The ultimate wishlist part 2: more predictions and wishes for 2025

Introduction

Today, we’re continuing to go down the list of manufacturers to talk about what we actually expect them to make in 2025, and what we’d like to see them make – sometimes with little to no regard for the probability of our wishes being fulfilled. If you missed the first part of this series, be sure to check it out here. With no further ado, let’s start with…

Sony: What we expect

Sony’s camera lineup is currently in a decent place, especially considering that some of the cameras in it are a few years old at this point. However, comparing it to Canon and Nikon’s, there is one glaring hole: a do-it-all high-resolution, high-performance camera at a price that’s attainable outside of the realm of high-end professional photography.

Sony’s a7R V has the resolution, and the a7s III is great at video, but only the a1 II marries the two – and that camera costs $6,500 and is aimed at professionals. If Sony can lop off some of the professional workflow features and bring the price tag down, it’d have a camera that could truly compete with the Canon EOS R5 II or Nikon Z8, which have similar technical capabilities to the a1 II but cost thousands of dollars less since they’re aimed at a more price-sensitive market.

The a6100 could use an update

On the other end of the lineup, Sony’s also probably due to refresh its entry-level APS-C camera. The a6100 was launched in 2019; since then, Sony has made big improvements to its menu and autofocus systems, and it’d be great to see them available in a camera that costs less than the excellent a6700.

We also wouldn’t be surprised to see an update to its entry-level full-frame body either, though it’s hard to predict what that would look like. The current-gen a7 IV has a 33MP sensor, which is higher-resolution than the ones found on competitors like the Nikon Z6III and Canon EOS R6 II. However, that comes at the cost of relatively high rolling shutter in standard 4K modes.

If Sony wants to fix that, it could potentially use a lower-resolution sensor, though that could be a tough sell. Another option would be bringing the ‘partial stacking’ technology that we saw with the Z6III’s 24MP sensor to the a7 IV’s current sensor, though that also comes with a trade-off to dynamic range. Whatever it ends up doing, we wouldn’t be surprised to see an a7 V this year.

Sony: What we’d like to see

Compact cameras have had a resurgence in popularity recently, but manufacturers haven’t really responded to the trend. Despite having not released a new compact in years, Sony still has the most options available for potential buyers, but that doesn’t mean it should rest on its laurels. We’d love to see a new entry in the RX100 lineup, either a cheaper model using a non-stacked sensor or an enthusiast model with all of Sony’s latest tech and the fast 24-70mm equiv. F1.8-2.8 lens from the RX100V.

Speaking of compacts, we’d also like to see a new RX1. While you can technically still buy the RX1R II, a new model could include a more modern full-frame sensor – perhaps the one from the a7CR – and Sony’s latest AI-derived autofocus tech. And while we’re wishing on stars, it’d be great if its battery life could be measured in hours instead of minutes. While it almost certainly won’t happen, Leica’s Q-series has shown that there’s at least some consumer appetite for a full-frame fixed lens camera; the Q2 and Q3 were both popular enough to get a secondary model.

Finally, we have one lens wish: a 50-150mm F2.8 lens that would be the APS-C equivalent of the venerable full-frame 70-200mm, but smaller, lighter and cheaper. Realistically, we’d want this available on every APS-C system, but we feel like Sony is the only major camera maker that may actually do it*, given its overall commitment to making weirder lenses.

* Apart from Fujifilm, of course. This lens already exists for X-mount.

Panasonic: What we expect

Panasonic has been busy over the past two years, updating large swathes of its lineup. The S1 series, however, has remained untouched. While the S5II handily slots into the S1’s role as the all-rounder full-frame camera, it lacks the more substantial heft that Panasonic said high-end users prefer, but we’re not sure that’s enough to continue the line.

It definitely feels like there’s still room for an upgrade to the video-focused S1H. That would essentially be a full-frame GH7, something with tons of video features that can output 4K video with minimal rolling shutter while including the phase-detect autofocus the current S1H lacks. A new sensor would really be key: the widely-used 24MP sensor not being especially quick to read out.

Updated autofocus would also be welcome in a new high-resolution camera to replace the S1R and compete with cameras like the Sony a7RV and perhaps even the rapid Nikon Z8 and Canon EOS R5 II.

Speaking of autofocus, though, that’s probably the area we’d most like to see some improvement from Panasonic in. While its subject detection tracking has a wide variety of modes, it’s substantially less sticky than the best systems available, and the company’s recently developed phase detection system can still struggle to determine where to drive the lens when a subject is moving at variable speeds.

Panasonic: What we’d like to see

This may be a long shot, but we’d like to see Panasonic return to producing an enthusiast compact or two. Like Sony, it still sells a few point-and-shoots, and it updated one (a tiny bit) recently, but it doesn’t have any recent models that feel like the true enthusiast compact we’re so desperately hoping for.

If we could pick anything, we think something in the LX100 series with a fixed lens instead of a zoom could do well, especially given the recent popularity of Fujifilm’s X100 series. Or with a more responsive (maybe manually operated?) zoom, for that matter.

Fujifilm: What we expect

An X-E5 seems like a safe bet at this point, given the company’s senior management have all-but confirmed it. And whereas we’d like to see a real enthusiast photographer’s ILC with twin command dials, exposure comp and maybe even a four-way controller, we suspect it’ll actually be a stripped-down camera like the X-E4, trying to be as small as possible. Though sitting above the X-M5, we can still hope for a little more (eg the stabilization mechanism from the X100VI, ideally).

There’s a lot of talk about a fixed-lens GFX camera, which doesn’t seem impossible, given the popularity of the X100 series. The question is what lens it should come with. A 45mm lens would give a similar 35mm-equivalent field of view, letting them re-use the complex hybrid OVF/EVF from the X100s. But perhaps a 36mm lens (giving a 28mm equiv FoV) might make more sense for an camera that will inevitably be slower to focus. Though if Fujifilm wants to lean on the legacy of the GZ690 and GS645 film cameras, a 48mm lens, giving a 38mm-equiv image would be more consistent.

Having seen a refresh of the 16-55mm F2.8, we think a refreshed 50-140mm F2.8 with faster focus and, ideally a smaller, lighter body is possible. The original 18mm F2 would definitely benefit from a refresh, too.

Fujifilm: What we’d like to see

Obviously the thing we’d most like to see is continued work on continuous AF algorithms. The past few years have seen such dramatic improvement from Canon and Nikon that Fujifilm’s cameras are looking awkwardly off-the-pace for shooting dynamic situations. We’re not sure what more can be wrung out of the current hardware (with both processing power and AF motor speed potentially holding things back), but further improvement would certainly be on our wish list.

We also wouldn’t rule-out the beginning of the next generation of X-series camera. In an ideal world that would include an X-Pro4, hinting at what the next generation will be capable of, but given the GFX models have only just been updated and we’re still waiting for an X-E5 to round-out the last generation, maybe we’re jumping the gun a little. If it does come, we hope it’ll regain a switchable wide/tele optical viewfinder, rather than using the X100’s.

At the more realistic end of our wishlist would be a refresh of the F2 primes, particularly the 23mm F2, which could be a bit soft on 24MP and really doesn’t make the most of the newer 40MP sensors.

On the topic of 23mm lenses, the final point on our wishlist would be for X100VIs, so that people can actually find them.

Leica: What we expect

Leica is a company that thrives in such unexpected niches that it’s difficult to predict what it might do next. It’s been three years since the main M camera was refreshed, so we’re approaching a sensible timescale to start thinking about a replacement for the M11. That said, most of the developments in sensors we’ve seen have been in terms of speed, which isn’t especially valuable in a camera with no autofocus or video capabilities.

We wouldn’t rule out some more video-focused products, given how much effort had clearly gone into the ability to swipe between stills and video interfaces on the SL3. Beyond that, it’s hard to guess what a company that’s introduced both a film camera and an enthusiast compact in the past couple of years might do next.

Except special editions. We definitely expect to see some of those. But, having previously established tie-ups with brands as Paul Smith and Zagato, it’s almost impossible to guess what they’ll be. How about a Leica x Morgan special edition?

Leica: What we’d like to see

We wouldn’t say no to a Q3 85, as a specialist portrait camera, given how much we’ve enjoyed the 28 and 43mm versions. Perhaps it would have to be a 75mm or 90mm lens just to coincide with traditional M-mount focal lengths, but given the 43mm was a departure from that scheme, maybe that’s not essential. An expensive, portrait-only camera might be too niche even for Leica, but perhaps enough users would want to complete the set, to make it worthwhile.

Beyond that, who can say? Other than that it’ll be priced to ensure exclusivity.

Sigma: What we expect

We need a version of the APO 50-150mm f/2.8 II EX DC HSM for mirrorless APS-C cameras.

Image: Sigma

There’s been so much chatter about a 50-150mm F2.8 APS-C zoom that we’d be disappointed if one didn’t now appear. The original model was a terrific lens: roughly 2/3 the size, price and weight of a 70-200 F2.8, making it a much more accessible and usable lens. We’re not sure the sales lived up to the promise, and the stabilized second-gen lens gave up many of the promised benefits.

Beyond this, it’s hard to say. Both the Art range and i-series of primes in the Contemporary range are looking pretty complete, so there aren’t any obvious gaps in the lens ranges. The company has talked about a sports and wildlife telephoto lens that has never been seen before, so it’ll be interesting to see what that entails.

The big question mark is around cameras. Is it time to update or expand on the fp concept? Or could the creators of the original large-sensor prime lens compact do something special by going back to the roots of the DP series? We just don’t know, but just can’t bring ourselves to count Sigma out, when it comes to something interesting.

Sigma: What we’d like to see

Oh, so many things. Sigma’s willingness to do things a little differently, but accessibly makes it easy to project lots of hopes and dreams onto the company.

Trying to keep within the bounds of the possible, we’d love to see a refresh of the DC DN range, even if it just meant re-bodying the existing optics in i-series style metal casings with functioning aperture rings. It’d primarily be Fujifilm and Nikon Zfc owners who’s benefit, but we still think it’d be worthwhile. Having previously suggested the idea to owner and CEO Kazuto Yamaki, we don’t have very high hopes of this.

And, while there’s plenty of skepticism around the idea, is there still an appetite for the long-promised full-frame Foveon camera? Given that a great many modern cameras do perfectly well with 24MP Bayer, how would a full-frame Foveon camera with the 25.5MP resolution but without the blurring effect of demosaicing fair? This assumes the nominal resolution of the SD quattro H, but with the larger sensor allowing large pixels and the same sampling resolution in all three layers. Would the larger pixels and marketing that pitched it as a ‘Velvia 50’ camera (only for use in good light but with excellent detail) help address the things that worked against Foveon in the past?

The role of AI

We’ve generally restricted our predictions and hopes to hardware, rather than new features as it’s hard to predict what more could be added until it appears.

We’ve already seen most manufacturers begin to offer 10-bit internal video and we’ll assume that resolutions and frame rates will rise as sensor readout rates allow. A few other brands might try to adopt Raw internal video, but it doesn’t seem like an essential feature for most users of most cameras, frankly.

AI – specifically algorithms developed by machine learning – has been a buzzword both within and beyond the camera industry for a while now, and we’d expect to continue to see novel ways in which it can be applied.

Most camera companies have recognized that, unlike in smartphones, most photographers don’t want features that mess with the image being captured. After all, what’s the point in taking control over the image-making process if your camera then starts adding details of its own? But it’s hard to predict which other challenges, beyond subject or situational recognition, AI could be brought to bear on.

Some kind of AI-enhanced user guide could perhaps be added to manufacturers’ smartphone apps, providing an interactive, natural language guide to how the camera works or how specific features can be used. Or maybe an ‘intelligent’ tone mode trained to brighten the shadows on JPEGs when you’re exposing to protect the highlights?

As always at the turn of a new year, there’s a possibility that something exciting is on the horizon, or that we’ll have to wade through more of the same, or maybe something worse than before. However it unfolds, it’ll be an interesting journey.