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6 ways to keep your camera safe at the beach

Digital Photography Review news -

Photo: Abby Ferguson

Summertime heat makes many of us seek out the nearest body of water for a bit of relief. The beach can also be a place for stunning photographs. Whether you're looking to capture dramatic sunrises or sunsets, moody portraits, epic surfing or simply document your family on vacation, the beach holds a lot of photographic potential. But it also has the potential to wreak havoc on your camera gear thanks to the salt water and sand.

Just because the salt and sand can be hard on your camera doesn't mean you have to leave it at home, though. As long as you take some precautions and know the dangers, you can keep your camera safe while still getting beautiful photos at the beach.

The dangers of the beach for your camera

The beach is a fun place to bring your camera, but the salt water and sand are hard on gear. Here's what you need to watch out for when taking photos at the beach.

Sand is especially prone to getting everywhere when you have kids or pets at the beach with you.

Photo: Abby Ferguson

Sand is the enemy

Sand is a lot like glitter; it gets everywhere, and once it's there, it can be hard to get rid of. When it comes to sand on camera gear, it's far more than just an annoyance; it's also dangerous since sand is extremely abrasive. There's a reason it's used for smoothing and polishing things, after all.

Sand can cause numerous problems with your camera gear. It can scratch the glass on your lenses, clog up zoom or focus rings and jam buttons and dials. If it manages to get inside your camera, it can also damage your sensor. Because of that, it's important to do your best to keep sand away from your camera and lenses.

Waves can be unpredictable, and the resulting salt spray is hard on gear.

Photo: Abby Ferguson

Salt water is also problematic

Ocean-goers have another element to contend with: salt water. At freshwater beaches, it's relatively easy to simply keep your camera away from the lake itself. And if some water does get on it (provided it's not a full bath), your camera likely won't be any worse for wear. Salt water is another story.

Salt water is highly corrosive. It accelerates the degradation of both metal parts and electronic components, potentially causing short circuits. Damage isn't just limited to when it gets wet, either. If unaddressed and left on the camera, salt water can continue to corrode your camera, causing further damage over time.

How to keep your camera safe at the beach

While the sand and salt water pose significant risks for your camera, there are ways to protect your gear. You don't have to skip those beach photos, as long as you take some precautions.

Don't set your camera down

First and foremost, don't ever set your camera down in the sand. Even placing it on a towel spread on the ground is extremely risky. It's a surefire way to get sand where it shouldn't be. If you need to put your camera down, place it inside a sealed bag or container (such as a ziplock, dry bag, or zipped camera bag). You could set it on a raised chair or high cooler if it's only for a brief (supervised) moment, but the key is to keep it away from any place that could get sand kicked or blown onto it.

If you're trying to take extremely low-angle long exposures or other situations when handholding the camera won't work, don't just set your camera on the sand. Instead, use a ground pod or a tripod that allows for low angles. Don't forget to watch your camera closely in such situations, though. You don't want someone to walk by and accidentally kick sand on your camera, or for the tide to come up and splash corrosive salt water all over your gear.

Changing lenses on the beach is risky because of sand and salt spray.

Photo: Mitchell Clark

Don't change lenses on the beach

Changing lenses outside in general can result in debris on your sensor, but you should absolutely avoid changing lenses at the beach. That's especially important if there's any amount of wind that could blow sand or salt spray into your camera. If you absolutely must swap mid-shoot, it's best to do so in your car, a beach changing room or any other sheltered place that can keep sand and salt out of the picture (literally and figuratively).

Choose the right lens

Lens selection is also important. Many zoom lenses have telescoping components, and some lenses extend or retract when focusing. If sand gets trapped in those areas, it can damage or block the gear units. At best, it might result in some crunching when turning the zoom or focusing rings; at worst, it could jam up those parts completely. As a result, it is safer to choose a prime lens with internal focusing or a zoom lens with internal zoom.

Keep your hands clean

Make sure you use clean hands to handle your gear. That can be tough to do, but if you have been playing in the sand or water and then pick up your camera, all that sand will transfer to your gear. Ideally, you should rinse your hands with fresh water so you aren't transferring salt to your camera, but at least make sure your hands are completely sand-free before handling your gear.

Photo: Abby Ferguson Stay away from waves

The most obvious thing to avoid is waves crashing onto your camera. While it can be tempting to put the camera close to waves coming in for dramatic photos, a saltwater bath is not a good idea for your camera. Waves can be unpredictable, and you don't want to get caught by a rogue wave. If you want to get right in the action, an underwater housing would be best.

Likewise, make sure you pay close attention to tide data while at the beach so that you don't accidentally leave your gear in a spot that will eventually be underwater.

A thorough cleaning after the beach is necessary to keep your camera in good condition over time.

Photo: Abby Ferguson

Take time to clean your gear afterwards

Salt water can cause damage even if a wave doesn't wash over your gear. After all, salt spray can travel a few miles from the beach. Even if you keep your camera well away from the waves, it will need some cleaning after a trip to the beach to prevent corrosion and rust.

To clean your camera after your beach trip, start by using a bulb blower to gently remove sand. If there's sand on your lens, do not wipe it off, as that could scratch the glass. Then, dampen a towel with fresh water and wipe down your camera. You may also need to use a lens cleaning solution and a microfiber cloth to clean salt spray off the front element. Finally, as with any moisture, make sure that your camera is fully dry and free of salt residue before storing it.

Ducati 821 receives a sultry makeover for Bandit9's latest limited build

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If you’re into custom motorcycles, the name Bandit9 will likely be familiar to you. The bespoke bike shop from Vietnam has long been known for its unconventional approach to motorcycle design. This time, though, instead of a one-off, the studio has decided to go with a limited production run of nine units worldwide – and they’re all for sale!

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Category: Motorcycles, Transport

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New kidney injury warnings added to all GLP-1 drugs by FDA

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The US Food and Drug Administration (FDA) has instructed all GLP-1 drug-makers to update their warning labels to include the risk of serious kidney injury that can result from dehydration. This comes after people taking the medication for either obesity or diabetes have needed to undergo hemodialysis treatment.

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Category: Obesity, Illnesses and conditions, Body & Mind

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Powered knee exoskeleton boosts leg strength by a claimed 50%

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Motors have been added to bikes, skateboards and kayaks … so how about just slapping a couple directly to your legs? That's exactly what the Z1 knee exoskeleton does, reportedly offering a 50% boost in the wearer's calf and thigh strength while reducing knee pressure by 200%.

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Category: Gear, Outdoors

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Camera industry avoids the worst, but prices are unlikely to budge in the US after 15% Japan tariff

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Image: Nuthawut Somsuk / iStock / Getty Images Plus via Getty Images

President Donald Trump announced on Tuesday evening that the US and Japan have reached a trade deal, CNN reported. The new agreement, which Japanese Prime Minister Shigeru Ishiba confirmed, results in a 15% tariff on Japanese imports. The White House also shared details of a separate agreement with Indonesia that would result in a 19% tariff.

The 15% tariff on Japanese imports is an improvement from the 25% rate threatened earlier this month. While a 10% decrease is better than the alternative for US customers, it doesn't necessarily mean that cameras and lenses will become more affordable.

Most brands, including Nikon, Canon, Sony, Leica and Sigma, have raised prices by roughly 10% in the US because of the increased tariffs. Those price increases occurred during the 90-day pause on full tariffs. During that time, threatened tariff rates were significantly higher than the 10% price increases we saw on camera gear. It appeared that brands were accepting that they would have to take some of the loss instead of passing all of the cost on to consumers.

Given that the new trade agreement doesn't result in tariffs lower than the price increases, it's unlikely that manufacturers will decrease their prices in the US. Instead, those prices are likely here to stay, at least for the foreseeable future. It could, however, mean that there won't be additional jumps in pricing, which was a possibility if the threatened 25% rate became a reality.

Of course, not all (or even most) cameras and lenses are made in Japan or Indonesia. For example, Tamron began operating a factory in Vietnam in February in response to looming tariffs. Earlier this month, President Trump announced a deal with Vietnam that resulted in 20% tariffs on imports from Vietnam, which is substantially lower than the original 46% rate announced in April. Other trade deals are ongoing, so the exact impact of tariffs on photography equipment prices in the US is unclear.

Gluten irritation is in the mind, not gut, for some IBS sufferers

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Thousands of people who suffer from irritable bowel syndrome swear off a range of food categories to improve their symptoms. One of these categories is gluten, although a new small study shows it might not be the villain many think it is.

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Category: Diet & Nutrition, Wellness & Healthy Living, Body & Mind

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Stunning wildlife and dramatic portraits impress judges in the 2025 Flow Photo Contest

Digital Photography Review news -

Winners of the 2025 Flow Photo Contest presented by Kodak

The 2025 Flow Photo Contest winners have been announced, highlighting powerful images from around the world. The contest, presented by Kodak, received 16,000 entries from 109 countries. Participants could submit photos in five categories – Water, Human, Travel, Film and Animal – with a total of $50,000 in prizes available.

The photographers ranged in experience from beginners to professionals and could use any type of camera. The panel of judges included Shireen Rahimi, a NatGeo Explorer and underwater storyteller, Shawn Theodore, a visual artist known for his work on Black identity and Alex Stead, a UK-based travel and lifestyle commercial photographer.

"We were blown away by the depth, emotion and technical artistry in the entries. From a single image of a whale mid-breach to portraits that radiate raw humanity, these photographers – many of them amateurs – captured something extraordinary," said Eddie Berrang, Head of Studio at Flow. "This contest reminded us that the most powerful storytelling doesn’t require a big production budget – just vision."

Besides showcasing beautiful imagery, the contest aims to raise awareness and funds for five nonprofit organizations. Re:wild, a group dedicated to protecting and restoring biodiversity, presented the animal category. The Water category highlights the work of Charity: Water, supporting sustainable solutions to bring clean drinking water to communities in need. Hi, How Are You Project, which promotes mental health awareness through art, music and education, sponsored the Human category. The Travel category highlights the work of Surfrider Foundation, which works to protect oceans, waves and beaches. Finally, the Film category is presented by Music Farming to expand access to music education.

The winners and finalists are featured in the 172-page Photo Issue of the Flow Trip magazine, which is only available in print. The magazine also includes judge interviews and a feature on the history of Kodak's Super 8 Camera. You can customize your Photo Issue cover by selecting four different cover images. It's available for purchase for $18 at the Flow website.

Grand Prize Winner: Water

Photographer: Érico Hiller

Instagram: @ericohiller

Category: Water

Photo location: Turmi, Ethiopia

Caption: Climbing up the stairs in this tank holding the gallon is an unimaginable operation that demands balance and strength. Some women do this over and over again, four or five times a day. After leaving the dump area wearing no shoes, the challenge is to avoid scorpions that accumulate around the hole that leads to the ladder one of them showed me a scorpion she had just killed. One small problem leads to another, and the entire chain of water-demand generates challenges these women face every day.

Tell us a little bit more about what led you to capture these humans and their way of life.

As a professional photographer, what has always motivated me is a profound interest in social justice and social impact. I’ve been driven by the desire to connect with others, to understand people’s struggles, and to produce work that might foster awareness and contribute, in some way, to justice. This motivation compels me to leave home, pursue my stories with genuine commitment, and pay true attention to my purpose. It also encourages me to listen carefully and empathetically, striving to be a better listener. Ultimately, I hope this process leads to meaningful photographs that I can share with the world. I believe that one of the essential roles of documentary photography is to make the world a little less unjust — and, in the end, a slightly better place.

How did seeing this way of life alter the way you think about yours?

I believe that through this work I have become a more conscious citizen — more aware of the social structures, the way the world operates, and how, all too often, the digital lens through which we see the world distorts the realities of life as it truly is. Photography allows me to take deeper steps into the lives and real challenges of others. This has given me a greater sense of belonging, while also making me more aware of my role — as a citizen, as a Brazilian, but above all, as a human being. I believe this awareness is reflected in my daily decisions and actions. The world is not an easy place; we live in an era of profound social and human injustices, of unexpected and difficult conflicts. But I believe that by continuing on the path of documentary photography, I am able to find more meaningful answers than if I were to remain a passive observer of the world’s injustices. In this sense, through photography, I strive to improve myself as a person — and in doing so, I hope that I can also contribute, in some small way, to improving my surroundings.

Finalist: Water

Photographer: Jorgito Rivera

Instagram: @jorgitorivera

Image title: Beneath the Lineup

Category: Water

Photo location: Teahupo'o, Tahiti, French Polynesia

Caption: Surfer Kanoa Igarashi slices through the underwater silence with flawless control as a massive wave crashes above him. This shot reveals the raw power of the ocean and the calm precision it takes to master it. 'Beneath the Lineup' is a look into the heart of surfing.

Finalist: Water

Photographer: Mohammed Rimon

Instagram: @mohammedrimon

Image title: Carrying Date Juice

Category: Water

Photo location: Bogura, Rajshahi, Bangladesh

Grand Prize Winner: Human

Photographer: Saurabh Narang

Instagram: @_saurabhnarang

Image title: Ramnath: A Man Who Feeds The Migratory Birds

Category: Human

Photo location: Yamuna Ghat, New Delhi, Delhi, India

Caption: Ramnath Sharma feeds migratory birds at Yamuna Ghat in Delhi, India. Every year between October and March, thousands of seagulls migrate from Siberia to Delhi. Locals come to feed them, believing it is good karma.

Finalist: Human

Photographer: Zay Yar Lin

Instagram: @zayyarlin84

Image title: Golden Moments in the Corn House

Category: Human

Photo location: Mù Cang Chải, Yên Bái, Việt Nam

Caption: Set in the highlands of Mù Cang Chải, this photograph captures a fleeting yet profound moment between a mother and daughter during the corn harvest. The warm shafts of sunlight filtering through rows of drying maize illuminate not only the space but also the joy and intimacy of rural life. This image is a tribute to the enduring strength of family, the quiet poetry of daily labor, and the cultural richness of the country’s ethnic communities. It invites the viewer to pause, reflect, and feel the gentle beauty woven into tradition.

Finalist: Human

Photographer: Pyae Phyo Thet Paing

Instagram: @pyae_phyo_thet_paing

Image title: The Fishing Boys

Category: Human

Photo location: Inle Lake, Shan State, Myanmar

Grand Prize Winner: Travel

Photographer: Evan Wang

Instagram: @evanwongphoto

Image title: Best View in Town

Category: Travel

Photo location: Squamish, British Columbia

Caption: The greatest light show on Earth doesn't usually dance this far south but when it did, we knew exactly how we were going to view it: by climbing under it. Nick Ayers is taking it all in over the Squamish townsite.

How does seeing the northern lights in person, let alone from this perspective, alter your brain chemistry?

The northern lights are such a raw and visceral human experience. They are uniquely special in that they can be appreciated from both your front door or a remote backcountry location. By natural-wonder standards, they’re quite accessible. Seeing them in person rekindles those childlike feelings of wonder that I often find elude us as we grow older. It’s like you’re 5 years old again, gazing up at the sky with all the curiosity in the world, not knowing what to expect next. With this shot, I hoped to evoke those same emotions — no artificial light or image stitching, just the authentic experience exactly as you’d see it with your naked eye.

Finalist: Travel

Photographer: Luba Hristova

Instagram: @lubahristova

Image title: Volcán de Fuego

Category: Travel

Photo location: Volcán de Fuego, Chimaltenango Department, Guatemala

Finalist: Travel

Photographer: Aidan Doyle

Instagram: @fotosaidan

Image title: Fun and Games

Category: Travel

Photo location: Comuna 13, Medellín, Colombia

Caption: At Lake Atitlán, you learn that timing cannot be rushed it is patience, persistence, and being present.

Grand Prize Winner: Film

Photographer: Jacob Paley

Instagram: @jacobpaley

Image title: Eyes on the Palisades Fire

Category: Film

Photo location: Santa Monica, California

Caption: As the flames raged in January, residents of the Pacific Palisades community fled. Some went to the Santa Monica Pier to witness what would later be classified as the most destructive wildfire in the history of Los Angeles.

What were emotions like at the time you captured this image? Explain how you saw this bring the community together.

How do you console the inconsolable? Sometimes, when the chaos is so great, all you can do is sit close by in solidarity. Shock, horror, and perhaps a bit of awe were all palpable feelings that first night. People watched from the safety of the Santa Monica Pier; some came to simply witness the devastation unfold, while others could merely hope their homes were still standing, with those prayers swiftly drifting into the growing plumes of smoke above. As strange as it might be, communities are often most supportive in times of tragedy, when their resilience is tested to the limit and must, in this case quite literally, rise from the ashes. It’s this support from the greater Los Angeles area and beyond that will help those who lost everything to start again.

This image is a powerful one. What do you want viewers to take away from seeing this photo?

Documenting devastation is essential in making sure we never forget our own history. My goal is to provide the audience with an emotional connection to how those who were affected felt, so that we as a society can mourn, support, and reflect on how small we really are in this sometimes unforgiving and unrelenting natural world.

Finalist: Film

Photographer: Ben Dickson

Instagram: @shot.point.blank

Image title: Grind

Category: Film

Photo location: Newcastle, New South Wales, Australia

Finalist: Film

Photographer: L . Chaussée

Instagram: @l.chaussee

Image title: Monument Valley

Category: Film

Photo location: Monument Valley, Oljato-Monument Valley, Utah

Caption: The reflective surface of the windows creates a duality between the landscape and the built environment. And although the image suggests stillness and quiet, in reality, the site was crowded with visitors admiring the view.

Grand Prize Winner: Animal

Photographer: Michele du Plooy

Instagram: @michele.d.p

Image title: Once in a Lifetime

Category: Animal

Photo location: Magdalena Bay, Baja California Sur, Mexico

Caption: This photo was taken in Magdalena Bay during the annual Mexican sardine run. I went on a freediving expedition to see sea lions and marlin feeding on bait balls compact spheres of fish trying to protect themselves and I was absolutely shocked when, on day three, this Bryde’s whale showed up out of nowhere and started feeding on the bait fish right in front of me. Truly the most unexpected, once-in-a-lifetime moment that I will forever cherish and never forget.

How has capturing and witnessing this moment changed your perspective on life above the surface?

Witnessing and capturing this moment with the Bryde’s whale deepened something Iʼve always felt — that so much of what really matters exists quietly, out of sight, and often goes unnoticed by most people. Being in the presence of such a massive, graceful creature reminded me how small we are in the grand scheme of things, and how much wonder still exists beyond the busy surface world we tend to focus on. It reinforced how important it is to slow down, pay attention, and stay connected to the natural world — even when I'm not underwater. It also reinforced my sense of purpose in wanting to share these kinds of moments with people who might never get the chance to experience them firsthand.

What led you to start documenting marine life? What value do you find in showcasing marine life, and what value do you hope your images bring to the lives of others?

I have always been someone who loves capturing memories. Even when I was younger and all I had was a flip phone camera, I was always documenting as much as possible, preserving as many memories as I could. My dad is a scuba diver, so I am very fortunate to have been certified at 13, growing up traveling and doing annual scuba trips with my family. Along with diving, I also grew up with a saltwater tank filled with coral in my childhood home (in landlocked Ottawa), allowing me to really fall in love with the ocean. Upon graduating from University, I made the move from Ottawa down to the Florida Keys to partake in an internship doing Coral Restoration work, and this was when I truly started falling in love with underwater photography. My dad had a small digital underwater camera that he used for our annual dive trips, and despite pointing out every single fish I wanted him to photograph, I never used the camera much myself. When I moved to the Keys, I took the camera with me, and being in the water nearly every day for my internship allowed me to discover my love of underwater photography. From there, I spent as much time underwater as possible, as well as saving any extra money I had for plane tickets, and now I travel as much as I can to witness and capture a variety of marine life. I have always thought of the photos I take as the preservation of my fondest memories, and as someone who’s fallen completely in love with the ocean, capturing these underwater memories has become one of my greatest passions. Personally, the most meaningful part of documenting marine life is being able to share a world that so few people get to see firsthand. I feel incredibly fortunate to have spent time in these remarkable ecosystems, and I want to share that beauty with others. People fight for and protect what they love — and my hope is that by showcasing marine life through my lens, others will also come to care for these animals and the fragile environments they call home. I hope people look at my images and see the amazing wildlife we have in our world. With so many threats currently facing our oceans, I believe that the more people are exposed to its unique wildlife, the more they’ll be inspired to care for and protect this incredible environment.

Finalist: Animal

Photographer: Gabriel Jensen

Instagram: @shallowseasgallery

Image title: Everything's A-Ok

Category: Animal

Photo location: Lauderdale-by-the-Sea, Florida

Caption: This doctorfish looks completely unbothered as a lizardfish does its best to have it for breakfast. Luckily, the doctorfish has spines in its fins that can prevent it from sliding down the lizardfish's throat.

Finalist: Animal

Photographer: Bianca Lewallen

Instagram: @roamtobewild

Image title: Eye Contact

Category: Animal

Photo location: Tiputa Pass, Rangiroa, French Polynesia

Best fixed prime lens cameras in 2025

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Updated July 23 2025

Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.

Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.

Our picks: Best fixed lens camera for patient people: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

Image: Richard Butler

Buy now:

$2259 at Amazon.com$1599 at Adorama$1599 at B&H Photo What we like:
  • Excellent build quality
  • Subject-detection autofocus
  • Now with in-body image stabilization
What we don't:
  • Lens not especially fast to focus
  • Hard to find in stock

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.

The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.

The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.

It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The full-frame 35mm option: Sony DSC-RX1R III

60.2MP Full-frame BSI CMOS sensor | 35mm F2 lens | Compact body with direct controls

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H Photo What we like:
  • Excellent image quality
  • Genuinely small
  • Very responsive
What we don't:
  • Very expensive
  • Fixed screen limits flexibility
  • Low-res viewfinder
The Sony DSC-RX1R III is the company's fourth full-frame, fixed-lens 35mm camera, now using a 60.2MP BSI CMOS sensor.

We're still reviewing the RX1R III, but in many regards it's a full-frame alternative to the X100, providing the same focal length with a bump in image quality that comes from its larger sensor, all in a shockingly compact package. However, we'll have to spend some more time with it to determine whether that justifies its price, which is especially eye-watering in the US.

Best pocketable fixed lens camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:
  • Excellent image quality
  • Good controls and ergonomics
  • Truly pocketable
What we don't:
  • Short battery life
  • No built-in flash
  • Sluggish AF in low light
The Ricoh GR III is a compact camera with a 24MP APS-C sensors and a a very sharp 28mm equivalent F2.8 lens in an incredibly small yet well-built body.

The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.

The GR III's image quality is excellent, especially in Raw (we found the JPEG color to be a little drab). The lens is impressively sharp, and in-body image stabilization means you can confidently shoot down to around 1/10 sec. The built-in stabilizer can attempt to shake off dust particles that find their way to the sensor. "Offers direct control and excellent image quality in a pocketable camera" The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

Warning: Ricoh has announced that there's a GR IV coming later this year; if you don't like the experience of buying something only for an updated version to come out shortly after, you may want to hold off for now.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A different perspective

Ricoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The just-for-fun fixed lens: Fujifilm X half

18MP Type 1 sensor | 32mm equiv F2.8 lens | Film Camera simulation mode

Photo: Richard Butler

Buy now:

$849 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:
  • Genuinely compact
  • Attractive color modes
  • A lot of fun
What we don't:
  • Focus rather unreliable
  • Touchscreens are laggy
  • Expensive
The X half is a JPEG-only pocket camera that shoots vertical images and makes a game of approximating the film experience.

This camera is very different from the others on this list because its entire reason for being is fun. From its separate film simulation window, built-in dyptic feature and film camera mode, the X half is designed to encourage you to play with your photography. If you find yourself scrutinizing its image quality, thinking about it as a miniature X100, or are at all annoyed that it doesn't shoot Raw, you should take that as a sign that it won't be a great fit for you.

It's all a question of whether you want a camera that might be called "adorable" It has direct controls for exposure comp, aperture and a 'film' advance lever. Most other settings are controlled via two touchscreens, one of which pretends to be a film window. AF is the camera's biggest shortcoming: being rather slow and laggy. The camera can detect faces but can't always then successfully focus on them. It's worth being patient with, though. The X half is not a serious camera, but it's tremendous fun. The price and unreliable people focus put us off, but we found it constantly endearing to use. It's all a question of whether you want a camera that might be called "adorable," rather than technically excellent. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The Rolls-Royce of fixed lens cameras: Leica Q3 43

43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF

Photo: Richard Butler

Buy now:

Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:
  • Excellent image quality
  • Fast, dependable autofocus
  • Good video support tools
What we don't:
  • Subject recognition system could be better
  • Auto white balance can be aggressively neutral/cool
  • Significant price premium for the Leica name
The Leica Q3 43 is a variant of the company's full-frame prime lens compact, with a 43mm F2 lens mounted in front of a 60MP BSI CMOS sensor.

While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.

Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The light luminance noise reduction helps preserve detail at high ISOs. The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range. The controls are minimal, but help focus your attention on the fundamental settings of photography. It has the build quality that you'd expect of a luxury product. Autofocus is swift and precise, though the subject recognition system doesn't let you specify an AF point to pre-select a subject and can jump from one subject to another if there are multiple options in a scene. The Q3 43 is an impressive photographic tool, and manages to feel like a first-rate camera, not just a desirable object. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

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