The Tamron 35-100mm f/2.8 Di III VXD is a fast standard zoom for Sony E-mount and Nikon Z-mount cameras, priced at $899 for Sony and $929 for Nikon. That longer reach comes at a direct cost: you lose the wide end compared to a typical 24-70mm, and whether that tradeoff works for you depends entirely on how you shoot.
Picking a 50mm lens for your Nikon Z system just got more complicated. The Viltrox 55mm f/1.8 from the Evo series is an apochromatic lens priced at $370, and it's gunning directly for the Nikkor Z 50mm f/1.8 S.
The Fujifilm XF 16-55mm f/2.8 R LM WR II is a significant lens for anyone shooting in the X system. It's a red badge lens, which means Fujifilm's highest standard, and the original version set a high bar that this new iteration has to clear.
The Sony a7 V sits at $2,900 and bills itself as an enthusiast camera, but its feature set tells a different story. Whether you shoot stills, video, or both, what's inside this body has real implications for how far it can take your work.
The Fujifilm X-T5 has been on the market for nearly four years, and the question of whether it still holds up is worth asking seriously. At 40 megapixels in an APS-C body priced well below full frame alternatives, it sits in an unusual spot.
I realize that articles about older cameras don't trend nearly as hard as shiny new toys. But my recent purchase of the Nikon Zf has paid off in more ways than I could have ever imagined.
Choosing the right Sony camera is genuinely hard. The lineup spans everything from pocket-sized compacts to flagship sports bodies, and picking the wrong one means spending money on specs you'll never use or missing features you actually need.
Choosing a 35mm lens for a Sony camera used to mean paying a premium for the Sony FE 35mm f/1.4 GM or settling for something that fell short in one area or another. The Sigma 35mm f/1.4 DG DN Art changes that math in a meaningful way, and the second version of this lens is smaller, lighter, and improved across nearly every metric compared to its predecessor.
The Viltrox 35mm f/1.2 is already a well-regarded fast prime, but Viltrox has now released a revised version called the AF 35mm f/1.2 STF N, dropping the LED display and swapping the old control ring for a proper aperture ring. If you shoot Sony E-mount and have been watching this lens, the changes are worth understanding before you spend $999.
Compact cameras have exploded in popularity, and finding the right one is harder than it sounds when you're comparing genuinely capable options across very different price points and form factors. The Fujifilm X100VI sits at the center of that conversation right now, and for good reason.
The Canon Cinema EOS C50 is a compact cinema camera aimed squarely at solo shooters and traveling videographers who want cinema-quality footage without hauling a full-size rig. If you already own a Canon Cinema EOS C80 and wonder whether the smaller body is worth the trade-offs, the answer is more interesting than you'd expect.
The Lumix S 40mm f/2 is a compact full frame lens aimed squarely at keeping the Lumix S9 system small and pocketable, and it's the kind of release that makes a lot of S9 owners stop and pay attention. At $399, it sits at a price point where the tradeoffs actually matter, and knowing what they are before you buy could save you a lot of frustration.
The Sony FE 20-70mm f/4 G is one of those lenses that doesn't get nearly the attention it deserves. Its focal range alone sets it apart from almost every other zoom on the market, and that's exactly what makes it worth a serious look.
Focal length is one of the most consequential decisions you make before pressing the shutter, and most people learn it the hard way, through years of trial and error. David Bergman's goal here is to compress that learning curve into a single, practical framework you can start using immediately.
This isn't just another third party lens for your mirrorless camera. This new lens focuses (pun intended) not just on aiding the shooting process but even more so on delivering quality images.
Nikon has just teased a first look at a brand-new line of cinema lenses. So what should we expect from the final reveal?
The nifty fifty has earned its reputation as the go-to standard prime, but the Viltrox 55mm f/1.8 EVO feels like a quiet refinement of that formula. Just a 5mm shift in focal length is enough to change how you see and compose a scene. After testing the new Z mount variety on location, the quality of this lens becomes clear.
It has been a long time since I felt genuinely excited about a tripod and gear head, mainly because this segment of the industry has felt largely stagnant.
Exposure metering is one of those fundamentals that separates guesswork from consistently well-exposed images. Even with today's sophisticated camera systems, knowing how your camera reads a scene and when it gets it wrong changes how you shoot.
Choosing a camera to pack for a spontaneous train trip sounds simple until you realize your heavier kit is the reason you leave it at home. The Fujifilm GFX100RF sits in an unusual position: 100 megapixels, medium format, and small enough to slip into a daypack without a second thought.
I bought a Canon 7D because it had a bigger number than the 6D, more autofocus points, and a faster burst rate. I thought I was buying the better camera.
The Fujifilm GFX 100RF launched to a divided audience. Some people couldn't get past the f/4 lens. Others saw a 102-megapixel medium format camera in a compact body and immediately understood what Fujifilm was going for.
Buying the wrong camera gear early on is one of the fastest ways to waste money in photography. Five specific categories trip up beginners more than almost anything else, and most of them are things you'd never think to question.
At now 6 years old, is this compact retro camera still usable for photographers in today's day and age? We are of course talking about the original Fujifilm X-T30, which has become in fact my new favorite travel camera.
Compact cameras have exploded in popularity over the past few years, and the Fujifilm X100VI sits at the center of that conversation. It's one of the most talked-about point-and-shoots on the market right now, and the hype has pushed used prices close to retail.
The full frame vs. APS-C debate has been running for years, and most people land in the same place: full frame is better, APS-C is smaller, end of story. But that conclusion skips over some real nuance that changes how you should think about both systems.
The world's most renowned and respected camera brand, Leica, has announced a new flagship store in Chicago, Illinois, opening on April 30, 2026.
The Fujifilm XF 23mm f/2.8 R WR is one of those lenses that looks almost too small to take seriously. But if you're shooting on a Fujifilm X-series body, especially one with a demanding 40-megapixel sensor, "small" doesn't have to mean "compromised."
I have now tried both the Canon 28-70mm f/2 lens and the Canon 24-105mm f/2.8 to see which is better and where I would recommend each of these lenses. I'm just trying to answer the question of which one is right for me, and hopefully in doing so I'm able to also help you identify which one might be right for you.
The Kodak Snapic A1 is a lot of fun. I've been using this slimline 35mm film camera for the last three months, taking it everywhere with me — including on a two-week holiday to Japan. In this article I'll tell you why it's so fun, sharing highlights from my first five rolls.
The Nikon Z6 III sits in one of the most competitive camera segments right now, going up against the Canon EOS R6 Mark III and the Sony a7 V. Each of those newer models has leapfrogged the Z6 III in specific ways, and knowing exactly where the Z6 III holds its ground and where it doesn't could save you from a purchase you'll regret.
Micro Four Thirds keeps getting written off, but the OM System OM-1 Mark II paired with the OM System 50-200mm f/2.8 keeps making a case for itself. At around $2,000 for the body alone, this is a flagship-level investment, and whether it actually delivers on that price is worth a serious look.
I have heard people talk about this and wanted to try it for myself, especially as Canon released the new C50 mirrorless camera. I decided to pair that with the 24-105mm f/2.8 to see, is this the perfect run-and-gun indie filmmaking rig?
Honestly, it very well could be.
If you could only have two lights for the rest of your career, what would they be? Having used everything from the sun to niche '80s modifiers that predate dinosaurs, I can swear by two light modifiers: the Briese Focus.2 77 and 180.
The Fujifilm X-T30 is eight years old, costs a fraction of what newer cameras do, and this photographer just chose it over every modern alternative. That's not nostalgia talking; there are real, specific reasons the X-Trans III sensor still holds up against cameras released this year.
Picking the right small refractor for astrophotography isn't just about specs on a chart. The telescope you choose will determine which objects you can shoot well, how fast you can gather light, and whether you'll be fighting chromatic aberration every time you push your processing.
The Nikkor Z 70-200mm f/2.8 VR S has been a flagship zoom for Nikon's mirrorless system since it launched roughly six years ago, and the original version earned a reputation as one of the sharpest lenses in its class. Now Nikon has released a Mark II version, and the question isn't whether it's good; it's whether the improvements justify the $3,196 price tag.
The Mandler 35mm f/2 is a Leica mount lens priced at $350 that sells out nearly every time a new batch drops. For anyone in the Leica system looking for a compact, character-driven 35mm option without spending thousands, that combination is hard to ignore.
Choosing between a portable hard drive and a dedicated NAS setup is one of those decisions that quietly shapes how much friction you deal with every single day of your creative work. If you've ever moved files between computers by unplugging a drive and carrying it across the room, there's a better way to handle it.
New iterations of our favorite tech appear regularly, and though the new version is often indistinguishable from the previous one, the manufacturer tells us we can't live without it. The previous version of the product is quickly forgotten, as it is now considered obsolete, with nothing to offer over the new model.
Somewhere on your camera, there is a button or dial marked with a plus sign, a minus sign, and a zero. It might be a physical dial on the top plate, a button near the shutter, or a virtual slider in the quick menu. You have probably noticed it. You have probably never touched it.
The Fujifilm X100 VI is one of the most talked-about compact cameras in recent memory, and for good reason. Owning one for over a year and putting more than 10,000 frames through it across Japan, Mexico, Hawaii, Brazil, and Australia gives you a very different perspective than a two-week review ever could.
Picking a fast prime lens for Fuji's APS-C system means navigating a crowded market, and the sub-$200 category doesn't usually inspire much confidence. This might be an exception.
The Sigma 15mm f/1.4 DC DN Contemporary looks to be another hit from the company. Here's what you can expect in real usage.
Choosing between the Panasonic Lumix GH7 and the Panasonic Lumix S1 Mark II is a real decision with a $1,400 price gap sitting between them. Both are flagship cameras aimed at the same kind of shooter, but sensor size, lens ecosystems, and how you actually work day-to-day push them in very different directions.
I’ve been testing the Sony RX1R III and Leica Q3 for three weeks, and it’s got me wondering: who is buying this type of camera?
Whether you’re a casual shooter or a professional photographer, you might be like me and not really understand this “genre” of cameras. These are compact, full-frame, fixed-lens luxury cameras. The Sony costs over $5,000 and the Leica over $7,000.
Shooting a real, paid elopement on a Hasselblad X2D II is a very different thing than shooting still life or controlled portraits with one. The autofocus questions, the low-light tradeoffs, the raw file quality compared to cameras like the Sony a7R V — those only get answered when you're actually working.
Shooting wide angle looks easy until your photos come back flat, distorted, or full of tripod legs. The 16-35mm range is one of the most popular focal lengths in landscape photography, and it's also one of the most commonly misused.
Like many digital creators, I've always justified paying more for quality memory, whether that be SD cards, CFexpress cards, or SSDs. Higher-end memory storage is faster, more reliable, and widely trusted. But I never really stopped to consider why that trust exists. That changed when I recently traveled to China to visit Lexar's facilities as part of their 30th anniversary.
The world of lighting is saturated with options, but when two fixtures are this close in quality and this different in scale, the choice gets genuinely interesting. That is exactly the case with the Aputure Nova P300c and Nova P600c. Designed to serve hybrid photo and video creatives, both lights offer RGBWW color flexibility, pro-level output, and excellent build quality.