images to be showcased in an exhibition at the gallery from November 05 2026, to January 17 2027.

You might also like…

Here’s our pick of the best cameras for portraits and the best portrait lenses.

This ultra-fast 35mm lens is a compact lens, built for serious photographers – and now you can grab it at a big discount.

The Voigtlander Nokton 35mm f/0.9 lens for Fujifilm X-mount is now just $1,199 at B&H. With this offer, you save $300 off its regular price of $1,499.

One of the fastest lenses ever made

If you are looking for a fast lens that covers portrait, street, and low-light photography, the Voigtlander Nokton 35mm f/0.9 combines standout performance with true portability.

Thanks to its ultra-fast f/0.9 aperture, the Nikton excels in low-light conditions and delivers a beautifully shallow depth of field.

You'll be able to create stunning, soft bokeh with ease – something few other lenses in this class can match. Its manual focus design also encourages you to follow a slower, more deliberate shooting process, helping you get more creative and intentional with your images.

While it's a manual-focus lens, electronic contacts allow it to communicate with compatible cameras, enabling IBIS, parallax correction, and lens EXIF data.

It's compact, lightweight, and packed with advanced optics, including aspherical elements for sharp images.

This 35mm lens is built to be your go-to lens for creativity on the go. Plus, with full compatibility with Fujifilm's in-body stabilization and EXIF data, you get modern convenience without sacrificing manual focus control.

The Voigtlander Nokton 35mm f/0.9 measures just 64mm in length and 492g in weight, making it lighter and shorter than many comparable lenses. Built with a durable all-metal barrel, it's made to last.

With its f/0.9 maximum aperture, this lens is a serious investment in your photography – and with this current deal, you can save big on a lens with even bigger creative potential.

You might like...

Here is our guide to the best lenses for street photography and the best lenses for portraits.

You might also be interested in discovering why this pro photographer prefers a 35mm prime for portraits.

Small enough to slip in your pocket and affordable enough for almost any budget, these trendy compact cameras make everyday photography fun.

They don't often go on sale, but these three models are currently slightly reduced in price. The discounts are modest, but they make already budget-friendly cameras just a little more appealing.

The Kodak Pixpro C1 in black is now $99.99 at Adorama – you save $20 off Kodak's MSRP of $119.99.(Brown & tan design also available for $199.99)

The Kodak Pixpro FZ45 in red is now $109.99 at Adorama – you save $9.01 off its original $119 price. (Blue, black & white design also available for $109.99)

The Chuzhao Digital camera is now $31.49 on Amazon – you save at least $3.50 off the listed $34.99 price. This camera is priced between $36 and $50, depending on the retailer.

• The Kodak Pixpro C1 in brown is $99.99 (instead of Kodak's MSRP of $119.99)
• The Kodak Pixpro C1 in tan is $99.99 (instead of Kodak's MSRP of $119.99)

• The Kodak Pixpro FZ45 in blue is $109.99 (was $119)
• The Kodak Pixpro FZ45 in black is $109.99 (was $119.95)
• The Kodak Pixpro FZ45 in white is $109.99 (was $119.95)

• The Chuzhao Digital Camera in red is $34.18 (was $37.98)

Kodak Pixpro C1

Kodak's Pixpro C1 is the brand's best budget selfie compact right now – thanks to its flip screen and wide-angle lens, making it more convenient than the FZ45 or Chuzhao for self-recording and vlogging-style clips.

However, it trades on image quality and flexibility, so if you care more about zoom or detail, the FZ45 is the stronger pick. If you want ease and selfies over everything else, the C1 is the camera for you.

Kodak Pixpro FZ45

Compared to the C1 and Chuzhao, the FZ45 is the most traditional camera here – it's the only one with real optical zoom, which makes it more versatile for travel and distance shots.

You lose the flip screen and retro charm, but gain reach and a more familiar shooting experience. The FZ45 is the camera for you if you want a simple holiday or everyday camera rather than a novelty or selfie device.

Chuzhao Digital Camera

The Chuzhao Digital Camera is the most characterful camera of the group – and all about enjoying the process of taking photos. The square format, waist-level viewfinder and TLR-inspired design make shooting feel playful – in a way none of the Kodak compacts really replicate.

While the FZ45 is about straightforward practicality and the C1 leans into selfie convenience, the Chushao is all about atmosphere, nostalgia and creative expression in your pocket.

Browse the best compact cameras, the best retro compact cameras, and the best cheap cameras.

Kodak has overtaken Fujifilm to become the most-used film brand among photographers responding to FilmFocus' latest survey, as new figures suggest that the analog revival is continuing despite the ever-increasing cost of shooting film.

The 2025 Survey on the Current State of Film Photography gathered 1,337 valid responses, up considerably from 802 respondents in the previous year's survey.

Conducted between November 30 and December 31, 2025, the Japan-focused research found that 71% of respondents had used Kodak film during the previous year, narrowly placing it ahead of Fujifilm at 68%.

That reverses the positions seen in 2024, when Fujifilm led with 84% usage compared with Kodak's 81%.

However, perhaps the more interesting story is that usage of almost every major film brand has fallen.

Ilford dropped from 52% to 41%, while Lomography fell from 38% to 30%, with photographers seemingly becoming more selective about the films they buy.

The average number of major brands used by each photographer fell from 3.0 to 2.2, while Kentmere – included as a survey option for the first time – was already being used by 16% of respondents.

With black-and-white film often costing less than color negative film, affordability appears to be playing an increasingly important role.

Despite those rising costs, however, photographers do not appear ready to abandon film.

The average 35mm photographer used around 13.9 rolls during the year, almost identical to the 13.7 rolls recorded previously, while 120 users averaged 7.0 rolls compared with 6.9 the year before.

In total, 28% of respondents said they were shooting film more frequently, compared with 26% who said they were using it less. Cost was once again by far the biggest reason for reducing film use, cited by 62% of those shooting less.

The results also suggest that newer photographers are helping to keep the format alive. Among people who had been shooting film for less than a year, 49% said their usage had increased, while only 6% said it had decreased.

The opposite was true among photographers with more than a decade of experience, where 40% reported shooting less film.

Buying or acquiring a new film camera was the most common reason for increasing film use, with cameras such as the Pentax 17 specifically mentioned by respondents as helping to bring people into – or back into – analog photography.

There are plenty of other encouraging signs for film photography, too. Some 95% of respondents had shot at least a single roll of 35mm film during the year, while 53% had used 120 film.

Color negative remained the most popular type at 82%, followed by black-and-white at a substantial 61%.

And when choosing where to have those rolls processed, photographers still value results over simply finding the cheapest option, with 41% saying developing and scanning quality was their biggest priority compared with 24% choosing price.

Kodak may have taken the top spot from Fujifilm this year, but the wider takeaway is arguably even more important: photographers are adapting to higher prices rather than giving up on film altogether.

You might also like…

Take a look at the best film cameras, along with our picks of the best 35mm, 120 and roll film you can buy right now.

The 2026 solar eclipse brought troves of viewers across the path of totality, many equipped with cameras and smartphones – but some viewers walked away with impossible photos that would only happen if the Earth happened to have two moons.

Several failed eclipse photos are making the rounds on the internet, where users snapping photos with a smartphone realized that the phone had "captured" what looks like the moon passing in front of…another moon.

Across Reddit and Twitter, several smartphone photographers have shared photos taken during the eclipse that turn the sun’s orange glow into what looks like the surface of the moon.

The culprit? Several posts – and one comparison between a handful of different smartphones – suggest that the impossible photo of the Moon blocking what looks like another Moon comes from the supermoon mode on the Xiaomi 17 Ultra, suggesting the use of AI-enhanced photography in the supermoon mode.

The smartphone’s supermoon mode uses computational photography to enhance photos of the moon. As one user on X described (translated from Spanish), “It detected a bright sphere in the sky, went into 'supermoon' mode, and straight up invented the entire surface.”

While enhancing the surface of the moon may be less obvious under a more typical scenario, photographing the eclipse requires using a protective filter, turning the sun into a dark orange orb. The mishap seems to be one of mistaken identity, misreading the sun as the moon when the moon was a dark shadow. The scenario isn't likely to pop up very often – after all, the 2026 eclipse was the first time mainland Spain has been in the path of totality since 1905.

Thankfully, the mode is something that can be turned off. Another user commented that disabling supermoon mode on the phone fixed the issue and returned the photos to the expected solar eclipse shots.

I find the gaff rather humorous, though admittedly it would have been frustrating to experience. After all, why take the time out of a celestial phenomenon that only lasts for a few minutes to take a photo that AI could generate anyway?

The viral posts over the glitch echo a similar controversy from a few years back when Samsung users found that the camera was enhancing the texture of the moon.

As a photographer, the viral posts over the supermoon mode eclipse mishap illustrate why generative AI doesn’t belong inside cameras.

Standard AI already powers excellent camera features like subject detection and autofocus. But generative AI, where a computer is creating something that’s not there, shouldn’t be trusted inside the devices that capture memories.

You may also like

Take a look at these telephoto shots that enlarge the eclipse, or NASA's top shots of the 2026 solar eclipse.

DJI has been fighting the US Department of Defense’s label as a "Chinese military company" since late 2022 – and now the drone maker has just earned a small win in the US Court of Appeals with a partial reversal.

On Friday, the US Court of Appeals reaffirmed some of the lower court’s decision in DJI’s lawsuit over its placement on the Department of Defense blacklist.

While the court did not agree with DJI’s claims over a violation of due process and claims of selectively enforcing rules, the court did give it some hope on one key issue: whether or not DJI "contributes to the Chinese defense industrial base."

The US Court of Appeals decision, importantly, doesn’t explicitly agree with DJI, but sent the case back to the lower courts because the earlier case did not consider classified documents, using instead the unclassified report that had every word in the section entitled "DJI Contributes to the Chinese Defense Industrial Base" redacted.

"There is, in other words, no publicly stated rationale for why the Secretary believes DJI contributes to the Chinese defense industrial base," the court's opinion reads.

While the courts have only granted a partial reversal and sent the case back for further consideration, DJI says that it welcomed the decision.

"The Court’s finding that the public record contained insufficient evidence is a significant step toward correcting an unjustified designation," A DJI representative said in a statement.

"The decision reinforces what DJI has consistently maintained: DJI is not a military company.

"We are a privately held company that has revolutionized the consumer and commercial drone markets, consistently condemned the use of our products in combat, and taken active steps to prevent it.

"We remain committed to the responsible development of civilian technologies, from drones to handheld imaging products. We look forward to continuing to set the record straight as the case moves forward."

The court case stems from a 2022 decision to place DJI on the Department of Defense blacklist, which prevents some government agencies from using DJI products.

The case isn’t the only US legal battle that DJI is facing.

The drone-maker has also filed a lawsuit against the Federal Communications Commission restrictions that prevent new DJI products from obtaining the necessary approval to be sold in the US.

You may also like…

Browse the best drones for photography and videography, or the best drones for beginners.

It’s been a bit of a rough month for smart camera glasses like the Ray-Ban Metas.

While this tech has been gathering a lot of hype and interest of late, it has also suffered a number of damaging PR scandals after stories have emerged of camera glasses being used to stalk and harass women in spaces like offices and gyms.

It has given rise to an unfortunate nickname for the tech – ‘pervert glasses’ – that is beginning to stick.

The tech’s increased notoriety is having predictable consequences. In the UK, where I live, the glasses have been banned in all judicial buildings (such as courtrooms and their surroundings), as well as in the popular pub chain Wetherspoons, which operates more than 800 venues across the country, and at Comic-Con UK following incidences of non-consensual filming.

All this has me wondering – can the tech recover its reputation at this point or is it too far gone?

Those of a certain age will recall the infamous 2011 launch of Google Glass, a pair of proto-smart glasses that were essentially mocked into oblivion, with its users dubbed ‘glassholes’. Meta glasses and their imitators have proved more tenacious, but the ‘pervert glasses’ moniker could ultimately prove just as fatal.

Granted, manufacturers can’t always control what users do with their products. Smartphones and regular cameras have certainly been used to harass people and take non-consensual photos, and nobody’s suggesting banning them. However, camera glasses just make it so easy – and to my mind, manufacturers are not convincingly demonstrating that they care.

Recently I reviewed the Rokid AI Glasses Style for DCW – they’re essentially a copy of the Meta version using a combination of Google’s Gemini and OpenAI’s ChatGPT rather than Meta AI. I enjoyed using them and was genuinely impressed by the tech, but something I had difficulty getting past was how lackluster the privacy features are.

The white LED designed to alert others to the fact that you’re recording is dim, unobtrusive and easy to miss – I’m going to guess that not a single person I passed while testing them at London’s Kew Gardens noticed it.

The glasses are also supposed to stop recording if the privacy light is blocked, but I tested this and… they don’t. They play an automated message in your ears, notifying that the light is blocked, but recording continues.

If you’ll forgive me for quoting myself, what I said at the time was: "[camera glasses] tech is never going to shake its reputation for irresponsible use when manufacturers make irresponsible use so easy."

The recording light on Meta Glasses, too, is white (not red) and fairly unobtrusive, and it is difficult to think of non-pervert explanations for why this is the case.

The firm's quiet embedding of a facial-recognition system in its glasses platform also garnered unwelcome attention – and the company backed down and removed it after public outrage. Now, I can think of non-pervert reasons why this tech might be useful in a pair of camera glasses – but the pervert ones do spring to mind more readily, don't they?

Meta is committed to its camera glasses and other manufacturers are following suit, with Apple and Google planning to launch their own intelligent eyewear later this year.

All I can say is: they should be careful. This backlash is not going away any time soon and, unless these manufacturers can seriously demonstrate their commitment to preventing their products being used for nefarious purposes, that ‘pervert glasses’ nickname is going to keep on sticking.

You may also like...

Our guides to the best camera glasses and the best wearable cameras.

When it comes to Pokémon-themed cameras, I'm such a catch-'em-all addict that I once dropped $300 on the worst Canon camera I've ever used just because it had a Pikachu design.

Thankfully, now I don't have to spend nearly that much money to get a Pikachu camera that's lightyears better.

Polaroid has just announced an epic new collaboration that brings us a trio of Pokémon-themed instant cameras, a trifecta of Pokémon-themed film and a bundle of Pokémon-themed accessories.

It's all in celebration of the 30th anniversary of the Pocket Monsters franchise, which has become part of the DNA of 90s kids (and beyond).

The star of the show is undoubtedly the Polaroid Go Gen 3 – Pokémon Pikachu Edition. At its heart is the fantastic Polaroid Go Gen 3, but this superb special edition comes in lightning-bolt yellow with Pokémon branding and a Pikachu tail instead of a strap.

Then there's the Polaroid Go Gen 3 – Pokémon Sylveon Edition, in gorgeous pink and white split tones with a matching strap (which is functional, rather than the decorative Pikachu tail).

While the two Pokémon-themed cameras are both, fittingly, of the super-small Go variety, the final camera is based on the full-fat Polaroid Now Gen 3. Styled after a Pokéball, the Polaroid Now Gen 3 - Pokémon Pokéball Edition boasts a red-and-white body and strap.

Launching alongside the cameras are three Pokémon-themed instant film packs – two Polaroid Go varieties in Pikachu and Sylveon boxes to match the cameras, and one Polaroid i-Type pack.

As you'd expect, all three film packs contain unique Pokémon-themed frames – but you may not have guessed that they also feature special edition dark slides, which are adorned with numbered and collectible Pokémon silhouettes!

There are also a slew of brilliant Pokéball-themed accessories that demand to be collected, including a camera case and photo album for Go-sized cameras along with a strap that fits all models.

Everything is available for preorder on the Polaroid website from August 27, with the official launch commencing on October 12.

The Polaroid Now Gen 3 – Pokémon Pokéball Edition will be priced $139.99 / £129.99, with the Polaroid Go Gen 3 – Pikachu and Sylveon Editions costing $99.99 / £89.99.

The i-Type Film – Pokémon Edition will sell for $22.99 / £21.99, with the double packs of Polaroid Go – Pokémon Light Frame or Dark Frame going for $24.99 / £21.99.

The Polaroid Go Camera Case – Pokémon Edition will carry a $24.99 price tag, with the Polaroid Go Photo Album – Pokémon Edition selling for $24.99 and the Polaroid Camera Strap – Pokémon Edition $14.99 (international pricing to follow).

Phew, made it through the entire article without saying gotta catch 'em all… gah!!!!

You might also like…

Take a look at the best instant cameras on the market, and make sure you to check out the different instant camera film sizes so you know what type of instant film you need.

Small enough to slip in your pocket and affordable enough for almost any budget, these trendy compact cameras make everyday photography fun.

They don't often go on sale, but these three models are currently slightly reduced in price. The discounts are modest, but they make already budget-friendly cameras just a little more appealing.

The Kodak Pixpro C1 is now £77.59 on Amazon – you save £16.41 off its £94 RRP.

The Kodak Pixpro FZ45 is now £104 at Currys – you save £7 off its original £111 price.

The Chuzhao Digital camera is now £31.99 on Amazon – you save at least £7 off its listed £38.99 price. This camera is priced between £30 and £50, depending on the retailer.

• The Kodak Pixpro C1 is also available in brown for £78.85 on Amazon

Kodak Pixpro C1

Kodak's Pixpro C1 is the brand's best budget selfie compact right now – thanks to its flip screen and wide-angle lens, making it more convenient than the FZ45 or Chuzhao for self-recording and vlogging-style clips.

However, it trades on image quality and flexibility, so if you care more about zoom or detail, the FZ45 is the stronger pick. If you want ease and selfies over everything else, the C1 is the camera for you.

Kodak Pixpro FZ45

Compared to the C1 and Chuzhao, the FZ45 is the most traditional camera here – it's the only one with real optical zoom, which makes it more versatile for travel and distance shots.

You lose the flip screen and retro charm, but gain reach and a more familiar shooting experience. The FZ45 is the camera for you if you want a simple holiday or everyday camera rather than a novelty or selfie device.

Chuzhao Digital Camera

The Chuzhao Digital Camera is the most characterful camera of the group – and all about enjoying the process of taking photos. The square format, waist-level viewfinder and TLR-inspired design make shooting feel playful – in a way none of the Kodak compacts really replicate.

While the FZ45 is about straightforward practicality and the C1 leans into selfie convenience, the Chushao is all about atmosphere, nostalgia and creative expression in your pocket.

Browse the best compact cameras, the best retro compact cameras, and the best cheap cameras.

Meta has found itself in hot water thanks to growing concerns about the privacy implications surrounding the Meta Glasses with built in cameras. Apple is planning on putting cameras into AirPods, but solving privacy by not using the cameras to take photos or video.

What is it for then? Apple's integration of cameras into AirPods is designed he process might be quite advanced, as the leaking of this promo video – doing the rounds everywhere today – shows.

The video in the tweet shows Siri's upcoming "visual intelligence" feature, so the cameras are helping it see the world around the user but not being used to record images, which (arguably) solves privacy concerns.

It certainly would silence the immediate worries of many about capturing photos and video by stealth.

Except, well, there is a bit of a problem.

Firstly the video, leaked by @Aaron, doesn't appear to feature the same camera lenses seen in some other rumor images? Is it a fake? That'd be my immediate suspicion were it not for the fact that the video has been reposted online by probably the most famous Apple rumor merchant, Mark Gurman (see his re-post on x.com here).

That lends a degree of credibility. Not only that, but according to Gurman and other sources, Apple has been investigating these privacy issues and perhaps even delayed its own Meta-like glasses as a result.

These were internally codenamed N50, but Apple has had to face the reality that courts in New York, among others, have established bans (not to mention some casinos). It's also true, of course, that the Apple Vision Pro goggles don't seem likely to win the mainstream market.

AirTags were once also associated with stalking – privacy-related publicity seems like an area Apple is keen to avoid, even if it means being slow to the mark in this fast-growing category.

All of which adds up to Apple wanting to get a product out in this growing space, but having good reasons not to get involved in ongoing privacy debates. So, in short, restricting access to cameras to the AI and not a camera app makes sense.

It also, of course, sidesteps any discussion about image quality from such a small device.

Will the cameras actually see the world well from the ear? That'll be another question for another day...

As well as Meta, other brands are releasing glasses. Google is expected to this fall, featuring Gemini integration, built by Samsung and powered by Qualcomm chips. They will bear no relation to the Google Glass I wasted my money on to be part of the future in 2013!

Looking for that classic DSLR mirror flip? With these three top full-frame DSLR deals, you save up to $600 and get free accessories!

The Nikon D850 is now just $1,996.95 at Adorama – you save $600 off its original $2,596.95 price. On top, you get a free 256GB Lexar memory card and Capture One Pro, valued at $321.90.

The Canon EOS 5D Mark IV Bundle is now just $1,999 at Adorama – you save $500 off its original $2,499 price. The Canon EOS 5D Mark IV camera body by itself is priced the same as the full bundle...

Nikon D850

Best for megapixels

The Nikon D850 was a flagship DSLR for a reason. In 2025, it still impresses with its incredible 45.7MP resolution, weather-sealed durability, and class-leading image quality.

While its live view autofocus is outpaced by newer mirrorless rivals, for traditional stills shooting, it remains one of the finest tools around. Its uncropped 4K video and robust build make it a reliable all-rounder for pros.

Now available at a significantly lower price than at launch (approx. $3,296.95), the D850 offers elite-level performance without a premium price tag.

Canon EOS 5D Mark IV

Best all-rounder

With a 30.4MP full-frame CMOS sensor, 61-point AF system, and Dual Pixel CMOS AF for precise live view and video focusing, the Canon EOS 5D Mark IV remains a versatile tool for professionals.

Its 7fps burst rate, ISO 100-32,000 range (expandable to 102,400), and weather-sealed magnesium alloy body make it well-suited for demanding shoots.

While the 1.64x 4K crop and UHS-I SD slot feel a bit outdated, the 5D Mark IV delivers excellent dynamic range, color depth, and reliability – especially for stills-focused workflows.

Once a DSLR costing around $3,499, the EOS 5D Mark IV is now a far more affordable way to access full-frame photography.

Browse the best DSLRs, the best full-frame DSLRs, and the best DSLRs for video. You might also be interested in the best Nikon lenses for DSLRs and the best Canon lenses for DSLRs.

A few days ago, all the rumor sites were buzzing about a new pancake lens from 7Artisans following a series of teaser images shared on Chinese social media platform Weibo by the manufacturer.

The APS-C lens is touted to feature a fast f/2 aperture, a wide-angle fixed 18mm focal length, autofocus and all-metal construction – which, in theory, would rival models like the Sony E 20mm f/2.8 and the Viltrox AF 26mm f/2.8 Evo.

After first appearing in silhouette with a question mark, the brand later identified the mystery lens as the 7Artisans AF 18mm f/2.

It also confirmed its release for Sony's E-mount, its amazingly low 109g weight and its APS-C design – which would give it an equivalent 27mm field of view on crop sensor cameras, making it ideal for street, travel, reportage and documentary photography.

Rumor sites have been suggesting that, following its release for Sony cameras, it would follow in Nikon Z and Fujifilm X mounts – though this has yet to be confirmed by 7Artisans itself.

Interestingly, amid all these rumors, I’ve come across a company called Etoren, based in Singapore, that seems to be selling the lens already.

Now, considering 7Artisans is yet to actually release the lens, I’m not sure I'd feel safe placing an order. Despite a few red flags in the form of Trustpilot scores, I did try reaching out to Etoren – the contact form gave me error after error and never actually sent.

I'd certainly recommend waiting for the official announcement from the manufacturer and stocking from more well-known retailers.

The 7Artisans AF 18mm f/2 is the latest in a series of pancake lenses lately, following the likes of the Kase AF 24mm f/3.8 and the Viltrox AF 26mm f/2.8 Evo, along with the Viltrox AF 28mm f/4.5 and Lensbaby Twist 28 in new mounts.

If you're wondering why pancake lenses are back in fashion, my colleagues James and Mike covered the subject on the latest episode of DCW's Bokeh Face podcast (which I've teed up at the start of the conversation below).

It seems like we could be seeing even more delicious pancakes throughout 2026!

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Here's our pick of the best pancake lenses your money can buy, along with the best Sony lenses of all shapes and sizes.

In a world where many creatives are facing an increasingly uncertain future, it’s nice to be reminded that – in many cases – traditional photography is still as vital as ever.

And while scientific research might not be the first thing that comes to mind, I am constantly reporting on the craft’s role in documenting rare wildlife encounters.

A recent interaction between researchers from the University of the Sunshine Coast and bottlenose dolphins is a prime example.

The encounter happened at Queensland Australia’s Great Sandy Marine Park, between July and October 2025, where a research team led by Dr Alexis Levengood captured imagery of a behavior known as 'shelling'.

The behavior is so rare that it's only been published once before, but this is the first time it's been officially recorded on the east coast of Australia.

According to Dr Levengood, “we spotted a dolphin raising something large out of the water. I started screaming because I know what shelling looks like”.

The animal behavioralist and marine mammal expert explained that the dolphins use 'shelling' to hunt for fish; the shell becomes an implement in which to trap prey. The mammals then shake the makeshift tool on the surface until their prize slides into their jaws.

I'm no marine life expert, but I am an avid wildlife lover and I certainly had no idea that dolphins did this.

To make matters even more interesting, the researchers observed both an adult female and its calf engaging in the behavior, leading them to deduce that the juvenile had learned from its mother.

You can see the remarkable behavior being exhibited in the footage below:

“Our footage provides the first potential evidence of maternal social transmission – a process by which offspring learn behaviour by observing the actions of its mother,” said Dr Levengood. “It challenges the belief that dolphins learn this tool use from their peers.”

In a world of hobbyist and professional photographers aiming to capture the very best photos possible, it can be easy to forget that imaging is also used purely for surveillance, observation and documentation.

It’s not about capturing an attractive image, it’s about clearly capturing the moment for posterity.

If you’re a wildlife enthusiast first and a photographer second, and are looking for a camera to complement your bird or wildlife-watching setup, I’d buy this monster $1000 all-in-one bridge camera.

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Take a look at the best cameras for wildlife photography and the best wildlife photography lenses. Plus, stay up to date via the latest camera news.

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

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

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

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

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

The Nikon Z5 II has climbed to the top 5

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

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

The Canon EOS R6 Mark III is suspiciously absent

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

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

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

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

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

Fujifilm is "facing a serious supply shortage" in Japan

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

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

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

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

A 2023 Sony has risen dramatically in popularity

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

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

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

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

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

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

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

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I like to think I’m careful with my camera gear – but I have to admit, reading this research report from insurance company Aviva did cause me to feel a little guilty.

The report reveals that more than 1 in 5 of us (22%) leave our phone or camera unattended in a public place to photograph or film ourselves. And yeah… I have done that.

I’m already rationalizing with the usual excuses, which I’m sure you are too if you’ve done the same. It was only for a few seconds! I had my eyes on it the whole time! And so on and so on.

But the fact is that camera or phone theft can be the work of a few seconds, and the thief can be off with your belongings before you have time to react – especially given the increased prevalence of things like e-scooters.

You might not be surprised to learn that the people most guilty of this behaviour are content creators.

Almost 2 in 5 (38%) of people who reported engaging in this behaviour to create social media content, while a similar 34% reported that it was for the purpose of travel vlogging or travel photography.

And don’t think this is purely a young people problem!

According to the research, it was the Gen X age cohort (45-60 years old) who self-reported as the worst offenders, with 41% having engaged in the behaviour in the process of creating social media content or professional content for work.

This was followed by 40% of millennials (29-44 years) and 38% of Gen Z (18-28 years).

As Aviva points out, even if you are conscientious and have taken out travel insurance, your ability to claim might be affected if you do not take reasonable care of your belongings.

Makes sense. I could hardly leave my mirrorless camera and lens on a streetside cafe table in Paris all day and reasonably expect to make an insurance claim if someone had made off with it by sunset.

When out in public by yourself, you’re always better off holding a camera selfie-style, keeping a firm grip at all times to deter opportunistic thieves.

This is why a vlogging-style camera with a flip-around screen is such a boon for travel vloggers and the like. And if you can attach a secure wrist strap, so much the better!

For my part, I’m certainly going to stop tempting fate when I’m out and about in public. The camera stays in the hand – no matter how good the shot might be!

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Here's our guide to the best travel cameras, as well as our roundup of the best camera bags for keeping your precious gear safe on the move.

From semi-transparent Game Boys to the see-through iMac G3, semi-transparent tech was a hallmark of the late 1990s and early 2000s – and now the viral Camp Snap screen-free camera is all-in on the Y2K look.

The Camp Snap 2 only just launched in June of 2026, but the camera already has a fresh new color inspired by Y2K tech: Cosmic Grape. The new color is a semi-transparent but purple-drenched look for the affordable point-and-shoot camera.

The new purple design isn’t the first transparent color to come to the Camp Snap – when the Camp Snap 2 launched, it did so with a handful of “Jelly Edition” colors. Cosmic Grape brings the clear Y2K aesthetic to five different options, in addition to the solid-body versions.

The Y2K look is fitting for the Camp Snap 2, an affordable point-and-shoot that is fully digital, yet lacks a screen. While the Camp Snap 2 is a digital camera, the lack of a screen makes it feel more like film without the ability to view the photos right away.

That – and the camera’s lower 8MP resolution – makes a look inspired by the turn of the millennium appropriate. In the early 2000s, digital photography was just becoming more mainstream, so the Y2K inspiration feels wildly appropriate for the Camp Snap 2.

While Camp Snap originally started as a way for kids to take cameras to screen-free summer camps, the camera was quickly adapted by digital minimalists who didn’t want the distraction of a screen without going as retro as a film camera.

The Camp Snap 2 feels far more grown-up, with built-in filter swaps and a faster shutter button. I’ve tried both the older Camp Snaps as well as the Camp Snap 2 and the CS-Pro. The 16MP CS-Pro is my personal favorite for grown-ups with its retro design, higher resolution, and more powerful flash, but the Camp Snap 2 leans more towards that disposable film camera vibe and comes in at a lower price point.

The Camp Snap 2 retails for about $75 / £69 at the Camp Snap online store.

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Fujifilm’s global festival celebrating photography is returning to New York City for the first time in four years. Fujifilm Fuijikina New York will bring award-winning photographs, photo walks, portfolio reviews, talks, gear checks, and more to New York’s Lower East Side October 16-18.

Fujifilm’s Fujikina events are a global celebration of photography that brings together the latest gear along with well-known photographers and award-winning photos into a multi-day photography event. After teasing the event dates in July, Fujifilm North America unveiled a full list of details for the event today.

Fujikina New York 2026 will be no different – the upcoming event is already listing workshops, photo walks, and gear checks, along with both galleries of award-winning photographs and galleries that are still open for submission.

Fujifilm says the event will turn the Lower East Side into “a living gallery space” with five galleries across the event’s seven different venues. Three of those galleries are already filled with award-winning images, including Magnum: A World in Color, the World Press Photo traveling gallery of award-winners, and the International Center of Photography’s I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now.

But, two of the planned galleries are still open for submission, which means photographers have a chance to get their work displayed at the event. The Fujifilm Community Gallery is looking for submissions on a theme of Inheritance, with applications open through August 24. Fujifilm says the gallery is a multi-genre collection looking for “photos that embody a lasting point of view—images that preserve a story, celebrate a community, document a changing world, honor an influence, or document a moment that deserves to outlive the present.”

Refractions of Identity, a gallery curated by the NYC-based Femme Photo, is also seeking submissions for images on the topic of Identity from women, femme-identifying, trans, and non-binary photographers. The deadline for submission is today, August 17.

The event is also set to include talks with several photographers, including Magnum’s Alec Soth, music photographer Janette Beckman, wedding and family photographer Alison Conklin, street photographer Derek Fahsbender, portrait photographer Gary Hughes, adventure photographer Irene Yee (@LadyLockoff), street and lifestyle photographer Jonas Rask, on-set motion picture still photographer Melina Sue Gordon, Fuji X Weekly writer Ritchie Roesch, photographer and director Scott Dunan, and nature and street photographer Tom Baumgaertel. Fujifilm says additional speakers will be announced.

Naturally, as a photo festival presented by a major camera brand, gear will be an integral part of the event, including gear demos, loaners, and gear cleaning. Fujifilm says that the focus is on photography as an art form, so photographers using any gear are welcome to attend; the gear checks and cleaning are limited to Fujifilm gear.

Fujifilm Fujikina NYC 2026 tickets are on sale now for $10 for general admission; some photowalks, workshops, and other experiences with limited spots may require an additional purchase.

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Browse photo contests to enter this August, or take a look at the best Fujifilm cameras.

The London Camera Exchange (LCE) Show is back for a second year, and the 2026 speaker lineup is stacked with professional photographers and filmmakers ready and willing to help you take your craft to the next level.

Taking place at the Haynes Motor Museum in Sparkford, Somerset, on September 12, attendees will get to hear from award-winning astrophotographers, gain automotive career insights from a BBC Top Gear photographer, and discover how even a visual impairment shouldn’t stop you from taking photos.

Automotive photography makes up a big chunk of the speaker lineup, which is unsurprising, given that the event location is home to some iconic vehicles, including a 1970s gullwinged Bricklin SV-1 sports car.

Amy Shore, a Nikon ambassador who’s shot for major car manufacturers including BMW and Jaguar, will be sharing her practical techniques. And Rod Fountain pulls back the curtain on his automotive career, which includes more than two decades as a BBC Top Gear photographer.

After the August 12 total eclipse, I’m sure there are many new budding astrophotographers among us.

Josh Dury, aka “Starman”, will be sharing his insights on how to capture the night sky with your camera and how astrophotography helps shape our understanding of the universe. Still in his 20s, Dury’s work has already been recognized by many major outlets, including the BBC, as well as NASA and the ESA (European Space Agency).

Also speaking is Gary Williams, a renowned yet registered blind photographer, who delves into his unique photographic process. Also 90% color blind, Williams shoots most of his images in black-and-white, and is an expert in manually altering contrast, shadows and highlights.

Rounding things off is Gavin Hoey, a longtime professional photographer and major name in the photography education space, who’ll be giving a practical workshop. There’s also Tom Greetham, a Leica photographer sharing the history of the brand and how to capture great shots with the German-engineered cameras.

The one-day event is open from 09:30 to 16:30 and also features free photo walks as well as prize draws. Earlybird tickets cost £5, while on-the-door entry is £10. Head to the LCE Show website for tickets and more information.

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Here's our pick of the best cameras for astrophotography and the best cameras for car photography.

When you first glance at this underwater image, it looks like the kind of shot that would take weeks to plan. In fact, the photograph was taken during an unplanned morning dive. No script, no moodboard, no dive team briefing. Just a freediver, an expanse of open water and a huge school of sardines.

The result: a churning mass of silver folds itself into a perfect halo around its human subject. No surprise, then, that Ben Yávar's image is a finalist in this year's Ocean Photographer of the Year Adventure category.

The Chilean photographer sees it as reflecting the calm trust that can exist between people and marine life. "It is a reminder that patience and respect for the ocean often lead to its most extraordinary moments," he says.

Secrets of the shot

Yávar is a freediving instructor as well as a photographer, and so he well knows that sardines are acutely sensitive to disturbance. So calmness is key. But when you use scuba diving equipment, the exhaust bubbles, regulator noise and sheer bulk of your kit are likely to scare them off.

In contrast, freediving – where you ditch the equipment and rely solely on the air in your lungs – enables you to move silently and blend in, getting you closer to the action and saving the sardines from getting jumpy.

The shot in question was taken on a Sony A7 IV with a 12mm lens at f/9, ISO 1600 and 1/250 sec; the kind of smaller aperture Yávar favors to hold sharpness across a fast-moving frame. The fast shutter speed did the job of freezing individual fish and stopping them from blurring into streaks, while the high ISO suggests he was compensating for a fill flash.

Yávar pre-sets his camera on land, because underwater there's no time, plus fiddling about with menus would only disturb the fish. It's an approach that makes sense well beyond sardine runs: decide what you can beforehand, so that in the moment, all your attention goes to composition and timing.

Of course, even if you do everything right, you're still going to need a lot of luck to get a shot like this. But Yávar puts in enough hours to know he'll be ready. He'll often take multiple dives, sometimes dozens, to get movement and light to align properly.

That's the real key to getting a shot like this. In the photo itself, the technical preparation, the fitness, the training and the failed dives are all invisible. All the viewer sees instead is the scene that made all that effort worthwhile.

Ocean Photographer of the Year is presented by Oceanographic and Blancpain. You can see all the 2026 finalists on the Oceanographic Magazine website.

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Looking for competitions to enter? Here are 10 global photo contests now open for entries from August 2026 to January 2027.

One of the most powerful ways that photography can convey what's happening to our world is by offering the kind of perspective you can only get from on high. Indeed, many credit the Earthrise photo captured by astronaut William Anders during the 1968 Apollo 8 mission for sparking the modern ecological movement in the first place.

That same approach of seeing our world from above runs through much of the photography on show in Extinction: Renewal, Art of a Living Planet, a new exhibition opening at the Eden Project in Cornwall, England, this September.

The show brings together photography, film and sculpture within four themed zones: Extinction, Climate, Community and Renewal. The organisers describe this as "a journey from deep time into a more hopeful future".

Along that journey through time, photography's main contribution is in the present: how the world is now, not how it was or how we'd like it to be. And many of the photographs on show share an interesting approach: to see things as they really are, you first have to gain some altitude.

View from on high

Take Daniel Beltrá's shot of Iceland's Hvíta River, shown at the top of this page. Shot from above, its blues and golds – formed by a mixture of glacial meltwater and sediment – marble together in a way that resembles an abstract painting.

Also on show is Sebastião Salgado's aerial image of Alaska's Brooks Range (below), which brings this entire mountain range and its river system into a single composition that's awe-inspiring in its breadth and detail.

Paul Nicklen's drone shot of a polar bear crossing sea ice, meanwhile, strips out everything you'd have seen from ground-level: eye contact, a sense of human-animal scale, a sentimental feeling towards the subject.

What's left is a clean, almost geometrical composition, with the bear just a single white shape next to a crack in the ice. Somehow that makes it even more poignant, emphasizing its vulnerability against forces far larger than itself.

Richard Mosse pushes that sense of detachment even further with his shot of log barges from above. His use of infrared, rendering the vegetation red and water black, is an inspired decision, swapping objectivity for a clear editorial line in the visual itself.

Key takeaways

While many of these pictures are beautiful, this is not really about aesthetics, nor using drones just because they're fashionable. It's about pulling countless small details into a broader picture that reveals larger patterns and deeper truths.

And that fits well into the spirit of the show, which is less about doom, gloom and wringing our hands in despair, and more about providing solutions and a positive vision of the future.

The lesson for photographers here is clear. Whether you're shooting wildlife, landscapes or other natural phenomena, there's often an argument for stepping back, up and outwards from the detail, and seeing things from a wider perspective that can tell an altogether different story.

Extinction: Renewal, Art of a Living Planet runs at the Eden Project, Bodelva, St Austell, Cornwall, PL24 2SG. September 17-27, 10:00-17:00; September 28-October 16, 10:00-16:00, October 17-November 01, 10:00-17:00; November 02-January 03: opening times may vary.

One of my favorite astrophotography events peaks every August is the Perseids. This late summer meteor shower is known to create as many as 50 to 100 “shooting stars” an hour, along with an occasional fireball of powerful green light.

Catching a shooting star on camera is a challenge as once you’ve spotted the streak of light, it’s typically too late to catch it on camera. But the Perseids' high frequency of meteors means photographers have much higher odds of catching that streak of light on camera.

I love directing my camera towards the night sky every August in hopes of catching a Perseid – I even managed to get the Northern Lights and a meteor in the same frame this year.

But as much as I love photographing the meteor shower, the Perseids are hardly a local event, seen throughout the northern hemisphere and the northernmost parts of the southern hemisphere.

Looking through Perseid meteor astrophotographs from 2026 has enabled me to view the celestial event beyond more than my own regular favorite stargazing sites. Here are my favorite 2026 Perseid meteor shots from around the world.

While the peak has already passed, there's still time to photograph the Perseids, as the celestial event continues through August 24.

Balkan Mountains, Bulgaria

This shot shows an unusual angle of the Arch of Freedom in Bulgaria – and captures the Milky Way along with several Perseid meteors.

Izmir, Turkey

I love how the glare from the light house nearly matches the streaks of the meteors across the sky.

Dambulla, Sri Lanka

The Sigiriya Rock Fortress, a UNESCO World Heritage Site looks all the more stunning amid the night sky. This shot was taken closer to the start of the Perseids on July 23.

Ankara, Turkey

The structure of the Abaci Fairy Chimneys adds interest to this shot from the peak of the Perseids on August 13.

Ostrava, Czech Republic

The windmill lines up perfectly with the Milky Way in this shot by Lukas Kabon.

Eskisehir, Turkey

Photographer Aytug Can Sencar captured the rock formation, the Mily Way and a Perseid in this dramatic shot.

Shitan Village, China

Clouds are the astrophotographer's worst enemy, but this shot highlights dramatic fog filling in a valley underneath the Perseids. The red streak is likely an aircraft, but there's a nice white meteor streaking right down the line of the Milky Way.

Konya, Turkey

A sunflower field adds interest to this shot that manages to catch the Perseids and the Milky Way.

Joshua Tree, California, USA

The namesake for Joshua Tree National Park creates a striking scene amid the meteor shower in this shot from August 13.

Beijing, China

Most Perseids appear as small streaks of light, but the meteors will occasionally produce a larger fireball. Photographer Li Wenbin captured a stunning fireball here, highlighted by an excellent minimalist composition with the ground and a well-lit tent.

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New data has revealed which dog breeds were the most photographed in 2025 and, from picturesque poodles to beautiful bichon frises, the top 120 breeds range from photogenic to cute to adorable.

The data was compiled by photobook curation platform Popsa, which says it analyzed millions of pet owners' pet photos, assigning each breed a score based on how often it appeared relative to others.

In the top spot, retaining its crown based on last year’s study, were poodles (100). These curly-haired cuties may seem a little pompous, but don’t let that fool you.

Originally bred in Germany as, believe it or not, water-hunting dogs, with the now-fashionable haircut a strategic way of keeping their joints and organs warm when taking a dip.

According to Popsa’s data, retrievers (54), hounds (48) and schnauzers (46) ranked second, third and fourth, respectively. Retrievers are known for their loving nature and schnauzers for their curious expressions, while hounds – from bloodhounds to whippets – are a practical pet thanks to their fine coats that are easier to maintain.

Spaniels (37), terriers (26) and German shepherds (26) came in the middle of the rankings in fifth, sixth and seventh – the terrier ranking in particular coming as a surprise considering how petite and cost-friendly these dogs can be. Although bred to hunt vermin, their feisty character can outweigh their small size.

And at the tail end of the study came beagles (24) – which are actually a type of hound – bichon frisé (21), and setters (18). Compared to the previous edition of the study, setters climbed three places, entering the top ten while chasing out bulldogs.

These old “gun hunting” dogs have been particularly popular with US presidents: Harry Truman (1884–1972) and Ronald Reagan (1911–2004) owned Irish setters, while Herbert Hoover (1874–1964) owned the English variant.

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We’ve got an entire section on site dedicated to pet photography. Check that out for tips, tricks, and tutorials.