Sony's new 400mm f/4.5 and 600mm f/6.3 primes come in lighter and cheaper than the Nikon lenses they closely resemble, and that puts a real decision in front of anyone who shoots birds and wildlife. Long glass is usually the most expensive and physically demanding part of a wildlife kit, so a few hundred grams and a four-figure price gap can shape what you carry for years.
Open gate recording, in-body stabilization, and anamorphic desqueeze have become the most requested features on compact cinema cameras, and the Sony FX5 is the first Sony to offer all three in one body. Whether those features can run at the same time affects how you rig, monitor, and shoot, especially if you work handheld with anamorphic glass.
When you pick a camera system for video, you're also picking a lens mount, a color pipeline, and the answer you'll give every time a producer asks what you shoot on. Canon, Sony, Nikon, and Panasonic Lumix all make capable full frame mirrorless bodies, so the choice comes down to how each one holds up on paid jobs and what it costs you over the years.
Buy a Canon EOS R7 this afternoon, and the manual will tell you that you can register up to six LP-E6P, LP-E6NH, LP-E6N, or LP-E6 battery packs to it. That last one is the cell Canon put on sale in the EOS 5D Mark II in November 2008, nearly ten years before the RF mount existed.
Phone-based content creation has moved well past quick behind-the-scenes clips. Photographers are now shooting more polished promo videos with their phones on a regular basis. That workflow shift changes what your phone needs to be capable of, and internal storage and speed are usually the first barriers.
At $2,199 for the body alone, plus roughly $500 more if you want the optional electronic viewfinder, the Sigma fp II asks a lot for a camera with no mechanical shutter and no in-body stabilization.
Nikon's NIKKOR Z 20mm f/1.8 S is the biggest, heaviest, and most expensive lens in a series that was supposed to be the lighter, more affordable side of the S-line. Six years after its release, it still has almost no native autofocus competition at 20mm and f/1.8 on Z mount, so how it performs today decides whether you get a bright ultra-wide prime at all without reaching for an adapter.
Viltrox's 28mm "Chip" showed that an autofocus lens barely thicker than a body cap could make a full frame camera feel close to pocketable, and now TTArtisan has a $99 lens that follows the same design almost line for line.
The JBL 305P MkII is down to $99 per speaker, 41% off its $169 list price, and it's the studio monitor I ended up recommending as the best speaker for the money after testing six of them on my desk.
You have decided to transition from DSLR to mirrorless, and that should feel exciting, with a whole new way of shooting waiting for you. Changing systems does mean planning around the cost, but you may already own more of the funding than you realize. The DSLR kit sitting in your bag can pay for a good part of the switch, and how you sell it decides how smooth the whole process feels.
If you shoot Fujifilm and want the classic 85mm-equivalent portrait look at f/1.2, you have two serious, fully weather-sealed choices, and at B&H, one costs about half as much as the other. The Fujifilm XF 56mm f/1.2 R WR and the Viltrox AF 56mm f/1.2 Pro cover one of the most-used focal lengths in the system, and the gaps between them are smaller and odder than a spec sheet suggests.
A 28mm lens sits in an awkward spot between the 24mm and 35mm primes most people already own, and that in-between position is what makes it useful when you film yourself in a small room.
Most full frame cameras ship with a slow, middle-of-the-road zoom that people outgrow within months, and the Sigma 20-60mm f/2.8-4 DG Contemporary takes direct aim at that weak spot. The lens on your camera on day one decides how much you enjoy the thing you just spent a lot of money on, and a better starting zoom can push back the moment you feel you need more glass.
I attended Sigma’s launch event for the new Sigma FP2, a small full frame camera that bridges high-quality photography and professional filmmaking.
The new Insta360 Mic launching today is offering creators a more affordable way to access high-quality wireless audio, with one particularly interesting change: instead of relying on built-in storage, recordings are saved to a microSD card supplied by the user.
Leica partnering with Formula 1 is a first, and unexpected. Why is Leica chasing F1, and what’s the actual benefit of the carbon fiber being used?
As someone who relies heavily on a geared head for precise hospitality work, the increasing demand for speed and video applications has left me considering how to integrate a hybrid ball head system into my professional workflow. Specifically, I was looking for a unit that acts as a traditional fluid head, yet retains the multi-axis freedom of a ball head for dynamic still p
Samyang's three f/2.8 zooms, co-designed with Schneider-Kreuznach, cover 14mm to 180mm on Sony full frame bodies while stepping away from the familiar 16-35mm, 24-70mm, and 70-200mm ranges. Trimming a few millimeters here and adding a few there is how a lens maker cuts size, weight, and price, and those are the things that decide whether a lens leaves your house or stays on the shelf.
Nikon now owns RED, and the first camera to come out of that deal is the Nikon ZR, a compact body that records RED's raw codec for a little over $2,000. If you shoot video for clients or your own films, that pairing puts a codec once tied to cinema camera budgets inside a body small enough to balance on a basic gimbal.
Nikon's NIKKOR Z 85mm f/1.2 S sells for close to $3,000 and weighs more than many of the bodies you'd mount it on. For about three years, it has been the obvious pick on Z mount if you want the thinnest depth of field and the cleanest portrait rendering, and now cheaper third-party 85mm f/1.2 lenses are showing up to test how long that lasts.
The Nikon Z5IIC puts a full frame sensor, in-body stabilization, and raw video into a $1,400 body by dropping the viewfinder, and people argued about that choice before most of them had held one. If you shoot weddings or travel, or if you're weighing a second body, the useful question is how that missing eyepiece and a pricier compact Sony rival play out over a real day of shooting.
Peak Design's Travel Tripod is probably one of the most talked-about tripods on this site, and opinions have been polarized. Since the brand has expanded its tripod lineup with three new Pro models, it's clearly important that we see their differences and optimal use cases.
You've noticed that tripods come with two basic kinds of locks: twist locks and lever locks. They're quite different. Which should you purchase? I'll tell you my experiences and observations.
Twist Locks
The Robus RC-5570 has high-quality twist locks.
Ask a room full of people to name the best portrait lens, and most will point to something like the Canon RF 85mm f/1.2L USM, with its reputation for sharpness, flattering perspective on faces, and heavy background blur. If you're about to spend serious money on portrait glass, ask whether that reputation fits the rooms you work in and the apertures you actually use.
Any modern digital camera has thousands of settings and more features than most individual photographers will ever use.
The Canon EOS R6 Mark III sits in the middle of Canon's mirrorless lineup, yet its feature list now overlaps with both the higher-resolution R5 Mark II and Canon's Cinema EOS bodies. If you shoot stills and video for a living, that overlap decides how many bodies you buy, carry, and maintain.
Picking a camera system for video locks you into a mount, a lens lineup, and a manufacturer's release schedule for years, and the features a brand ships early tend to shape how you work long after the purchase. Panasonic's Lumix bodies rarely dominate filmmaking gear talk, even though several capabilities now drawing attention elsewhere have lived inside them for a long time.
At $400, the Panasonic Lumix S 40mm f/2 is one of the least expensive ways to put an official autofocus prime on an L-mount body. A 40mm sits between the standard 35mm and 50mm choices, and a lens this small and cheap has a good chance of becoming the one that never leaves your camera.
There’s a special role that affordable lenses play in the grand scheme of things, especially those that don’t compromise too much on optics. This new lens, while smaller than most of its kind, is sure to open many doors.
The Sony FE 24-50mm f/2.8 G and FE 20-70mm f/4 G both promise a smaller standard zoom, and each one asks you to give up something different to get there. If you carry a camera into the mountains for hours at a time, the choice between extra width, extra reach, and an extra stop of light shapes nearly every frame you bring home.
Canon rates the EOS R6 Mark III at up to 8.5 stops of stabilization at the center of the frame and 7.5 stops at the periphery, depending on the lens. The footnote under that number says it was measured under the CIPA 2024 standard with an RF 24-105mm F2.8 L IS USM Z at 105mm.
Inflatable LED lights are one of those ideas that sound gimmicky. A soft, glowing tube you inflate like a pool toy, then use to light a portrait or paint with color in the dark. It's the kind of gadget that could easily be all novelty and no substance.
Fisheye lenses for medium format have been close to nonexistent, so if you shoot a Fujifilm GFX or Hasselblad body and want that look, you've usually had to adapt glass that doesn't cover the sensor properly. AstrHori's new 8mm fisheye goes after that gap with a circular image and a field of view wider than a full hemisphere.
A Canon patent application published in Japan on October 16 includes a complete optical design for a 70-200mm f/2 zoom covering a full-frame sensor, a combination Canon has never sold in any mount. The design, Example 9 in the filing, holds f/2.06 from 71.65mm to 194mm.
When BenQ asked me if I would like to take a look at the new PD2732U monitor, I was interested because a monitor is something I spend a lot of time looking at, particularly when I am editing photographs. Color accuracy is obviously important to me, but so is how the monitor fits into my existing workflow.
Fujifilm's XF 400mm f/4.5 gives X-mount shooters the field of view of a 600mm lens on full frame, with an aperture about two-thirds of a stop brighter than the company's 500mm f/5.6. If you shoot birds or wildlife on Fujifilm, that extra light can be the difference between a usable shutter speed at dawn and a frame lost to motion blur.
The Panasonic Lumix S9, Fujifilm X-M5, and OM System PEN sell at similar prices in 2026, yet each uses a different sensor format: full frame, APS-C, and Micro Four Thirds. If you're moving up from a phone to a camera you'll carry every day, that price overlap makes the decision harder than any spec sheet suggests.
Most side-by-side tests of APS-C and full frame end the same way, with differences that barely show up in the photos people actually print or post. Far fewer people act on that result, because selling a full frame kit means walking away from money already spent and from a long-held idea of what a serious camera is supposed to be.
The Protector 1510 Studio Case reimagines the toughness you’ve come to expect from Pelican. Is it worthy of its name? More importantly, is it worthy of the price?
“It’s no secret Pelican is the best. It’s also no secret they’re expensive.”
Viltrox's EVO series offers three matched prime lenses for just over $1,000, about what a single first-party prime can cost. If you shoot video on a gimbal or pack light for travel, a set that shares size, weight, and filter thread can save more time than an extra stop of light.
A constant f/2.8 standard zoom is the lens most APS-C shooters end up leaving on the camera, yet the options have often been heavy, expensive, or simply missing from certain mounts. The Tamron 16-50mm f/2.8 costs roughly half as much as Sony's own equivalent and weighs far less, which raises a fair question about what you give up for the savings.
Fujifilm, a company that spent most of a century making film, looked at the tidy checkerboard of color filters printed onto every digital sensor and decided the tidiness was the enemy.
How do you photograph something like this? Two enormous radio telescopes, the Milky Way rising between them, and a foreground that actually has detail instead of disappearing into blackness. The answer involves a little planning, some tricks to reduce noise, a way to light the radio telescopes, and access to one of the most extraordinary locations in California.
Long telephoto lenses have always made you choose between reach, weight, and money, and wildlife shooting tends to punish whichever one you skimp on. Fujifilm's new XF 400mm f/4.5 R LM OIS WR gives X-mount shooters a 600mm-equivalent prime that tries to ease the first two compromises at once.
Sony's 24-50mm f/2.8 G is a compact fast standard zoom for full frame Sony bodies, and the Thypoch Voyager 24-50mm f/2.8 goes straight after it with autofocus, an internal zoom, and a much lower price. If you build a compact kit for stills and video, a cheaper lens that keeps pace with Sony's own glass changes how you split your budget between body and lens.
The TTArtisan AF 24mm f/3.8 is a $99 autofocus pancake that covers a full frame sensor and weighs under 60 g. If you've ever left your camera at home because it felt like too much to carry, a lens this thin shifts that math in a real way.
Tamron has announced the 16-50mm f/2.8 A, a constant f/2.8 standard zoom for APS-C mirrorless cameras that starts at 16mm and goes on sale October 29 for Sony E at $529 and Canon RF at $549, with Nikon Z and Fujifilm X versions following later in the year.
A 17-inch pigment printer with a dozen inks looks like a sure path to better prints, and a modest ink tank model can feel like settling. Choosing between them affects your running costs, how often you print, and which papers you can use.
Panasonic's Lumix S 20mm f/2.5 is a small, light, $498 ultra-wide prime for L-mount full frame bodies, and it sits at a focal length plenty of people treat as their everyday wide. At that price and size, the open question is how much optical quality Panasonic had to give up to keep the lens this compact.
Panasonic's new Lumix S 20mm f/2.5 is a tiny full frame prime for L-mount bodies, and it shares its focal length with the kit zoom that ships with a lot of Lumix cameras. That overlap, plus a $498 price, puts real pressure on what a dedicated 20mm prime has to deliver.