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We are proud to announce the results of the fourth-annual PetaPixel Awards where we are able to honor the best new photography products released in the last year. 2024 was a heck of a year for photography and the results showed that: it was the closest batch of voting in the awards’ history.
Started in 2021, the PetaPixel Awards expanded this year into a few new categories as well as a silver and bronze award in some of the higher-profile divisions. This year’s categories recognize the best in cameras, prime lenses, zoom lenses, smartphones, computers, desktop software, smartphone apps, and photography accessories. We also added a Camera of the Year: People’s Choice Award as well as a Photo Company of the Year.
Methodology: Because PetaPixel’s staff is entirely composed of current and former photographers and filmmakers, all were asked to cast a vote of first through fifth (sixth, in the case of Camera of the Year) and each was worth descending points: five for the top pick, one for the last. In all cases, those who deal directly with sales and marketing were excluded from voting to retain objectivity. No company is even allowed to submit nominations for consideration in the PetaPixel Awards, as all conversation is conducted internally. Nominations were published last week.
Accessory of the Year: Apple iPad Pro (2024)
When Apple announced the 2024 model of the iPad Pro, the main selling point seemed to boil down to, “it’s thinner and lighter.” Given that Apple had for many years prior used the same marketing on other products, it didn’t strike many as a reason enough to upgrade. We recall hearing a lot of, “that’s it?” on social media.
But once we had the new tablet in hand, we got it. Yes, saying the iPad Pro is thinner and lighter is correct but it is at the same time an unfair distillation of what that translates to in use. The iPad Pro is remarkably thin and light. The USB-C charging plug is thicker and yet it’s powerful, has a gorgeous display, and the battery lasts a very long time. It’s an outstanding piece of technology.
It’s a tool that wants to be used. Chris Niccolls has transitioned to doing almost all of his work on the iPad Pro; from video editing to photo editing to writing. While he still has complaints about the operating system for power users, he can’t help but keep being drawn back to it. It is easily the most valuable photography accessory we’ve seen in 2024.
Desktop Software of the Year: DaVinci Resolve
Last year, DaVinci Resolve turned heads and really started to gain momentum. It became a more household name among video editors and content creators but it wasn’t until this year that it really started to use that momentum to its advantage. In August, Blackmagic published DaVinci Resolve 19 which brought more than 100 feature upgrades to the video editor for free. In fact, that’s Resolve’s biggest advantage: most content creators are perfectly served using the free version of the platform.
“DaVinci Resolve’s growth from a niche color grading software to widely popular full-fledged video editor is one of the most impressive success stories in the photo and video in recent memory. Not only is it powerful and fast, but it’s also feature-rich and supported natively on more platforms than either Final Cut Pro or Adobe Premiere Pro,” I wrote a few days after DaVinci Resolve 19 launched. “While the former is only on Apple devices (by design), the latter still relies on emulation for support for Windows ARM and isn’t supported officially on Linux at all. Resolve, by comparison, is already available on Apple Macs, Windows, Linux, and Windows ARM — natively.”
Resolve is the example of how to develop desktop creative software: make it run beautifully, make it available, and make it work.
Smartphone App of the Year: Kino
During the judging process for software of the year, which was initially a single category, PetaPixel editors called an audible and decided to separate votes between desktop software and smartphone software. As a result, the voting for this award is slightly different than the methodology used for the other categories. A new set of nominees was determined, editors were asked to resubmit their votes, and a winner was crowned: Kino.
Kino takes the capabilities of Apple’s latest iPhones and makes it easy for the average creator to leverage. While Blackmagic’s Camera app is fantastic and is meant to mimic the experience of using one of the company’s cinema cameras, it can be overwhelming to an inexperienced user as a result. Kino gives creators access to many of those same capabilities if they want it but also built an interface that leverages Apple’s ProRes Log and bakes in pre-made LUTs to remove a lot of the unknowns from working with log footage. Kino also partnered with some extremely capable color grading experts to create a large library of luts so that creators can feel free to experiment and play with different tones and colors to tell their unique stories.
Made by the same company that developed Halide, Kino is just that one small extra step to mobile video capture that makes it a lot more approachable, and it is PetaPixel’s Smartphone App of the Year.
Computer of the Year: Apple Mac mini
You will not find a better blend of power and performance in any personal computer on the market, period. Apple’s Mac mini shows that the company is capable of providing extreme value if it wants to and when it does, it absolutely demolishes any competitor. When Apple re-launched the Mac mini when it moved to its in-house silicon, PetaPixel recommended it as the best computer for most photographers. This new version, powered by the M4 Pro, is leaps and bounds more powerful and somehow packed into an even smaller footprint than before.
“Apple’s move to in-house silicon has paid huge dividends in performance. The Mac mini has benefited from these advancements for the last four years but did so with an old design. Many of Apple’s other computers got facelifts while the Mac mini sat on the sidelines, waiting its turn,” Jeremy Gray wrote in his review.
“Well, its time has arrived, and it was worth the wait. The M4 Pro Mac mini is powerful enough for intensive photo and video editing, and its redesign also makes it an extremely usable machine at a very palatable price point.”
Smartphone of the Year: Apple iPhone 16 Pro
Apple famously rarely gives major facelifts to its smartphones. Gigantic overhauls to design are few and far between and each year feels incremental. But bear in mind, most smartphone owners aren’t upgrading every year. Most wait several years between new models and from that perspective, the iPhone 16 Pro would feel like a substantial upgrade.
The iPhone 16 Pro was the only of the “big three” smartphone makers to take a step to specifically enhance its hardware for photographers this year. While sensor technology and capture capability were also upgraded, Apple added a button just for taking photos. The iPhone also extended its lead over the competition on the video capture front, enhancing the already fantastic ProRes Log capture capability with more frame rate options, making the iPhone the uncontested champ of content creation. No other smartphone comes close to the iPhone for making high-quality videos.
Smartphone of the Year, Silver Award: Google Pixel 9 Pro
Google saw the tepid response to Samsung’s AI-dependent Galaxy S24 launch and said, “Not us.” No, it worked hard to produce a smartphone in the Pixel 9 Pro that used generative AI effectively in many cases, moving from what is a gimmick on competitor devices into something actually useful. The “Add Me” feature is, frankly, very smart.
More than software improvements, Google gave the Pixel series the physical uplift it desperately needed: the Pixel 9 Pro looks and feels so much better in hand. The Pixel series to this point had always felt “lesser” on build quality next to its peers, but no more. The Pixel 9 Pro is a high-quality smartphone on the inside and out.
Zoom Lens of the Year: Sony 28-70mm f/2 GM
When Canon launched the RF mount years ago, it did so with the 28-70mm f/2L, a gigantic, beefy lens that quickly became one of our favorite zooms ever made for its mix of high image quality, fast aperture, and versatility. This year, Sony took what Canon started with and improved on it in every way. The 28-70mm f/2 G Master is a testament to years of optical engineering and knowledge, as it is lighter, smaller, sharper, and focuses faster than Canon’s original. In just about every way, it impresses.
Sure, it’s still a big lens and it relies heavily on digital corrections at the wide end but for the same reasons we loved the Canon 28-70mm f/2L, we love what Sony has done and more because it is just that much easier to use thanks to the weight Sony was able to shave off of it. It’s a fabulous technological achievement and Sony deserves praise. It is one of the best lenses ever made.
Zoom Lens of the Year, Silver Award: Sigma 28-105mm f/2.8 DG DN Art
In February, Canon made the dream of a 24-105mm f/2.8 a reality. But such a range and fast aperture came with a cost: weight, size, and expense. In September, Sigma showed that there was another way with the 28-105mm f/2.8 DG DN Art and as long as photographers were willing to sacrifice a bit on the wide end, the benefits were worth it. Usually, compromises have to be made to get a compact, lightweight lens with a wide aperture. But, somehow, Sigma’s 28-105mm f/2.8 DG DN Art asks for very few.
Zoom Lens of the Year, Bronze Award: Sigma 28-45mm f/1.8 DG DN Art
Sigma’s 28-45mm f/1.8 DG DN Art is the full-frame version of the 18-35mm f/1.8 Art lens that was one of the most popular optics for filmmakers during the DSLR era. Its only downside is its rather limited range but in return, grants exceptional optical correction and outstanding sharpness. While less useful to photographers, videographers will likely find a lot to love about the 28-45mm f/1.8 DG DN Art especially at its very reasonable asking price.
Prime Lens of the Year: Sony 85mm f/1.4 GM II
Over the last couple of years, Sony has spent its time revisiting its initial launch of G Master lenses and fixing everything about them that elicited complaints from photographers. Not sharp enough? Fixed. Too heavy? Fixed. Focuses too slow? Fixed. This all applies to the Sony 85mm f/1.4 GM II.
Sony’s E-mount is, famously, open and that means manufacturers like Sigma and Tamron can regularly produce extremely capable lenses at lower prices for Sony photographers. The Sony 85mm f/1.4 GM II is an example of how a great manufacturer can produce desirable lenses despite this. Thanks to the competition and pressure from third-party lens makers, Sony pushes the envelope further and produces lenses that earn their higher asking price.
Everything that photographers complained about in the original Sony 85mm f/1.4 GM has been addressed in this new version and the result is a near-perfect prime lens.
Prime Lens of the Year, Silver Award: Sigma 500mm f/5.6 DG DN OS Sports
When Sigma launched the 500mm f/5.6 DG DN OS Sports earlier this year, it was a signal to the photography world that it was not just a “good” lens maker, it was a masterful leader in optical engineering.
“It’s hard to find any faults in the Sigma 500mm f/5.6 DG DN Sports. The slower aperture allows for a portable and convenient lens that can travel anywhere, and it keeps the cost down while at the same time filling a gap in the market for which it is intended. Optically, this lens is superb in every way.” Chris Niccolls wrote earlier this year.
The Sigma 500mm f/5.6 DG DN Sports is a wonderful action and wildlife lens that provides exceptional reach in a compact, lightweight, and affordable package.
Prime Lens of the Year, Bronze Award: Sigma 50mm f/1.2 DG DN Art
Just as impressive as the 500mm f/5.6 DG DN OS Sports is the 50mm f/1.2 DG DN Art lens. Sigma proved that it was possible to make a portable, compact, lightweight, and affordable fast aperture 50mm lens. The fast aperture isn’t just for show: it’s sharp and the bokeh is smooth and beautiful. Everything that a 50mm lens is supposed to do well, Sigma’s Art optic achieves. It is a fabulous lens worthy of praise.
Camera of the Year: Sony a9 III
While it was announced a year ago, Sony’s a9 III still stands as the only full-frame global shutter sensor photography camera on the market. While it isn’t particularly high resolution and the dynamic range is limited, what this camera achieved cannot be understated: it is a marvel. In a time where most cameras are simply iterating on existing technologies, the a9 III is the only camera in 2024 that allows photographers to capture photos that were before this camera existed, impossible.
This is not a camera for most people — and that statement alone undersells how few photographers will find the a9 III appealing, especially at its high price — but the technology inside it is so advanced and so impressive, it overshadows a year where two other manufacturers dropped flagship cameras and where we saw a huge number of highly impressive systems hit the market.
Sony’s a9 III is a marvel and, we expect, that will remain the case for years to come.
Camera of the Year, Silver Award: Canon R5 Mark II
Canon’s R5 Mark II is so impressive that it sucked all the air out of the room, leaving very little for Canon’s flagship R1 which was announced at the same time. It’s fast, performant, and features what we consider to be a “sweet spot” of resolution. After Nikon and Sony released some of the best mirrorless cameras ever in recent years, Canon needed an answer — and it delivered.
“What the Canon R5 Mark II represents is Canon’s most capable all-round camera to date and it is easy to see why it has overshadowed even the EOS R1. I think many Canon shooters will opt to go with the R5 Mark II as a preferred tool for shooting sports, action, and wildlife, even though the R1 and R3 are more specialized tools in this regard,” Chris Niccols said in his review.
“Thank you to the readers of PetaPixel — Canon is extremely proud of the EOS R5 Mark II and we’re honored that the camera has resonated so strongly with advanced creators,” Hiroto Kato, VP, Business Planning & Strategy at Canon U.S.A., Inc., tells PetaPixel over email of the company’s award.
Camera of the Year, Bronze Award: Nikon Z6 III
The Nikon Z6 III delivers the first-ever partially stacked CMOS sensor which allowed it to provide many of the benefits of a fully stacked sensor (which is typically expensive) with a lower asking price, making the Z6 III capable for a wide range of photography use cases as well as for video production. The result is a wonderfully versatile camera that can excel in a wide range of applications. Combined with Nikon’s new RED LUTs, the Z6 III is an especially excellent video camera.
That segues nicely into Camera of the Year: People’s Choice…
Camera of the Year, People’s Choice Award: Nikon Z6 III
The Z6 III isn’t without compromise: the dynamic range takes a hit in exchange for better autofocus performance and faster shooting speeds. That said, it’s minor and obviously a majority of PetaPixel readers agree the benefits are worth that cost.
Of the 13 cameras that were up for the People’s Choice Award, the Nikon Z6 III secured 21.8% of the vote, besting both the new Sony flagship a9 III and Canon’s “do it all” high-end EOS R5 Mark II (16.7% and 13.09% of the votes, respectively). While several thousand votes were cast, the Nikon Z6 III jumped out to an early voting lead and never relented, holding on to its position for the full week of voting.
The full vote distribution for PetaPixel‘s Camera of the Year: People’s Choice AwardWhen Nikon announced the Z6 III, it aimed to set a new standard for what a mid-range camera could — and should — be. It is without a doubt a success in that endeavor.
Photo Company of the Year
One company repeatedly came up in this year’s PetaPixel Awards, spanning multiple categories and taking the most podium finishes of any other manufacturer. That company is Sigma, and it is PetaPixel’s Company of the Year for its outstanding achievements in optical excellence.
“It is a great honor to receive these awards from PetaPixel for the four lenses; and especially for the recognition as Photo Company of the Year. It gives me great pleasure to share this news with our team at our headquarters and Aizu factory, because it is they who have created these excellent products through their talent, dedication, and hard work,” Sigma CEO Kazuto Yamaki tells PetaPixel over email.
It is well earned. In February, Yamaki told PetaPixel that Sigma doesn’t just make lenses that it thinks it can sell; it makes some lenses to prove its prowess. Speaking of the 15mm f/1.4 DG DN Art diagonal fisheye, he said that the company knew it wouldn’t be a bestseller — it was too niche. But that was not the point.
“Well, people say Sigma is a third-party lens manufacturer. So they put Sigma at a kind of lower-level brand compared to the camera manufacturers,” he said.
“Yes, we are a third-party lens supplier, but we don’t believe that it means our technology is inferior to those of the camera manufacturer. Actually, we are one of the top lens manufacturers. So my goal is to be a real top brand among the lens makers. We want to be a real master of optics.”
PetaPixel agrees and that is why Sigma is the Photo Company of the Year.
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