About 16 years ago, smartphones utterly decimated the camera industry. It's taken all this time for the market to even remotely recover – and it has done so just in time for the most powerful phone cameras ever made to challenge traditional cameras all over again.

So, can the best camera phone of 2026 outperform the best mirrorless camera on the market when it comes to photography? And I'm not talking about an iPhone versus a random Canon here.

I'm talking about two best-in-class photo machines built on the same industry-leading color science: the 200MP Oppo Find X9 Ultra with its Hasselblad Master camera Mode versus the 100MP Hasselblad X2D II 100C with its Hasselblad Natural Color Solution.

ABOVE: Watch the video and see who won the shootout!

Of course, while both systems are built on the same imaging pipeline, there are important differences – not least sensor size. The X2D II packs a massive medium format sensor, while you could put all four of the X9's sensors together (those being a 1/1.12-inch, 1/1.28-inch, 1/1.95-inch and 1/2.75-inch) and they still wouldn't be as big.

Four sensors also means four lenses (and cameras) on the phone: a main 200MP 23mm f/1.5, a 50MP 14mm f/2.0 ultrawide, and a pair of telephotos in the form of a 200MP 70mm f/2.2 and a 230mm f/3.5 – all equivalent 35mm focal lengths.

So to make this comparison as fair as possible, given that all those lenses are fixed in the phone, I paired the camera with a single zoom lens: the Hasselblad XCD 35-100E, which gave me an equivalent 27-78mm f/2.8-4 focal range (I left the 230mm lens out of the equation, for sake of ease).

Rather than setting up fixed scenes, I thought the most neutral thing to do was take both systems on a gentle stroll (around The Regent's Park in London, England) to see how they performed in spontaneous real-world conditions.

Oppo Find X9 Ultra vs Hasselblad X2D II

There's no doubt about it: the Oppo is hands-down the best camera phone you can buy right now. Between its excellent lenses and the Hasselblad Master image tuning, this is the most "camera-like" performance you can get on a phone.

In ideal conditions, I think you would be very hard pressed to tell that its photos weren't taken on a mirrorless camera… but what about non-ideal conditions like blazing direct sunlight, harsh contrasty backlight and hue-torturing green grass gardens?

This is why we always field test equipment in our reviews on Digital Camera World, because fixed setups and carefully controlled studio shoots only tell you so much.

I dare say that, in a straight-up portrait or landscape or still life shoot, the results might be much closer. But head to head, in unflattering wildcard conditions, the Hasselblad truly outclasses the Oppo.

Colors

The first thing that jumped out to me was the color. If you've ever tried to shoot grass, gardens or flowers, you'll know how tricky it can be for even the best cameras to render authentic hues and tones.

Green plays havoc with most cameras' imaging engines, but Hasselblad cameras are renowned for their ultra-faithful reproduction of even these challenging colors. However, the Oppo would start to struggle when magenta tones were introduced to the scene, as you can see in the above image of the bees feeding on flowers.

Indeed, the Oppo is apt to skew towards magenta in general – and it can be prone to punching up the blues to compensate, which is visible in the shot of the parked Mini where the highlights are overcooked with blue tones.

Dynamic range

That "overcooking" is a byproduct of the Oppo's heavy reliance on computational HDR (high dynamic range), which uses software-based masking and stacking to artificially boost the shadows while dimming the highlights.

In the crosswalk / zebra crossing shot above, you can see that this does really funky things to skies, looking like you've used the Magic Wand selection tool in Photoshop to do a very crude sky selection.

In the top image of the backlit building in the garden, the Oppo is trying so hard to HDR its way to even exposure that it has rendered the building completely flat – there's no sense of shadow or dimension. It's like the Shadows slider has been cranked all the way up while the Highlights sliger has been dragged right down.

The middle shot of the parked BMW is probably the happiest medium, but in all three images you can see that the Hasselblad – with 15.3 stops of dynamic range – is able to render faithful tonality without any computational correction.

Lenses

Even without adding the fantastic 300mm teleconverter, the Oppo's integrated 230mm telephoto lens absolutely smokes the 78mm maximum reach of the Hasselblad lens, as you can see in the top image of the water feature.

However, while the Oppo's 230mm camera produces a 50MP image, the Hasselblad captures images at 102MP.

And thanks to the superior optical formula of the much larger lens, coupled with the superior optical performance of the much larger sensor, you can perform a like-for-like crop into the Hassy image and actually achieve superior detail – as evidenced by the middle image.

Speaking of optical performance, the lenses on the Oppo (like all smartphones) is very prone to lens flare. But as you can see in the above image, thanks to premium lens coatings, the Hasselblad lens wasn't affected at all – even without deploying the lens hood.

Bokeh / blur

As if there was any doubt, the Oppo simply can't match the Hasselblad when it comes to subject separation – aka blurry backgrounds, aka shallow depth of field, aka bokehliciousness.

Its sensors are so small that they struggle to achieve a shallow depth of field, even though its lenses are pretty fast (ranging from f/1.5-3.5) while the XCD lens on the Hasselblad is more sedate (at f/2.8-4).

While you can "cheat" background blur by increasing the distance between your subject(s) and background, you can see just how much more blur is achieved with the Hasselblad when shooting things that are close together.

Long exposure

Some might think this one is a bit unfair, but since we passed a beautiful waterfall I wanted to shoot a long exposure image where the flowing water turns silky smooth.

This requires shooting with a very slow shutter speed, which typically means using a tripod to keep the image steady – and in sunny conditions it usually necessitates an ND filter, too, as a slow shutter speed will quickly overexpose the image.

Sadly, I simply couldn't juggle the shutter and aperture enough on the Oppo to do anything other than freeze the water into unpleasant, static splashes – not the effect I wanted.

As you can see above, though, the Hasselblad had no problem shooting handheld for a full second – a piece of cake, thanks to the generous lens aperture and ten stops of in-body image stabilization – giving me the silky water I wanted.

So I tried cheating and slapped an ND filter onto the Oppo – but even then, as you can see, the phone wasn't able to shoot a handheld full second exposure without blurring the image (and blowing it out), as it simply lacks the stabilization and exposure finesse of the Hasselblad.

Verdict

I know that this reads very one-sidedly, so I feel it's important to say that – in its own right – the Oppo Find X9 Ultra performed heroically. I took a few pictures on my iPhone during the same shoot, and honestly it's embarrassing just how much better Oppo's camera tech is than Apple's.

The X9 Ultra takes impressively "camera-like" photographs and offers an amazing degree of manual control and impressive color processing. However, in a straight shootout with the X2D II, there's no contest here.

The Hasselblad is the finest stills camera ever made, boasting a gigantic medium format sensor with 100MP resolution, 15.3 stops of dynamic range, 10 stops of image stabilization and some of the finest lenses money can buy. As good as the Oppo is, there's simply no way it can match that firepower.

But let's add some context here. The fact that a £1,400 phone can come as close as it does to a £6,400 camera – with a £4,100 lens on the front – is absolutely astonishing.

Yes, the Hasselblad is better. But is it £9,100 better? I'll let you be the judge of that…

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A high-resolution Hasselblad file is only the beginning of the creative process. For professional photographers, the software that interprets those images can be just as important as the camera itself.

Now, Capture One is expanding its professional workflow with support for three Hasselblad cameras – the X2D II 100C, the X2D 100C and the CFV 100C digital back – bringing the Swedish manufacturer’s medium format files into an ecosystem widely used across commercial, fashion, beauty and advertising photography.

For Capture One CEO Rafael Orta, the partnership represents more than simply adding another camera system. It is the result of years of requests from photographers who wanted Hasselblad files supported in a professional editing workflow.

"Supporting Hasselblad cameras had been something that had been requested by photographers using Capture One for quite a long time," Orta explains.

“And it's really great to be able to offer that now.”

The partnership photographers have been waiting for

Capture One has built its reputation around giving photographers control over their images, particularly in industries where color accuracy and consistency are critical.

"Capture One is widely considered the industry standard, especially for commercial and fashion and beauty and advertising photography," says Orta.

"The proposition that we bring to photographers is that our product gives them tremendous flexibility in terms of the workflow that they choose to use and the devices that they choose to use together with Capture One."

That approach has led the software to support more than 550 cameras throughout its history, but Orta says every camera requires a dedicated process.

"We create camera profiles. It’s a labour of love," he says. "It's something that we do individually for each specific camera."

The craft behind camera profiles

Rather than relying only on technical specifications, Capture One engineers test cameras extensively, photographing in controlled environments as well as outdoors to understand how each system handles color and detail.

"Every one of those cameras is a camera that we have touched, that we have held in our hands, that we have taken hundreds and in many cases thousands of photos with," says Orta.

The aim is to create profiles that behave predictably while preserving Capture One's own approach to image quality.

"We apply all of our experience and knowledge of image quality and color science to the images that we saw coming from these cameras," he explains.

For photographers opening Hasselblad files in Capture One for the first time, Orta believes the difference comes from the creative control the software provides.

"They see more detail, they see things that they maybe hadn't seen before," he says.

"They start nudging sliders in one direction or another, they see these adjustments being applied, and how it flatters their photography."

Capture One's role is not to replace the photographer's vision, though.

"Ultimately what we’re doing is returning control to the photographer," says Orta.

A partnership built around color

The collaboration between Capture One and Hasselblad also represents two companies with deep roots in Scandinavian imaging technology.

Orta says there is a long history of color expertise across the region, from high-quality printing industries to digital image processing.

"It's fascinating to see how some of the names that stand for quality in terms of the image and colors, but also stability and reliability and quality in engineering, have come from the Scandinavian region," he says.

While the initial release supports three recent 100MP Hasselblad cameras, Orta says the company is open to expanding support in the future.

"We're looking forward to broadening the number of cameras that are supported," he says.

For now, the focus is on seeing what photographers create with the new combination.

"We're really looking forward to seeing what photography is going to be created now using Hasselblad cameras and Capture One," Orta says.

"It really feels like a big moment for the industry."

Explore Capture One's current plans and pricing

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

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

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

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

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

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

The medium-format marvel

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

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

Full-frame champion

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

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

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

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

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

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More than 15 years after medium format powerhouse Hasselblad first launched an iOS app, the Phocus Mobile app is finally arriving on Android devices. Hasselblad, the medium format camera powerhouse, has officially brought its Phocus Mobile app to Android devices beginning.

Phocus Mobile now enables photographers working with the Hasselblad X2D II 100C, X2D 100C, 907X and CFV 100C to review, edit and organize images from an Android smartphone.

The app, importantly, supports Hasselblad’s heralded color science (Hasselblad Natural Color Solution or HNCS), enabling mobile photo editors to preserve the medium format colors and gradations from camera to edit to export.

On the X2D II 100C and supported HDR Android devices, that also includes full-spectrum HNCS HDR – which Hasselblad says more closely matches what the eye sees.

Another key feature is that the Hasselblad-built AI noise reduction algorithm is also coming to the mobile app. The AI was built entirely on images from Hasselblad’s medium format sensors and comes in two different modes, one for the cleanest result and one for preserving the most detail.

Beyond editing, the Android app can also be used to review photos, rate the best shots and even batch edit multiple images at once. Files can be transferred from the camera to the smartphone using Wi-Fi or, for the X2D II 100C with updated firmware only, USB-C wired connection.

Phocus Mobile first arrived on iOS in April 2012, with an overhaul big enough to be dubbed Phocus Mobile 2 arriving in 2019 – but again as an iOS exclusive.

The update is the second time that Hasselblad has launched a feature to play nice with more brands in nearly as many weeks. Earlier this month, Hasselblad also announced support for Capture One.

The Phocus Mobile app requires at least 12GB of RAM and is compatible with Android 12 and newer devices, though the company recommends Android 16 with Snapdragon 8 Gen 3 or newer for the best performance.

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Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

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Hasselblad is a well-loved medium format camera system – but one of the brand's biggest requests has finally been answered: more native RAW file support across third-party photo editing apps.

Today, Hasselblad announced native RAW file support inside the popular photo editor Capture One. The company says that tethered camera support will follow later this year.

RAW files from cameras like the Hasselblad X2D II 100C – the “finest stills camera ever made” according to my colleague James Artaius – are packed with 100MP resolution and dynamic range.

But while Adobe Lightroom and Camera RAW support the 3FR file format, Hasselblad’s RAW file format isn’t widely compatible with some of the most well-known Adobe competitors. That left photographers opening the files and working with the colors in Hasselblad’s Phocus software for the best color rendering before exporting as a TIFF and importing into other programs.

With Capture One support, the announcement removes an extra step for Hasselblad photographers working with one of the best Lightroom alternatives.

Hasseblad says those files open natively inside the photo editor, including support for the camera's dedicated color profiles. The collaboration also supports lens profiles for Hasselblad glass, enabling lens profile correction inside Capture One.

Capture One support includes file handling for the RAW files from the X2D II 100C, the X2D 100C, and the CFV 100C digital back and is available in version 16.8.3 of Capture One, as well as the mobile version 3.3.4.

“Photographers have asked us to bring Hasselblad’s image quality into Capture One’s platform for years,” said Rafael Orta, CEO, Capture One.

“This partnership delivers exactly that, empowering even more photographers with everything they need, from initial inspiration to final image. It’s a collaboration the photography community has wanted for a long time, and we’re glad it’s finally here.”

New users can also try a free seven-day trial for Capture One.

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Young photographer Panitbhand Paribatra Na Ayudhya just won the top honor in the Project//21 category at the Hasselblad Masters 2026 with the underwater series, Dwellers of the Night.

The rising talent from Thailand, who is just 14 years old, stood out against a field of exceptional entries in one of the world's most prestigious professional photographic competitions, which also offers emerging photographers the opportunity to showcase their talent.

In the waters of Anilao, The Philippines, Panitbhand skillfully used a slow shutter speed and colored lighting to reveal a world that remains hidden for most – but this wasn't his first victory.

Previously, Panitbhand earned the title Young Shark Photographer of the Year 2025 and was commended in the Siena International Photo Awards 2026.

Winner Project//21: Dwellers of the Night

Panitbhand's work is rooted in a quiet dedication to the ocean, documenting its life, its fragility and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

In the waters of Anilao, The Philippines, pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness.

By using slow shutter speeds to capture the elegant motion of his subjects and carefully chosen coloured lighting, Panitbhand reveals their form and beauty.

Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

"I'm drawn to the quiet whimsy of these sea creatures. Set against black, the creatures feel almost otherworldly- strange, delicate, and entirely captivating.

"There’s a simplicity to the presentation that allows their inherent oddness to shine, reminding us how unfamiliar and compelling the natural world can be when seen without distraction," says Alex Pollack, Director of Photography at National Geographic.

Take a look at the seven winners of Hasselblad Masters 2026 here. For more information on the competition, visit the Hasselblad website.

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From over 108,000 images submitted by photographers from more than 160 countries and territories, Hasselblad Masters has just announced its 7 winners for the 2026 competition.

Across every category, the awarded images combine instant visual impact with lasting depth. The photographers spark curiosity, shift perspective and leave space for interpretation.

".What this year's Hasselblad Masters submissions demonstrated, with rare consistency, is that the most compelling photography does not simply record, it constructs," explains Kalle Sanner, Executive Director at the Hasselblad Foundation and Grand Jury Chair.

Art

'Waste Colonialism (Sapi-Sapi Piyungan)' by Yudha Kusuma Putera

Rooted in everyday life and inspired by its complexity, Putera turns a keen eye toward the social issues that hide in plain sight, exploring the tensions between humans, nature, and the systems we build around us.

The winning images are part of a project examining how developed nations export their waste to developing countries, where labour and costs are lower.

This logic repeats on a smaller scale too: within cities, landfills are built on the outskirts, kept out of sight and out of mind. At Putera's Piyungan landfill, a city's waste is sorted by scavengers and consumed by cows, quietly piling up into a second hill.

Architecture

'DaySleeper | Movieland' by Kevin Boyle

Boyle was shaped by the open skies and close-knit communities of the Canadian prairies. After the loss of his father, he returned home, only to find the places he once knew hollowed out and silent, their gathering spaces boarded up and left to disappear.

For over ten years, his photographic journey has been a profound tribute to the abandoned architecture of North America's local communities.

The winning series is comprised of photographic montages, with each part of the building lit with flashlights and blended in post-production to create an ethereal "portrait" of once important gathering places.

Portrait

'Otherness' by Svetlana Jovanovic

With a psychology background, Jovanovic's portraiture is driven by a deep curiosity about identity — how we experience the world, construct our sense of self, and see ourselves through the eyes of others.

Her style brings together fine art portraiture and a commitment to visual beauty, believing that the conceptual and the aesthetic are inseparable: each gives the other meaning.

The winning images are part of Otherness, an ongoing long-term project exploring identical twins and the tension between shared identity and individual presence. While twins share so much, it is the small differences that emerge over time, the subtle ways each person's character becomes visible within the shared image, that lie at the heart of the work.

Landscape

'Ephemeral Visions' by Rohan Reilly

Rooted in the discipline of a composer, Reilly's images strip away complexity to reveal the essentials, which are texture, tone, and stillness.

His signature long-exposure technique transforms moving water and shifting skies into silk-like surfaces, while vast negative space and low saturation give his work a poetic, meditative quality that transcends documentation.

The process is one of patience and preparation: studying weather patterns, returning season after season, and waiting for the precise conditions that cannot be engineered but only earned.

Project//21

'Dwellers of the Night' by Panitbhand Paribatra Na Ayudhya

Na Ayudhya's work is rooted in a quiet dedication to the ocean, documenting its life, its fragility, and the ecosystems that sustain it, in the hope that what is seen through his lens will not be forgotten.

The series was captured in the waters of Anilao, Philippines, where pelagic and larval marine life migrate from the depths each night to feed under the cover of darkness.

For the ribbon eel, a diffused warm light conjures a subtle sunset behind the subject — crowning it as a master of the night. Some of these creatures spend their entire lives in the open ocean, making the pelagic ecosystem as fragile as it is extraordinary.

Street

'Morning Ritual' by Gosse Bouma

Bouma is a photographer whose work is driven by a quiet pursuit: to offer moments of tranquility in a world that rarely slows down. His distinct style lies at the intersection of urban geometry and natural elements, pairing the hard lines of architecture with the soft, unpredictable textures of weather.

Each photograph is infused with the intention of invoking serenity amidst the chaos of everyday life, creating visual experiences that invite stillness and reflection, even if only for a fleeting moment.

His winning series, taken across the Netherlands, turns to the street market as its subject, a space where people of all ages and backgrounds meet, exchange a few words, share warmth, and move on. In capturing these small, unhurried encounters, Bouma preserves something increasingly rare in contemporary life: a genuine sense of togetherness.

Wildlife

'The Forest I Roam' by Alfred Minnaar

Minnaar's creative process often begins with observation and patience. Rather than simply documenting his subjects, he seeks to understand their behaviour, environment, and relationship with the surrounding ecosystem.

The winning images of a tiny goby living amongst coral were created to challenge our perception of scale and encourage viewers to look closer.

Rather than focusing solely on the fish, the photographer wanted to use it as a point of reference within a much larger world. By placing the goby within its environment, the reef itself becomes the subject, inviting viewers to imagine its vastness from the perspective of one of its smallest inhabitants.

For more information, visit the Hasselblad website.

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The Hasselblad X2D II 100C has unexpectedly surged back to No.1 in Japan's latest Yodobashi best-seller rankings – overtaking the Sony A7 V in a surprise shift at the top of the charts. The 100MP medium format flagship had previously fallen out of the ranking entirely.

The Sony A7 V had dominated the list since its launch in December 2025, holding the top position for months as one of Japan's most popular full-frame cameras. Its drop to second place marks the end of a long run at the top.

The latest Top 10 also shows a striking return in Japan's mid-range mirrorless market, with the Nikon Z50 II standard zoom kit re-entering the rankings after a nine-month absence.

Yodobashi's 10 top selling cameras (2nd half May 2026)

1. Hasselblad X2D II 100C Body
2. Sony A7 V Body
3. Fujifilm X-M5 + XC 15-45mm Lens Kit | Silver | Black
4. Fujifilm X-T30 III + XC 13-33mm Lens Kit | Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Sony A7C II Zoom Lens Kit | Silver | Black
8. Sony A7C II Body | Silver | Black
9. Nikon Z50 II + Z 16-50mm VR Lens Kit
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

Hasselblad vs. Sony

The X2D II 100C is an unusual camera to top a sales chart at this level. As a 100MP medium format flagship available for $7,399 / £6,400, it sits in a completely different price bracket to other cameras listed in Yodobashi's Top 10 – including the Sony A7 V (priced at $2,898 / £2,799) – yet it still managed to reclaim the top position in Japan.

It features 5-axis stabilization offering up to 10 stops, up to 15.3 stops of dynamic range, LiDAR-assisted AF (autofocus), and Hasselblad's signature color science, all designed for high-end stills performance.

By contrast, the Sony A7 V pushes forward with a 33MP partially stacked sensor and upgraded AI subject detection – making it a highly capable hybrid full-frame model – though its video performance is facing competition from rivals...

Fujifilm dominates Top 5

Fujifilm dominates the upper end of Japan's rankings, with two cameras in the Top 5. The X-M5 kit sits in third place, followed by the X-T30 III kit in fourth.

Both are retro cameras featuring a 26.1-megapixel APS-C X-Trans CMOS 4 sensor paired with the X-Processor 5 – an award-winning combination recognized for its strong image quality and performance.

The next Yodobashi update will reveal whether the Sony A7V can return to No.1, or if the Hasselblad X2D II 100X will hold onto its position at the top of Japan's best-seller chart. Also entering the mix is Sony's A7R VI, which arrived in June and could further shake up the rankings.

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A US$4,599 medium-format lens isn't the kind of model you'd expect to see competing with mainstream full-frame best-sellers. Yet the Hasselblad XCD 35-100E has been doing exactly that in Japan, consistently ranking among the country's most popular lenses and now claiming the No.1 spot in Yodobashi's latest sales chart for the second half of May.

The world's fastest medium-format zoom is Hasselblad's second "trinity" lens for the X-System and is versatile enough to replace up to seven premium prime lenses worth over US$20,000.

That winning formula has helped it outperform some of photography's biggest pro workhorse lenses, including Sony's flagship Sony FE 70-200mm f/2.8 GM OSS II and Nikon's new Nikon Z 70-200mm f/2.8 VR S II.

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

1. Hasselblad XCD 35-100E
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Sony FE 24-70mm f/2.8 GM II
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Nikon Z 70-200mm f/2.8 VR S II
7. Fujifilm XF 16-55mmf /2.8 R LM WR II
8. Sigma 28-70mm f/2.8 DG DN | Contemporary (E-mount)
9. Nikon Z 24-70mm f/2.8 S II
10. Canon RF 100-500mm f/4.5-7.1 L IS USM

Why is the XCD 35-100E so popular?

In real-world use, the XCD 35-100E can handle a wide range of genres.

From street photography and architecture to portrait, it replaces multiple prime lenses while maintaining the image quality expected from Hasselblad's high-resolution system.

That versatility is one of the reasons it has become such a strong seller in Japan.

The fastest (and best) zoom lens for medium format cameras

With the Hasselblad XCD 35-100E, the brand has delivered one of its most capable lenses to date.

And the competition is strong: Sony's 70-200mmm is a key lens in the company's pro lineup, while Nikon's latest Z 70-200mm successor arrived to huge acclaim after the original was described as "probably the best 70-200mm zoom in the world," in our review.

While the XCD 35-100E is not a constant f/2.8 throughout its entire range, its ability to reach f/2.8 at the wide end still makes it the fastest autofocus (AF) medium-format zoom currently available.

Combined with Hasselblad's latest AF system in the X2D II 100C, it delivers a level of responsiveness that brings medium-format shooting closer to the speed and flexibility traditionally associated with full-frame systems.

Lower demand for 70-200mm in Japan

The second half of May shows a modest shift in the ranking. Canon's RF 70-200mm f/2.8 L IS USM Z is absent from the top 10 this time, with the popular 70-200mm category represented by one fewer lens overall.

At the same time, the rankings continue to favour versatile zoom ranges. Standard 24-70mm lenses remain a staple, while extended-range options such as 24-105mm, 28-200mm, and 100-400mm optics continue to appear regularly across the top 10.

The next best-seller chart could see further changes following the arrival of Sony's FE 100-400mm f/4.5 GM OSS.

High-profile launches have historically performed strongly in Japan's rankings, with Nikon's Z 70-200mm f/2.8 VR S II, for example, quickly climbing to the No.1 spot after release before settling into the chart.

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Photographers across a variety of genres, from wildlife and portraiture to events and action, have long gravitated towards 70-200mm lenses.

In March 2026, the successor to what we described in our review as "probably the best 70-200mm zoom in the world" entered the market – and it has already begun making waves in Japan's latest sales rankings.

Yodobashi's latest best-seller charts for the second half of April 2025 place the Nikon Z 70-200mm f/2.8 VR S II in the top slot. The result highlights continued demand for high-end professional telephoto lenses, with Nikon's latest flagship outperforming competing optics.

The rankings span a broad field, covering zoom lenses from 24mm wide-angle options to 400mm super-telephoto designs. Despite this competition, Nikon's updated 70-200mm has secured the top position.

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

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

Nikon's success story

In our review of the Nikon Z 70-200mm f/2.8 VR S II, we noted that it was "hard to believe Nikon could improve upon an already winning formula this much."

The lens is lighter than the original Nikon Z 70-200mm f/2.8, offers improved optical performance and introduces usability upgrades – including a removable tripod collar, closer focusing distance and enhanced control features for video users.

Combined with faster AF (autofocus) and improved handling, it refines what was already regarded as one of the best 70-200mm zoom lenses ever made.

The rest of the top 10 lenses

Unsurprisingly, three 70-200mm lenses appear in the top 10 best-seller list.

Alongside the Nikon Z 70-200mm f/2.8 VR S II in first place, Sony's FE 70-200mm f/2.8 GM OSS II sits in fifth, while Canon's RF 70-200mm f/2.8 L IS USM Z ranks seventh – all established workhorse optics commonly found in professional photographers' kitbags.

There is also strong representation from the 24-70mm f/2.8 category, with Sony's FE 24-70mm f/2.8 GM II in third place, Nikon's Z 24-70mm f/2.8 S II in eighth and Canon's RF 24-70mm f/2.8 L IS USM Z in tenth.

Once again, Yodobashi's sales rankings highlight a trend: flexibility continues to outweigh prime lens performance. Zoom lenses remain the preferred choice thanks to their versatility and all-around usability, offering photographers more creative range in a single investment.

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Sony's newest full-frame camera dominated Japan's sales charts for six consecutive weeks – but the latest rankings reveal a major shift at the top. The Sony A7 V has now been overtaken by a 3-year-old camera, according to retailer Yodobashi.

In Yodobashi's latest best-seller list for the second half of April, the Sony A7C II has reclaimed the top position, overtaking the newer Sony A7 V after a strong run at No.1 since early 2026.

It marks a notable reversal, with the A7C II – released in 2023 – once again outperforming newer rivals, including Hasselblad's full-frame flagship camera.

Yodobashi's 10 best-selling cameras (2nd half Apr)

1. Sony A7C II + FE 28+60mm f/4-5.6
2. Sony A7 V
3. Hasselblad X2D II 100C
4. Canon EOS R10 + RF-S 18-150mm f/3.5-6.3 IS STM
5. Fujifilm X-T30 III + XC13-13mm
6. Canon EOS R50 + RF-S 18-45mm f/4.5-6.3 IS STM + RF-S 55-210mm f/5-7.1 IS STM
7. Fujifilm X-M5 + XC15-45mmF3.5-5.6 OIS PZ
8. Canon EOS R6 Mark III
9. Nikon Z8
10. Canon EOS R5 Mark II

Japan's 'new' best-selling camera

The Sony A7C II is no stranger to the top of the charts. Throughout 2025, it frequently ranked among Japan's best-selling cameras across multiple retailers, often alternating between the top positions. Now, it has returned to No.1 after several months in the top three.

Why is the A7C II still so popular?
Released in 2023, the Sony A7C II continues to resonate with photographers thanks to its balance of performance and portability.

It combines a 33MP full-frame Exmor R sensor, AI-powered subject detected autofocus (AF), 7-stop in-body stabilization (IBIS), 10-bit 4:2:2 4K 60p video, and performs excellently in low light.

And the best: all this tech comes in a compact, travel-friendly body design, weighing only 514 grams (1 lb 2.2 oz). While full-frame cameras often lean either toward high-resolution photography or advanced video features, the A7C II balances both.

Despite newer releases, the A7C II remains a strong "all-rounder" option that avoids the size and cost trade-offs of larger flagship bodies.

Why the A7C II may have reclaimed No.1

Several factors likely explain its return to the top of Japan's rankings: Strong value vs newer models, mature, proven feature set, promotions, and lastly, supply and demand shifts.

In Japan, pricing plays a major role in sales rankings. Even with newer cameras available, the A7C II continues to offer strong, full-frame performance at a more accessible price point of $2,498 / £1,999 (the Sony A7 V, for example, is priced at $2,898 / £2,799).

The A7C II already delivers advanced AF, high-resolution imaging, and solid video capabilities – meaning some users may not see a compelling upgrade in newer models.

Also, retail rankings such as Yodobashi are heavily influenced by lens kits, bundled offers, and cashback promotions, which often favour established models like the A7C II.

Lastly, availability fluctuations and increased international demand for newer Sony models – as noted by retailer BCN – may also impact short-term rankings, affecting stock levels of the A7 V.

It remains to be seen whether the Sony A7 V can regain the top position in upcoming rankings, or whether the A7C II will continue to dominate Japan's best-seller charts in the coming months.

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From over 108,000 images submitted by photographers from more than 160 countries and territories, Hasselblad Masters has just announced its 70 finalists for the 2026 competition.

The shortlisted images span seven categories, including Architecture, Landscape, Wildlife, and more, with 10 finalists selected in each category. One winner in each category will be announced on June 30, ultimately earning the prestigious Hasselblad Master title

The title places the winner among an internationally recognized community distinguished for excellence in photographic craft, alongside a prize package that includes a Hasselblad X2D II 100C, two XCD lenses of their choice, and a €5,000 (approx. $5,800 / £4,300) cash prize.

The Hasselblad Masters 2026 finalists

Architecture

The finalists in the Architecture category reveal the built world beyond documentation and present architecture as spaces shaped by design, light, and environment. Each work highlights structural beauty while examining the relationship between architecture, its surroundings, and human experience, offering new perspectives on familiar spaces.

Fine Art

The finalists in the Fine Art category invite curiosity and a sense of wonder through personal expression and visual language. Rooted in personal experience, observation, and individual conviction, each series reinterprets reality through constructed and symbolic imagery, reflecting a range of emotional and conceptual perspectives.

Landscape

The finalists in the Landscape category combine technical mastery with a strong visual sensibility. The work reveals rarely seen landscapes, reflects transformation in the natural world, and conveys a strong sense of scale and presence. Together, these images explore the evolving relationship between humanity and the natural world.

Portrait

The finalists in the Portrait category explore identity, culture, and the human condition with precision and intent. The work captures human expression and the relationship between individuals and their environment. These images move beyond appearance to reflect heritage and lived experience, revealing narratives of resilience, belonging, and connection.

Street

The finalists in the Street category capture moments within the rhythm of urban life, from fleeting interactions to distinct expressions of atmosphere and place. Timing, perspective, and human presence give ordinary scenes new meaning. Each image reveals how people and public space shape one another, transforming familiar settings into moments defined by clarity and mood.

Project // 21

The finalists in the Project // 21 category demonstrate a confident command of photographic language and a strong sense of individual vision. Themes of identity, environment, and origin emerge through approaches that challenge convention and expand creative boundaries. Each series presents a distinct perspective and a commitment to defining new ways of seeing.

Wildlife

The finalists in the Wildlife category present a refined balance of observation and visual interpretation. Moments of behavior, adaptation, and connection unfold from quiet solitude to intimate relationships. The images offer insight into the complexity of the natural world and the patterns that shape it.

To discover all finalists and for more information, visit the Hasselblad website.

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Building on its DGP Imaging Award win last year, the Hasselblad X2D II 100C has now added another major accolade to its list – this time being crowned Best Medium Format Camera at the Technical Image Press Association (TIPA) World Awards.

The TIPA World Awards recognize the best new photo and imaging products each year, celebrating innovation in technology, design, and user experience across the industry. The awards are widely regarded as one of the most respected honors in the imaging world.

The winners are decided at TIPA's General Assembly, where leading photography publications – including Digital Camera World – vote on the most impressive launches. Out of 40 categories, Hasselblad's flagship was named the leading medium format camera, reinforcing its position at the high end of the segment.

A masterpiece of camera: the Hasselblad X2D II 100C

Hasselblad's X2D II 100C – described in our review as "the finest stills camera ever made"– is a standout choice for medium format photographers. It combines luxurious ergonomics, a tilting OLED screen, a built-in 1TB SSD for high-volume shooting, a 100MP medium format sensor, and true end-to-end HDR color.

The TIPA notes that the X2D II 100C represents the next chapter in the evolution of medium format photography.

"The X2D II combines extraordinary image quality with refined handling and modern performance. Its large high-resolution sensor delivers stunning detail, remarkable dynamic range, and rich colour accuracy.

"Advanced in-body image stabilization allows photographers to capture handheld images with exceptional clarity, while the intuitive interface and beautifully crafted design make for seamless operation in the field. Fast internal storage and improved responsiveness further enhance the shooting experience."

What makes it award-worthy is the balance of pure tech with genuine usability. Despite its powerhouse specs, the X2D II 100C feels nimble, intuitive, and creatively freeing, offering professionals unmatched color depth, dynamic range, and precision.

Even with its high price tag, Hasselblad's flagship has topped the best-selling chart in Japan at major retailer Yodobashi Camera, and has remained in the top three into early 2026.

This points to a clear demand for ultra-high-resolution medium format photography, despite the cost.

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The latest list of best-selling cameras in Japan contains ten mirrorless cameras, but I could describe the list in just three key trends: High-end shooters, cheap cameras, and compact bodies.

Japanese retailer Yodobashi has shared the latest list of best-selling mirrorless cameras for the second half of March 2026. The list includes several long-standing best-sellers that are hardly surprising to see, like the Sony A7 V, the compact Fujifilm X-M5, and a longstanding budget favorite, the Canon EOS R50.

But, other cameras on the list are more of a surprise, like the return of the Hasselblad X2D II 100C and the Nikon Z8 popping back on the list for the first time in nearly a year.

Sales data from Japan, however, is interesting because the numbers tend to reflect some key trends in the camera industry, as many major brands are headquartered in the region. The list seems dominated by three categories: high-end cameras, budget cameras, and the mirrorless bodies cramming big tech into small bodies.

The best-selling interchangeable lens cameras for the second half of March 2026 at Yodobashi are:

1. Sony A7 V
2. Sony A7C II with zoom lens
3. Hasselblad X2D II 100C
4. Fujifilm X-M5 with kit lens
5. Canon EOS R10 with 18-150mm
6. Nikon Z8 body-only
7. Sony A7C II body-only
8. Canon EOS R50 double zoom kit
9. Fujifilm X-E5 with 23mm pancake lens
10. Nikon Z50 II double zoom kit

Budget cameras remain popular

First, let’s get the category out of the way that seems to never go out of style: Budget cameras. Entry-level cameras tend to remain a popular option no matter what the trends are doing, as they entice beginners and, well, let’s face it, more people can afford cheaper cameras than the luxury options.

The budget cameras on the list are varied – there’s the longstanding budget favorite Canon EOS R50, and the Nikon Z50 II, and in both cases, the kits that are selling well are the two-lens bundles. The Canon EOS R10 also made the list. The Fujifilm X-M5 could also fit under this category, as the brand’s most affordable current model, but it also fits in another key trend: compact mirrorless cameras.

Budget cameras remain popular

The compact camera trend hasn’t stayed in its own lane – the resurgence of point-and-shoots seems to have also created a demand for smaller mirrorless systems. There’s a good reason for that, as some compact mirrorless cameras can even be more affordable than the trendiest high-end compact cameras like the X100VI and Ricoh GR IV.

The Sony A7C II, which is Sony’s most compact full-frame mirrorless body, is no stranger to the best-seller lists for that reason, and this time pops up twice, both as a kit and as a body-only option.

The Fujifilm X-E5 is also a mirrorless with a size that nearly rivals high-end compact cameras, considering its rangefinder-inspired body and tiny kit lens.

The Nikon Z8, which hasn’t been on Yodobashi’s top ten for almost a year, isn’t exactly a compact mirrorless body, but it is known for being a more compact high-spec alternative to the oversized Nikon Z9.

High-resolution, high-tech cameras

Because cheaper cameras tend to sell in high volumes, it’s fairly unusual to see an expensive medium-format camera on best-seller lists, but this isn’t the first time that the 100MP Hasselblad X2D II 100C body has sold this well. While it’s surprising that such a luxury-priced camera is selling so well, it’s not surprising that the X2D II 100C is the one that’s doing so well – reviewer James Artaius called it “the finest stills camera ever made.”

The Sony A7 V, which has sat at the top of multiple best-seller lists since its launch, really straddles the gap between budget cameras and high-end cameras. While the A7 was originally Sony’s entry into full-frame, the fifth generation no longer feels that way with its 30fps blackout-free bursts and 33MP full-frame sensor.

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Photographer Pål Hermansen earned a finalist spot in Close Up Photographer of the Year's 'Death & Decay' challenge with his image Mallard in Ice, showing a dead duck frozen into the ice of a small lake in Norway.

Hermansen's photo feels almost poetic, as the duck is frozen beneath the ice, while the trapped bubbles suggest movement that once was. The duck sits at that boundary of life and death – its beak above the surface, but its body submerged beneath the lake's frozen skin.

The colors reinforce this contrast. The cold blue tones of the water dominate the image, but the viewer's focus is drawn to the duck's beak, which stands out in contrast in a warm yellow.

Finalist 'Mallard in Ice'

Shot info
Gear: Hasselblad 203 FE + 50mm lens
Accessories: Tripod
Film: Fujifilm Fujichrome Velvia 50 (120)
Exposure: 1/125sec, f/16
Post-processing: Drum scan, no processing

Hermansen explains the story behind his image Mallard in Ice, "I discovered this dead mallard lying in a small lake that had just frozen over.

"I realised it could make an interesting image, so I decided to cut out a piece of ice including the bird and take it up onto the bank.

"There I could make a portrait of the duck, seen from below – the ice acting as a window into death, preserving every feather in perfect detail."

The CUPOTY competition

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

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

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Medium format photography has a few drawbacks, in some people’s eyes. This is true for film and digital, although I would suggest more so for film. However I think that these elements might actually force your hand in beneficial ways and make you a better photographer and here’s why.

When I started shooting medium format back in the late 90s I both loved the results but was, at first, infuriated by the process. It all felt too drawn out and risky. That’s why our studio shot so many Polaroids. We had to make sure the shot was just right before we committed to the expense of actual film, and that was when prices were reasonable. I soon came to love everything about it and still shoot 120 roll film now for the same reasons.

Deliberation and intention. Shooting medium format tends to be a slower process. Hasselblad’s and Fujifilm’s digital offerings of late may be changing that a little but for the most part everything is slower. Burst rates aren’t as fast, autofocus tends to be slower and this all adds up. Plus the cost per shot, whether film or in megabytes of storage, is higher. Yes, of course you can delete a digital shot but my point stands.

All this makes you slow down, just a bit and that is a good thing. It’s an opportunity to take stock of your shot and take a more considered photograph. This will make each image more intentional, which can only be a good thing. Having a more critical eye is a great way to train yourself into giving more attention to aspects of your craft that you might want to improve upon.

If, like me, you shoot a lot of medium format film, this will not only give you a much higher hit rate, it will also save you money. 120 film isn’t getting any cheaper, after all!

Just as focal lengths are different to a 35mm equivalent, so is depth of field. People talk about the ‘medium format look’ which I think is really a combination of things but a large aspect of it is the narrower depth of field, given an equal field of view. As well as adding to the ‘look’ this will help you nail your focus skills, if you aren’t using autofocus that is. You might have a lens that only opens up to f/2.8 (like my Hasselblad’s Zeiss Planar 80mm) but the depth of field at portrait distances is wafer thin wide open. So either add some light and close down, or learn how to nail critical focus.

A sensor or film that is much larger than 35mm or APS-C will give you benefits of extra detail and sharpness, all other things being equal but there are dangers. Mirror slap can make you question your choice of shutter speed and might encourage mirror lock-up and the use of a tripod.

When it comes down to it, medium format changes you as a photographer. Less spray and pray, more deliberation and intention. That will make you a better photographer, with more technical understanding, as well as more time to consider framing and light and that can’t be bad.

The Hasselblad Award, the world's largest prize in photography, has been awarded to South African visual activist Zanele Muholi – "one of the most influential contemporary photographers, with an impact that reaches far beyond the art world," the Foundation says.

Presented annually by the Hasselblad Foundation since 1980, the prestigious award includes SEK 2,000,000 (approx. $217,000 / £162,087/ AU$308,048), a gold medal, and a Hasselblad camera (worth over US$7,000). The prize makes it the biggest available for a photo contest – eclipsing that available for the overall winner of the HIPA contest.

Over a career spanning more than two decades, Muholi has created powerful portrait series that document and celebrate the lives of Black LGBTQIA+ communities.

For this, Muholi worked with Canon cameras such as the EOS R5 or EOS 5D Mark IV, paired with classic portrait lenses including the EF 50mm f/1.8 STM and EF 85mm f/1.4 DG HSM Art, along with zooms like the EF 70-300mm f/4-5.6L IS USM.

The winning work

The Hasselblad Foundation citation states, "Born in 1972 during the apartheid regime, they are highly aware of the power of narration in the face of systematic violence. Muholi's photographs are formally compelling, employing composition, colour, greyscale, and lighting to create an adept visual language that holds both strength and vulnerability.

"The portraits foreground individuals with a direct and dignified gaze, challenging prejudice and discrimination while creating alternative visual histories. Activism and community work is an integral part of their practice, which combines political urgency and formal mastery, making Muholi a central figure in global queer visual culture."

Photography as visual activism

Born in Umlazi, Durban, Muholi has pioneered the use of photography as a form of visual activism, addressing race, identity, and representation.

Their long-running portrait project Faces and Phases (2006 -) documents Black lesbian, transgender, and gender-nonconforming individuals and is widely regarded as a landmark series in contemporary photography.

Other projects include Only Half of the Picture (2003-2004), which documented lesbian lives and survivors of hate crimes, and Brave Beauties (2014-), celebrating trans women.

In the ongoing self-portrait series Somnyama Ngonyama (Hail the Dark Lioness), Muholi draws on visual references from fashion, domestic labour, and ethnographic imagery to challenge historical depictions of Black bodies.

Alongside their artistic work, Muholi founded Inkanyiso in 2009, a platform dedicated to queer and visual activist media, and established the Muholi Art Institute in 2022 to support emerging artists.

Muholi explains

"This prize is not mine alone. I carry it with the many faces, names, and histories that have trusted me with their stories. From Umlazi to every space where Black LGBTQIA+ people continue to fight to exist freely, this recognition affirms that our lives are worthy of being seen – not as statistics, not as shadows, but as full human beings.

"For years, my work has been about visibility and resistance. It has been about creating an archive so that no one can say, 'We did not know.' When this honour comes, I receive it on behalf of my community; those who have been erased, those who are still here, and those who are yet to see themselves reflected with dignity," Muholi says.

For more information and to see the entire selection of winning photographs, visit the Hasselblad Foundation website.

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The Hasselblad XCD 35-100E has surged to No.1 in Japan's latest sales charts – a remarkable rise, especially considering it didn't even break into the top five in the January rankings.

As the fastest medium-format zoom lens currently available, this premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography.

According to the latest rankings from Japanese retail giant Yodobashi Camera, the XCD 35-100E climbed from 6th place to the top spot for the first half of February 2026 – and unsurprisingly, the top 10 is dominated by zoom lenses, with only one prime making the ranking.

Yodobashi's 10 best-selling lenses (1st half Feb)

1. Hasselblad XCD 2.8-4/35-100E
2. Sony FE 24-70mm F2.8 GM II
3. Tamron 25-200mm F/2.8-5.6 Di III VXD G2 (E-mount)
4. Canon RF 100-400mm F5.6-8 IS USM
5. Sony FE 70-200mm F2.8 GM OSS II
6. Sigma 20-200mm F3.5-6.3 DG | Contemporary (E-mount)
7. OM System M.Zuiko Digital ED 50-200mm F2.8 IS PRO
8. Nikon Z 24-70mm f/2.8 S II
9. Nikon Z 24-120mm f/4 S
10. Leica Noctilux-M f1.2/35 ASPH

Sales data collected between February 1-15 2026, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Why the XCD 35-100E is so popular
Designed for Hasselblad X System, the XCD 35-100E delivers an equivalent focal range of 27-78mm in full-frame terms.

It's currently the fastest medium format zoom on the market, offering f/1.8 at the wide end, exceptional edge-to-edge sharpness, rapid AF (autofocus) performance, and professional "trinity" standard zoom versatility.

Our full review called it "the best zoom lens for medium format right now," highlighting that it can effectively replace seven XCD prime lenses within its focal range – primes that would effectively cost well over US$20,000.

A broader Hasselblad surge?
The rise of the XCD 35-100E isn't happening in isolation. The Hasselblad X2D II 100C camera also climbed to second place in Yodobashi's recent camera rankings, signaling a momentum for medium format in Japan.

Zooms dominate Japan's market

This February ranking highlights a familiar pattern: zoom lenses continue to outperform primes in sales. The growing demand for versatile, all-in-one optics that can handle multiple genres without constant lens changes is not over.

For working professionals and enthusiasts alike, flexibility wins.

The real question now: can the Hasselblad XCD 35-100E defend its No.1. position in the second half of February – or will the Sony FE24-70mm f/2.8 GM II reclaim the crown?

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Not much has changed in Japan's best-selling camera charts from Yodobashi for the first half of February – but what changed is extraordinary.

The headline remains the same: the Sony A7 V is still No.1 – now for the third time.

But right behind it – up one crucial position – sits the $7,000+ medium-format powerhouse, the Hasselblad X2D II 100C...

Yodobashi's 10 best-selling cameras (1st half Feb)

1. Sony A7 V
2. Hasselblad X2D II 100C
3. Sony A7C II Zoom Lens Kit Silver | Black
4. Fujifilm X-T30 III XC13-33mm Lens Kit Silver | Black | Charcoal Silver
5. Sony A7C II Body Silver | Black
6. Sony ZV-E10 II Double Zoom Lens Kit Black | White
7. Nikon Z50 II Double Zoom Kit
8. Canon EOS R50 Double Zoom Kit Black | White
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Fujifilm X-E5 XF23mm Lens Kit Silver | Black

Sales data collected between February 1-15, 2026, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

The Sony A7V vs. Hasselblad X2D II 100C
The Sony A7 V, which debuted at No.1 in December, briefly vanished (likely due to stock shortages), then returned to win two consecutive charts and is now celebrating its third chart-topping finish.

The Hasselblad X2D II 100C was ranked third in Yodobashi's sales chart for the 2nd half of January. Now, the 100MP flagship, also known as "the finest stills camera ever made," continues to defy expectations for a $7,000+ medium-format body.

While the A7V represents the sweet spot: full-frame performance, hybrid power, and mainstream appeal, the X2D II 100C is something else entirely: A 100MP medium-format sensor camera with true end-to-end HDR color, built in 1TB SSD, and 10-stop IBIS.

It's not practical mass-market value, and for a niche category, holding second place in Japan's most competitive retail market is extraordinary (!)

Japan's market: what changes – and what didn't

The broader top 10 is almost identical to Yodobashi's top 10 best-selling cameras in the second half of January.

The Sony A7C II Zoom Kit remains firmly in the top three (now No.3), Fujifilm's X-T30 III holds steady at No.4, the Sony A7C II body-only version stays at No. 5, and the Sony ZV-E10 II stays mid-table at No.6.

Lower down, we see only minor resheffling: the Canon EOS R10 RF-S 18-150mm kit newly secures a top-10 position. The Fujifilm X-E5 XF23mm kit enters No.10, and Nikon's Z50 II and Canon's EOS R50 continue to hover in the lower half.

Sony's stability remains with four positions in the top 10. Canon and Fujifilm follow with two each. Nikon and Hasselblad secure one apiece.

For now, the Japanese market looks remarkably consistent, with impressive sales numbers for the Hasselblad X2D II 100C.

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Sony has done it again. After briefly disappearing from the top 10 best-selling camera charts, the Sony A7 V is back at No.1 at Yodobashi Camera – while one of the boldest mirrorless flagships of 2025, a US$7,000+ medium-format camera, is now sitting comfortably in the top three.

According to Yodobashi Camera's best-seller data for the second half of January, two narratives collide. Sony's latest full-frame powerhouse has returned to the summit, while Hasselblad X2D II 100C, a stills-first 100MP icon, has surged dramatically up the rankings.

Just weeks ago, in the second half of December 2025, Sony's A7 V shot straight to No.1 immediately after launch, reshaping the charts overnight – then vanishing from the charts. In the same ranking, Hasselblad's medium-format flagship appeared at No.8 – notable in itself, but nowhere near today's podium position.

Yodobashi's 10 best-selling cameras (2nd half Jan)

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit Silver | Black
3. Hasselblad X2D II 100C Body
4. Fujifilm X-T30 III XC13-33mm Lens Kit Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Fujifilm X-M5 XC15-45mm Lens Kit Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit Black | White
8. Canon EOS R50 Double Zoom Kit Black | White
9. Sony A7C II Body Silver | Black
10. Canon EOS R6 Mark III

Sales data collected between January 16-31, 2025, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Sony A7 V: back on top after a January wobble
After missing Yodobashi's first chart of 2026, the Sony A7 V has stormed back to No.1, reaffirming its status as one of the most in-demand full-frame mirrorless cameras in Japan.

Released for retail shipping on December 18, 2025, the A7 V enjoyed a blockbuster debut, briefly vanished as early-January demand shifted, and now returns to the top. It's a perfect snapshot of how reactive – and ruthless – Japan's camera market can be.

Its rebound also contrasts sharply with the last ranking leader, the Canon EOS R5 Mark II, which completely dropped out of the top ten this time around.

"The finest stills camera ever made" returns to the top three
Perhaps the most remarkable result this time is Hasselblad's X2D II 100C, priced at $7,399 / £6,400 / AU$12,650, climbing to third place.

The X2D II 100C previously topped Yodobashi's charts in November 2025, later slipped down the rankings, and now completes a rare comeback. For a medium-format camera – traditionally a niche category – this kind of sustained visibility is almost unheard of.

As highlighted in our review, its combination of a 100MP medium-format sensor, true end-to-end HDR color, 10-stop in-body image stabilization, luxury ergonomics, and a built-in 1TB SSD makes it arguably the "finest stills camera ever made."

Its accolades, including the DGP Imaging Award, reinforce that reputation – and Japan's buyers appear to agree.

10 positions, 5 brands – Sony dominates
This month's chart features cameras from five manufacturers: Sony, Hasselblad, Canon, Nikon, and Fujifilm.

Sony leads the pack with four placements, including both body-only and kit versions of the A7C II, underlining its dominance across enthusiasts and hybrid shooter segments.

Canon maintains a presence with the EOS R50 and EOS R6 Mark III, while Nikon holds steady on No.5 with the Z50 II.

Fujifilm secures two spots with the X-T30 III and X-M5, the latter having earned a Good Design Award thanks to its tactile controls, Film Simulation Recipes, and compact portability.

Japan's camera market: nothing is guaranteed

Japan's fast-moving camera market has flipped yet again, proving that blockbuster launches, luxury flagships, and promotion-driven favorites can rise – and fall – within weeks.

Seeing the Sony A7 V reclaim No.1 and the Hasselblad X2D II 100C sitting at No.3 would have seemed unlikely just two weeks ago – but momentum shifts quickly, promotions matter, and even premium flagships with premium price tags can thrive.

With February just beginning, all bets are off again.

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Almost everyone who loves photography also loves retro cameras. In fact, even non-photographers appreciate their aesthetic appeal – as evidenced by the insatiable appetite for the Fujifilm X100 series.

On the latest episode of our podcast, Bokeh Face, my colleague Mike and I talked about the virtues of retro cameras, covering everything from their vinyl-like collectible appeal to what the future looks like for this subgenre of camera.

But while some photographers are under the impression that retro cameras are a Fujifilm thing, and a recent thing at that, when you look at the timeline of the trend you realize that it was far from alone in starting the craze – a craze that has actually been going on for well over a decade!

I invite you to check out our conversation below for more detailed discussion (the link will jump you straight to this part of our conversation), but here's a quick rundown of the retro mirrorless camera timeline… (This isn't a list of every retro body, but the key first models that kicked retro product lines.)

2012 – Fujifilm X-Pro1
The original X100 had already launched in 2011, but that was a compact camera (and as such was actually part of the Finepix line, to begin with) and many manufacturers made retro-looking compacts. But January saw the first ever retro mirrorless camera, in rangefinder style, with a 16.3MP APS-C X-Trans sensor and 49-point contrast-based AF system.

2012 – Olympus OM-D E-M5
The following month, Olympus dropped the groundbreaking E-M5 – arguably the camera that proved mirrorless could be a high-level, even professional tool. Packing a 16.1MP Micro Four Thirds sensor with a 5-axis in-body image stabilization system and weather sealing, this camera cemented Olympus as a pioneer of post-DSLR photography.

2013 – Nikon Df
I know it's a DSLR, not mirrorless, but that actually speaks to the story of the Df – a retro camera that was, ironically, ahead of its time. Nikon embraced the throwback aesthetic but applied it to bulky DSLR technology (taking the full-frame 16.2MP sensor from 2012's flagship D4), resulting in what Mike called a "Fallout camera" that looks almost like a parody camera from the future.

2014 – Fujifilm X-T1
It took Fujifilm a couple of years to release an SLR-inspired body to complement the rangefinder camera design of the X-Pro – and it upped the ante with its newer 16.3MP X-Trans II sensor and the introduction of phase-detect autofocus (making it a rival to Olympus' next OM-D camera, the decidedly non-retro E-M1).

2016 – Olympus PEN-F
Where Fujifilm started with a retro rangefinder before bringing out an SLR-style camera, Olympus did it the opposite. The E-M5 spawned a successor, as well as a retro sibling in the form of the E-M10, but arguably the company's magnum opus was the mighty PEN-F – milled from a single block of aluminum, built around a 20.3MP sensor and introducing Oly's first film simulations.

2020 – Hasselblad 907X
We had mirrorless cameras inspired by rangefinders and mirrorless cameras inspired by SLRs, so Hasselblad said "Hold my schnapps" and gave us a mirrorless camera inspired by modular medium format systems. Technically the world's thinnest mirrorless camera, the 907X enables you to mount a 50MP or 100MP digital back to the best Hasselblad XCD lenses.

2021 – Nikon Zfc
After getting its fingers burned in 2013, Nikon did retro right this time with the Zfc – taking the guts and the 20.9MP APS-C sensor of the Nikon Z50 and putting them inside a slick (albeit plasticky) throwback body. It would perfect the formula in 2023 with the full-frame Nikon Zf, marrying the 24.5MP DNA of the Z6 series with a proper metal body.

2025 – OM System OM-3
As beloved as the PEN-F was, it didn't sell enough to be considered a success. But after Olympus sold its camera division in 2021, the reborn OM System brand gave us the most faithful Oly tribute camera ever. The OM-3 put all the flagship firepower of the OM System OM-1 Mark II in a breakthrough body that did as much for the company's image as it did for photographers' image quality.

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November was a fantastic month for new lenses – but the lenses topping the sales lists in Japan all have unusual features. Japanese retailer Yodobashi has shared the sales data for lenses for the second half of November, a list that’s topped by unusual optics.

The top three lenses for the retailer are all new launches with relatively unusual features: the Tamron 25-200mm f/2.8-5.6 Di III VXD G2, the Sony FE 100mm f/2.8 Macro GM OSS, and the Canon RF 45mm f/1.2 STM.

Tamron 25-200mm f/2.8-5.6 Di III VXD G2

As the G2 in the name suggests, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 isn’t exactly a first of its kind, but I would still call the lens a bit of an oddball (in a good way). All-in-one zooms aren’t hard to find, but the Tamron 25-200mm packs a lot of capabilities in a single lens.

First, the lens gives photographers the ability to shoot at a bright f/2.8. Yes, that’s only for the widest angle, but the capability is there for when lighting is limited. Second, there’s the 200mm reach on the long end. But the biggest improvement from the earlier 28-200mm is that the all-in-one also has half macro.

Sony FE 100mm f/2.8 Macro GM OSS

The Sony FE 100mm f/2.8 Macro GM OSS isn’t just the first macro for the high-end GM series – it’s also a 1.4x macro, growing above and beyond the usual 1:1. That gives the lens the ability to enlarge tiny objects beyond lifesize. The lens is also compatible with teleconverters for up to 2.4x magnification.

I had the chance to test the new macro, and the sharpness and stabilization are impressive, living up to the standard that I’ve come to expect from the high-end GM optics.

Canon RF 45mm f/1.2 STM

The Canon RF 45mm f/1.2 STM isn’t just one of the most popular lenses in Japan in November – it’s also on US retailer B&H’s list of the most popular lenses for the YEAR. So why is the lens that Canon only just announced on November 28 already so popular?

Bright f/1.2 primes tend to be pretty pricey, but that’s where the new Canon is a bit of an oddball – it’s just $469 / £479.99 / AU$699.95. While Canon’s pricier primes have features like weather-sealing that the new 45mm does not, it’s a move towards making ultra-bright apertures more accessible to more photographers on limited budgets.

More top 10 lenses

While the top three on Yobodoshi’s list for the second half of November are brand new oddballs, that doesn’t mean more standard focal lengths are falling by the wayside. Rounding out the rest of the top ten list, the list includes:

4. Canon RF 100-500mm f/4.5-7.1 L IS USM
5. Sony FE 24-70mm f/2.8 GM II
6. Sigma 20-200mm f/3.5-6.3 DG Contemporary (E-Mount)
7. Nikon Nikkor Z 24-120mm f/4 S
8. Sony FE 70-200mm f/2.8 GM OSS II
9. Hasselblad XCD f/2.8-4 35-100mm E
10. Nikon Nikkor Z 24-70mm f/2.8 S II

Comparing two weeks of data from Japan to the trendiest lenses of the year at a US retailer is like comparing apples to oranges, but it’s interesting to see a few lenses pop up on both lists, including the Canon 45mm f/1.2, along with the Nikon Z 24-120mm f/4 and the Nikon 24-70mm f/2.8 S II. Seeing a medium format lens on the list may be a bit of a surprise, but less so considering how well the Hasselblad X2D II 100C has been selling.

If the November sales data from Japan is any indication, photographers aren’t afraid to buck the usual focal lengths and go for a lens that’s a bit more unusual.

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The Hasselblad Masters 2026 competition is officially open, inviting professional photographers worldwide to showcase their most creative, technically masterful and inspiring work.

Free to enter and open to submissions captured on any camera system, the competition offers a unique chance to gain international recognition, win extraordinary prizes including €5,000 (approximately $5,900 / £4,400 / AU$8,900) and a Hasselblad camera system, and join the exclusive ranks of Hasselblad Masters.

Since its launch in 2001, the Hasselblad Masters has become one of the most prestigious photography competitions in the world. Past winners have gone on to achieve global acclaim, making this competition a career-defining opportunity for professionals looking to elevate their work on an international stage.

However, time is limited – entries close on February 28 2026.

The Hasselblad Masters 2026 competition

This year, the 2026 edition continues the legacy with seven curated categories, each designed to highlight the unique vision and mastery of participating photographers.

The competition is free to enter and open to professional photographers worldwide.

Entrants may submit up to three images per category and enter as many of the seven categories as they wish: Landscape, Portrait, Street, Architecture, Art, Project // 21 (for photographers aged 21 and under) and Wildlife.

Why this is a big chance for you and your work

Winning the title of Hasselblad Master places you among an elite group recognized worldwide for your mastery of the craft.

What's in for you
Prices are also extraordinary, including:
- Hasselblad X2D II 100C camera
- Two Hasselblad XCD lenses of your choice
- €5,000 cash prize
- Collaboration with Hasselblad on the Hasselblad Masters Photography Book
- Global exposure across Hasselblad's marketing and social channels

Participating in the Hasselblad Masters offers more than prizes – it's a platform to elevate your photography career:

Benefits
- Recognition from world-class photography professionals
- Potential to feature in the Hasselblad Masters Photography Book
- Networking with leading photographers and curators worldwide
- Exposure to Hasselblad's global audience
- A chance to join an exclusive legacy of Hasselblad Masters

The Grand Jury and Public voting

Submissions are judged by the Hasselblad Grand Jury, which includes leading figures in photography from around the globe, such as Kalle Sanner (Hasselblad Foundation), Alex Pollack (National Geographic), Sonia Jeunet (Magnum Photos), Rebecca Swift (Getty Images), Aya Musa (Foam) and other prominent curators and editors.

Entries are evaluated based on creativity, composition, technical skill, conceptual strength and photographic ability. Public voting will also play a role in the final selection, alongside the Grand Jury's expert assessment.

Don't miss the deadline

The entry period for Hasselblad Masters 2026 is open from now until 28 February 2026. Finalists will be announced on 28 April 2026, and winners will be revealed on 30 June 2026.

For more information, all rules and to submit your images, visit the Hasselblad website.

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There are quite a few examples of camera companies losing their way as financial problems led to multiple changes of ownership, a revolving door of key personnel and slashed budgets, all hampering meaningful research and development.

Rollei is a classic case, first failing in 1981 (taking Voigtländer with it) and then lurching from one financial crisis to another over the next 30 or so years.

The earlier history, of course, was a storied one that included the legendary Rolleiflex TLRs and the hugely innovative – for the mid-1970s – SLX, which took the professional 6x6cm SLR into the electronic era when everything else was stoically mechanical.

The SLX evolved into the 6000 series, but there was always the feeling that money – or the lack of it – was holding everything back.

Rollei made a half-decent attempt at jumping into digital capture – remember it all started in professional photography with medium-format camera systems – but the huge investments needed to keep up with the fast pace of development finally did for the last owner that actually still made cameras.

Leica very nearly went the same way after losses started to mount up in the 1980s (the rising popularity of 35mm SLRs killing the sales of rangefinder cameras) and continued into the 1990s as investors came and went, as did management teams – all with different ideas about how to revive the company’s fortunes.

Eventually, Leica Camera was rescued by somebody with very deep pockets, a singular vision for the future and the fortitude to carry it through. Consequently, today, the marque is stronger than it’s ever been, based primarily on a clear understanding of how to balance a rich heritage with a profitable future.

Hasselblad has a rich heritage, too, having had as much of an impact on medium-format photography as Leica did with 35mm. Again, though, the many challenges of the transition to digital took their toll – not just on finances, but on the people planning the company’s future.

Inevitably, there were differing opinions – not unusual in film camera companies in the late 1990s and early 2000s – so the way ahead involved some twists and turns without a lot of clarity.

Hasselblad's pro-digital management – after the acquisition of scanner-maker Imacon – were zealots with little regard for the past. The longer-serving engineers were traditionalists who viewed the future with a degree of caution.

To its credit – because its financial situation was still quite grim – in 2016 Hasselblad came up with the X1D, the world’s first mirrorless medium format camera.

It beat Fujifilm’s GFX 50S by a matter of months, and the Japanese camera embodied a very different design philosophy, but in comparison, the X1D was distinctly underdone.

It looked fabulous and the concept was brilliant, but the execution was flawed in quite a number of areas – a studio camera mentality compromised what was, by virtue of its compact size, a supremely portable field camera.

What’s more, Hasselblad didn’t have the funds to build it in the volumes needed for it to be profitable. Consequently, drone-maker DJI upped its minority shareholding to a majority one and the X System has slowly evolved since – ironing out the wrinkles with each successive model.

It’s still not clear whether the Chinese shareholders fully understand the Swedish Hasselblad, but who cares because now we have the X2D II 100C – which finally realizes all the promise of that first model. Ironically, it’s the Hasselblad of old: expressed in a thoroughly contemporary re-interpretation of those original values which Victor Hasselblad established with the 1600F in 1948.

There are other parallels here, too, because the 1600F had its problems that weren’t fully sorted until the 500C, half a decade later. But then look what happened – the long-lived 500 series cameras made Hasselblad, and legions of professional photographers all benefited.

With its forward-looking emphasis on an in-camera HDR workflow and a host of other important upgrades, the X2D II 100C is going to remake the brand. Aside from the technical prowess, it’s high on desirability – literally an X factor – and consequently in demand like no other 'Blad since the XPan.

The obvious lesson here is about investment and return, and how not enough of former inevitably means not enough of the latter either. Give photographers what they really want – and desire – in a cam-era and the profits will surely come.

This article was first published in Australian ProPhoto & Video magazine

Japan's best-selling interchangeable-lens cameras for the first half of November are in, and the landscape shows both stability and surprises.

According to Yodobashi Camera sales data, Hasselblad claims the top spot with the X2D II 100C, Sony maintains strong momentum with its compact full-frame options, and Nikon continues to show a solid presence across multiple models.

For the first time in two months, the Hasselblad X2D II 100C body has risen to No.1. Its combination of a 100MP medium format sensor and true end-to-end HDR color makes it arguably "the finest stills camera ever made."

Even with a high price tag of $7,399 / £6,400 / AU$12,650, Japanese photographers are showing a strong preference for Hasselblad's premium image quality.

Coming second and third are the Sony A7C II body in silver and black, and its zoom lens kit variant. The A7C II has captured a lot of attention since its release in September 2023 for its compact full-frame design and adaptability for both stills and video creators.

Nikon continues to have the highest representation in the top ten, with three models: the Z5 II body rises to fifth place, the previously top-ranked ZR body drops to sixth, and the Z50 II double zoom kit appears at No.7.

Fujifilm X-M5 XC15-45mm lens kit ranks fourth, while the X-E5 XF23mm lens kit holds the ninth spot.

Canon's EOS R5 Mark II body rounds out the top ten. While Canon has seen fewer notable developments recently, its full-frame mirrorless lineup remains competitive. And recent delays in lens kit deliveries could make its performance even more interesting in upcoming rankings.

Yodobashi's top 10 best-selling cameras (1st half 11/2025)

1. Hasselblad X2D II 100C
2. Sony A7C II silver | black
3. Sony A7C II zoom lens kit silver | black
4. Fujifilm X-M5 XC15-45mm lens kit silver | black
5. Nikon Z5 II
6. Nikon ZR
7. Nikon Z50 II double zoom kit
8. Sony ZV-E10 II double zoom lens kit black | white
9. Fujifilm X-E5 XF23mm lens kit silver | black
10. Canon EOS R5 Mark II

With Hasselblad's X2D II 100C breaking into the top spot, let's see if Sony and Nikon can challenge the medium format king in the second half of November.

Canon's freshly released EOS R6 Mark III may also shake up the rankings...

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Hasselblad has claimed a prestigious honor at the DGP Imaging Awards. Its success in combining cutting-edge technology with enhanced usability was recognized with the Technology Award, highlighting the Hasselblad X2D II 100C as one of the best medium format cameras of 2025.

The DGP Imaging Awards are Japan's leading competition for digital imaging excellence, judged by a panel of professional photographers, critics, and key retailers. This year's jury honored Hasselblad for the development and commercialization of the X2D II 100C, citing the precise autofocus, stabilization that compensates even for the Earth's rotation, and the capability of handling high-volume 100MP shooting.

Announced in early 2025, the X2D II 100C features a 100MP back-illuminated sensor, 15.3 stops of dynamic range and refined ergonomics, making it a true powerhouse for professional photographers. Here's a closer look at how the Hasselblad X2D impressed the judges…

What the jury said

The DGP Awards jury described the X2D II 100C as "an ambitious model that brings advanced technology together without compromising usability."

They highlighted Hasselblad's ability to combine cutting-edge features – LiDAR-assisted autofocus, algorithmic continuous AF, 10 stops of in-body image stabilization and a 1TB SSD – while maintaining an intuitive shooting experience.

"The X2D II 100C enables a nimble medium-format experience," the jury noted. "Its stabilization system even compensates for the Earth's rotation, allowing photographers to achieve unprecedented precision. The autofocus and smart capabilities further elevate its performance to industry-leading standards."

The Hasselblad X2D II 100C

What sets the X2D II 100C apart is how it translates raw tech power into real-world usability. Unlike many medium format cameras, it balances superior performance with a nimble, responsive body, intuitive controls via joystick and customizable buttons, and a 2.6-inch color-calibrated OLED screen.

Beyond specs, the experience of shooting with the X2D II 100C is what makes it exceptional: the colors are vivid, the depth is three-dimensional, and every image feels effortless to capture. Add a 1TB SSD and refine ergonomics, and you have a camera that truly delivers on Hasselblad's reputation for luxurious, precision engineering.

With the DGP Imaging Technology Award now to its name, the Hasselblad X2D II 100C stands as a triumph for precision, innovation, and one of the most advanced and intuitive medium-format cameras ever made.

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The lightweight budget mirrorless Fujifilm X-T30 III only launched a few days ago, but the retro-styled camera has already earned a spot on US retailer B&H’s trending camera list for October. The trendiest mirrorless cameras at the retailer right now include an eclectic mix of affordable models like the X-T30 III, all the way to 100MP monsters like the Hasselblad X2D II 100C.

The first mirrorless on B&H’s trending camera list for October is the Canon EOS R5 Mark II. The mirrorless is now more than a year old, but the camera's 30 fps burst speed, 8K 60p video, and predictive AI autofocusing make it earned it a spot on the DCW's best mirrorless cameras.

That’s followed by Sony’s high-resolution powerhouse, the Sony A7R V. While the A7R V is no stranger to best seller lists, a massive $900 discount in the US probably didn’t hurt the camera’s numbers for the month of October.

Sony’s smaller powerhouse, the Sony a6700, also snagged a spot with its compact design, smart autofocus, and APS-C sensor.

Announced just last week, the Fujifilm X-T30 III is next on the list. The launch turned the X-T series from a twosome into a threesome, becoming the budget option in Fujifilm’s retro-inspired cameras that still have that classic center-mounted viewfinder behind the now mid-tier X-T50 and high-end X-T5. While factors like the lack of stabilization still haven’t changed, the fact that the price hasn’t changed, and neither has the lighter design, probably helped push the new launch onto the trending list.

The Nikon Z6 III also makes an appearance on the list. The Z6 III mixes a partially stacked sensor with fast shutter speeds in Nikon’s mid-tier mirrorless. Like the A7R V, a discount probably didn’t hurt matters, with a $500 discount still running at B&H.

Finally, the Hasselblad X2D II 100C also makes B&H’s trending list. The success of a camera that reviewers have called “the finest stills camera ever made” isn’t terribly surprising, but best seller lists often favor more affordable options, where the X2D II 100C is a $7,399 100MP behemoth with 10 stops of stabilization and 15.3 stops of dynamic range, not to mention the larger medium-format sensor.

Watching which cameras pop up on best seller lists can highlight what’s trending among photography tech, and October’s list is an unusual mix between affordable and high-end options.

The list of B&H's trending mirrorless cameras for October includes:

• Canon EOS R5 Mark II
• Sony a7R V
• Sony a6700
• Fujifilm X-T30 III
• Nikon Z6 III
• Hasselblad X2D II 100C

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So far, 2025 has been a year of innovation, nostalgia, and technical evolution in the mirrorless world. B&H Photo's top ten mirrorless cameras of 2025 list reflects a market where flagship features trickle down, hybrid functionality thrives, and practical design plays a big role.

This year has already seen several remarkable releases. The Ricoh GR IV, perhaps the most anticipated compact camera of the year, makes its well-earned appearance in B&H Photo's list, while other long-awaited models – such as Sony's RX1R III, the overdue successor in Sony's full-frame compact camera line – are absent.

Similarly, bold releases like the Sigma BF, whose design philosophy pushed boundaries beyond the conventional, didn't find a place in this top ten.

B&H Photo describes 2025 as an "inflection point", one where once-exclusive flagship features are becoming mainstream and filtering down, and the market is segmenting into specialized niches.

Hybrid performance remains a central focus, while the resurgence of compact cameras and point-and-shoot cameras – fueled by social media nostalgia – has its moment.

Top 10 list – Overview

B&H's top 10 mirrorless cameras of 2025

1. Nikon Z5 II (released Apr 2025)
2. Hasselblad X2D II 100C (released Aug 2025) `
3. Fujifilm X-E5 (released Aug 2025)
4. Ricoh GR IV (released Aug 2025)
5. Nikon ZR (released Oct 2025)
6. Panasonic Lumix S1R II (released Feb 2025)
7. Fujifilm GFX 100RF (released Apr 2025)
8. Leica SL3-S (released Jan 2025)
9. Canon PowerShot V1 (released Mar 2025)
10. OM System OM-3 (released Feb 2025)

The Podium

Leading the pack is the Nikon Z5 II – a full-frame camera that is both powerful and approachable, offering a 24.5MP sensor (like the Zf), an EXPEED 7 processor (like the Z9), and the same in-body image stabilization as the Z6 III.

B&H Photo says, "While the first generation was a more generic "entry-level full-frame" camera, the follow-up won acclaim for its high level of competence across all categories. Its success is indicative of the mirrorless market right now, where flagship features can trickle down into a "beginner" camera and make it just as attractive as a second body for professionals as it is for someone looking to make the jump to full frame."

Close behind, the Hasselblad X2D II 100C. A medium-format camera delivering precision with 100MP resolution, LiDAR-assisted autofocus, 10-stop in-body stabilization, and an impressive 15.3 stops of dynamic range. Its refined ergonomics and intuitive interface make it a standout.

Fujifilm takes the third spot with the X-E5, a compact rangefinder with in-body stabilization, a new processor, and the XF 23mm f/2.8 lens. According to B&H, the X-E5 "delivers advanced image-capturing technology in an analog-inspired package," making it ideal for street photographers and content creators who need portability without sacrificing performance.

Top Contenders

Fujifilm also claims spot four with its GFX 100 RF, a portable medium-format marvel balancing massive sensor quality with street-ready ergonomics. In position five, you find another street photography, pocketable APS-C sensor compact camera, the Ricoh GR IV.

Nikon's ZR makes place six, a camera that blends cinema and still photography, followed by the Panasonic Lumix S1R II, which impresses with 44MP resolution, 8K video, and robust stabilization.

Rounding the list is the Leica SL3-S on spot eight that offers fast, weather-resistant performance and 6K video. Then B&H listed the only Canon camera, the Canon PowerShot V1, modernizing the compact segment. Lastly, we have a retro-style camera, combined with cutting-edge stacked-sensor technology: the OM System OM-3.

B&H Photo's top ten mirrorless cameras of 2025 show, manufacturers are differentiating themselves not just through megapixels or autofocus speeds, but through tactility, aesthetic coherence, and hybrid usability. We see a clear pattern: pro tech in compact mirrorless bodies.

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The Ricoh GR IV only started shipping in mid-September, but it’s already topping some retailers' best seller lists. The success of the GR IV, however, isn’t the only surprise on B&H’s list of trending cameras for September.

The Ricoh GR IV – which also topped best-seller lists in Japan – tops the list of trending cameras for the month of September at US retailer B&H Photo, according to data shared with Digital Camera World. But while the success of a new update to a longstanding favorite compact camera may not come as a surprise, the list of the top twelve bestselling cameras for last month contains a few unexpected names.

Sitting just under the trendy GR IV is the Hasselblad X2D II 100C. The early success of a camera that reviews dub “the finest stills camera ever made” isn’t what’s surprising – what’s unusual is for a camera that costs $7,399 / £6,400 / AU$12,650 to sell enough models to make top sales lists.

The GR IV and X2D II 100C aren’t the only new releases on the list of best sellers. The Canon PowerShot ELPH 360 HS A, a very minor refresh of a cheap compact camera, also made the list. Even an aging classic DSLR made the list: the Canon EOS Rebel T7 DSLR two lens kit, which is likely a favorite for its budget price point.

Half of the top twelve cameras carry the Canon name. Besides the compact and the DSLR, the list also includes the Canon EOS R6 Mark II, the R5 Mark II, the R50 kit with 18-45mm lens, and the R8.

Nikon’s only camera on the top 12 list is the Zf. The Nikon Zf’s retro style and full-frame sensor is well-loved, and Nikon just launched a silver color variant that likely helped to accelerate sales in September.

Sony also only had one mirrorless on September’s trending list, the Sony A1 II. But, like the Hasselblad’s appearance on the list, it’s a bit surprising that a pricey flagship is out-selling more affordable beginner models.

Unsurprisingly, the Fujifilm X100VI, a trendy compact camera that has been hard to find for more than a year and a half but briefly popped back into stock at B&H, made the top five. (It’s back out of stock again at B&H).

The list of best-sellers from one retailer for a single month may not be indicative of worldwide sales as a whole, but it’s interesting to see how new launches influence the list. Yodobashi, a camera retailer in Japan, also listed the GR IV at the top of sales data for the first two weeks of September, along with the X2D II 100C topping the list of best-selling mirrorless models last month in Japan.

The full list of B&H’s trending cameras for September includes:

• Ricoh GR IV Digital Camera
• Hasselblad X2D II 100C Medium Format
• Canon EOS R6 Mark II
• Canon EOS R5 Mark II
• Fujifilm X100VI Digital Camera
• Canon PowerShot ELPH 360 HS A Digital Camera
• Nikon Zf Mirrorless Camera
• Canon EOS Rebel T7 DSLR with 18-55mm and 75-300mm Lenses
• Canon EOS R50 Mirrorless Camera with 18-45mm
• Sony a1 II Mirrorless Camera
• Fujifilm X-E5 Mirrorless Camera
• Canon EOS R8 Mirrorless Camera

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In a pretty shocking turn of events, the brilliant Hasselblad XCD 55V is one of the top three best-selling lenses at Yodobashi, one of Japan's biggest electronics retailers.

For a Hasselblad lens to crack the top ten would be news enough, but for the 55V to be the third best-seller in Yodobashi's top 10 sales list for the first half of September is pretty huge.

The sudden boost in sales of the medium-format lens, released back in 2022, surely has everything to do with the recent release of the Hasselblad X2D II 100C. The $7,399 / £6,400 / AU$12,650 camera has rather remarkably topped Yodobashi’s camera ranking for the first half of September.

The top 10 lens list has the Sony FE 24-70mm f/2.8 GM II in the top spot, with the Canon RF 100-500mm f/4.5–7.1 L IS USM in second. Here's the full listing…

1. Sony FE 24-70mm f/2.8 GM II
2. Canon RF 100-500mm f/4.5–7.1 L IS USM
3. Hasselblad XCD 55V
4. Sony FE 70-200mm f/2.8 GM OSS II
5. Canon RF 24-70mm f/2.8 L IS USM
6. Sigma 200mm f/2 DG OS | S (E-mount)
7. Canon RF 70-200mm f/2.8 L IS USM
8. Sigma 16-300mm f/3.5-6.7 DC OS | C (RF)
9. Nikon Z 24-120mm f/4 S
10. Canon RF 100-400mm f/5.6–8 IS USM

As you can see, Canon has the greatest number of inclusions, with the aforementioned 100-500mm in second, along with the RF 24-70mm f/2.8 in fifth, RF 70-200mm f/2.8L in seventh and RF 100-400mm in tenth.

Sony had a decent showing, taking both first and fourth, the latter being the FE 70-200mm f/2.8 GM OSS II, while a pair of Sigma lenses featured in sixth and eighth, the brand new 200mm f/2 (E-mount) and amazing 16–300mm (RF), respectively. Only one Nikon lens made the top 10, in the form of the Z 24-120mm f/4 S in ninth.

It's also interesting that the only primes in this top ten are the Hasselblad 55V and the Sigma 200mm – two very, very specialist lenses. It's always great to see exotic primes selling well!

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In a turn that nobody saw coming, the Hasselblad X2D II 100C has topped mirrorless camera sales at one of Japan's biggest retailers for the first half of September. The X2D – which is also currently number one in our list of best medium format cameras – ranked number one at Yodobashi, outselling the most popular bodies from Sony, Canon, Nikon and Fujifilm.

While the news is certainly surprising, given Hasselblad’s premium pricing and indeed the niche appeal of medium-format photography, it hasn’t exactly come from nowhere.

MapCamera’s August best-selling list had the X2D creep in at number 10, and a big spike in sales is certainly consistent with a brand-new release. The Hasselblad’s timing also couldn’t be better, since the upcoming Nikon Zf Silver and Nikon ZR surely featured strongly in the latter half of the month.

Still, this is a $7,399 / £6,400 / AU$12,650 medium-format camera, so Hasselblad is definitely doing something right.

1. Hasselblad X2D II 100C (body only)
2. Sony A7C II + FE 28-60mm
3. Fujifilm X-M5 + XC 15-45mm
4. Sony A7C II (body only)
5. Canon EOS R5 Mark II (body only)
6. Canon EOS R50 dual-zoom kit
7. Sony ZV-E10 II dual-zoom kit
8. Nikon Z50 II dual-zoom kit
9. Sony ZV-E10 II (body only)
10. Canon EOS R6 Mark II (body only)

Another big surprise is the absence of the Fujifilm X-E5, which performed so strongly in August. In fact, the X-M5 (third place) is the only Fujifilm camera on the list, with Sony enjoying the strongest showing with no fewer than four entries (the A7C II and ZV-E10 II each appearing in both kit and body-only formats).

Canon is the second-most prevalent manufacturer, with the R5 Mark II, R50 and R6 Mark II all present. The Z50 II is the only Nikon contender, with the Z5 II and Z6 III both sitting outside the top 10.

Perhaps unsurprisingly, since a $7,000 camera is no good without a lens, Hasselblad also made an appearance in the Yodobashi top 10 lens sales list, along with a few other surprises to boot.

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Want to get into medium format photography? Here are the best Hasselblad cameras and the best medium format cameras from all brands. If you’re thinking of picking up the Fujifilm X-M5, here’s why it finally delivers on the promise of the mirrorless camera. And if you're a bona fide camera nerd, see if you can identify all 6 cameras.

It’s telling that, nearly 20 years after production of the 35mm Hasselblad XPan film camera ended, Fujifilm’s exceptional GFX100RF fixed lens medium format digital camera pays homage with this panoramic 65:24 aspect ratio setting. The link, of course, is that the XPan was really a Fujifilm camera, the TX-1, and agreement was that this model would be sold only in Japan, leaving the Swedes with the rest of the world.

With its comparatively compact size and big “33x44” sensor, the GFX100RF has perhaps become the nearest thing to the ‘digital XPan’ that everybody was yearning for as 35mm film’s glory days became clearly numbered. The 65:24 aspect represents an imaging area 44x16 millimetres on the Fujifilm camera’s 102 megapixels sensor and a healthy 50 MP of resolution at the lens’s 28mm-equivalent focal length, but there’s also the option of applying further crops to give, effectively, 35mm, 50mm and 63mm. And even at the heaviest crop, the resolution is still a usable 10MP.

The XPan was an interchangeable lens camera, but there were only ever three lenses to choose from, and a great many users stuck with the ‘standard’ 45mm f/4.0 prime which was equivalent to a 25mm on the 24x65 mm frame. The short telephoto 90mm f/4.0 – equivalent to 50mm – was arguably less versatile, and the later 30mm f/5.6 aspherical ultra-wide – which equated to a 17mm – was prohibitively expensive. The XPan’s ‘double 35mm’ format was its unique feature and made it bigger than a conventional 35mm rangefinder design, but not by a significant amount, and handily, it could be switched to take 24x36mm frames at any point on a roll. If you stuck with shooting only panoramas, you get 20 frames from a 36-exposure length of 35mm film.

Hasselblad’s first-ever 35mm camera, the XPan, was launched in August 1998. Although a manual focus model, it was largely automated in other areas, including exposure control, ISO setting (via the DX code system), and a motorized film transport. It was considered too expensive to go down the autofocus route as the XPan lenses were essentially medium-format designs in order to obtain a wide enough imaging circle.

The mid-roll format switching was made by prewinding the film immediately after it is loaded so it was then essentially exposed ‘in reverse’ so only the last bit of leader needed to be wound back into the cassette at the end. An important advantage of this arrangement is that if the camera back is accidentally opened – which was actually possible to do unthinkingly with the XPan – all the exposed frames were safely tucked away in the cassette. The camera’s frame counter also went in reverse.

The XPan had TTL-OTF center-weighted average metering backed either aperture-priority auto or manual exposure control. The overrides for the former included an AE lock, up to +/-2.0 EV of compensation, and auto bracketing over three frames (in both formats). A metal-bladed focal plane shutter delivered a speed range of 8-1/1000 seconds with flash sync up to 1/125sec.

External flash units were synced via a hotshoe or a PC terminal, but the system never included a dedicated flash. Continuous shooting was possible at 1.2 fps in the single frame mode and 0.9 fps in the double frame mode.

The camera’s construction employed a combination of aluminium and titanium with a shallow rubberised handgrip on the ’Blad, a wooden one on the Fujifilm TX-1 (which, incidentally, could be interchanged).

Given its size, automation and comparative pricing, the 35mm XPan made panorama photography a whole lot more accessible and certainly much more convenient compared to using the dedicated rollfilm cameras around at the time such as Fujifilm’s own 6x17mm format GX617.

It was also a lot cheaper to run – you get just four 6x17cm frames from 120 rollfilm. Notably, the XPan extended the creativity of the panorama format into many more applications beyond landscapes, such as photojournalism and sports.

The updated XPan II model arrived in April 2003 and it was sold in Japan as the Fujifilm TX-2. Apart from some variations in finishes, there were no differences between the different branded versions, but there were many improvements over the first model, including the addition of shutter speed read-outs in the viewfinder, a complete redesign of the exposure compensation selector (too easily mis-set previously), a multiple exposure facility and an additional two-second delay setting for the self-timer.

XPan II and TX-2 production ended in January 2006, but desirability factor appears undiminished with second-hand prices now often exceeding – and by a significant margin in some cases – what either generation model cost when new. Rarity adds a premium to the Japan-only Fujifilm cameras so the later TX-2 is arguably the most desirable model to have, but any of them are a pure joy to own and use.

I’ve long been a fan of the Oppo Find X8 Ultra. It’s the camera phone I often reach for instead of my compact camera, a testament to just how capable Oppo’s partnership with Hasselblad has made smartphone photography. So naturally, when Oppo started teasing the Find X9 series, I was paying very close attention.

The teasers so far suggest that the Find X9 series, likely coming in standard and Pro versions like the X8, is set to build on everything that made its predecessor so compelling. Oppo has confirmed that the series will be powered by MediaTek’s flagship Dimensity 9500 chipset, promising substantial performance and efficiency gains.

According to Oppo, this new "third-generation All-Big-Core" architecture, combined with their Trinity Engine, should deliver not only smoother everyday performance but also longer battery life and better graphics handling, even at high frame rates.

On the design front, Oppo China has teased new colors – Matte Titanium, Frost White, and Matte Black – along with what they describe as a "perfect straight screen" and cold-sculpted glass for the lens assembly. Even if colors aren’t everything, it’s clear Oppo is doubling down on premium finishes and thoughtful details.

But for me, the real story is the camera system. During a recent Weibo livestream, Oppo showcased a Hasselblad Professional Teleconverter Kit: a magnetic case, lens, and two adapters.

While the packaging was only partially revealed, it appears this 3.28x teleconverter turns the X9 Pro’s 70mm telephoto lens into an optical 230mm lens. For context, that’s a huge jump over Vivo’s Zeiss 2.35x teleconverter, and it suggests Oppo is really thinking about versatility for photographers and content creators.

I’ve always loved the Oppo x Hasselblad camera system, the color science, the sharpness, the intuitiveness, but the X8 Ultra lacked an external photography kit comparable to, say, the Xiaomi 15 Ultra. If the X9 series delivers both the teleconverter and improved optics, it could become my go-to tool for mobile photography in ways I didn’t expect.

Nothing is official yet beyond teasers, and the October 16th launch date currently appears to be for Asia specifically. But from what I’m seeing, Oppo is clearly aiming to give creators more flexibility, more reach, and more options than ever before.

OnePlus has confirmed the end of its long-running partnership with medium format giant Hasselblad, as the smartphone maker looks to take complete control of its imaging future with a brand-new in-house system.

Announced by CEO Pete Lau on the OnePlus Forum, the company’s next flagship will debut the OnePlus DetailMax Engine – a proprietary computational photography platform designed to push smartphone image clarity and realism to new levels.

The announcement brings to a close five years of close collaboration with Hasselblad, which began with the OnePlus 9 series and has pushed OnePlus flagships to be some of the best camera phones around. Hasselblad brought its storied color science and decades of photographic expertise to OnePlus devices, giving the phones a strong claim to some of the most natural and balanced tones in the business.

But Lau says the time has come to take the next step. “This is not the end. It’s the beginning of our next adventure,” he wrote, describing Hasselblad’s influence as “woven into every future OnePlus camera.”

The DetailMax Engine is said to focus on one of the most important aspects of smartphone imaging: what happens when you zoom in. Based on extensive user feedback, Lau explained that OnePlus wants to ensure every photo holds up to closer inspection, with a leap forward in computational imaging to capture more detail and depth without artificial over-processing.

Lau insists the DetailMax Engine is about authenticity: “Designed from the ground up to deliver the clearest and most real photos on a smartphone… the moment you zoom in on a photo, you’ll understand why I’m confident you’ll love the results.” While still early in development, Lau revealed he is personally testing prototype hardware, with promising results already on show.

While OnePlus might be going solo, parent company Oppo has just signed a new deal with Hasselblad to extend its partnership – but OnePlus is now looking to prove it can stand on its own.

Whether the DetailMax Engine can genuinely set a new benchmark for smartphone imaging remains to be seen. The company’s next flagship, expected by the end of the year, will be the first test of whether OnePlus can truly deliver “the clearest and most real photos” without the weight of Hasselblad behind it.

In the course of putting together my Hasselblad X2D II 100C review, I took a whole bunch of photographs for a whole bunch of purposes. Some were for client commissions, some were for performance tests, some were for me to figure out how all the clever new features work.

But whether I was photographing subjects floating around forests like fairytale creatures, or standing in the middle of the street shooting vehicles as they whizzed past me, I was never anything less than bowled over by the results coming out of this camera.

It helps, of course, that every image you see on the rear screen can be in HDR, thanks to its 1,400-nit brightness and a 2,000,000:1 contrast ratio. The X2D II supports true HDR photography with an expanded dynamic range of 15.3 stops – so when you shoot in HDR HEIF or Ultra HDR JPEG, you can see your images in glorious clarity.

And it makes an enormous difference. You know the way the HDR photos on your phone just "pop" off the screen? The way they're so much brighter and more vivid, with luminous skies and minute detail even in the inkiest blacks? That's exactly what you get with this camera. And the highlights, which Hassy's HDR dramatically expands, are just glorious.

More than just dynamic range, though, the 16-bit files produced by the X2D II are absolutely sumptuous. The 100MP resolution combined with Hasselblad's color science gives your images genuine dimension and texture, with eerily accurate hues and tones that make the files from other cameras look flat and lifeless.

Having taken a few thousand photos with the X2D II, something that I don't think is talked about enough is the "everydayness" of this camera and the X System in general. We're so detached now from what medium format used to be that most people don't even remember: these used to be cameras that lived on tripods and rarely left the studio.

But modern Hasselblads are genuinely about the same size as a full-frame DSLR or mirrorless camera. In fact, the X2D II and XCD 90V portrait lens is actually smaller than my EOS R5 and RF 85mm f/1.2, making it a no-brainer for portrait shoots – and other similar or equivalent lenses are comparable in size.

So why would I take out a full-frame camera, when the Hassy is the same size but so much more powerful? Especially the X2D II, with its superb autofocus performance. This really is a legitimate street photography and travel camera, if you're brave enough to carry one around with you.

Anyway, I'm getting off on a tangent… point is, I took loads of images with the Hasselblad X2D II 100C. Here's a selection of them, so you can see what the camera is capable of…

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I'm a prime man through and through, but the Hasselblad XCD 35-100E is the lens I've been waiting for. Because even though I prefer primes, I don't think a camera system is complete without a standard trinity – and with this 27-78mm f/2.8-4 equivalent now in my arsenal, my Hasselblad setup is now exactly how I want it.

The Hasselblad XCD 35-100E is the company's second "trinity" lens, following the Hasselblad XCD 20-35E. I use the air quotes because the lens doesn't have a constant f/2.8 aperture – but that doesn't exist in the medium format world.

However, having f/2.8 at the wide end makes this the fastest medium format zoom on the market. In fact, it is faster, smaller, lighter and has a greater zoom range than both the Hasselblad XCD 35-75 f/3.5-4.5 (which it replaces) and the rival Fujifilm GF 45-100mm f/4.

Like the 20-35E, the "E" in the Hasselblad XCD 35-100E stands for "Exclusive". Not only does this signify the trinity equivalent lenses, it also "represents the top optical performance of XCD lenses and delivers the same image quality from edge to edge as the XCD prime lenses."

So, after a month of using the lens with the new Hasselblad X2D II 100C, does it really replace the 7 XCD primes that fall within its zoom range?

Hasselblad XCD 35-100E: Specifications

Hasselblad XCD 35-100E: Price and availability

The Hasselblad XCD 35-100E is on sale now, carrying a price of $4,599 / £4,100 / AU$7,199.

That's considerably cheaper than the price of the older, first-generation Hasselblad XCD 35-75 that sells for $5,175 / £4,860 / AU$8,900. It's also worth noting that this lens is larger, heavier, has a slower aperture and a more restricted zoom range – and it features the older, "eclectic" design that doesn't match other XCD lenses.

For context, the closest equivalent GFX lens, the Fujifilm GF 45-100mm f/4, costs $2,499, £2,049, AU$3,499 – though again, it's bigger, heavier, slower and has a more restricted range.

Hasselblad XCD 35-100E: Build and handling

As is the norm for the second generation of X System lenses, the Hasselblad XCD 35-100E carries the same design and aesthetic as the rest of the current XCD lineup. Much as I enjoyed the mismatched nature of the OG lenses, this lens looks so much more beautiful on the shelf next to a row of uniform optics.

Like the XCD 20-35E, there's no manual focus clutch or distance scale – differentiating it (and the Exclusive line) from the primes. I didn't mess with the manual focus ring too much, thanks to the phenomenal autofocus on the X2D II, but it's pleasingly smooth and tactile.

Unlike the 20-35E, though, the Hasselblad XCD 35-100E does not have an internal zoom mechanism – so the lens extends as you push beyond the 35mm (28mm) wide end, going from 138mm in length and reaching 178mm at the telephoto end. The zoom ring is smooth enough for easy operation, but firm enough to prevent lens creep – even when the lens is angled for things like flat lays.

While the 35-100E is certainly a physically long lens in XCD terms, it's not oversized by any means – and it balances very nicely with the X2D II. The tandem fits perfectly in my Peak Design Everyday Sling 6L, making it a very convenient everyday shooting setup. It's obviously a professional workhorse tool, first and foremost, but I think this is a great lens for travel photography as well.

It boasts a faster 1/4,000 sec leaf shutter than the wider Exclusive lens, and it also possesses the fastest and most powerful STM motor in the current XCD range – which again makes it a perfect match for the X2D II, with the new camera's continuous autofocus implementation.

Hasselblad XCD 35-100E: Performance

Here's where the rubber meets the road. With Hassy's claim that its Exclusive zoom lenses offer the same performance as its primes, can the Hasselblad XCD 35-100E really replace the 7 lenses that sit in the same focal range – the XCD 25V, 28P, 38V, 45P, 55V, 75P and 90V?

Actually, it just about can – with a couple of caveats. And given the price of XCD glass, the fact that one lens can do the job of several is pretty dang impressive; you're looking at well over $20,000 for those 7 primes in the US, compared to the $4,599 for the 35-100E.

For that money, you get incredible performance across the frame and throughout the zoom and aperture range. In particular, I was blown away by how sharp this lens is – even wide open and all the way through to 100mm. You could almost cut glass with the Hasselblad XCD 35-100E!

Of course, prime lenses do have advantages – for the simple reason that they only have to be good at a single focal length, whereas a zoom lens has to be good across an entire range. This lens also has an inherent disadvantage, because its widest aperture is only f/2.8 – and only that's at its widest focal range – compared to the f/2.5 aperture of most of the primes (including all 4 V-series lenses).

So for me, the ultimate test was to see if I could use the Hasselblad XCD 35-100E to replace the Hasselblad XCD 90V to shoot portraits. Because not only is the 90V the sharpest lens we've ever tested, it's also an equivalent 71mm f/2.5 whereas the 35-100E is effectively a 78mm f/4 at the long end – which obviously renders a shallower depth of field, minimizing one of the key creative tools for portraiture.

Well, after using the 35-100E for a client shoot, I can definitively say yes: I would absolutely use this lens for portraits, despite the slower aperture. Just take a look at the subject separation, focus falloff and quality of the bokeh in the sample image above – even at f/4, thanks to the properties of medium format shooting, you're getting a shallower depth of field than you would on a full frame camera.

Does the slower aperture at the telephoto end cause any issues beyond the effect on depth of field? Honestly, not in most situations. With the X2D II, the 10 stops of image stabilization mean that you can comfortably shoot at slower shutter speeds to give you the equivalent exposure of an f/2.5 prime. Ditto the 7 stops of the original X2D. But the sensor is so good in X System cameras that you can also just bump the ISO without worrying about image quality.

I don't want to get too hung up on the "can it replace all your primes" argument because, obviously, there's more to pro zooms than just that. But the takeaway is that you're getting the kind of performance you'd expect from a prime lens at every single focal length. There's no compromise here, only convenience – and that makes this an incredible weapon whether you're a studio shooter or you're paring down the kit you take on location.

Hasselblad XCD 35-100E: Sample images

Hasselblad XCD 35-100E: Lab results

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

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

Sharpness:

Sharpness is superb in the center of frame at all focal lengths. Corner sharpness is similarly impressive, apart from at 100mm where it's relatively mediocre.

Fringing:

Fringing is visible throughout most of the focal range, though it's not severe. Only at 75mm are aberrations almost unnoticeable.

Distortion:

There's mild barrel distortion at 35mm, but by 75mm it has transitioned to a hint of pincushion. At no point is distortion ever particularly noticeable.

Hasselblad XCD 35-100E: Verdict

The Hasselblad XCD 35-100E is the lens that the X System has been waiting for – and it's the lens that medium format shooters deserve. It's the fastest zoom lens you can buy for the sensor size, and it's also the fastest focusing XCD lens on the market.

I'm not an "if you only buy one lens" kind of person, but honestly – if you can only buy a single lens for your Hasselblad camera, pick up the 35-100E and you have a complete system that can shoot 80% of subjects and genres. The equivalent 27-78mm focal range makes this an essential workhorse lens for professionals, as well as an exceptional daily driver for everyday and travel photography.

I wouldn't dream of using an f/4 standard zoom for portraiture on a full frame camera, but the fact that I can take gorgeous portraits with beautiful subject separation on the 35-100E makes this a meaningful, powerful part of my kit bag.

Going back to the speed, the fact that you have f/2.8 at the wide end is an absolute gift for this kind of lens – and the quick-as-a-hiccup focusing pairs perfectly with the continuous AF system of the new X2D II.

This is the best zoom lens I've ever used on a medium format camera – and it's undoubtedly the most useful, essential lens that Hasselblad has made for the X System.

Check out our full guide to the Best Hasselblad lenses

Laowa has just announced that it is producing versions of its 8–15mm f/2.8 FF Zoom Fisheye for Fujifilm and Hasselblad medium format camera users.

The Laowa 8–15mm f/2.8 FF Zoom Fisheye was released back in June for Canon RF, L-mount, Nikon Z, Sony E – but this remarkable super-wide lens will now additionally be available in Fuji GFX and Hasselblad XCD mounts.

The interesting thing about this manual-focus lens is that its zoom allows you to have both a circular fisheye and a full-field fisheye in the same lens.

Unfortunately, however, the lens still only offers a full-frame image circle, so that the medium format image will need to be cropped at the editing stage.

The photo lens is constructed from 13 elements in 9 groups with 9 aperture blades, creating an optic that weighs about 22.9oz / 650g. It has a closest focusing distance of 0.16m (6.3in), offering a maximum magnification of 0.23x.

The new versions of the lens go on sale immediately for $699.

Check out our guide to the best fisheye lenses

Coinciding with the launch of the Hasselblad X2D II 100C, the Swedish medium format specialist has announced the Hasselblad XCD 35-100E – its latest “trinity lens” delivering an effective 27-78mm focal range, which does the job of 7 XCD prime lenses.

Now, I put “trinity lens” in quotation marks because there is a caveat: this is an f/2.8-4 lens, so it does not possess the constant f/2.8 aperture that is the hallmark of trinity lenses. There is, however, a caveat to that caveat, because trinity equivalents on medium format typically top out at f/4 – such as the Fujifilm GF 45-100mm f/4, which is also slower, bigger, heavier and has a more restricted zoom range.

The XCD 35-100E is the company’s second E-series “trinity” optic, joining the existing Hasselblad XCD 20-35E (an equivalent 16-27mm f/3.2-4.5). The E stands for Exclusive, which Hasselblad says “represents the top optical performance of XCD lenses and delivers the same image quality from edge to edge as the XCD prime lenses.”

The lens essentially replaces the first-generation Hasselblad XCD 35-75, an f/3.5-4.5 lens that was bulkier and heavier but did have an internal zoom mechanism. The newer 35-100E has an external zoom but, like all second-gen XCD lenses, has a harmonized design with the rest of the range.

It has a sophisticated optical formula with 16 elements in 13 groups, including 3 aspherical and 5 extra-low dispersion elements. The lens is nonetheless surprisingly small and light, at 138mm in length (178mm when zoomed) and 894g in weight. It has an 86mm filter thread, and the minimum focus distance from the object to the image plane is 0.4m at the wide end and 0.5m at the telephoto.

The XCD 35-100E has a 1/4000 sec leaf shutter and possesses the most powerful STM (stepping motor) in the current XCD range, giving it the fastest focusing speed of the entire lineup. This makes it the perfect partner for the X2D II with its new continuous autofocus mode.

"Can the Hasselblad XCD 35-100E really replace the 7 lenses that sit in the same focal range – the XCD 25V, 28P, 38V, 45P, 55V, 75P and 90V?" I asked in my Hasselblad XCD 35-100E review. "Actually, it just about can. And given the price of XCD glass, the fact that one lens can do the job of several is pretty dang impressive; you're looking at well over $20,000 for those 7 primes in the US, compared to the $4,599 for the 35-100E.

"I don't want to get too hung up on the 'can it replace all your primes' argument because, obviously, there's more to pro zooms than just that. But the takeaway is that you're getting the kind of performance you'd expect from a prime lens at every single focal length. There's no compromise here, only convenience – and that makes this an incredible weapon whether you're a studio shooter or you're paring down the kit you take on location."

The Hasselblad XCD 35-100E is on sale now, priced $4,599 / £4,100 / AU$7,199.

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See where the XCD 35-100E sits among the best Hasselblad lenses, and take a look at the best Hasselblad cameras to pair it with.

Hasselblad has announced its new flagship, the Hasselblad X2D II 100C – a supercharged medium format camera packing a 100MP sensor, 1TB of internal storage, 10 stops of in-body image stabilization (IBIS), 15.3 stops of dynamic range, an end-to-end HDR workflow and a new LiDAR-powered autofocus system.

Many of these specs are industry firsts or industry bests, reasserting not just Hasselblad’s heritage but also its position as the pioneer of mirrorless medium format cameras.

The IBIS, for example, is truly groundbreaking. Previously, the highest level of stabilization was 8.5 stops – and even then it was for much smaller full frame (Canon EOS R5 Mark II) and Micro Four Thirds (OM System OM-1 Mark II) sensors. So to achieve 10 stops on a huge medium format sensor is a remarkable feat.

The sensor at the heart of the X2D II is an enhanced version of the back-side illuminated 100MP affair from the previous Hasselblad X2D, with a lower native sensitivity of ISO50 and an industry-best 15.3 stops of dynamic resolution.

As I discuss in my review, the level of color accuracy and dimensionality extracted from this sensor by Hasselblad’s Natural Color Solution is breathtaking, making the most of the 16-bit files and 281 trillion colors.

Hasselblad is also keen to stress that the X2D II is the world’s first medium format camera with end-to-end HDR. Thanks to the new 3.6-inch OLED touchscreen, capable of 1,400-nit brightness and color calibrated to the D65 industry standard, true HDR HEIFs or Ultra HDR JPEGs can be viewed on the rear screen – and can also be edited on the new Phocus Mobile 2 app on Apple devices running iOS 18.

The autofocus has received a huge overhaul, featuring a LiDAR (Light Detection And Ranging) system, a 45% increase in focus points (425, up from 294), and the addition of continuous autofocus and deep learning subject detection – with algorithms for humans, dogs and cats, and vehicles.

It’s not just the tech that’s new, either; X System users will be pleased to know that the rear screen now has an extending hinge, so that it is no longer obscured by the electronic viewfinder when shooting top-down, and the body now possesses a joystick and a new customizable button beneath it.

In addition, the camera features a new graphite grey finish with a new textured grip (which reminds me of Batfleck’s costume from the DC Snyderverse movies).

“I have never used a better stills camera,” I said in my Hasselblad X2D II 100C review. “The colors and dimensionality, straight out of camera, are absolutely unrivalled.

"This is the company’s finest camera in its 84 years of making them. For the ultimate image quality in a nimble and responsive body, with a shooting experience that makes you fall in love with photography all over again, this camera is simply a dream come true.”

The Hasselblad X2D II 100C is available now, priced $7,399 / £6,400 (Australian pricing to be confirmed) – which is cheaper than both the existing X2D and the rival Fujfilm GFX 100 II.

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See how the X2D II compares to the best Hasselblad cameras, and check out the best Hasselblad lenses to pair it with.

I’ve used Hasselblads for years, but the way the Hasselblad X2D II 100C blends technology and tradition is really quite remarkable. This camera is still tangibly steeped in heritage, providing a pure and luxurious shooting experience first and foremost, embracing advancement in the most sensitive and unobtrusive ways.

Unlike most mirrorless cameras with clever features, you’re not bombarded with menus and options and clutter that feel more like using a computer than a camera. Instead, the technology in the Hasselblad X2D II feels invisible – it only exists to make taking photographs feel even more frictionless.

While the Canons and Sonys excitedly slap you in the face with settings like an excitable teenager trying to prove something, the Hasselblad X2D sits calmly back with its hands folded. Quietly confident, knowing that it’s going to give you the finest shooting experience and the finest results you’ve ever had.

Industry-best color science, with 100MP of resolution and 15.3 stops of dynamic range. Industry-best 10 stops of in-body image stabilization. Industry-first integrated LiDAR autofocus. Industry-first end-to-end medium format HDR.

These are the Hasselblad X2D II’s rippling muscles, but they’re rippling beneath an Armani sweater. This camera isn’t trying to impress you with its specs, because it knows that results are all that matter – and the results speak for themselves.

Hasselblad X2D II 100C: Price

The Hasselblad X2D II 100C is available now, priced $7,399 / £6,400 / AU$12,650.

To put that into context, its predecessor, the Hasselblad X2D 100C, currently costs $8,199 / £7,369 / AU$12,800.

Its direct competitor, the Fujifilm GFX 100 II, sells for $8,299 / £6,999 / AU$11,399.

Hasselblad X2D II 100C: Specifications

Hasselblad X2D II 100C: Build and handling

While the X System cameras all look and feel pretty much the same, it’s been fascinating to experience the evolution of their handling since the original X1D in 2016.

The X1D II, for example, introduced drag-and-drop focus placement, so you could use the rear screen as a virtual joystick while shooting through the EVF – but it was still fixed. So the X2D brought with it a tilting screen, to use the camera at waist level, but part of it was obstructed by the viewfinder.

The Hasselblad X2D II shakes things up, and answers the prayers of many X System users, by introducing a physical joystick (and a new, customizable button beneath it) along with an improved rear screen that not only tilts up 90° and down 43° – it also extends back so that the EVF is no longer blocking the view when shooting top-down.

While it’s the same 3.6 inches and 2.36 million dots as its predecessor, it now boasts 1,400nits of brightness, a contrast ratio 2,000,000:1 – enabling you to view true HDR images on the back of the camera. Unlike the X2D screen, it’s also calibrated to the D65 industry standard for color temperature – giving more accurate on-screen color.

The joystick is definitely a very welcome addition, even though I was perfectly happy using drag-and-drop on the rear screen. My only criticism is that the joystick feels a little too low down – my thumb always searched around to find it, as it wasn’t where it felt like it “should” be. I was used to it after a month of shooting, though.

In addition to the custom button beneath the joystick, the front exposure dial is newly customizable when you click it. I’ve never personally felt the need for more buttons, as one of the reasons I love shooting Hasselblad is the minimal controls, but it’s good to have the option if you need it – especially with the new focus modes to fiddle with (more on that in Performance).

There are subtle refinements including new magnetic closures on the USB and memory card doors, and a new autofocus lamp that doubles as a self-timer countdown. You’ll also notice a discreet new window next to the front handgrip, which houses the new LiDAR emitter (again, more on that below).

The Hasselblad X2D II is virtually identical in dimension to its predecessors, though it’s 55g lighter. While it retains the same signature orange-gold shutter button, the body has gone from the Batman black of the X2D to a graphite grey (which is slightly darker than that of the X1D II, ditching the white Hasselblad logo for a matching black).

It can’t be argued that this is a truly beautiful camera – arguably the most beautiful on the market. Moreover, it’s also the most comfortable camera on the market; the ergonomics are absolutely perfect, and everything feels perfectly balanced whether you’re using one of the compact XCD P(ortable) lenses or a longer and heavier E(xclusive) trinity equivalent.

Hasselblad X2D II 100C: Performance

There are two main headline improvements for the Hasselblad X2D II 100C, but while one of them will drop jaws the other one might raise some belly laughs.

Let’s start with the former: this camera boasts an astonishing, best-in-the-business, 10 stops of in-body image stabilization (IBIS). That. Is. Just. Crazy. For context, the previous high for IBIS was 8.5 stops, possessed by the Canon EOS R5 Mark II and OM System OM-1 Mark II.

And let’s be real: stabilizing a tiny Micro Four Thirds sensor is one thing. Even a full-frame sensor. But getting TEN STOPS OF STABILIZATION ON A MEDIUM FORMAT SENSOR is nothing short of witchcraft.

For more context, the Fujifilm GFX 100 II has 8 stops of IBIS – which is still frankly ridiculous, but the X2D II is on another level entirely. Handholding with this thing is now a game of chicken.

Wanna shoot streaky car headlights at night? Fancy photographing waterfalls at super-slow shutter speeds? Just plain want to take pictures after you’ve been drinking? This camera has your back.

Word to the wise, if you’re not a regular Hasselblad user, you might struggle to get similar results to smaller systems right off the bat. I say this as an OM System user (yes, I shoot both Micro Four Thirds and medium format, because it’s all about having the right tool for the job), as it’s inherently easier to hold and steady a smaller and lighter camera system.

If you’re an experienced X System shooter, however, then you can achieve some absolutely wild results with the stabilization here. And it’s not just about things like crazy-long exposures; it’s also about using lenses like the new Hasselblad XCD 35-100E with a narrower f/4 aperture. Again, it goes back to the friction-free shooting experience – the tech is in service of helping you take great photographs.

As is the autofocus system… and here’s where some guffawing might come into play, because the X2D II introduces continuous autofocus to a Hasselblad camera for the very first time.

Yes, I know that DSLRs have been doing it for decades, and yes, a $7,000 camera bloody well should have C-AF. But that’s not all it has: the X2D II also introduces subject recognition and LiDAR autofocus – another first for a mirrorless camera system.

The subject recognition isn’t as extravagant as on other cameras, but its algorithms cover all the essentials: human, dog and cat, and vehicle. I’ve tested all three and was genuinely impressed at how well the detection and tracking work, particularly paired with the C-AF.

As someone who’s primarily a portrait photographer – and as someone who cursed the gods at the original X1D’s treacle-slow AF system that sometimes wouldn’t focus on a face at all – shooting subjects with the X2D II is just a joy.

I had a couple of client shoots in a woodland setting with some very challenging light (in one case it was the lack of, in the other it was harsh backlighting) and this camera didn’t lose track of their faces once.

I didn’t test the dog and cat AF too extensively, other than throwaway snaps of family pets and dogs in the park, but again it never once struggled for me – even with moving subjects. The vehicle AF impressed me, too, able to recognize and follow moving cars, vans, lorries and a motorbike.

Was it as effective as an R1 or an A1? No, it wasn’t – but this isn’t supposed to be a sports camera. And it’s still pretty dang good, making the X2D II an incredibly agile and responsive medium format camera – a far cry from those X1D days that still give me nightmares!

In addition to the algorithms, the improvements are also down to a 45% increase in the number of focus points (up from 294 to 425, matching the GFX 100 family) and the implementation of the new LiDAR system. This is the first time I’ve overtly felt DJI’s fingerprints on a Hasselblad since it bought the brand, but it’s certainly not unwelcome.

DJI’s LiDAR (Light Detection And Ranging) tech has been used in its drones, as well as the DJI Ronin 4D (a 6K cinema camera) and external AF modules used for the Lumix S5II and S5IIX cameras. Combined with the deep learning and additional focus points, the result is an enviable autofocus system that enables the X2D II to perform with almost any subject in almost any lighting situation.

I’ve waxed lyrical about Hasselblad color science before, and I truly believe it’s the best in the industry. Canon does the best skintones, Fujifilm does the best film sims, Hasselblad does the best everything.

Its 16-bit images boast an unrivalled 15.3 stops of dynamic range, with expanded highlight latitude, and the result isn’t just unparalleled color accuracy – it’s also a sense of dimension, texture and form that other cameras simply aren’t capable of. If you’re one of those people looking for “3D pop”, that’s exactly what you get here.

The X2D II also gives you a true, end-to-end HDR workflow – from the improved and HDR-optimized rear screen to the new Phocus Mobile 2 app, which enables you to display and edit true HDR images on your iPhone or iPad (iOS 18 and above) and even apply Hasselblad’s noise reduction on RAW files.

Hasselblad X2D II 100C: Lab data

Because the Hasselblad X2D II possesses the same core sensor and processing technology as the X2D, their lab performance is essentially identical.

Take a look at our lab tests for the X2D to see how the camera performs in our suite of imaging tests.

Hasselblad X2D II 100C: Samples

Hasselblad X2D II 100C: Verdict

It’s hard not to talk about the Hasselblad X2D II’s tech – the 10 stops of IBIS, 15.3 stops of dynamic range, deep learning autofocus, LiDAR system – but ultimately none of that matters. What matters are the photographs it takes and the experience you get while taking them – both of which are just glorious.

I have never used a better stills camera. The colors and dimensionality, straight out of camera, are absolutely unrivalled. And while GFX cameras can match the resolution and dreamy depth of field, their usability and interface aren’t a patch on Hasselblad’s. The only thing that comes close is a Leica – surprise, surprise, luxury cameras give you a luxury experience.

If you want to shoot video or you need a slightly faster burst (8fps on the 100 II compared to 3fps on the X2D II), the GFX 100 II will suit you better. But with the X2D II you’re getting a more lightweight body, with better dynamic range, lower base ISO, superior stabilization and a better storage system (a 1TB internal SSD supported by a CFexpress B slot). And it’s cheaper!

A far cry from the iterative updates of many “Mark II” cameras from other brands, the Hasselblad X2D II boasts a bounty of upgrades over the original X2D, both in terms of handling (from the reduced weight to the addition of a joystick) and performance (from the improved IBIS to the supercharged AF). And on top of that, again, the II is actually cheaper.

I can honestly say that the Hasselblad X2D II has no weaknesses (again with the caveat that I really don’t think anyone is buying a mirrorless medium format camera for video). This is simply the ultimate photographic camera.

The Hasselblad X2D 100C is now in stock, and for medium format shooters, there’s never been a better time to take the plunge.

This flagship mirrorless system from Hasselblad blends classic Scandinavian design with cutting-edge digital imaging performance, offering a 100MP BSI CMOS sensor housed in a beautifully machined aluminium body. It’s a camera that doesn’t just take pictures – it creates them with an elegance and tonal depth few others can match.

As Ecommerce Editor at Digital Camera World, it’s my job to track down the best deals and make sure our readers spend their hard-earned cash wisely.

To make things easier, I’ve rounded up the best retailers in the US and UK currently offering the Hasselblad X2D 100C in stock.

Where to buy the Hasselblad X2D 100C ?

Under the hood, the X2D 100C is nothing short of remarkable. With 15 stops of dynamic range, phase-detection autofocus and a built-in 1TB SSD for internal storage, it’s engineered for both speed and subtlety.

The five-axis in-body image stabilisation system is a first for Hasselblad and a real game-changer for handheld medium format shooting. It makes this camera just as comfortable on the street as in the studio, allowing for slower shutter speeds without sacrificing sharpness or clarity.

Every inch of the X2D feels considered. From the crisp 5.76 million-dot OLED EVF to the tilting rear touchscreen, this is a camera that rewards both precision and spontaneity. Color science, as expected from Hasselblad, is sublime – skin tones glow, skies retain nuance, and monochrome conversions sing with richness.

Paired with the growing range of Hasselblad XCD lenses, it offers a tactile shooting experience that invites you to slow down and make every frame count.

At the time of writing, the Hasselblad X2D 100C is a very hefty investment. But for professionals and fine art photographers who demand the very best, it represents serious value – especially considering its internal storage and stabilization system reduces the need for additional accessories.

With consistent stock issues since launch, the fact that it's currently available is reason enough to act quickly if it's been on your radar.

This isn’t a camera you buy on a whim – it’s one you aspire to. And when you're ready to step into the world of medium format digital at its most refined, the X2D 100C is a statement in both performance and intent.

With units now available and ready to ship, it’s an opportunity to get your hands on one of the most beautiful and capable photographic tools on the market.

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The best Hasselblad cameras comprise some of the best medium format cameras on the market – from the X2D 100C to the modular Hasselblad 907X & CFV 100C.

For many photographers, a Hasselblad is the holy grail. It's iconic. It went to the moon. It blends nostalgia with cutting-edge tech, all in a sleek, modern body, and the image quality is out of this world – but let's be honest, so is the price. Now, a fake website is online, trying to catch you with MASSIVE sales on Hasselblad products. Offering an $8,000+ camera for under $2000? A clear red flag.

A website called hasselblad.za.com is pretending to be an official Hasselblad retailer. It's offering outrageous discounts that sound like a dream come true – but the only thing you'll get from this site is an empty bank account.

It almost has a humorous aspect – cameras from the X and V system are listed for up to 80% off. The 907X & CFV100C, for example, is advertised for under $2,000 – a ridiculous $6,599.20 off the actual price of $8,199.

While the original price listed – over $8,000 is true – the offer is not.

And of course, what's a camera without a lens? Hasselblad lenses like the XCD 3,2-4,5/20-35E are listed for just over $2,000 – at a 65% discount. Put together, that seems like an impossible saving... because it is.

This scam site is almost a perfect copy of Hasselblad's official page. The design, layout, even the tone – everything looks right. The only clear difference is the URL, so it's easy to get tricked.

These fake website stores are popping up more and more. Leica fans have recently been targeted, too. Often, these scams are promoted through slick-looking ads on Facebook and Instagram. And once you're on the site, you're less likely to double-check the URL.

Taking a second to scroll to the bottom of any website can pay off, too. Look for company information, registration details, and real contact info/address. If anything feels off, trust that feeling.

And you know it, deals like this are simply too good to be true. And if you're already planning to spend that much money, do it the right way and purchase directly from the official Hasselblad website, or go through a trusted retailer. In the U.S, B&H has been the gold standard in photography gear for over 50 years. In the UK, Wex is one of the most reliable options out there.

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Browse the best Hasselblad lenses and dive into our stories:
- This is how a photo geek astronaut started NASA's relationship with Hasselblad
- Daddy's home: here's the 100MP Hasselblad X2D
- Get your old Hasselblad 500 c/m out of retirement with the new CFV II 50C back!

In a special event today in Gothenburg, Sweden, Hasselblad and Oppo proudly committed to the continuation of their partnership, solidifying their dedication to advancing mobile imaging technology.

This announcement follows four successful years of technical collaboration on Oppo's flagship Find series of camera phones. Renowned for their exceptional imaging system and sleek design, the series significantly closes the gap between camera phones and compact cameras, setting a new standard in mobile photography.

"The partnership with Hasselblad is built on a shared passion for innovation and a commitment to delivering the ultimate imaging experience," said Pete Lau, chief product officer at Oppo.

"Over the past four years, we have brought the truly professional, legendary camera experience of Hasselblad to Oppo's global users. With the extension of our collaboration, we will push the boundaries of mobile imaging even further."

In an industry obsessed with specs and incremental upgrades, Oppo’s partnership with Hasselblad has been an example of long-term, meaningful collaboration, one that feels more like a shared vision than a corporate co-branding exercise.

Over the past four years, this alliance has matured into one of the most exciting developments in phone photography, and with the release of the latest flagship, the Oppo Find X8 Ultra is their most ambitious device to date. Oppo and Hasselblad seem closer than ever to delivering on a bold promise to build the 'ultimate camera phone'.

The collaboration between the two companies has been one of rich technical co-development. With each new generation of the Find series, Oppo and Hasselblad’s teams have worked in collaboration to fuse mobile innovation with the color science and optical philosophy that made Hasselblad legendary.

I first got a taste of this last year at Paris Photo, where I brought the Oppo Find X8 Pro with me. I didn’t expect it to replace my camera, but the truth is it massively surprised me; not just with image quality, but with character.

This past couple of weeks, I’ve been lucky enough to spend time with the newer Find X8 Ultra, and by some technical magic, it packs even more punch.

At the heart of this device is a culmination of Hasselblad’s signature aesthetic and Oppo’s boundary-pushing tech. Key features such as the Hasselblad Natural Color Solution has been re-engineered for mobile and offers some of the most accurate and pleasing color reproduction I’ve seen on any smartphone.

There’s also Master Mode, my favourite feature that enables photographers full manual camera control and unlocks ultra-clear 50MP JPEG Max and 16-bit 50MP RAW Max formats. It’s designed to match the character of Hasselblad’s X2D, which is saying a lot.

The Find X8 Ultra’s imaging system is a leap in mobile imaging, and that’s not just my opinion. According to DxOmark’s newly updated Smartphone Camera Protocol, the Find X8 Ultra currently ranks as the number one smartphone camera in the world, with a record-breaking overall score of 169. It also set new benchmarks in both photo and video sub-categories, adding further weight to Oppo’s imaging ambitions.

In addition to the renewed partnership, the brands have also announced that they are currently working on the "next generation mobile imaging system", aiming to set a new benchmark for the capabilities of mobile imaging. No specific details have been announced just yet, but I for one, am waiting in anticipation.

Oppo, as a brand, feels it has a genuine appreciation and love for the art of photography, as in addition to bringing enhanced photography specs to phones, it also supports its community of creators. That ethos continues with the newly launched Oppo Photography Awards 2025, themed 'Super Every Moment'.

With over $100,000 in prizes and a global call for submissions, it’s an open invitation to creators worldwide to share their vision. I love this, not just as a photographer, but as someone who believes in democratising image-making.

All of this also reflects Oppo’s continued commitment to the European market, something that’s not always guaranteed in the fast-moving world of smartphone releases.

With every new release, Oppo and Hasselblad seem to push the limits further, and if they truly deliver on their promise to set a new benchmark in mobile imaging, we might be witnessing something special very soon.

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If you want to explore the world of phone photography, I recommend checking out our guides to the best camera phone and the best Android phone.

When we see those breathtaking images of Earth from orbit or the surreal landscapes of the moon, most of us who are into photography and gear instinctively think of Hasselblad cameras.

Hasselblad and NASA built a decades-long creative partnership – one that brought history-making moments from deep space right into our homes. But it didn't start out that way.

Early space missions didn't prioritize photography. On the first Gemini mission, astronauts didn't even bring a camera(!) – and when they did it on the second, it was a basic "tourist model."

Ove Bengtsson, product manager at Hasselblad, explains in an Instagram video by artnizphoto that NASA was deeply underwhelmed with the image results, characterized by a lack of detail and clarity.

I mean, we all know that photographing in space is nothing like snapping a few shots in your back yard. Between microgravity, extreme temperatures and the absence of atmosphere, cameras need to be more than just rugged – they need to be precision tools that can handle it all.

During preparations for the Mercury-Atlas 8 mission in 1962, Wally Schirra was part of a team of astronauts and engineers trying to solve the missed photography opportunities of NASA's missions.

Schirra was not just a Navy pilot and astronaut, but – as it turns out – a passionate amateur photographer. He kicked off one of the most iconic collaborations in photography history with the sentence, "Why don't we use this one?"

And "this one" was his personal Hasselblad 500C medium format camera, equipped with an 80mm lens. The results were game-changing, vibrant and the most detailed pictures from space that the world had seen.

From that point on, Hasselblad cameras flew on every Mercury, Gemini and Apollo mission, including the unforgettable Apollo 11 moon landing.

But these weren't off-the-shelf models. Together, NASA and Hasselblad engineers customized the cameras for spaceflight.

Weight reduction was a priority, so non-essential parts were removed. Astronauts needed bigger camera dials and buttons to operate the device with their bulky gloves. For the lens, advanced optics and coatings were developed for radiation resistance and optical clarity.

Lastly, the film magazines had to be modified to protect them from extreme temperatures and space radiation. So, Hasselblad and NASA worked on adapting the film advance mechanism so that it could be used in zero-gravity conditions.

This all made Hasselblad a space icon. Hasselblad became more than a top-tier camera manufacturer; what started as a trusted tool for photographers became a cornerstone in documenting human exploration beyond our planet and helped shape how we see space.

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Make sure to take a look at the best Hasselblad cameras of the modern day. If you want to capture our university from planet Earth, have a look at our best camera for astrophotography, the best star tracker camera mounts for astrophotography, or dive into the story about why the Sony A7S III is a "powerhouse" in astrophotography, and more insider night sky tips by professional astrophotographer Josh Dury.

When you think of the best Hasselblad cameras, you think of all-time classics like the Hasselblad 500CM or perhaps cutting-edge bodies like the Hasselblad X2D.

What you definitely don't think of is a Sony APS-C camera that was sheathed in wood, covered in fake jewels, had the Hasselblad logo slapped in the corner and sold with a $5,600 markup.

That's the story of the Hasselblad Lunar – a wretched relic of one of the darkest times in Hasselblad history, when a private equity firm bought the brand and almost destroyed it with this kind of ineptitude:

Yes, that's an actual thing on this camera: a fake ruby. And there's another one on the back, just for good measure. Because nothing says "Hasselblad" like a camera that looks like it's been vajazzled.

The Lunar was an act of such sheer photographic lunacy – to take a $1,400 enthusiast-level Sony NEX-7 and sell it as a $7,000 luxury camera – that the company actually had to tell the press "we're not robbing people".

So what kind of lunatic would buy such a camera? This one:

Honestly, it's no surprise that the man behind some of the most surreal, hallucinogenic and just plain bonkers TV and cinema – spanning everything from Eraserhead and The Elephant Man to Twin Peaks and Mulholland Drive – would own a Hasselblad Lunar.

Lynch was clearly in on the joke, too, as he also owned a Sony NEX-5 – the sister model of the NEX-7 that was buried beneath $5,600 of needless gaudiness.

Both cameras – bizarrely bundled in a lot with a Pentax 645 – are up for auction in the David Lynch Collection at Julien's Auctions, which is handling the sale of items of note from his estate. Lynch passed away earlier this year, aged 78.

There are some true gems in the collection, which features everything from modern fare like the Sony A7R and A7S to a Linhof Master Technika Camera, a Leica R6.2, a snakeskin-covered Montana Luxus, an Impossible I-1… and even a proper Hassy, the Hasselblad H3D-39.

But the jewel – literally, the big red fake jewel – of the auction is the Hasselblad Lunar. There can be no greater testament to what an utter madman Lynch was than the fact that he owned this camera. And I love him all the more for it.

Every Lynch fan should take a look at the collection, which features all the ephemera you would imagine – coffee machines, a painting of Naomi Watts, a replica Black Lodge floor and curtain, the telephone from the production office of Dune, original Northwest Passage scripts and even a fragment of the Berlin Wall.

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If you want a weird and wonderful Hassy that's actually good, check out my Hasselblad 907X & CFV100C review. For another calamitous camera by a big brand, take a look at the worst camera I ever bought.

When the Hasselblad X1D (or the Hasselblad X1D 50C, to give its full name) arrived in 2016, it was a genuine game changer.

I know, I know, that's an incredibly overused phrase – but here it was actually true. You have to remember that the Hasselblad X1D was the first ever mirrorless medium format camera, launching the year before the Fujifilm GFX 50S.

In fact, not only did the Hasselblad X1D beat Fujifilm to the punch, it also beat both Canon and Nikon's mirrorless efforts – launching two years before the "big two" gave us their full frame mirrorless cameras in 2018.

So, this 50MP monster changed the landscape – but does it hold up almost 10 years later?

Hasselblad X1D in 2025

It's important to remember that, in 2016, medium format cameras were a very different proposition. The idea of a medium format "compact camera" like the Fujifilm GFX 100RF was inconceivable; these were still big, bulky, slow studio cameras.

And while the Hasselblad X1D, with its footprint barely bigger than a DSLR, gave us a glimpse at the kind of freeform, handheld shooting we enjoy today… it still had that sedate, studio-style shooting speed.

This was especially the case with the autofocus. I loved that the X1D was a camera as portable as a DSLR with resolution that blew away the Pentax 645Z, but everything from the startup time to the autofocus was truly glacial.

Combine the Zen-like startup, the contrast-based AF system (with no face or eye detection) and the huge, slow-readout sensor, and you had a shooting experience that was about as urgent as a Buddhist meditation.

It was slow even then – I vividly remember a photoshoot with two professional models that ground to an absolute halt, due to how slow the Hasselblad X1D's performance was. Revisiting that in 2025, with modern expectations of autofocus and shooting speed, is guaranteed to be twice as painful.

Of course, you still can't argue with the jaw-dropping 50MP images, – which remain stunning in their color fidelity and dynamic range – but the camera's video may disappoint you. Despite its enormous resolution, this was still 2016, so the Hasselblad X1D can only muster FullHD video.

It's worth noting that in 2019 the manufacturer launched an upgraded model, the Hasselblad X1D II, which addressed both the operational speed and the video resolution… with two pretty big caveats.

Firstly, while the camera startup and operations were faster, the autofocus was still slower than a scooter going up a steep hill. And although the video resolution was bumped up to 2.7K, it wasn't ready in time for launch; it took six months before turning the mode dial to video actually made anything happen.

Between that, and the fact that Hasselblad has since dropped video from its cameras altogether, should tell you everything you need to know about its filmmaking prowess.

In all, then, while I will always have a soft spot in my heart for the Hasselblad X1D, it's a camera that has been superseded in every way and is best left in the past. Personally I'm a Hasselblad X2D user, and I've never looked back – the autofocus is fast and faithful, it has great in-body image stabilization, and a 1TB internal memory means you never have to worry about memory cards.

If you're a landscape or still life shooter who doesn't rely on speed or autofocus, the Hasselblad X1D may still have merit. But for anyone else, unless it really is available at a ridiculously low price, the best medium format cameras have left it way behind.

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The traditional photograph has both a subject and a background but, for artist Sophie Ristelhueber, the background often is the subject. Ristelhueber, a French artist known for her unconventional approach to war photography of scarred landscapes devoid of people, has been named the 2025 Hasselblad Award Laureate.

While Ristelhueber’s work is largely photography, the unconventional artist also uses sound, video, novel-like photo books and even the form of an exhibit itself as an artistic tool.

The Hasselblad Award is one of the largest prizes in photography, an award that, beyond the distinction, includes 2 million Swedish krona (roughly $197,609 / £153,338 / AU$299,624), a gold medal and a Hasselblad camera. Past recipients since the award’s start in 1980 includes Malick Sidibé, Cindy Sherman, Richard Avedon, Irving Penn, Henri Cartier-Bresson and Ansel Adams.

“I was at the same time very pleased of course, very honored, because I know this is the biggest prize in photography,” she said of learning of her selection, “but at the same time, I am not really a photographer. [Though] what I produce is 90% photography.”

ABOVE: Watch Ristelhueber discuss her Hasselblad Award

Ristelhueber is perhaps best known for her war photography, which unlike traditional war images is devoid of people. Instead, her work shows the scars left behind, like the road blockages and craters from suicide bombers in places from Lebanano to Iraq, over the course of a career that spans more than four decades.

What is simply the background of many conventional war images instead takes center stage in her work. The Hasselbald Foundation describes it as “an emotional intensity in the silent, enduring traces of human presence and activity.”

In an interview for the Hasselblad Award, she explained that, in the Eighties, she didn’t have a TV and she would “walk a little more and see what happened.” Her collection of the scars left behind in Beirut in the early part of that decade became one of her early photobooks, named after the city itself.

But Beirut doesn’t look like most photo books; instead it has the dimensions more typical of a novel than one meant to display photographs. The format is partly a nod to Ristelhueber’s early studies in literature and partly a statement. After studying literature, she was working in an editorial position when she couldn’t find the words for an assignment and picked up a camera to tell the story instead.

Turning the background into the subject and a non-traditional book format are not the only ways in which Ristelhueber colors outside traditional lines. The exhibit itself often becomes part of the artwork. In one, she printed a close-up detail of artwork that hung in her childhood home more than 13 feet high and arranged smaller images of landscapes in front of it.

In her latest solo exhibition in Paris, France, she abandoned her most iconic work on the floor, hanging only previously unseen images of animals in what the Galerie Poggi described as “a strong iconoclastic gesture that questions the relevance of art in our world ablaze and at war, literally undermining the very principle of exhibition.”

While Ristelhueber is perhaps best known for her work photographing scarred landscapes, she has also photographed actual scars on war victims in a Parisian hospital, a series called Every One. Her unusual approach of turning the background into the subject has also taken shape in images of homes photographed without people.

When Ristelhueber meets someone just starting out in photography, her advice is always the same: to trust in your project. “When I was doing Beirut, my husband always said it was a necessity so I don’t get crazy,” she said.

“I have to do it and then we’ll see what happens. Each time, it’s a little stone on the pathway, and when years come, you turn and you see yes, I’ve been doing something and it makes sense. But of course, when you start you will never have any assurance that it is going to make sense and so you have to trust yourself and your necessity.”

While Ristelhueber says her work is only 90% photography, the Hasselblad Award shows how much her work has resonated. “What is at stake is that we put everything on the line, inventing new patterns without knowing if they will ever resonate,” she said. “And this is why, for me as an artist, this prestigious award holds such a deep significance.”

As part of the award, Ristelhueber will have a solo exhibition at the Hasselblad Center in Gothenburg Art Museum, Sweden, beginning October 11 – her first solo exhibition in Scandinavia.

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This is by far the most enticing deal I've seen in a year. It is a dream camera from legendary Swedish medium-format specialists Hasselblad. I wouldn't hesitate to buy this beautiful camera if I had the money. With £1,000 off, this is the lowest price I've ever seen camera for a year!

Hasselblad’s 907X is its smallest and lightest medium format camera body to date, weighing just 200g. Exceptionally thin and lightweight, it seamlessly integrates with the CFV II 50C digital back to form the compact Hasselblad 907X 50C mirrorless medium format camera. When paired with the CFV II 50C, the 907X is compatible with a wide range of Hasselblad lenses, including all XCD lenses, as well as HC/HCD, V System, and XPan lenses via adapters.

The CFV II 50C features a powerful 50-megapixel medium format CMOS sensor (43.8 x 32.9 mm) and is designed for use with most V System cameras from 1957 onward, as well as third-party technical and view cameras. Its 3.2-inch, 2.36-million-dot tilting rear display offers full touch functionality, along with Hasselblad’s intuitive interface for settings, image review, and menu navigation.

Unlike previous CFV digital backs, the CFV II 50C includes a fully integrated battery—the same as Hasselblad’s X System—reducing size while enabling USB-C in-camera charging. With its blend of classic design elements, a chrome-edged body, and cutting-edge technology, the CFV II 50C pays tribute to Hasselblad’s legacy while delivering the brand’s renowned image quality.

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Nons, the Hong Kong startup that repurposes vintage gear to work with modern instant film, will launch a new film back for classic Hasselblad cameras in 2025, the company shared in a teaser on Instagram. The announcement was paired with a teaser video showcasing the back on a Hasselblad 503CX and spitting out Instax Wide format film.

Shared with just 12 words on the upcoming launch, the company shared relatively few details of the release outside of it being a new instant film back for Hasselbald and that the planned launch is for the first quarter of 2025.

However, the brand was less secretive in the comments section on Instagram, sharing additional details as fans asked questions about the upcoming launch. Notably, Nons shared that the new back wouldn’t replace the brand’s existing option but is designed with more “alternative features.”

“The new version offers alternative features for specific purposes and is not intended to replace the original back,” the brand said in a comment on Instagram. “It includes three key components: an instant back, a viewfinder spacer, and a front optical filter. These components ensure that the film ejects from the top with the white border at the bottom and without square-shaped black frames.”

That comment suggests that the new instant film back will help prevent the black borders that appear on the sample images of the company’s original back for Hasselblad cameras. The video shows the viewfinder spacer and front optical filter being installed, before snapping a photo that spits out at the top.

In a separate comment, the company noted that “the focal plane of the back is further than the original so that a viewfinder spacer corrects the focal plane adjustment, and a front optical filter ensures infinite focus.”

The video also gives hopeful fans a few other clues about the upcoming instant back. The video shows the film ejecting to the hum of a motor, suggesting a rechargeable battery like the original. The film ejects at the top rather than the side and, in a comment, the company noted that it's not compatible with prism viewfinders because of that design.

The company didn’t share what Hasselblad camera models the upcoming back would be compatible with, but the video shows the back being used on a Hasselblad 503CX. In an Instagram comment, the company also noted that it would be compatible with the 200 series.

Along with the existing Hasselblad back, Nons also offers an instant film body that works with vintage lenses, the Nons SL660.

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