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By admin, on April 1st, 2025
 Sony RX10 IV
One of my fav megazoom cameras, the Sony RX10 IV has officially been discontinued. As a large-zoom fixed-lens camera in Sony’s lineup, it offered 25x optical zoom, enabling shooting needs from 24-600mm equivalent focal length, making it a top choice for many Sony users. However, this model has now been officially listed as discontinued by some Japanese e-commerce sites (although it is still in stock on overseas platforms like Amazon and B&H). According to current information, Sony has not announced any successor to this model. However, with the increasing popularity of large-zoom fixed-lens cameras from Panasonic and Nikon, whether Sony will release a new model remains to be seen. Are you looking forward to a new model in this series?
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By admin, on March 26th, 2025

Let’s compare the specifications of the Canon R50V and Sony ZV-E10 cameras. We are also focusing on their video graphics features. Both specifications are up to date as of March 26, 2025. Enjoy the specs comparison between the two.
Specification Comparison Table: Canon R50V vs Sony ZV-E10
Category |
Canon R50V |
Sony ZV-E10 |
Release Date |
March 26, 2025 |
July 27, 2021 |
Sensor |
24MP APS-C CMOS |
24.2MP APS-C Exmor CMOS |
Processor |
DIGIC X |
BIONZ X |
Lens Mount |
Canon RF-S (compatible with RF lenses) |
Sony E-mount |
Native ISO Range |
ISO 100-32,000, extendable to 51,200 |
ISO 100-32,000 (expandable to 50-51,200) |
Video Specifications
Feature |
Canon R50V |
Sony ZV-E10 |
Max Video Resolution |
4K 60p (cropped), 4K 23.98p (assumed uncropped based on preview footage) |
4K 30p (1.23x crop), 4K 24p (uncropped, oversampled from 6K) |
Full HD Capabilities |
1080p up to 120p (implied from slow-motion options) |
1080p up to 120p |
Video Codecs |
H.265, H.264 (10-bit 4:2:2) |
XAVC S (H.264, 8-bit 4:2:0) |
Color Profiles |
C-Log3, custom picture profiles from Canon cinema series |
S-Log2, S-Log3, HLG |
Internal Recording |
10-bit internal recording with C log |
8-bit internal recording S Log |
Streaming |
4K 30p via USB-C (dedicated quick streaming button) |
720p via USB-C (requires software setup, no 4K streaming natively) |
Slow Motion |
1080 120p Supported with option to bake in or exclude audio (specific frame rates not detailed) |
1080p 120p (no audio baking options specified) |
Recording Limit |
Not specified / No limit |
No recording time limit |
Autofocus in Video |
Dual Pixel AF II (fast, reliable tracking, eye detection) |
Fast Hybrid AF with Real-time Eye AF, Tracking, Product Showcase mode |
Stabilization |
No IBIS, relies on lens IS (e.g., 14-30mm PZ) or digital stabilization (crops further) |
No IBIS, Active SteadyShot (digital, ~1.44x crop in Active mode), lens OSS support |
Cinematic Features |
“Peter McKinnon mode” (baked-in cinematic bars) |
No SCinetone mode |
Audio Specifications
Feature |
Canon R50V |
Sony ZV-E10 |
Microphone Port |
Yes (3.5mm) |
Yes (3.5mm) |
Headphone Port |
Yes (3.5mm) |
Yes (3.5mm) |
Onboard Microphone |
Standard stereo mic (not emphasized as vlogging-specific) |
Directional 3-capsule mic with windscreen (optimized for vlogging) |
Digital Audio Support |
Digital hot shoe (24-bit, 4-channel audio with compatible Canon mics) |
Multi-interface shoe (digital audio with compatible Sony mics) |
Body Design
Feature |
Canon R50V |
Sony ZV-E10 |
Dimensions |
116 x 86 x 69 mm |
115 x 64 x 45 mm |
Weight |
~375g with battery |
343g (with battery and SD card) |
Viewfinder |
None (EVF omitted to reduce cost) |
None |
Screen |
3-inch vari-angle LCD 1.04 Mdot |
3-inch fully articulated LCD (921k dots) |
Tally Light |
Yes (front-facing, with red box on screen) |
Yes (red tally light on front) |
Vertical Video Support |
Quarter-20 mount on side for vertical tripod/gimbal use |
No dedicated vertical mount |
Weather Sealing |
None |
None |
Ergonomics |
Compact, lightweight, minimal grip |
Compact, lightweight, minimal grip |
Ports and Connectivity
Feature |
Canon R50V |
Sony ZV-E10 |
USB |
USB-C (supports streaming and charging) |
USB-C (supports streaming and charging) |
HDMI |
Micro HDMI |
Micro HDMI |
Microphone Port |
Yes (3.5mm) |
Yes (3.5mm) |
Headphone Port |
Yes (3.5mm) |
Yes (3.5mm) |
Remote Port |
Yes (2.5mm) |
No |
Hot Shoe |
Digital hot shoe (24-bit, 4-channel audio support) |
Multi-interface shoe (digital audio support) |
Wireless |
Wi-Fi 5 |
Wi-Fi (2.4 GHz), Bluetooth 4.1 |
Battery and Storage
Feature |
Canon R50V |
Sony ZV-E10 |
Battery Type |
LP-E17 |
NP-FW50 |
Battery Life (CIPA) |
270 shots per charge |
440 shots |
Charging |
USB-C charging supported |
USB-C charging supported |
Storage |
Single SD slot UHS-II |
Single SD slot UHS-I |
Still Photography
Feature |
Canon R50V |
Sony ZV-E10 |
Resolution |
24MP |
24.2MP |
Burst Shooting |
15 fps (electronic), 12 fps (electronic first curtain) |
11 fps (mechanical/electronic) |
RAW Support |
Yes |
Yes |
Image Stabilization |
None (lens-based only) |
None (lens-based only) |
Price and Kit Options
Feature |
Canon R50V |
Sony ZV-E10 |
Body Only |
$649 |
$699 |
Kit Option |
$849 with RF-S 14-30mm f/4-6.3 PZ IS STM (22-48mm equiv.) |
$799 with E PZ 16-50mm f/3.5-5.6 OSS (24-75mm equiv.) |
Lens Ecosystem |
RF-S (limited native APS-C lenses, full RF compatibility) |
E-mount (extensive native APS-C and full-frame options, third-party support) |
Additional Features
Feature |
Canon R50V |
Sony ZV-E10 |
Vlogging Features |
Tally light, vertical mount, quick streaming button, cinematic bars, Canon’s own product showcase mode, and many new features |
Product Showcase mode, Background Defocus button, directional mic |
Customizability |
Custom picture profiles from the cinema series |
SCinetone Missing |
Firmware Updates |
Not applicable yet (preview model) |
Regular updates (e.g., improved streaming with firmware v2.00) |
Conclusion: Canon R50V vs Sony ZV-E10
The Canon R50 V camera features updated video recording capability, including 10-bit 4:2:2 internal recording and 4K video recording up to 60 frames per second (1.5x crop). However, the Sony ZV-E10 remains limited to 8-bit, and 60 FPS 4K mode is unavailable. Even in the live streaming option, the Canon R50 V can live stream up to 4K 60 FPS. Additionally, in the body, you get a vertical mount to record vertical videos for YouTube Shorts, Instagram, or other media networks.
The only reason Sony excels now is the vast lens found in the E-mount. We have a range of options, and nowadays, even Viltrox Air series lenses are available at very affordable prices and can be easily purchased for the Sony ZV-E10 camera. On the other side, in Canon R50 V, we have a very limited number of lenses, so you have to choose wisely—either go with a higher-priced Sony body like ZV-E102 and later buy affordable lenses or get the R50 V and pay for pricier lenses.
Also see – Canon R50V vs Sony ZV-E10 Mark II | Canon V1 vs Sony ZV-E10
Canon RV Camera available at B&H Store | Adorama.com | amazon.com
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By admin, on March 20th, 2025

Sony just posted an teaser of their upcoming Fullframe cinema camera announcement, as per the leaked image its visible its scaled-down VENICE expansion module on March 26, 2025,
More over this – Sony itself accicxently leaked upcoming VENICE Extension System in a video which was removed later, the image you see below is The VENICE Extension System Mini (model CBK-3621XS) has a built-in 8.6K full-frame CMOS sensor that retains the image quality of VENICE 2
 VENICE Extension System Mini
Approximately 70% smaller than the VENICE Extension System 2 (image block volume ratio). Flexibility is built into every corner of the compact design. A slim, soft, detachable cable brings greater freedom to filmmaking, while also opening up XR content creation and stitching shooting. The PL mount adapter supports more lens selection and metadata recording. Assignable buttons and numerous mounting holes allow photographers to mount and shoot to their preferences. This compact system is ideal for handheld, gimbal, and POV shooting.
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By admin, on March 18th, 2025

The Sony FX3 camera was announced back on February 23, 2021. It was a full-frame mirrorless consumer cinema camera. It was made to make cinema cameras within the reach of more and more professionals—those who love to have a compact body with all the possible features of a professional cinema camera. The FX3, at the time of the announcement, had a 12.1-megapixel CMOS sensor that was used in the Sony A7S Mark III camera and featured 4K Ultra HD video recording up to 120 frames per second and 10-bit 4:2:2 XAVC S-I internal recording.
Limitations of Sony FX3
But at the time of the announcement, the camera was lacking an internal RAW video recording mode, and of course, the FX9 also does. But with the FX3, we do have an option to get 16-bit RAW video by the HDMI port, but again, no option to record RAW internally.
The other option that was missing inside the FX3 is open-gate recording, which is now available in almost all Panasonic and Fuji cameras. Even cameras like the Panasonic S9, S5 II, Fuji X-S20, and Panasonic S1R Mark II now offer open-gate recording.
What Rumor Mills Are Saying This Time
A lot of rumors indicate potential upgrades to the sensor, including a global shutter sensor, which is coming from SAR.com
What We Know So Far about Sony FX3 II
New features are coming inside the FX3 Mark II camera, which will fill the gaps of the first version of this camera.
- The first feature that we are about to receive in the FX3 Mark II is an open-gate recording in a 3:2 format, which is almost confirmed. After a very long wait, Sony professional users will be getting open-gate recording in their upcoming professional camera.
- The other confirmed set of features includes 12-bit internal RAW internal video recording, which is about to arrive inside this camera. It’s really a kind of exciting moment to see these new features that we have never witnessed or seen in Sony’s professional consumer-grade cameras coming along with the FX3 Mark II announcement.
- The Next Cinema Camera from Sony is FX3 II, Arriving before Q3 of 2025.
Why Do Internal 12-bit RAW and Open Gate Actually Matter to Professionals?
A RAW video that a camera records is uncompressed or minimally compressed data, which is directly coming from the sensor without passing through different algorithms, providing the maximum latitude possible for color grading and other post-production adjustments. 12-bit video offers color depth, allowing users to have smooth gradients as well as better dynamic range handling compared to other lower bit-depth or compressed video codecs. So, having these capabilities internally means filmmakers can enjoy filmmaking and can get the maximum possible advantage of the sensor being used inside the camera, which other camera makers are also giving right now.
Another important aspect, professional content creators nowadays use open-gate recording to handle the content for multiple platforms simultaneously. These content creators need to adapt footage for various platforms recording at the same time, and by recording the full sensor, they can crop out aspect ratios required for post-production without losing the video quality of the camera.
It’s a Time for Upgrade
Sony’s higher-end cameras like the FX9 and FX6 do not support internal RAW recording and require an external recorder to capture 16-bit RAW via SDI output, and that’s the most frustrating thing for many professionals out there. That’s why, possibly, they are migrating to different brands such as Panasonic Lumix at this moment. So, the market pressure from the competitors for having internal RAW video recording as well as the open gate has led Sony to innovate these features in the FX3 Mark II (based on the information we have ). If they fail to innovate, they will not remain competitive with others, and that will be a big mess for the brand’s consumer base. Given the success of the FX3 and the growing market demand for hybrid cameras as well as advanced video features, this is the best time for Sony to release the FX3 Mark II camera with extended capabilities.
The article “Sony FX3 Mark II to Feature Open-Gate and 12-Bit Internal RAW” was first published on TheNewCamera.com by TheNewCamera Team. Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, If you have time –>see more Sony Alpha Rumor
By admin, on March 11th, 2025
Best Budget Wildlife Lenses for Sony E-Mount in 2025: Native and Third-Party Options: Sony mirrorless cameras have actually revolutionized wildlife photography with their innovation, specifically in autofocus mechanisms, as well as lightweight design and the most important and expensive lens ecosystem, which is continuously expanding. So, if you shoot with full-frame cameras like the Sony Alpha A1, it’s kind of a powerhouse, or an APS-C camera like the Sony A6700, finding the right lens on a budget is really a tough job. Breaking a bank account while buying your favorite lenses is not always a good idea. So, we have selected the best budget wildlife lenses for Sony E-Mount that include Sony native offerings as well as the best third-party lens options for Sony E-Mount from Sigma, Tamron, and more. All these are updated for 2025. The lenses that we have selected are the best in their focal length and give you the maximum reach possible.
Wildlife photography generally demands longer focal length lenses. If you own a 300mm lens, then you can shoot sunset, sunrise, and big animals like elephants or hippopotamuses perfectly. But if you want to shoot birds or small animals, then either they have to be very close to you, or you have to buy lenses like 500mm or more. However, you don’t need to spend $10,000 on getting a Sony FE 600mm F4 GM lens to get professional-level results. What we have done is prioritized affordability as well as the performance of a lens, starting with lightweight options that fit the budget, like the Tamron 70-300mm F4.5-6.3 RXD, the lightest telephoto lens under $600. So, that’s just one example. Let’s dive into the top and best lenses for 2025, covering both full-frame and APS-C mounts.
Why Choose a Budget Wildlife Lens for Sony E-Mount?
Sony E-Mount system is heaven for wildlife photographers, thanks to the introduction of camera bodies with AI autofocus systems, starting from base models like the Sony A6700. Cameras with a 1.5x crop factor are perfectly fit for wildlife photography as well as bird photography since they give you extra reach. These lenses strike a balance between cost and capability, making them ideal for beginners or anyone looking to upgrade from the standard kit lens. So, here’s what to look for before picking your next lens:
- Focal Length: 300mm+ for capturing large animals, and 500mm+ for bird photography.
- Aperture: A wider aperture is always better (f/2.8–f/6.3) for low-light shooting, though budget options often lean toward f/5.6–f/6.7.
- Stabilization: Always look for Optical SteadyShot (OSS) or in-body stabilization (IBIS) helps with handheld shots.
- Weather Sealing: Essential for outdoor shoots in unpredictable conditions.
- Price: Pocket-friendly

1. Top Budget Wildlife Lenses for Sony E-Mount – Sony FE 200-600mm F5.6-6.3 G OSS
- Sony FE 200-600mm F5.6-6.3 G OSS
- Price: ~$1,998 [ B&H Store and Amazon.com ]
- Focal Length: 200-600mm
- Aperture: f/5.6–6.3
- Weight: 2,115g (74.7 oz)
- Best For: Full-frame versatility, wildlife action
Sony FE 200-600mm F5.6-6.3 G OSS is the gold standard for budget-conscious Sony wildlife photography shooters. This lens offers an impressive 200 to 600mm zoom range, which makes it perfect for large animals like elephants and hippopotamuses. If you are using APS-C cameras like the Sony a6700, you can also do bird photography flawlessly since the equivalent focal length you will be getting is approximately 900mm.
And since it’s a Sony lens, it also supports teleconverters like 1.4x and 2x. So, if you are using a 1.4x teleconverter on your APS-C camera, and since it’s a full-frame lens, the quality will remain the same, and you will get additional reach up to 1260mm while using the 1.4x teleconverter.
Now, let’s talk about the lens. At $1,998, it’s a steal deal compared to Sony’s other G Master prime lenses. Its internal zooming mechanism and very effective stabilization help you shoot handheld images perfectly. Although it’s not that lightweight to carry all day, you should keep a hybrid monopod along with you.
Pros:
- Exceptional reach with teleconverter compatibility (1.4x or 2.0x).
- Fast, silent autofocus powered by Sony’s Direct Drive SSM.
- Optical SteadyShot with three modes for static or panning shots.
- Weather-sealed for rugged outdoor use.
Cons:
- Variable aperture narrows to f/6.3 at 600mm, limiting low-light performance.
- Heavy for all-day carry without a tripod.
Why It’s Great:
With bodies like the Sony a6700, you get a built-in IBIS mechanism, and when paired with this lens, you get very smooth and stable footage and snaps, even when shooting handheld. At the same time, the focal length jumps to 300 to 900mm, which is an insane focal length for an under-$2000 price range.

2. Sigma 150-600mm F5-6.3 DG DN OS Sports: Best Affordable Zoom Lens for Wildlife & Sports Photography
Sigma 150-600mm F5-6.3 DG DN OS Sports Price: ~$1,499 [ B&H Store and Amazon.com ] Focal Length: 150-600mm Aperture: f/5–6.3 Weight: 2,100g (74.1 oz) Best For: Maximum reach on a budget
Sigma 150-600 is a third-party powerhouse lens that has been considered a direct competitor to the Sony FE 200-600mm at a lower price. Technically, it’s one of the best third-party lenses available to date. If you use it on your APS-C body, the equivalent focal length that you will be getting is 225 to 900mm.
Pros:
- Longest 600mm reach with robust image stabilization
- Fast autofocus and four stops of optical image stabilization even at the tele end
- Durable, weather-sealed build
- Very sharp at the center throughout the zoom range when used on an APS-C body
Cons:
- We are not able to use teleconverters with third party lenses
- Heavy and bulky for handheld use
- Softer edges at 600mm when used with a full-frame sensor
Why It’s Great:
For just $1,499, you are getting an amazing lens at this price point, and literally, there is no competition for the Sigma 150-600mm at this price with its optical performance, making it a top-budget choice for distant subjects like raptors or safari animals.

3. Tamron 150-500mm F5-6.7 : Best Budget Super-Telephoto Lens by Tamron for Sony E-Mount
Tamron 150-500mm F5-6.7 Di III VC VXD Price: ~$1,199 [ B&H Store and Amazon.com ] Focal Length: 150-500mm Aperture: f/5–6.7 Weight: 1,725g (60.8 oz) Best For: Lightweight full-frame option, budget buyers
Tamron’s 150-500mm F5-6.7 Di III VC VXD, I think this is the best lens available at this focal length and at this price point, which is approximately $1,200 or less sometimes during deals and offers. This is one of the most reasonably priced super telephoto zoom lenses for the Sony mount, and it is more compact and easy to carry compared to the Sony 200-600mm. Although Sony is always number one with its native lenses, specifically when we are talking about lenses like the 200-600mm that support teleconverters, as well as its OIS being very, very effective. So, if you are not able to spend $2,000 on buying the Sony 200-600mm lens, then the next best investment in the low-budget range is the Tamron 150-500mm.
Pros:
- It’s the lightest super telephoto lens with a very effective optical image stabilizer
- Newly developed VXD autofocus motors act very fast
- Sharp across the zoom range with pleasing bokeh
- Weather-sealed with a zoom lock for travel
Cons:
- No teleconverter support (Sony restriction on third-party lenses)
- Slightly softer edges at 500mm compared to Sony G lenses
Why It’s Great:
For under $1,200, you get 150-500mm (225-750mm on APS-C), making it a fantastic budget pick for wildlife enthusiasts who prioritize portability over absolute reach.

4. Best Budget 300mm Lens? Tamron 70-300mm F4.5-6.3 for Sony APS-C & Full-Frame
Tamron 70-300mm F4.5-6.3 Di III RXD
- Price: ~$550 [ B&H Store and Amazon.com ]
- Focal Length: 70-300mm
- Aperture: f/4.5–6.3
- Weight: 545g (19.2 oz)
- Best For: Lightest full-frame telephoto under $600, budget portability
This is the cheapest third-party 300mm zoom lens available for Sony E-mount. The RXD motors offer fast autofocus, and while using an APS-C sensor-based camera, you get a range of up to 450mm. It’s a very good lens for wildlife photography, especially considering the price we have to pay and the focal range that we are getting with this lens. But at the same time, there is no optical image stabilization. If we are using this lens with an a6700 camera, then there is no need to worry. Although, for wildlife photography, I always recommend having a hybrid monopod with you to get super stable and sharp shots.
Pros:
- Featherlight at 545g—ideal for handheld shooting with IBIS bodies
- Affordable at $550, often dipping lower during sales
- Weather-sealed for outdoor reliability
- Sharp center performance with fast RXD autofocus
Cons:
- No optical stabilization (relies on IBIS)
- Softer edges at 300mm when used with full-frame sensors
Why It’s Great:
Wildlife shooters who are looking for great reach on a budget with their APS-C or full-frame bodies will find this the best budget wildlife photography lens made by Tamron for Sony E-mount. On APS-C, its 450mm equivalent rivals pricier lenses, making it a top budget pick for casual wildlife photography.

5. Cheapest Wildlife Lens for Sony APS-C? Sony E 55-210mm
Sony E 55-210mm F4.5-6.3 OSS (APS-C)
- Price: ~$298 [ B&H Store and Amazon.com ]
- Focal Length: 55-210mm (82.5-315mm equivalent)
- Aperture: f/4.5–6.3
- Weight: 345g (12.2 oz)
- Best For: APS-C beginners, ultra-budget shooters
The cheapest lens for Sony E-mount, designed for entry-level APS-C users. This lens typically comes with the camera as part of a dual kit lens setup, but yes, you can also use this lens for shooting sunsets, sunrises, and birds sitting next to your window in a tree, provided they are in a location that allows for this. The lens is the cheapest wildlife photography lens available for Sony E-mount, offering a maximum equivalent reach of up to 315mm and is designed for APS-C sensors only. It’s an ideal deal for entry-level wildlife photography users.
Pros:
- Dirt-cheap price under $300
- Lightweight and portable
- OIS SteadyShot for steady shots
- Decent sharpness in good light
Cons:
- Narrow aperture limits low-light use
- Incompatible with full-frame bodies
Why It’s Great:
Pair it with an APS-C body for a 315mm reach—perfect for backyard birds or local parks on a shoestring budget.
Sony Native vs. Third-Party: Which Should You Choose?
- Sony mid-range lenses are, of course, of superior quality, specifically the G-series lenses, which are custom-tailored for performing seamlessly with Sony’s autofocus system. All these lenses support teleconverters, which is highly essential for wildlife photography. Other than that, basic lenses also offer OIS integration and fast AF motors. If your pocket allows, always go with the Sony native lenses.
- Third-party lenses are wonderful if you see their price tag. They are sometimes almost half the price of Sony lenses of the same focal length, and in wildlife photography, the most important thing is the reach—aka the range you are getting from your telephoto lens. Yes, there are some performance limitations, like not being able to use teleconverters, and some telephoto lenses exhibit soft corners at the tele-end when used with a full-frame sensor. But again, if you are limited to a certain budget, the best option is to buy third-party lens options and use an APS-C body like the Sony a6700 camera.
Verdict: If you prioritize autofocus speed and teleconverter options, go native. For budget savings and portability—like the Tamron 70-300mm’s lightweight edge—third-party lenses are unbeatable.
Budget Wildlife Photography Tips for Sony E-Mount Users
- Use of an APS-C body is highly recommended if you are into wildlife photography. It will not only boost your focal length by 1.5x but also reduce soft corner issues to a great extent by using the sharper center portion of the lens.
- Always have a hybrid monopod with you. Heavy lenses like the Sigma 150-600mm or Sony 200-600mm need the support of a very strong body or a hybrid monopod/tripod, so decide accordingly.
- Budget wildlife photography generally involves lenses with an aperture range of around f/5.6 to f/6.3, so try to position your subjects in direct sunlight.
- We now have software like Gigapixel AI at our disposal, along with significant advancements in recent Photoshop and Lightroom editions. So, try to learn the latest editing techniques to stay updated with the times.
Final Thoughts: The Best Budget Wildlife Lens for You
Sony FE 200-600mm F5.6-6.3 G OSS is our top budget pick for its amazing reach, versatility, native performance, and the ability to use a teleconverter—all these features under $2000. Now, the next best lens on our list is the Tamron 150-500mm F5-6.7 Di III VC VXD at $1,199 due to its portability and price, although it has 100mm less reach than the Sony 200-600mm and is not compatible with teleconverters.
And finally, the best entry-level lens, the Tamron 70-300mm F4.5-6.3 Di III RXD, steals the show as the lightest full-frame telephoto under $600. Now, if you are looking for some kind of super budget lens, then yes, you can start with the Sony E 55-210mm F4.5-6.3 OSS at $298.
So, from this article, it is very clear that no matter what your budget is or which camera body you are using, the lenses we have selected prove that you don’t need to spend a fortune or break your bank to capture breathtaking wildlife shots. Also, let me know which one is your favorite—drop a comment, share this article with your wildlife photography friends, and share your journey with us!
Updated March 10, 2025, by TheNewCamera.com Team
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By admin, on February 28th, 2025

According to the latest coming from rumor mill, the Sony A75 camera has been delayed. Earlier, it was expected sometime in April 2025, but the recent information coming from trusted sources of the rumor mill suggests the camera will arrive sometime in late 2025.
The exact reason is not known yet, take a look at what the sources of the rumor mill said about the dealy
Source 1
The Sony A7V is ready but Sony is waiting for Canon R6III to make the first pricing move in this segment, and are willing to postpone the A7V launch if they have to.
Source 2
The Sony A7v will be delayed, unfortunately a lot.
It could be so bad that it won’t come until the end of the year, late autumn at the earliest. This is information I have received from the depths of Sony.
Source 3 (trusted source):
Sony is still having problems producing enough Sony A1II cameras. This is also a reason why they are waiting with the launch of the new A7V. The production of the A1II should reach the targets by the end of March/April.

Sony A7S IV announcement this year
Now finally, one more important piece of information related to the upcoming camera—Sony will be announcing the A7S IV camera this year, and that’s the hint that we have received from the rumor mill. It’s not the A7R6 or the A75, which has been delayed, of course. We already have updates on the Sony A93 camera recently, which is not too old with a newer Global sensor and advanced processing power.
The only leftover series that actually needs an URGENT update in the consumer-level mirrorless lineup of cameras is the Sony A7S series, which has been continuously ignored and is still waiting for an update. So, we are expecting the arrival of the A7S4 this year. We will keep you updated as soon as we get any new information related to the upcoming camera.
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source sonyalpharumors.com
By admin, on January 21st, 2025

Sony registered a new camera with the wireless certification agency, and the model code of the camera is WW277226. What we are expecting for now is the Sony A7 V camera, since if we pick up the rumors we just published recently [ Sony A7V surfaced at wireless certification agency and Sony A7 V and Sony 50-105mm F2.8 Lens Coming], it all indicates that Sony is planning to announce the A7 V camera in early 2025, as per the Sony rumor mill that the announcement may happen in March 2025. Generally, whenever camera makers like Sony, Nikon, or Canon register a camera with the wireless certification agency, they take 2–3 months to announce their product in the market. And since the Wireless certification details of the Sony A7V camera surfaced back in December it’s quite obvious that the camera is expected to arrive in March 2025.
Now about WW277226 – it’s one more camera in the two, WW277226 is not Sony A7V it’s something else although the name isn’t known yet. But since it has been surfaced today [on January 21st, 2025] the announcement of the Next ALPHA camera after the Sony A7V is expected sometime in April-May 2025.
Sony Upcoming Camera Model Codes 2025
1. WW 773396 – Sony A7 V [Registered on December 5th, 2024]
2. WW277226 – Model Name Unknown [Registered on January 21st, 2025]
We will update you when we get any new information about the upcoming Sony A7 V camera.
Check out more
Wild Rumors: Sony FX30 II, Sony FX30 R and Sony ZV-E1 II Coming in 2025 | Sony Upcoming Cameras 2025
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