Australian Camera Magazine Imaging Awards 2025 winners announced

(Image credit: Future)

The ﬁrst Australian Camera Magazine awards were run in 1981 when the magazine was called Camera Craft, and there was just one category – The Australian Camera Of The Year (won by the Olympus OM-10 35mm SLR). Subsequently, the number of categories has grown to reﬂect developments in the industry and the arrival of new technologies. The categories are also revised as new product sectors emerge (such as mirrorless cameras) or others decline (such as compact cameras and DSLRs).

This year the period of eligibility for the Camera Magazine Imaging Awards ran from 1 September 2023 to 31 August 2024, and extended to any product within each of the categories that was released onto the mainstream Australian market during this time.

As always, we revise our awards categories from year to year whenever it’s needed to reﬂect changes in the market, either short- or long-term. The big change this year is the re-introduction of a category for ﬁlm products in anticipation of what we believe will be a major acceleration of silver halide photography’s revival. At this stage, we only have one category that covers all things ﬁlm-based, but there will likely be more down the track.

The category for Photo Printers returns this year as there were a couple of signiﬁcant new arrivals during the period of eligibility, but the one for Photo Monitors is parked due to the lack of worthy candidates. Likewise, one of our lens categories – that for cropped format prime lenses (i.e. ‘APS-C’ and Micro Four Thirds) – is also taking a rest as the potential candidates were either updates of existing models or didn’t meet our requirements regarding nationwide availability at a ‘bricks-and-mortar’ camera store.

It’s deﬁnitely a sign of the times that the winner in this category retails for around $2600 before you add a lens, but the cheapest model in Fujiﬁlm’s X-T line still represents fabulous value for money. New features and extended specs have accompanied every new generation, starting when the original X-T10, which was launched in early 2010, was replaced by the X-T20 just two years later. The ‘double digit’ X-T cameras were designed to be understudies to their ‘single digit’ big brothers, but the X-T50 has been described as a “mini X-T5” on quite a num-ber of occasions, and it’s a pretty accurate description. Of course, you do get more with the X-T5 – weather sealing, a better EVF and dual memory card slots being the biggies but the X-T50 has plenty going for it…enough, in fact, that it could easily have had a creditable tilt at the enthusiast category. For starters, gaining Fujiﬁlm’s 40.2 megapix-els ‘X-Trans CMOS 5 HR’ BSI CMOS sensor

– as shared with the ﬂagship X-H2 – makes it the highest resolution ‘APS-C’ format model at its price point. There’s in-body image stabiisation for the ﬁrst time on this series, and AI-derived subject recognition while the autofocusing gets an overall boost in tracking performance via a new predictive algorithm. The sensor has dual gain output circuitry with two base ISO settings to enhance the high ISO performance, and consequently the image quality holds together very well across the entire native sensitivity range. All this comes together very nicely in the classical dial-based control layout which is as intuitive as it is efﬁcient, but there’s also the option of super-slick touch-control using the monitor-based ‘Quick Menu’. Bottom line is that the X-T50 is thoroughly enjoyable to use, and it performs superbly everywhere that matters. The smaller size and lighter weight – compared, for example, to the X-T5 – are why it’s potentially the more complete package and the lower price undoubtedly makes it exceptional value for money.

What about the Z 6III we hear you ask? Well, it was deﬁnitely a ﬁnalist in this category, but these awards have always been about more than just the specs or even the features set. The Z f is essentially a Z 6 V2.5 given its upgrades over the Z 6II, but it’s the brilliance of the way in which its compelling retro design so seamlessly integrates with the current-era tech and systems that makes it a clear winner here. Even if you were never an FM/FE user – or, indeed, even around back then given that the ﬁrst model appeared in 1978 – the Z

f classic looks and proportions are very hard to resist… and give a clue as to why that series of 35mm SLRs helped cement Nikon’s reputation for building superlative mid-level reﬂex cameras. The mechanical FM2 represented peak Nikon rugged reli-ability and no-nonsense functionality, and remains much-loved to this day by both pros and amateurs. The Z f channels the FM2 in the purity of its operability, but obviously has rather more functionality.

Inside the classic packaging, you get 30 fps continuous shooting, both pre- and post-burst buffering, IBIS for up to eight stops of correction, pixel-shift high-res capture and a whole bunch of subject-recognition modes for detection and tracking. The Z f does video and does it well with a ‘real world’ set of specs and features, especially as its users are most likely to be, ﬁrst and foremost, photographers perhaps with a passing interest in video, but also perhaps not. It records 4K UHD oversampled from the sensor’s full-width 6K at 24, 25 and 30 fps, while a 1.5x crop is needed to get to 50 or 60 fps. There’s 10-bit 4:2:2 colour along with everything the casual video-maker needs to get good results.

The Z f’s sheer handsomeness is what’s going to suck you in at the beginning, but it then delivers on the experience – it’s truly a lovely camera to use – and, subsequently, it all comes together with the capabilities and the performance. When you think about, delivering an enthralling and enjoyable real camera experience is arguably the more effective way of appealing to smartphone snappers than designing a camera that works more like a smartphone.

Canon’s “absolute ﬂagship” EOS R1 has been announced, but doesn’t arrive until November which rules it out of this year’s award deliberations… and so avoids a bit of sibling rivalry for the full frame professional camera crown. But, to be frank, there’s every chance that the Canon EOS R5 Mark II would still have won because, on balance, it’s the more accomplished all-rounder while the R1 is deﬁnitely a more specialised bit of kit. It’s built for both speed and endurance, but the R5II is built for everything. It’ll still do 30 fps – and, it has to be noted, with full AF/AE adjustment – but there’s 45 megapixels res on tap along with the high-powered

‘Accelerated Capture’ platform which is shared with the R1. The sensor has a stacked design so it reads out in 1/160 second and then a pair processors do all the complex number crunching with AI-based analysis and machine learning now coming to post-capture functions as well as extend-ing the subject recognition capabilities to put them in different league – quite literally in fact – to anything we’ve seen so far. If you can remember the impact that the EOS 5D Mark II had on the camera market; well, the R5II is a much bigger bang… for both photographers and video-makers.

Subject recognition now knows a football match when it sees one, as well as hockey or basketball, meaning that R5II’s AF can anticipate the action. It can also be taught to identify speciﬁc individuals, and also prioritise them in the frame. Post capture, but still in-camera, are upscaling and neutral network noise reduction, plus you can also grade images for their level of sharpness. It’s all about obtaining a superior result straight out-of-the-camera, but than having to faff around with image-editing software later on. As we found out when putting the R5II through its paces, you can shoot fast action at 30 fps for quite some time and every frame will be pin-sharp… you simply can’t miss. But, better still, the R5II is this good at everything with the added plus that great ergonomics put everything at your ﬁngertips even without resorting to customization.

Regardless of any other consideration, you’d have to say that ﬁrst as Olympus and now as OM System. OM Digital Solutions has done a brilliant job selling the beneﬁts of the Micro Four Thirds sensor size. The armchair experts have been predicting its demise for years, but with both its camera bodies and its lenses, OMDS provides compelling reasons why it still makes lots of sense for many users. The various outdoor photography pursuits obviously top the list, which is why OMDS is now concentrating its efforts on this sector, but in reality, anybody who wants more compact equipment without compromising their shooting capabilities is a potential M43 convert.

The Mark II OM-1 ﬂagship – now wearing the ‘OM System’ branding – inherits much of what made the original model a category winner in 2022, but with a myriad of tweaks and ﬁne-tuning, which make it an even more compelling proposition. The ‘Computational Modes’ – essentially in-camera compositing in one way or another – have been around since the OM-D days, but have been gaining extra usefulness with every subsequent iteration. Now, for example, ‘Live ND’ has a seven-stop ND128 setting, but there’s also a new ‘Live Grad ND’ function which means no more grappling with fragile glass ﬁlters in bulky holders. It’s a big plus for landscape shooters, especially in poor weather conditions when real ND grad ﬁlters present even more of a handling challenge. The OM-1 II’s in-camera solution is easy and efﬁcient so you can very quickly adjust to optimize the possibilities.

The X100 series has been a winner since the very beginning and remains unique in its blending of the classical and the contemporary, along with portability and performance. Fujiﬁlm got the original recipe just right and has subsequently been progressively spic-ing it up with each iteration. Popularity has continued to grow to the point where the Mark V model seemed to be perpetually on back order, and all the earlier versions have held their values… in fact, often reselling for more than their original prices. It’s a success story by any measure, and X100s of any vintage have achieved cult camera status.

Fujiﬁlm has upped production to meet the demand for the X100VI which adds plenty of zest by stepping up to 40 megapixels resolution and has IBIS for the ﬁrst time; along with boosts to the autofocusing capabilities, the continuous shooting speeds and to the video resolution and frame rates. Most notably, in terms of the AF upgrades, there’s now AI-based subject recognition and tracking. In essence then, the X100VI is the X-T5 stuffed into a compact and lightweight ﬁxed-lens camera. It remains that the looks are truly seductive, and it’s not just about the styling, but the proportions are just right too. Then there’s the brilliance of the hybrid OVF/EVF, which is just one element of what is a thoroughly enjoyable camera experience at every level, but now with signiﬁcantly enhanced performance in all the areas that are important – IQ, AF, and high ISO. With the higher resolution comes greater cropping ﬂexibility and with IBIS comes greater handheld ﬂexibility so, more than ever, the Fujifilm X100VI would work brilliantly as your ‘desert island’ camera… the one and only.

Of course, the Fujifilm GFX100S II had this category sewn up the moment it was revealed, but that doesn’t diminish what Fujiﬁlm has achieved here as it continues to make digital medium format photography ever more accessible… or, perhaps more speciﬁcally, 100 megapixels resolution photography. Notably, the price tag puts it in the same ballpark as the highest end full frame mirrorless cameras, and it beats them all when it comes to image quality, particularly the dynamic range, even at the higher ISO settings. There are, in fact, bulkier full-frame bodies, and in terms of handling comfort and operational efﬁciencies, the GFX100S II is easily on an equal footing. And with this model come key upgrades to the autofocusing, EVF, IBIS and shooting speeds, similar to what we’ve seen with the latest-generation X mount

‘APS-C’ bodies. Not surprisingly, it’s nowhere near as fast, but this camera is, ﬁrst and foremost, all about the IQ and putting 102 megapixels of res into the hands of many more photographers than would have been thought possible not so very long ago. Even in the cropped ‘35mm Format’ mode there’s still a healthy 60.8 megapixels on tap. Go the other way with the sensor-shifting ‘Pixel Shift Multi Shot’ capture mode, and you can have 400 megapixels’ worth of image quality. The video capabilities aren’t in the same league as the GFX100 II’s, but there’s still the big sensor with its inherently shallower depth-of-ﬁeld and enough recording options to make full use of it creatively. Everybody beneﬁts from subject-recognition AF modes, IBIS upgraded to eight stops of correction, the current full set of ‘Film Simulation’ proﬁles and a higher-res EVF. For photog-raphers, the big reward is the superlative image quality that is absolutely addictive and now even more within reach.

The classic ‘fast ﬁfty’ for full frame sensors is undoubtedly the most competitive arena in lens design that there is. Just about everybody makes one and some are very, very good indeed, but that hasn’t stopped Sigma from having a go at one that’s even better. Talk about a challenge! Sigma’s f/1.4 speed 50mm Art series model is already a winner and there’s an f/2.0 lens as well, but opening up to f/1.2 means jumping through a few more hoops optically, especially as the de-sign brief clearly also involved keeping it as compact as possible. The design freedoms enabled by the mirrorless camera conﬁgura-tion have helped here, but Sigma’s 50mm f/1.2 is still an exceptional achievement, in both physical and optical terms. It’s certainly not the beast you might expect – in fact, it’s only fractionally bigger overall than the f/1.4 lens and, at 740 grams, also the lightest in its class – and yet Sigma hasn’t skimped on the build quality which is up to the exacting standard we’ve come to expect from the Art line. The ﬁnish too, is all classy elegance.

On the inside, the optical construction comprises 17 elements in 12 groups and which includes four aspherical types to optimise both the uniformity of sharpness and brightness across the frame. They also help correct for distortion and a bunch of optical aberrations, including coma. The autofocus drive employs two of Sigma’s more powerful ‘High-Response Linear Actuator’ (HLA) motors; one each to move the lens’s two focusing groups. Such a large aperture lens means that the elements in the focus groups are pretty big too, but the 50mm f/1.2 autofocuses with lightning speed. The aperture diaphragm employs 13 blades which deliver beautifully smooth out-of-focus effects. As is now pretty standard for Sigma, the aperture collar can be switched between click-stopped or seamless adjustment, and it can be locked at its ‘A’ auto position or, alternatively, this can be locked out.

Needless to note, the Sigma 50mm f/1.2 DG DN is a very sharp lens indeed and nicely contrasty too, but the really big deal is how well the corners hold up when shoot wide-open. The sharpness fall-off is extremely slight and you need to go very big before you’ll be able to notice anything at all. Put simply, this Art line lens is a masterpiece of optical engineering while Sigma’s advanced manufacturing techniques have signiﬁcantly reduced the size and weight. Yes, you can have your cake and eat it.

Superzooms are making a comeback primarily because the mirrorless camera conﬁguration – speciﬁcally a shorter back focusing distance – makes it easier to maintain a higher level of optical performance across a wider focal range. For starters, the optical designs can be less complex which helps reduce both the size and weight (and also the cost), and the el-ements that are used all work harder to optimise sharpness and minimise both distortion and aberrations.

So, says Nikon, forget about a mere superzoom, how about an ultrazoom? The Nikkor Z 28-400mm f/4.0-8.0 represents a zooming range of 14.3x, yet it’s just under 142 millimetres in length and weighs at a very manageable 725 grams. OK, so f/8.0 is a bit slow, but the high ISO performance of Nikon’s full-frame mirrorless cameras helps make up for this by enabling more sensitivity ﬂexibility as does the lens’s optical image stabilization, which gives up to ﬁve stops of hand-holding leeway. The optical construction includes a total seven special elements which work along with the various in-camera corrections to ensure the 28-400mm performs consistently well at any focal length and any aperture. Remarkably, it also has pretty decent close-up capabilities delivering a maximum reproduction ratio of 1:2.86 at 28mm which is a little larger than one-third life size. But it’s the practicalities of this

Yeah, yeah, we know all about the likeli-hood that somebody else builds this lens for OM Digital Solutions and we know that it’s essentially a full frame model repurposed for the Micro Four Thirds sensor size, but none of this actually matters a lot when you start using the M.Zuiko Digital ED 150-600mm f/5.0-6.3 IS. For starters, you’ve got an effective 300-1200mm of focal range in your hands and, yes, it can be hand-held. Whatever its origins, OMDS has played a big part in creating a supertelephoto zoom for the OM System, including with the optical design and, of course, with the data communications between the lens and the camera body.

While it’s a comparatively big lens, it really isn’t when you consider how any other camera system would get you to 1200mm and, at a whisker under $4500, it represents a whole lot of super telephoto bang for your buck. Consequently, it’s easy to see why OMDS has done this lens as it’s another compelling argument for the M43 sensor size for anybody who shoots wildlife, birds, sports, adventure activities, aircraft or sailing. Hello, long dis-tance operator.

‘Sync IS’ adds in IBIS to give an additional stop across the focal range. The optical construction includes no fewer than 13 special elements, which is perhaps not so surprising given the obsession at OMDS with achieving the highest possible level of optical correction rather than leaving everything for the camera’s processing to deal with. The result is that the 150-600mm is very sharp lens across its focal range with no distortion or chromatic aberrations and negligible vignetting.

Digital photo printer technology has evolved to the point where any advancements are mostly incremental, but Epson has managed to make some signiﬁcant steps forward with its latest 17-inch pro-level SureColor model. For starters, the P5360 introduces a new ten-colour pigmented ink set called UltraChrome PRO10 which uses higher-capacity 200 millilitre cartridges and includes a new colour – Violet Ink – that’s designed to give an extended range of blue hues. Additionally, there are dedicated channels for the photo and matte black inks, so there’s no need for ink switching which not only saves time, but also reduces ink waste.

The P5300/P5360/P5370 prints up to A2 size (432x610 millimetres) on cut sheets, but it will also accept paper rolls. It has an updated version of Epson’s ‘Micro Piezo AMC’ print head which uses the company’s ‘Variable Sized Droplet Technology’ (VSDT) to give a maximum resolution of 5760x1440 dpi, and the print head employs 180 nozzles per color. The main aim of the increased resolution is to better compliment the detailing and deﬁnition that’s now achievable with the higher resolution high-end cameras. VSDT also gives smoother tonal gradations, again to enable more accurate reproduction. Additionally, there’s a ‘Carbon Black’ mode which increases the DMax value, giving richer blacks and enhanced contrast when printing on glossy papers.

Productivity is an important consideration with a pro-level printer, so the P5360 incorporates the Epson Media Installer, which is a software application designed to help control the parameters for printing on a variety of media, including the thicker ﬁne-art photo papers. Other important features include a large color LCD touchscreen control panel; Ethernet, USB, and WiFi connectivity; a built-in roll paper holder (with a cutter) and the Epson Print Layout software for easier and more efﬁcient print production.

Obviously, Ricoh – custodian of the Pentax brand these days – gets a big tick for coming up with a brand new 35mm ﬁlm camera that’s also comparatively affordable. But there’s a much bigger tick for the design of the Pentax 17 which is really like nothing we’ve seen in the past, but that’s just the point. Many elements of the Pentax 17 are very much designed to appeal to a new generation of users… users who have never used a ﬁlm camera before and possibly never used a digital camera either as they shoot with their smartphones. In other words, the present very much informs the Pentax 17’s design rather than the past, even though it must have been hugely tempting to reprise a classic model, especially one that was popular in its day.

So the 17 is half-frame 35mm camera, ﬁrstly for the economic considerations with the current prices of ﬁlm and processing; but also because the vertical framing is very familiar to smartphone shooters. Then it has a fully manual ﬁlm transport which enhances the whole experience of using the camera, but the exposure control is fully automatic albeit with a choice of modes that prioritize wide apertures or fast shutter speeds for effect. Actually, the maximum aperture program is marked as ‘BOKEH’ on the camera’s mode dial and this is deﬁnitely a word that many among the Pentax 17’s potential users will better understand. Exposure compensation is provided for additional control so, in a nutshell, the ﬁlmy aspects of the camera are quite traditional, but everything else has been deliberately made more familiar to a contemporary audience.

Film camera enthusiasts will likely be left scratching their heads, but if your experience so far has been entirely digital-era, the Pentax 17 makes a whole lot of sense. That said, there is still plenty of appeal for existing ﬁlm fans in that it’s a new camera with a warranty and service back-up, but beyond this, the Pentax 17 is a whole lot of fun to use… different, but still fun. What’s more, modern color negative ﬁlms have enough resolution to deliver sufﬁcient image quality and enough exposure latitude to ensure good results in most lighting conditions.

Thank you for reading 5 articles this month* Join now for unlimited access

Enjoy your first month for just £1 / $1 / €1

*Read 5 free articles per month without a subscription

Join now for unlimited access

Try first month for just £1 / $1 / €1

Paul has been writing about cameras, photography and photographers for 40 years. He joined Australian Camera as an editorial assistant in 1982, subsequently becoming the magazine’s technical editor, and has been editor since 1998. He is also the editor of sister publication ProPhoto, a position he has held since 1989. In 2011, Paul was made an Honorary Fellow of the Institute Of Australian Photography (AIPP) in recognition of his long-term contribution to the Australian photo industry. Outside of his magazine work, he is the editor of the Contemporary Photographers: Australia series of monographs which document the lives of Australia’s most important photographers.

Australian Camera Magazine Imaging Awards 2025 winners announced

CONSUMER MIRRORLESS CAMERA – FUJIFILM X-T50

ENTHUSIAST MIRRORLESS CAMERA – NIKON Z f

PROFESSIONAL MIRRORLESS CAMERA FULL FRAME – CANON EOS R5 MARK II

PROFESSIONAL MIRRORLESS CAMERA CROPPED FRAME – OM SYSTEM OM-1 MARK II

FIXED LENS CAMERA – FUJIFILM X100VI

MEDIUM FORMAT CAMERA – FUJIFILM GFX100S II

PRIME LENS FULL FRAME – SIGMA 50mm f/1.2 DG DN

ZOOM LENS FULL FRAME – NIKKOR Z 28-400mm f/4.0-8.0 VR

ZOOM LENS CROPPED FRAME – OM SYSTEM M.ZUIKO 150-600mm f/5.0-6.3 IS

PHOTO PRINTER – EPSON SURECOLOR P5370

FILM PRODUCT – PENTAX 17

Related articles