The Ricoh GR series of compact cameras is so popular that the camera is often called a “cult favorite” – and now that camera series will have its own dedicated space in New York City.

On October 29, Ricoh announced that it's building a GR Space in New York City, New York, to open in the winter of 2027.

The GR Space isn’t just a store to buy one of Ricoh’s compact cameras. The space will also be built for educational programs and community events, while also housing an art gallery.

Ricoh already has GR Space locations in Tokyo, Shanghai, Beijing, Guangzhou, Brisbane, and Seoul. The NYC location will be the first GR Space in the US.

Ricoh’s GR series is well loved by street photographers for its compact size and discreet styling, so the NYC location feels appropriate for a storefront dedicated to a single camera series.

“New York City and the GR share a natural connection,” Ken Curry, President, Ricoh Imaging Americas Corporation, said in the announcement. “Both are driven by observation, spontaneity and finding extraordinary moments in everyday life. GR Space New York City gives us the opportunity to create a place where snapshooters to professional photographers can experience our products, but more importantly, where they can learn, exchange ideas and be inspired by one another.”

Ricoh hasn’t yet shared exactly where the new NYC space will be located. The company says that additional details, including the opening date, inaugural gallery exhibition, and a line-up of classes, will follow “in the coming months.”

2026 marks the 30th anniversary of the Ricoh GR series. The series' popularity stems from its pocketable design that still hides an oversized APS-C sensor.

The Ricoh GR is now in its fourth generation with the Ricoh GR IV, which also includes an HDF variant and a dedicated monochrome version. A Ricoh GR IVx with a longer lens is under development.

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Picking up a used camera is a great way to fit high-end features into a small camera budget. The 2018 Fujifilm X-T100 is one such camera, particularly for photographers looking for a retro style on a budget.

But when I look at the X-T100, I can't help but think of another camera that's similarly priced on used markets: The Sony A6000 series, like the A6100.

The Fujifilm X-T100 is a lovely-looking camera – as are most Fujifilm rigs, for that matter – and it still packs in Fujifilm's popular film simulations.

While the 2018 Fujifilm camera does boast a 24MP CMOS sensor, just like all of the Sony A6000 models, and, admittedly, superior build quality with its sturdy aluminum top plate, I’d never peg the Fujifilm as a better device for capturing stills and video than its Sony counterparts. And I’m not just saying that because I’m a Sony shooter.

There's a key reason that I would choose a Sony’s A6000 APS-C line-up camera instead: Autofocus and video.

In terms of stills, the main difference between these two cameras is in the autofocus. The Sony A6100's autofocus system has more extensive sensor coverage and smarter features.

Sony’s specialized BIONZ X processor calculates tracking and exposure up to 60 times per second. This rapid calculation is backed by 179 phase-detection AF points. Even the earliest A6000 model from 2014 covers nearly the entire sensor, outclassing Fujifilm’s centralized, 91-point system.

Newer Sony models like the A6100 (2019) and A6400 (2019) feature advanced AI-driven AF to lock onto a subject’s eye, even through erratic motion. In contrast, the X-T100 relies on less sophisticated face-detection AF, which is more likely to lose its target if a subject blinks or turns away.

It’s not like you won’t get sharp images with the Fujifilm X-T100, but you’ve got a much better chance of consistently getting sharp images with a Sony A6000 model, especially later models.

The other big difference for me is video capability. I’ll start here by saying that the Fujifilm rig does have a better three-way tilting touchscreen than all of the A6000 models bar the most recent A6700 (2023).

This latest A6000 shooter also has a vari-angle LCD screen, while earlier generations in the lineup feature a basic up-and-down-tilting screen.

But beyond the LCD, Sony is clearly the better choice for recording. Sony introduced 4K UHD at 30fps / 1080p at 120fps back in 2016 with the A6300. Now, the Fujifilm X-T100 was released two years later with 4K UHD, but it’s strictly capped at 15fps.

Since then, Sony has only gone on to bolster the video capabilities of A6000 cameras, with later models able to shoot Full HD 1080p at 120fps, compared with the X-T100’s 24, 50, and 60fps.

The Fujifilm X-T100, which is only available used, tends to sit around the same price point as a used Sony A6100. Sony’s superior AF and video specs are enough for me to choose a Sony APS-C camera over an X-T100.

If you’re looking for a thorough breakdown of the Fujifilm rig and deep dives into the Sony shooters, then be sure to read their dedicated reviews on Digital Camera World next:

• Sony A6000 vs A6100 vs A6300 vs A6400 vs A6500 vs A6600 vs A6700: how do you choose?
• Fujifilm X-T100 review

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After the Kodak Charmera was released in September 2025, it didn' take take long for the tiny retro compact camera to become a viral sensation, with stocks quickly selling out. By Christmas, it was almost impossible to get hold of one – despite its very modest image resolution.

As demand grew, grey-market prices went through the roof. That's quite a contrast to its original retail price of just $34.95 / £35. And even if you managed to order one, you coudn't choose the design. Instead, you received a mystery model that might not even be the one you wanted.

Measuring just 58 x 24.5 x 20mm, and weighing only 30g, the Charmera is so small that you can attach it to your keyring. That's also the idea behind this miniature digital reinterpretation of Kodak's historic single-use and picket film cameras. And it hasn't just attracted attention from buyers: the camera has also picked up some major industry awards. So why has this low-resolution keychain camera become so popular?

The little keychain camera

The Kodak Charmera's award-winning streak shows that lo-fi image quality and thoughtful design can become highly sought-after. It won both an iF Design Award and Red Dot Design Award – two of the industry's most recognized design honors.

The keychain camera also earned a place in TIME's "Best Invention 2025" list.

The Charmera brings Kodak's disposable-camera heritage into a miniature digital format. With its retro styling, tiny dimensions, and low price, it's an easy fit for the gift market, too.

It features a 1.6MP sensor and a built-in LCD screen, delivering surprisingly decent images reminiscent of early camera phones.

The results aren't about sharpness and detail, but they have lo-fi character that's part of the appeal. The blind-box packaging adds a layer of novelty, with six regular designs and one rare edition to collect.

New to the market is the Kodak Charmera Millennium Edition, released in June 2026, available for $34.99 / £35.

What makes the Kodak Charmera so popula?

Part of the Charmera's appeal is its simplicity.

There's no need to worry about aperture, shutter speed, or ISO – you simply pick it up and shoot. So, when taking pictures, it's about capturing moments rather than getting every technical detail right.

You could, of course, do the same with a camera phone. But the Charmera offers a more hands-on experience and creative features like 7 creative filters and 4 decorative frames.

Its popularity has also reached a younger audience, with TikTok and Instagram helping introduce the camera to a new generation of photography fans.

The blind-box packaging is clever. It gives the Charmera a collectible quality that goes beyond its function as a camera – and, at its relatively low price, makes it an easy purchase to justify.

While stock was difficult to find at the beginning of the year, the camera is now much more widely in stock, making it easier to get your hands on one.

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This compact camera somehow squeezes a 61MP full-frame sensor and a Zeiss 35mm f/2 lens into a body that's smaller than almost anything else on the market – DCW described it as the most compelling model on the market.

Launched in July 2025, almost 10 years after its predecessor, the Sony RX1R III was a long-awaited addition to Sony's premium compact camera lineup. It has since earned two major industry honors: Best Professional Fixed Lens Camera at the 2026 TIPA World Awards and recognition in the 2026 iF Design Award.

For photographers who want high-end image quality without carrying a full camera system, the RX1R III is almost perfect. But what makes it so popular – and what are the drawbacks?

Why is the Sony RX1R III so popular?

The RX1R III features a 61MP Exmor R CMOS sensor paired with a Zeiss Sonnar T* 35mm f/2 lens – an optic that "enables you to take photos with unprecedented freedom," as IF Design Awards highlight.

The camera's design philosophy hits a nerve with photographers.

It's small, remarkably capable, has a viewfinder, and is built around a full-frame sensor – a format more commonly used in mirrorless cameras.

In the premium compact category, the Leica Q3 is one of its closest rivals.

It's lighter than you expect (498 g), sharper than it has any right to be, and its 693-point autofocus system is, frankly, leagues ahead of most fixed-lens rivals.

That built-in electronic viewfinder is another important feature. Many photographers prefer composing images through a viewfinder rather than relying exclusively on the rear screen, yet it isn't a feature found on every compact camera.

What are the Sony RX1R III downsides?

You've heard the specs, and those certainly don't come with a budget-friendly price tag.

The RX1R III is available for $5,098 / £4,199. That puts it out of reach for many photographers, particularly those who aren't earning money from photography.

Its closest competitor, the Leica Q3, features a 60MP full-frame BSI CMOS sensor and a Summilux 28mm f/1.7 ASPH lens, priced at $7,350 / £5,650.

Also to mention, the RX1R III lacks in-body image stabilization (IBIS), although how much that matters depends on your shooting style.

If you want more resolution, the Fujifilm GFX100RF takes a different approach. It features a 102MP medium-format sensor and is the highest-resolution compact camera available to date.

Ultimately, the question is how much value photographers place on combining high resolution and full-frame image quality in a compact camera.

For those who prioritize portability without wanting to compromise on sensor resolution, the RX1R III offers an almost perfect combination of features.

For others, the same budget could buy a more versatile mirrorless camera and a selection of lenses, offering greater flexibility across different types of photography.

But in the end, that money won't buy the same combination of 61MP full-frame sensor, a Zeiss 35mm f/2 lens and built-in electronic viewfinder in a body as compact as the RX11R III is.

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We love the Hasselblad X2D II 100C. In fact, we reckon it's the finest stills camera ever made. But the key word there is 'stills', as the X2D II cannot shoot video. Well, it turns out that's not completely true. A clever hacker that goes by the handle 'Cheese' has posted a short video to the Chinese site xiaohongshu.com showing an X2D II 100C capturing video.

The brief video description states that the hacker has developed a custom firmware for the camera that enables video capture, and aims to add raw, Open Gate recording in future. The video itself shows the capture and subsequent playback of a 6-second clip, as well as video record status indicators and capture controls coded into the camera's touchscreen interface. The result more closely resembles an original feature than a DIY hack.

But don't get too excited: this hack probably won't enable X2D II owners to capture video as though it was a factory-implemented feature. As Cheese points out in response to a comment, "An experimental function and a truly stable function are two different things...if you really want to do high-quality video rerecording, [the camera's] form factor will definitely need to be significantly changed" (auto translated from the original Chinese).

Though not specifically mentioned, it's highly likely that a major reason why Hasselblad never designed the X2D II 100C to record video was due to heat build-up. The camera already gets very toasty when shooting bursts of images over a prolonged period, so Open Gate raw video recording, though potentially possible, could well endanger the lifespan of key components. Even so, Cheese does say that the modded firmware will be available as open source after the code is perfected. I'd expect the firmware to include a record duration limit to help prevent destructive heat build-up.

So there you have it: the X2D II 100C can actually record video, but if I was an X2D II 100C owner, I wouldn't be risking my valuable camera by installing non-genuine firmware that has the potential to damage the camera's hardware.

I’ve started to notice an unusual trend popping up in my social media feed: Photographers are giving new life to decades-old DSLRs by adding custom firmware that gives the old cameras different film stocks to choose from.

Photographers using custom firmware for cameras isn’t particularly new – firmware hacks date back well over a decade to mods like the Canon Hack Development Kit and the reverse-engineered Magic Lantern software for Canon DSLRs.

But lately, across Instagram and Reddit, photographers have been sharing “hacked” DSLRs loaded with new software that gives the old cameras the option to choose from different film-inspired looks directly on the camera.

In many cases, the custom firmware is vibe-coded, built with coding assistance from artificial intelligence. Using AI to make photos look like film feels both like an oxymoron and like the most 2026 thing ever. And yet, as a collector of old cameras and someone who bought my current camera (a Fujifilm) specifically for the film simulations, the idea of bringing new life to an old DSLR is intriguing.

Custom firmware carries the risk of potentially bricking the camera and, in many cases, could void the warranty on a newer camera. Which is likely why the vibe coding trend seems to be drawn to older cameras, like the 2005 Canon EOS 5D – bricking an old DSLR that doesn’t cost much and is already well out of warranty comes with less of a risk. That and, with the custom firmware designed for an old-school look, using an older camera just makes sense.

One photographer on Reddit shared a beta vibe-coded hack called Soup Engine for the Canon EOS 5D that builds on Magic Lantern to give the camera 13 different looks inspired by film stocks. The looks are applied to JPEGs, while the RAW file is untouched.

In another hack, software company Latent Studios is working on firmware that puts the company’s film-inspired desktop RAW photo editor into the Canon EOS 5D and 5D Mark II. But beyond the look of the photos themselves, the software also locks photographers into a “roll” for that look.

Photographer Florin Kirtescu developed a similar hack for the Canon EOS 6D, built from Magic Lantern, that adds film-inspired looks, including color and lab-like adjustments for pushing and pulling and correcting for light sources. The firmware, called Film Roll, also limits photographers to rolls of 12, 24, or 36 shots. The software lives on the SD card, so photographers can theoretically pull the card out and use a different one (or format the card) for the camera to function normally again.

While those hacks use Canon DSLRs, other photographers on Reddit have reported trying hacked firmware with other camera brands. The Phoblographer's Chris Gampat hacked an old Sony A7 to bring back the PlayMemories App support.

Locking the camera into a color preset for the length of a typical roll of film reminds me of another trend: the screen-free camera. Some screen-free cameras have similar tools that are designed with the limitations of film.

The Fujifilm X Half’s film mode, for example, won’t show creators the files or allow for swapping the film simulation until after a roll is finished and “developed.” Truly screenless cameras like the Flashback One35 V2 are also based around the concept of digital “rolls.”

Beyond the older CCD sensors and look of older DSLRs, the creators behind some of the hacks are also drawn to 21-year-old DSLRs because the slower performance of much older tech feels closer to film than modern cameras.

Personally, I wouldn’t even consider a firmware update that wasn’t sanctioned by the manufacturer itself on a modern camera. But on a camera that was otherwise sitting on a shelf and not getting any use? The idea is far more intriguing.

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For years, Micro Four Thirds cameras have been fighting an uphill battle against larger full-frame and APS-C sensors, particularly when it comes to dynamic range and low-light performance. But what if the next big leap in image quality has nothing to do with increasing sensor size?

According to a fascinating new rumor, the future of Micro Four Thirds could be about to get considerably brighter, with an entirely new generation of sensors reportedly being developed using LOFIC technology. If the claims prove accurate, we could see Four Thirds sensors capable of delivering more than 17 stops of dynamic range, potentially transforming what photographers and filmmakers can achieve with smaller cameras.

The technology in question is known as LOFIC, short for Lateral Overflow Integration Capacitor, and it could represent one of the most significant developments in digital sensor technology in years. Unlike conventional sensors, which can struggle to retain information in extremely bright areas of an image, Lofic uses additional capacitors to capture excess electrical charge that would otherwise be lost when a pixel reaches its capacity.

In simple terms, this means a sensor can preserve considerably more highlight detail without sacrificing the information captured in darker areas. For photographers, that could mean greater flexibility when editing RAW files, while filmmakers could benefit from an enormous increase in exposure latitude when recording challenging, high-contrast scenes.

According to 43 Rumors, information originating from a Chinese source suggests that new Four Thirds sensors incorporating this technology could arrive between 2027 and 2028. The source claims, "New domestic M43 sensors featuring LOFIC technology are on the horizon, promising even greater dynamic range and faster readout speeds compared to their predecessors."

More interestingly, the rumored sensors could combine dual conversion gain technology with LOFIC to achieve 14-bit sampling at 60fps, more than 17 stops of dynamic range, and a claimed exposure recovery range extending from +9 to -4 EV. The report also suggests the next generation could be based on a larger Four Thirds-format version of OmniVision's OV50X sensor, although none of these developments or performance figures have been officially confirmed.

What makes this rumor particularly exciting is that Lofic isn't simply theoretical technology waiting to be proven. We have already seen what it can achieve in the DJI Osmo Pocket 4P, which features a 1-inch sensor incorporating the technology. Independent testing by CineD measured an astonishing 16 stops of dynamic range at a signal-to-noise ratio of 2, increasing to 17.2 stops at a ratio of 1.

Those are remarkable figures from such a small sensor, and they demonstrate why this technology is attracting so much attention. If similar performance could be achieved in a larger Four Thirds sensor, it could fundamentally change expectations of what compact camera systems are capable of, particularly for photographers who want exceptional image quality without the size and weight associated with larger formats.

Of course, there is still a considerable difference between a promising sensor rumor and seeing that technology inside the next OM System or Panasonic Lumix camera. The suggestion is that DJI products could receive these sensors first, with no guarantee that traditional Micro Four Thirds manufacturers would have access to them.

Nevertheless, I find the possibilities incredibly exciting. Micro Four Thirds has always offered a compelling balance of portability, lens reach, and performance, but imagine combining those advantages with dynamic range that could rival, or potentially surpass, what we currently expect from much larger sensors. Sensor size will still influence noise, depth of field, and overall image quality, but Lofic could help remove one of the format's most persistent disadvantages.

If these rumors become reality, perhaps the future of Micro Four Thirds isn't about trying to compete with full-frame cameras by becoming something bigger, but by proving just how much more a smaller sensor can achieve.

Check out the best Micro Four Thirds cameras you can buy today

The Nikon Z5IIC launched following rumors of a Nikon camera without a viewfinder. While there were whispers of a fixed-lens full-frame compact camera and a stills-focused Nikon ZR, nobody could have predicted a ‘viewfinderless’ clone of the Nikon Z5 II.

Viewfinderless cameras have always been divisive. Photography purists cite the stability and sun-glare-free nature of shooting through the viewfinder as too crucial to pass up. But plenty of modern photographers ignore their EVF in favor of their mirrorless cameras’ rear LCD and a more dynamic method of shooting.

What works for you, works. But the big question I’ll be trying to answer is what benefits the Nikon Z5IIC’s viewfinderless design brings to the table. One such benefit is price. With reports of the Nikon Z5 reaching the end of its lifecycle, the Nikon Z5IIC could soon become the most affordable entry point into Nikon’s full-frame mirrorless lineup at $1,399.95 / £1,349 / AU$2,399 (body only).

And that entry point is exactly what Nikon is targeting. The ‘C’ in the camera’s name is supposed to represent ‘Casual’, which is why the Nikon Z5IIC is also the very first full-frame Z-series camera to feature Scene Modes.

I took the Nikon Z5IIC for a spin around the beautiful city of Bath to find out how its viewfinderless design fared in a street photography setting. Read on for a deep dive into the camera’s specs and to find out how it performed in real-world scenarios.

Nikon Z5IIC vs Z5II: Specifications

Nikon Z5IIC: Price

The Nikon Z5IIC is priced at $1,399.95 / £1,349 / AU$2,399 (body only). Compare that to the Nikon Z5 II, which is typically listed around $1,599 / £1,499 / AU$2,699, and that’s a decent saving of around $200 / £150 / AU$300. But one thing I’ve had in mind is where the Z5IIC will end up. As time goes on, we could see that body-only price creep towards the $1,000 mark.

You can also opt to choose from various kits or bundles, such as the Nikon Z5IIC + Nikon Z 24-50mm f/4-6.3 ($1,699.95 / £1,609 / AU$2,949). This prime-sized zoom is a great choice for the camera’s viewfinderless design. While the Nikon Z5IIC + Nikon Z 24-200mm f/4-6.3 VR ($TBC / £2,049 / AU$3,699) might seem like a great all-in-one option, I’d be wary of any lens bigger than the Nikon Z 24-120mm f/4 S, which I used during my review.

When you stack the Nikon Z5IIC against the Panasonic Lumix S9 and Sony A7C II, it’s priced between them. Overall, I think it’s competitively priced given its specs and the economic challenges the consumer tech industry is currently facing.

Nikon Z5IIC: Design & Handling

The Nikon Z5IIC largely follows the same formula as every other mainline Z-series camera: it’s solid, bulky, has a deep grip, and plenty of physical controls. The big difference is that it doesn’t have a faux pentaprism bump in which to house an electronic viewfinder.

It’s less bulky and inherently more ‘riggable’ than any other full-frame Z-series camera (Nikon ZR aside). This allows it to occupy marginally less space in a backpack, weigh marginally less in the hand, look marginally less professional and intimidating, and cost marginally less than its blueprint, the Nikon Z5 II. The big question I had when using this camera was: Is ‘marginal’ enough to warrant the downgrade in functionality?

I get it. Not every photographer wants to use a viewfinder, and there’s nothing wrong with that at all. If you’re prepared for bright, sunny conditions reflecting off the rear LCD and that doesn’t faze you, who am I to tell you otherwise? But the difference here is that the Nikon Z5IIC is a beefy, full-frame camera and that does change things.

Take the Panasonic Lumix S9 for example; a viewfinderless full-frame camera that’s roughly 135g lighter than the Nikon Z5IIC. That does make a difference. I’ve handed the Z5IIC off to various colleagues, and they’ve all been surprised by the same thing: its weight. The camera’s body weighs 538 g, which is a not-insignificant 82 g lighter than the Nikon Z5 II.

And yet, the way you handle a viewfinderless camera is just different. Peer through a viewfinder and you’ll instinctively cradle a larger camera with both hands, but viewfinderless cameras need to be held farther from the body. The Z5IIC might be lighter than the Nikon Z5 II, but I noticed its weight more.

That’s not to say the weight is a constant pain point, but it is a consideration. I used the camera with the Nikon Z 40mm f/2 and Nikon Z 24-120mm f/4 S. The latter is as heavy and bulky as I’d want to go for regular, handheld shooting. And even then, this is a relatively hefty setup for an everyday carry.

Use the Nikon Z5IIC for video, though, and the form factor isn’t an issue. Again, you tend to hold a camera differently when shooting video. Your forefinger doesn’t have to rest on the shutter button, meaning you can hold it in any way that feels comfortable to you. And of course, if you mainly shoot stills from a tripod, the form factor won’t be an issue at all, and most tripod users compose via the rear screen anyway.

Ultimately, the lack of a viewfinder won’t be a turnoff for everyone, but the size and weight of the camera could be. I recommend trying it on for size in your local camera shop before buying, and considering very carefully what lenses you want to use with it. A telephoto-friendly camera this is not.

A disappointing oversight from Nikon on paper is the Z5IIC’s rear screen. It’s actually lower resolution than the Nikon Z5II’s 2100k-dot screen (it’s 1040k dots). This really is a curious decision from Nikon and one that I can only assume was a budgetary measure. Still, you’d think the rear screen on a viewfinderless camera would be a core spec. And yet, despite my displeasure, if I’m going to be truly honest, I didn’t find this to be an issue out in the field. An oversight, yes, but not one that will impact the camera’s day-to-day usability.

Now that I’ve addressed the elephant in the room, let’s move on to some of the positives, of which there are plenty. As you’d expect from a mainline Z-series camera, the entire body feels solid. It’s built from magnesium alloy and durable-feeling plastics, while the grip is deep and covered in Nikon’s grippy leatherette.

It’s also weather sealed, and while I’m not going to leave a $1399.95 / £1,349 camera out in a downpour, the UK’s dreadful weather meant I spent a lot of time using the Z5IIC in light showers. I never advise letting any camera get saturated, but I felt entirely confident using the Z5IIC in wet conditions.

As per usual, Nikon has churned out a utilitarian device that’s built like a tank. But what’s unheard of from a mainline Z-series camera is that the Z5IIC comes in two colors. That’s right, it’s not just all-black with the classic red stripe; you can also opt for a silver variant. This paint job is only applied to the top plate, giving the camera a definite Sony A7C II vibe. Some of my colleagues think the silver looks plasticky, but as somebody who often moans about silver cameras looking cheap, I’d opt for the silver variant. Consider me a fan.

On the aforementioned top plate, you’ll find a fairly minimalist setup that’s functionally almost identical to the Nikon Z5 II. You’ve got a chunky mode dial that’s satisfyingly stiff, albeit slightly different to the Nikon Z5II’s in that it has only two U options instead of three. This is to facilitate the new Scene Mode icon (more on that later).

Like the Z5 II, there’s also a very handy Picture Control button. Simply tap it and use the rear command dial to scroll through 31 ‘looks’ which are applied to images in real time. The left side of the top plate is typically bare, but without the viewfinder bump, it might have been nice to have included an ISO or exposure comp dial.

Moving on to the rear, it’s standard fare except for the lack of a joystick. This is a real backwards step as far as I’m concerned. I can’t imagine it would have been an expensive addition. It simply means you’re forced to use the d-pad, which isn’t always as comfortable for your thumb, when holding the camera to accommodate its viewfinderless design. Thankfully, though, the buttons are solid and pleasantly spongy.

The Nikon Z5IIC has a single SD-card slot, which is a downgrade from the Z5 II. However, this isn’t a pro-grade camera, and if you’re a stickler for pro features, you’re going to want a viewfinder anyway. As such, I think this is a sensible cost-saving measure that won’t bother most, especially with the ever-increasing price of memory cards these days.

On the front of the camera, you’ve got two Fn buttons, which can be reached by extending your middle and forefinger from the grip, so they can be activated one-handed. And, like other Z-series cameras, the Z5IIC’s controls are highly customizable, so you can make the setup work for you.

The camera uses Nikon’s standard EN-EL15c rechargeable Li-ion battery. According to the CIPA Shot Rating, it’s rated for 350 shots, which isn’t much different from the Nikon Z5II’s 330-380. During use, I can confirm that the battery held up as well as could be expected. Any concerns you might have about the rear LCD always being on can be easily dispelled. Firstly, by getting into the habit of switching your camera off when not in use. And secondly, by the fact that a standard mirrorless is constantly switching between an EVF and a rear LCD, the power usage isn’t going to be much different.

Nikon Z5IIC: Performance

Nikon’s second-generation Z-series lineup consists of the Nikon Z9 at the very top of the pyramid, with varying degrees of tech trickling down to other cameras in the range. As such, all of Nikon’s cameras boast very solid core performances and the Nikon Z5IIC is no different.

In a world of high-megapixel sensors, you could look down upon the Z5IIC’s 24.5-MP sensor, but like all of Nikon’s full-frame image files, the stills you get from the Z5IIC really are top tier. RAW files stand up to generous cropping and are extremely pliable in post; they’re just an all-around treat to work with.

And if editing RAW files isn’t your thing, the Nikon Z5IIC is loaded with Nikon’s Picture Controls. Think Fujifilm Film Simulations, but not as good fresh from the box. Thankfully, Picture Controls can be edited so you can come up with your own ‘recipes’, and you can even download examples from other creators.

A fairly recent update that debuted on the Nikon Zf is Film Grain. This complements Picture Controls by adding retro film grain to images. Not only does it look the part, but the grain isn’t uniform, so each application is different. I tested this myself and can confirm that it does indeed hold up to scrutiny. You can customize the grain by choosing from three different sizes and seven different intensities. I wouldn’t recommend using everything maxed out, but the default settings do look very convincing.

Another feature that really lives up to the Nikon Z5IIC’s ‘Casual’ moniker is the presence of Scene Modes. The Z5IIC is the first full-frame Nikon camera to feature Scene Modes, and while that might not seem like a big deal, I think it’s a great addition. These modes are a great way for novice photographers to exercise a little creative agency beyond the one-size-fits-all Auto Mode.

There are 15 Scene Modes in total, allowing you to adapt quickly to a variety of shooting situations. For example, I photographed my dog using the Pet Portraits Scene Mode. The camera instantly opened up the aperture and switched to Animal-Detection AF, so all I had to do was compose my image and fire the shutter.

Similarly, I tried out Night Landscape and Autumn Colors; the camera instantly adapted to both scenarios, raising the ISO and opening the aperture in low light, and warming the image and boosting the saturation when capturing autumnal foliage. Picture Controls and Scene modes aren’t for everyone, but I think they fit the Z5IIC’s intended demographic and are definite selling points for the right photographer.

When it comes to autofocus, the Nikon Z5IIC performs very well. Sure, it can get a little stuck or confused at times, like any AF system, but provided you take the time to learn Nikon’s various modes, you’ll be well rewarded. I enjoy using 3D tracking, Wide-Area AF, and Single-Point AF, swapping between modes depending on the subject or scene at hand.

I own a Nikon Z8, and while the Z8 will certainly perform better in a side-by-side comparison, I didn’t find myself bemoaning the Z5IIC’s performance, which is high praise indeed. And of course, the Nikon Z5IIC has an autofocus mod con that currently no other Nikon camera has – not even the flagship Nikon Z9 – and that’s fish subject-detection.

Now, I initially found this quite the novelty, but in a world of ever-expanding AF algorithms, why not? I actually used to know a professional photographer who photographed fish for fish-keeping publications, and I’m sure he’d be very happy indeed with this development. It’s exciting news for underwater photographers, too, because put a camera with fish AF in an underwater housing and you’re golden.

Speaking of gold, I did my due diligence and found myself a fitting subject to test out this new autofocus mode. Thomas is a rescued fairground goldfish who resides in a local art studio owned by incredibly talented wildlife artist Jacqueline Byrne (@jacquelinebyrne.art). Jackie kindly allowed me to use Thomas as a model and I was pleased to find that the camera not only detected the goldfish’s body, but also locked onto his eyes.

It did struggle at times, but the conditions were challenging. Reflections and scratches on the tank glass, not to mention underwater foliage, and my need to shoot wide open in low light, all contributed. But fish AF works and isn’t quite the joke addition it may at first seem.

The Nikon Z5IIC’s form factor certainly lends itself to videography, and just like the Nikon Z5 II it boasts some decent specs. Arguably the biggest selling point is internal 4K 30p full-width RAW video. And while it’s nice to have, I always thought it was a little out of place on the Nikon Z5II, and I still think it’s a little out of place on the Nikon Z5IIC.

A lot of pro videographers don’t shoot RAW video. After all, it fills up storage as a pastime, creates increased internal heat, and is power-hungry in the edit. That said, it’s nice to have as an option. Although, a word of warning: make sure you’re using a capable SD card. The Nikon Z5IIC will only record RAW video on a memory card that’s over 32GB. And if your memory card isn’t fast enough, it’ll stop recording before time.

When it comes to overheating, ambient temperature and camera usage will always affect the outcome, but I shot 13 minutes of uninterrupted RAW footage in real-world testing without issue. The Nikon ZR is proof that Nikon knows how to build a camera that’s very hard to overheat, and while I cannot comment on long-term video usage due to my very short time with the camera, I don’t have any immediate concerns. I also shot some 4K video. As you’d expect, the autofocus performed well; just be aware that 4K 60p enforces a 1.5x (DX) crop.

Another video boon is in-body image stabilization. It’s not surprising given that the Nikon Z5II also has it, but it was a crucial inclusion because the Z5IIC’s direct competitors also have IBIS. What they don’t have is 7.5 stops of stabilization, with the camera beating the Panasonic Lumix S9’s 6.5 stops and the Sony A7C II’s seven stops. This is a great feature for photographers, too. I’d argue it’s essential for the Z5IIC given its viewfinderless design, because you’re not holding the camera up to your eye, which is the most stable shooting position.

While the lower-resolution LCD screen didn’t really bother me when shooting stills, I do think it matters more for video. Metering is such an important part of videography, and while you’ve got aids such as zebras and histograms, every little helps if you’re not resorting to an external monitor.

One thing I would suggest that any Nikon Z5IIC owner does is head into Menu>Setup>Monitor Brightness and set the latter to its maximum setting. This will reduce battery efficiency, but you’ll get a brighter and more visible screen. As a photographer, I lament the flip-out screen craze, much preferring a tilting screen, but the Nikon Z5IIC is a camera built to adapt to both worlds, and a flip-out screen is definitely preferable for video.

Nikon Z5IIC: Sample images

Nikon Z5IIC: Lab Tests

Nikon Z5IIC lab test data

For this test, we have compared the Nikon Z5IIC with its closest competitors, the Nikon Z5 II, Sony A7C II, and Panasonic Lumix S9

Resolution

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Resolution Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	28	28	30	26
2	28	28	30	26
3	28	28	30	26
4	28	28	30	26
5	28	28	30	26
6	28	26	30	26
7	28	26	30	26
8	26	26	28	26
9	24	24	26	24

Dynamic Range

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Dynamic Range Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	12.51	12.52	12.21	12.19
2	12.5	12.52	12.62	12.02
3	12.51	12.27	12.51	11.95
4	12.5	12.37	12.52	11.99
5	12.12	11.99	12.45	11.71
6	11.79	11.59	11.88	11.32
7	10.9	10.26	10.9	10.99
8	9.82	9.35	10.02	10.03
9	8.81	8.59	9.26	9.16

Signal to Noise Ratio

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Signal to Noise Ratio Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	46.32	46.16	41.44	44.88
2	43.03	43.42	39.27	42.35
3	40.68	40.51	36.44	40.49
4	37.75	37.31	34.04	37.64
5	34.82	33.99	32.35	34.41
6	31.38	30.65	29.31	31.51
7	28.45	27.23	25.95	29.06
8	25.5	24.44	23.14	26.37
9	22.68	21.78	20.46	23.24

Resolution: It’s not surprising that the Sony A7C II comfortably beats the other full-frame cameras thanks to its 33-MP sensor, with the Panasonic Lumix S9 bringing up the rear with its 24.2-MP sensor. The bigger surprise is the Nikon Z5IIC’s performance in relation to the Nikon Z5 II, exhibiting sharper images between ISO3200 and ISO12,800. However, this could simply be a variation in optics, and in a real-world scenario, the difference is going to be negligible.

Dynamic Range: Each camera boasts impressive dynamic range and despite differences in resolution, there really isn’t much to separate them. The Sony A7C II just about wins, as to be expected, but the Nikon Z5IIC more than holds its own, performing better than both the Nikon Z5 II and Panasonic Lumix S9. Again, the race is so tight, you’re unlikely to notice much difference in a real-world scenario.

Signal to noise ratio: The lower-resolution sensors come out on top here, with the Sony A7C II’s higher resolution proving its undoing, although it doesn’t lag far behind. When it comes to the two Nikons and the Panasonic Lumix S9, you’d have to defer to a photo finish to work out who’s pipped who to the post, but it does look like the Nikon Z5IIC has outperformed the Nikon Z5 II once again.

Nikon Z5IIC: Verdict

The Nikon Z5IIC is a tale of two halves. On the one hand, it has a slightly awkward design. On the other, its performance punches above its weight. I’m no stickler for always looking through the viewfinder, but the biggest benefit of viewfinderless cameras is their increased portability.

And yet, losing the viewfinder doesn’t impact the size and weight of the Z5IIC enough; it’s still a big lump. The upside of this is that it’s built like a tank and feels like a premium, weather-sealed product. I’m not saying the heft is a dealbreaker; just make sure you try it on for size before you buy.

Under the hood is where the camera really gains some ground. It’s a fantastic all-around performer, with great autofocus, gorgeous stills, solid video specs, and impressive in-body image stabilization. Plus, you get the rather unusual (if superfluous) bonus of RAW video.

Scene Modes is an unlikely standout for me. It really lives up to the Z5IIC’s ‘casual’ moniker and allows anybody to get creative with the camera from the offset. Picture Modes and Film Grain serve as the next step in creative agency, allowing you to apply ready-made or custom presets to your images in real time.

Finally, the Nikon Z5IIC is competitively priced. At $1399.95 / £1,349, it sits between the Sony A7C II and Panasonic Lumix S9. It’s not a cheap camera by any means, and I do wonder how appealing that price point is to its ‘casual’ target audience. But it’s got the specs of a more expensive camera.

Overall, I was ready to hate on the Nikon Z5IIC when it was announced, but I’ve been pleasantly surprised by how much I’ve enjoyed my limited time with the camera. That said, I wonder if its size and weight could be its undoing.

It’s too big to be an everyday carry, and I fear it may be too intimidating for its ‘casual’ target audience. I hope I’m proved wrong, because this is a well-built, exceedingly capable full-frame camera. Just like its blueprint, the Nikon Z5 II.

Nikon Z5IIC: Alternatives

Check out our guide to the best mirrorless cameras, and our rundown of the best Nikon Z lenses

As a photographer using a Fujifilm mirrorless camera, there’s been more than a few times that I wish the viral X100VI compact camera was easier to get my hands on. But it’s not just the compact camera’s size that I’m jealous of – one of the features that I wish I could tuck into my mirrorless is actually the compact camera’s unusual viewfinder.

The Fujifilm X100VI uses a hybrid viewfinder design that fits both a traditional optical viewfinder and an electronic viewfinder into one. The hybrid design launched with the first X100 series camera and remains an iconic part of its retro design.

But despite Fujifilm’s hybrid viewfinder being around for more than a decade, the feature hasn’t bled into many of the company’s mirrorless cameras. The one exception is the X-Pro series. Cameras like the X-Pro3 also had a hybrid viewfinder, but the discontinued X-Pro3 is only available used.

The hybrid design mixes the best of optical viewfinders, which are pure optics, with the best of electronic viewfinders, which are screen-based viewfinders, because photographers can choose to switch between the two. (Or use the electronic rangefinder mode that puts a small EVF window inside the optical viewfinder.)

When I first transitioned from a DSLR to mirrorless, I loved the electronic viewfinder because I could see exactly what I was photographing, down to the exposure and colors.

But when I’m working with flash, I usually find myself missing the old-school optical viewfinder. When I’m exposing for the flash, the exposure preview on the EVF renders a dark image because, without the flash of light, that’s what the exposure would look like. I have to turn off the exposure preview option on the EVF in order to get around that darkened viewfinder.

That’s why I often find myself thinking about not just the X100VI’s small size, but its unusual viewfinder. The hybrid design allows photographers to choose whether they want a true optical viewfinder that shows the scene without screen lag or an electronic one that shows an accurate exposure and white balance preview.

I suspect one of the reasons that the hybrid design hasn’t become more widespread is that the optical view has a number of limitations, particularly when mixed with modern camera tech. The electronic viewfinder mode is a must for using features like eye detection and subject detection autofocus.

Putting a hybrid viewfinder on a camera with swappable lenses is a different beast from putting one on a fixed lens camera, but the X-Pro3 proves it’s possible.

Still, I love the film-like controls on my Fujifilm mirrorless, and the classic optical viewfinder feels much more classic than a modern EVF. The option to choose between either type depending on what I’m shooting and the experience I’m looking for is something that I would love to have without giving up swappable lenses.

The hybrid viewfinder seems particularly notable with the rise of screen-free compact cameras, digital cameras that use traditional optical viewfinders and skip the ability to view photos.

The price of the Fujifilm X100VI has me eyeing pancake lenses as a portable alternative instead – but mirrorless alternatives like the X-E5 don’t offer the same hybrid viewfinder experience.

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I've always admired Leica for its willingness to do things differently, and perhaps one of the best examples of that philosophy is its S-series of medium format cameras. While the Leica M-series has become synonymous with rangefinder photography, and the Q and SL systems have established themselves as incredibly capable modern cameras, the S-series has quietly faded into the background.

Its most recent model, the Leica S3, arrived back in 2020, and for years there have been rumors suggesting that a successor, widely referred to as the Leica S4, was in development. However, more recent reports suggest Leica has significantly reduced its medium format development activities, with engineers previously working on the S-series reportedly reassigned to the company's SL and M divisions.

For me, that raises an interesting question: as much as I would love to see another Leica medium format camera, does the world really need an S4, and more importantly, does Leica?

To understand why this is such a difficult decision, you first have to appreciate what made the Leica S-series special. Originally introduced with the Leica S2 in 2008, the system was Leica's answer to professional medium format photography, combining the image quality and larger sensors traditionally associated with studio cameras with the familiar handling of a DSLR.

The latest Leica S3 took that philosophy further, introducing a 64MP medium format sensor measuring 45 x 30mm, an optical viewfinder, and Leica's exceptional S-mount lenses. It was a beautiful camera capable of producing extraordinary images, but it was also a rather chunky piece of equipment, particularly when compared with today's increasingly compact mirrorless systems. And therein lies one of the biggest problems facing any potential successor. The photography industry has moved on considerably in the six years since the S3 arrived, and I struggle to see how Leica could simply update the existing formula and expect it to compete with the likes of Fujifilm and Hasselblad.

The rumored Leica S4 has been an interesting story to follow. Previous reports suggested Leica was working on an entirely new mirrorless medium format system, potentially featuring a new lens mount and accompanying optics. In May 2025, Leica chairman Dr. Andreas Kaufmann was reported to have acknowledged that the camera was still being developed. Yet, by May 2026, Leica Rumors was reporting that the dedicated medium format development structure had effectively been dissolved, with personnel moving to other projects.

Interestingly, Leica's vice president of global marketing and communications, Andrea Pacella, subsequently told Digital Camera World in August that the company had not abandoned medium format, but had paused development of its next-generation S camera while waiting for advances in sensor and processing technology. So, while the S4 may not be completely dead, its future certainly appears uncertain.

I think one of Leica's biggest headaches would be deciding exactly what a modern S4 should look like. Today, we have cameras such as the Fujifilm GFX100S II delivering 102MP resolution in relatively compact bodies, while Hasselblad has established itself as another major player in the 100MP medium format market. For Leica to launch a new S4 with the S3's existing 64MP resolution would undoubtedly raise eyebrows, even though I personally believe 64MP is more than enough for almost any photographic application.

However, moving to a 100MP sensor introduces another question: what happens to all those wonderful Leica S lenses? While increasing resolution doesn't automatically mean existing lenses need replacing, it would certainly put their optical performance, autofocus capabilities, and compatibility with a modern system under greater scrutiny. Would Leica have to redesign some of its glass to deliver the performance photographers expect from a new flagship? And if so, how much would that add to the already considerable cost of developing a new camera system?

Then there is the physical design of the camera itself. The Leica S-series has always followed a traditional DSLR-style design, complete with a mirror box and a substantial body, which made sense when the system was first introduced. But I cannot imagine Leica releasing a new medium format DSLR in today's market.

A mirrorless S4 would almost certainly be the direction to take, allowing for a slimmer camera body, an electronic viewfinder, improved autofocus, and potentially in-body image stabilization. However, making that transition properly could mean developing an entirely new lens mount, something previous rumors had already suggested. Leica could potentially retain compatibility with existing S-mount lenses through adapters, but that still leaves the prospect of developing a new generation of native lenses designed specifically for the shorter flange distance and more compact proportions of a mirrorless system.

Suddenly, what initially sounds like a relatively straightforward upgrade from 64MP to 100MP becomes the development of an entirely new camera ecosystem. And knowing Leica's commitment to optical quality, I cannot imagine the company wanting to cut corners.

What makes the situation even more complicated is Leica's current position in the photography market. The Q3 and Q3 43 have helped make the Q-series one of the most compelling premium compact camera systems available, while the SL-series continues to develop into a serious professional alternative to Canon, Nikon, and Sony.

Then, of course, there is the M-series, which remains at the very heart of Leica's identity and offers something genuinely different from almost anything else on the market. These are camera systems with established audiences, recognizable identities, and extensive ecosystems that Leica can continue refining. Developing a new medium format system would require enormous investment in research, development, manufacturing, and marketing, all to compete in a relatively small segment already served incredibly well by Fujifilm and Hasselblad.

When I look at it that way, the reports of Leica redirecting resources toward its SL and M systems make perfect business sense, particularly when those resources could help develop the next generation of cameras and lenses that existing Leica customers are already invested in.

Of course, the photographer in me would still love to see Leica surprise us with an S4. There is something undeniably appealing about a beautifully engineered Leica medium format camera, particularly one that could combine the company's outstanding lens design with a modern 100MP sensor and a more compact mirrorless body.

But the realist in me thinks Leica has a much bigger decision to make than simply whether to release another camera. To bring back the S-series successfully, Leica would need to create something that feels genuinely different from what Fujifilm and Hasselblad are already offering, rather than simply attaching a red dot to another high-resolution medium format system. And that would be no small undertaking. I would much rather see Leica continue pushing the boundaries of its hugely capable Q, SL, and M cameras than spend years and significant resources resurrecting a system that might struggle to find its place in today's market.

The Leica S-series deserves to be remembered as something special, but perhaps, just perhaps, its greatest legacy is what it has already given us, rather than what Leica might attempt to create next.

I must confess to not originally being aware of the film-era Olympus Pen, launched way back in 1959. At least not until the digital version, 2009’s Olympus PEN E-P1, landed a cool 50 years later, complete with a press trip to a cinema in Berlin, where the usherettes were dressed in 1960s garb.

Nevertheless, the retro styling of the PEN E-P1 had the effect of making me feel nostalgic for something I’d never experienced. Which is a neat trick to pull off, in terms of marketing.

I’ve owned one of the digital PEN’s compact mirrorless successors, the E-PL7, for a decade now and it’s the camera I return to the most, for a very simple reason: its balance of portability and quality hits the sweet spot for me.

I don’t need a full-frame sensor or anything bigger than what the Micro Four Thirds system offers as my photographs are used almost exclusively online these days and I’m never asked for prints, let alone billboard sized ones.

When Olympus’s former camera division became the newly formed OM Digital Solutions shortly after the Covid pandemic, it seemed, briefly, that the PEN range had been put out to pasture. So, I was pleased to see it resurrected and hopefully re-invigorated as, simply, the OM System PEN. It wasn’t the PEN F Mark II continuation some were expecting, but a case of dialling it right back to the beginning again, like rebooting a movie franchise.

Resembling a modern classic from the get-go, the 2026 PEN more expectedly features various under-the-bonnet tweaks to bring it in line with more recent OM System releases, including a Computational Photography button plus, this time around, phase detection auto focus with 121 AF points.

OK, if I’m being picky, I would have preferred a metal chassis to the plastic / polycarbonate body we’ve been given, but then that would have impacted both lightweight build and price. While I approve of its weather-sealed construction, I also like the fact that, in the age of the influencer, its maker has kept this very much a ‘photography first’ camera. In an age where competitors have sought to primarily seduce videographers as the most ‘sticky’ form of content creation, that almost feels like a rebellious stance.

Now all I need to work out is how I can blag one from the former Olympus to update my ageing E-PL7 workhorse.

Digital cameras with an old-school look have been rising in trend for a few years now, but some of the latest retro camera launches take inspiration from a film format popular in the 1970s and 1980s: The boxy, compact 110 camera.

The 110 film format was first introduced by Kodak in 1972, but the format became particularly popular in the 1980s and 1990s because of its simplicity. Unlike a roll of 35mm film, 110 film didn’t have to be carefully unfurled into the sprockets of the camera – the full cartridge just popped into the back.

Now, digital lookalikes have started to emerge. The Camp Snap 110D takes the boxy, pocketable look of a 110 film camera and gives it digital guts as a screen-free digital camera. The newly announced Camp Snap 110 is so popular that its first batch of pre-orders sold out quickly.

The Camp Snap 110 isn’t the only rectangular compact camera that’s getting a refresh in 2026. The Yashica Y16 launched in 1959 before Kodak created the 110 format, but the old-school camera took 16mm film that loaded into a custom cartridge. While not a 110 camera, the Yashica Y16 has the boxy look – and the Y16 is also getting a digital version.

It’s not just digital dupes of the 110 format that have gotten new camera launches in 2026. This year, quirky film brand Lomography has released refreshed designs of the Lomomatic 110, bringing a brass cheetah pattern and red dot design to the 110 film camera that originally launched in 2024.

According to data from Google Trends, searches for “110 cameras” reached a ten-year high in 2026, suggesting a renewed interest in the camera format.

While that suggests a surging trend for 110 cameras, that data doesn’t exactly pinpoint why a film format that debuted in 1972 is seeing renewed interest in 2026. But, retro 1980s-inspired photos have been trending on social media –so it only makes sense that cameras inspired by the same decade may be seeing renewed interest.

The 110 camera also fits neatly into the trends for compact cameras and the trend for retro cameras. 110 film cameras were small, pocketable, and simple to use – and the lower cost for 110 film didn’t hurt either.

I can remember popping a pack of 110 film into a camera myself as a kid in the 1990s. The format was small, simple – and is likely behind a good majority of my childhood photos.

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The simple cartridge makes 110 cameras a good entry into film photography for beginners. Read the Lomography Lomomatic 110 review or browse the best film cameras.

Yes, DSLR shipments may have fallen 30% year-on-year while fixed lens compact shipments have risen by the same amount. But DSLRs didn’t stop being good overnight simply because the market shifted to smaller alternatives.

There’s also been a recent twist. Pentax has teased a whole new concept for the DSLR format, while simultaneously ceasing production of every one of its current models. By doing so it’s generated confusion and excitement in equal measure.

The message is clear: photographers shouldn’t consign the DSLR to history just yet.

Plus, if we frame DSLR as a ‘classic’ format, while outlining the reason why it deserves to stick around, not instead of, but as well as competing options, including mirrorless cameras, maybe that will be enough to placate the DSLR’s haters.

Sure, we’ve long been conditioned to believe ‘mirrorless = good / DSLR = bad’. But the sensible response is that they’re both simply different paths photographers take to arrive at the same destination.

So, to cut to the chase, why is it still worth considering purchasing and still using a DSLR in 2026?

For those on a budget, a DSLR is often the very definition of a best buy. Though Canon products tend to depreciate the least, a declining market for DSLRs means that there are used bargains to be had; not just regarding the camera bodies but all the accessories that go with them.

It’s inarguable that you can now kit out a full-frame DSLR for far less than what the latest mirrorless system costs, making DSLRs the perfect back-up body option.

Then there are also operational considerations – and bonuses.

One thing I really appreciate about still using a DSLR is the large and bright optical viewfinder, as opposed to an EVF or LCD screen, the latter of which reflects and is tricky to view in strong sunlight.

Plus, because an EVF or LCD is not constantly draining my camera’s juice, I can shoot all day on a DSLR without fretting that dreaded low battery warning. So, using an optical viewfinder doesn’t boil down to personal preference or nostalgia.

Next, there is the DSLR’s typically deep and chunky handgrip that provides a nice counterbalance to whichever lens is currently in use. It just feels right. Likewise, in the DSLR’s favor is a durable build quality that, unlike most mirrorless bodies, doesn’t compromise on ergonomics to hit a certain size and weight.

Yes, I fully understand that sometimes a camera that is lighter and more compact, including my go-to Olympus PEN Lite E-PL7, is more appealing as an everyday device to stash in the glovebox, while features of contemporary mirrorless cameras such as AI-enhanced subject tracking and 4K/6K/8K video recording also add a degree of future-proofing. I get it.

But equally, for those who don’t feel the need to constantly have the latest and greatest – valuing more a setup that reliably does the job and does it well – a DSLR that is reassuringly rugged and more professional-feeling still holds major appeal.

And as I’ve noted before, just because DSLR and mirrorless systems both exist, I don’t feel the need to take sides and use one exclusively over the other. Despite all the money put behind manufacturers’ marketing push.

So, the message is shoot smart… and not just with whatever is currently on trend.

Check out the best DSLRs that you can still buy today

Filming any form of wildlife, whether it's a rare mammal in the rainforest or a common bird in your garden, can be maddeningly difficult. It's not just that animals are generally wary of humans and like to stay out of our way. When you point a camera at them, they instinctively sense they're being hunted and are even less likely to show up in the way you're hoping for.

A trail camera – a camera left in place that fires automatically when an animal passes – can help get around that issue. Yet with certain animals, you're still crossing all your fingers and thumbs that they'll turn up at all. And the giant armadillo very much fits into that category.

Native to much of South America, it's well known for staying out of sight. It lives alone, spends the day in its burrows, and mostly comes out after dark to look for food. Babies are especially rare to see, because giant armadillos breed so slowly: females give birth only about once every three years.

All of which makes this new footage all the more remarkable: a camera trap in the Peruvian Amazon has filmed a baby giant armadillo in the wild

Conservation group Amazon Research International set up the camera in the Loreto region of Peru. The short clip, which you can see below, shows the young armadillo scurrying through the forest.

“Giant armadillos are amongst the most difficult animals to see on a camera trap,” Rosa Vásquez Espinoza, the group’s founder, told Wild Lives, the BBC Wildlife podcast. “People can spend over a year [with] hundreds of cameras to try to get a single clip.”

She put her team’s success down to working with Indigenous colleagues and added: “Seeing a baby giant armadillo is not something we ever dreamed of. It’s so hopeful for us, seeing all this wildlife.”

Filmed with purpose

It’s a fun clip, but there’s a serious point to it. The giant armadillo is listed as vulnerable by the International Union for Conservation of Nature (IUCN), and its numbers are falling due to habitat loss caused by deforestation, cattle ranching and farming, as well as hunting.

Now Amazon Research Internacional plans to use its footage as evidence to push for a new local law in Loreto to protect the giant armadillo and other large mammals. Part of this area is already protected because of Espinoza’s work with stingless bees.

You can hear the full interview on the Wild Lives podcast from BBC Wildlife.

In second place to Canon only, in terms of total sales and shipment numbers, yet arguably in pole position for its sensor technology with more than 50% market share, Sony is without question a massive presence in the photographic world.

But it’s rarely a brand that I get excited about, or by. You may feel the same. Why?

As part of my attempt at an answer I’ll acknowledge there is something very competent about Sony. Impressive even, given the consistent quality of its products. Pioneering too, in that it was the first company to bring a full-frame mirrorless camera to market back in 2013, when the Alpha series A7 and A7R were unveiled, following on from the previous year’s fixed-lens Cyber-shot RX1.

13 years on, however, and Canon and Nikon also have comprehensive full-frame interchangeable-lens mirrorless ranges. So that period of Sony feeling in any way special to photographers was short lived. But is that on its own why I don’t feel much love or loyalty to the brand?

Probably not.

Turning the clock back further, Sony notably purchased Konica Minolta’s imaging expertise to fast track the launch of its own Alpha DSLR series in 2006. Again, at that time this felt like a real statement of intent and display of manufacturing might. But am I subconsciously still unable to shake a feeling that Sony hasn’t quite paid its dues, by not starting from scratch itself? Brand heritage must be earnt, not just bought, surely.

Or maybe it is something more superficial. Something about the angular, utilitarian and almost at times brutalist and perfunctory design of Sony’s cameras that doesn’t give me that pang of nostalgia that say, an OM System PEN or Leica rangefinder camera does? With its consumer electronics background, Sony does appear to focus on function rather than form, and care about capability rather than craft.

And what about the output of Sony’s cameras themselves? Is there something clinical and sterile about the appearance of its images that lacks the inherent warmth of competing brands? Or is that all in my head?

It may just be it’s a combination of the above, that, when compared with legacy players, Sony feels more like a brand to admire and less like a brand to love. Recent releases including the Alpha 7R VI and the upcoming FX5 have done little to shake that feeling.

So, what now? Should Sony embrace what the others have got right? Should a usually future-facing electronics brand instead go enthusiastically retro?

OM System’s most affordable stabilized, weather-sealed compact mirrorless camera is so popular in Japan that its launch date has now been pushed back a full month – and that's just for customers who placed pre-orders on the first day.

OM System Japan issued an apology stating that the demand for the PEN has been so high that the first pre-orders will now start shipping in the region on November 28, nearly a full month after the camera was originally expected to roll out.

That’s not the first time that OM System Japan has apologized for delays, but while earlier announcements suggested a “November or later” delay, OM System Japan has now shared a new release date for the camera in the region on November 28.

Postponing the official launch date will allow everyone who ordered before September 10 to get their camera on the launch date. The camera was announced on September 09, so the pre-orders from the very first day have been delayed by a full month.

The announcement doesn’t indicate when later pre-orders will begin shipping.

The OM System PEN has a staggered rollout scheduled for different regions. The camera is already shipping in the US on schedule for the promised “late October” rollout. In Europe, the camera was expected to begin shipping in late September, but several photo retailers still have the camera listed as a pre-order.

Those delays hint at how popular OM System’s latest camera is. The PEN has long been a popular line for the company, mixing a retro style with simple controls.

But the OM System PEN may be drawing more than just the photographers who have been waiting for an update to the beloved series. The mirrorless camera uses a compact retro design that OM System says is built for everyday carry. The PEN also feels like a compact camera alternative to pricey fixed-lens cameras like the Panasonic Lumix L10 and Fujifilm X100VI.

Priced at $999 / £849 / AU$1,499, the PEN is one of the cheapest mirrorless cameras that has both stabilization and weather-sealing. The IPX1 rating isn’t as robust as higher-end models, but finding both stabilization and a bit of rain resistance on a mirrorless is difficult to do at this price point.

The PEN’s popularity is likely more widespread than in Japan. All four variants of the PEN – the two colorways, with and without a kit lens – sit among US retailer B&H’s top trending cameras for September, hinting at a healthy number of pre-orders.

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Take a look at the best Micro Four Thirds cameras or the best retro cameras. Or, read the full OM System PEN review.

Smart bird feeders that allow you to capture images and video of the visitors to your garden have been highly popular for the last couple of years. But many of these high-tech devices that are controlled via your smartphone have been relatively expensive. Birdbuddy is doing something about this with the release of the Birdbuddy Nook – which will retail from $99 when it starts shipping in November.

This five-megapixel bird camera was first shown at CES at the beginning of the year - when it was being touted as the Birdbuddy 2 Mini. Now renamed the Nook, the camera can capture Full HD video and 5MP stills and offers a 135° field of view.

A neat feature here is that you get to choose between vertical or horizontal capture modes - to suit how you are going to use and share your best clips.

The built-in 3900mAh rechargeable battery can power the device for up to a month, and it topped up using a USB-C connector.

Using wifi to connect to your home network, the free app will not only send notifications about new sightings to your phone - it will also warn you if a cat is on the prowl in your backyard, or if a bird looks sick. It will also identify the names of birds that you have visiting, from a database of 11,000 species.

The Nook ships with a hook for suspending the feeder and a universal mount for attaching it to a pole. A wall mount is available as an optional extra.

Well worth the extra investment, is the optional solar panel - which can be bought at purchase as the Nook Solar for $159.

Sigma has always done things a little differently when it comes to cameras, and while most manufacturers seem happy to follow a familiar formula, Sigma has been responsible for some of the more interesting and unusual designs of recent years. The Sigma BF is perhaps the most obvious example of this, but the original Sigma fp was another camera that challenged what a mirrorless camera needed to look like.

The Sigma FP2 continues the original fp's philosophy of packing as much photographic and filmmaking capability as possible into the smallest body Sigma can manage. This latest generation brings a new 24.5MP partially stacked full-frame sensor, improved autofocus, a tilting screen, more internal storage, and substantially upgraded video capabilities, including 6K open-gate recording.

The FP2 is an L-Mount camera, which means it has access to lenses from Sigma, Panasonic, Leica, and other members of the L-Mount Alliance. It also shares some of its core appeal with the Panasonic Lumix S9 and Sony ZV-E1, two other relatively compact full-frame cameras that aim to appeal to photographers and video creators who would rather not carry around a bulky camera body.

However, I think the closest alternative in terms of capabilities is actually the Panasonic Lumix S1 IIE, which offers a similar set of specs but in a much more traditional mirrorless camera body.

The FP2 is a particularly interesting option for anyone looking for one of the best cameras for filmmaking, especially where weight and size matter, although Sigma is also positioning this as a capable hybrid camera for stills photography.

The question is whether all those impressive specifications can make up for the compromises required to fit everything into such a small package.

Specifications

Price

The Sigma FP2 will be available from November 11, 2026, with prices starting at $2,199 / £1,899 for the body only. There are also two bundle options, with the FP2 and the optional EVF-21 viewfinder costing $2,699 / £2,399, while a kit with Sigma's 50mm f/2 DG Contemporary lens costs $2,749 / £2,419.

Pricing puts the FP2 in an interesting position, as there aren't many cameras that offer exactly the same combination of size, features, and expandability.

The Panasonic Lumix S9 is substantially cheaper and has many of the features that I would want in an everyday full-frame camera, including excellent image stabilization, although it lacks some of the FP2's more advanced video options.

Meanwhile, the Lumix S1 IIE is closer in price, especially when discounts are considered, but offers a more substantial camera body, a built-in electronic viewfinder, a fully articulating screen, and IBIS.

I think the FP2 offers good value if your priority is having the smallest possible camera with a respectable full-frame sensor and serious video capabilities. However, you're paying a premium for that miniaturization, and if size isn't one of your main priorities, there are arguably more practical cameras for the money.

Design & Handling

The first thing that struck me about the Sigma FP2 is obviously just how small it is. I already thought the Panasonic Lumix S9 and Sony ZV-E1 were impressively compact full-frame cameras, but the FP2 manages to be smaller than both, although it is a little deeper and boxier in shape.

Sigma has stuck to the same fundamental design as the original fp, with a simple rectangular body that looks more like a tiny cinema camera than a conventional mirrorless camera. There's very little in the way of unnecessary styling, and the overall design is almost aggressively minimalist.

I think it's a very, very cool-looking camera. However, looking good and being comfortable to use are two very different things.

There is essentially no grip on the front of the FP2, with Sigma instead opting for a completely flat surface. Around the back, there's a tiny rubber thumb rest, but it's not especially substantial, and there isn't much else in the way of molding to help you get a secure hold of the camera.

I own a Panasonic Lumix S9, and one of the first things I did after buying it was get a grip extension. I think I'd have to do exactly the same with the FP2, although that somewhat diminishes the appeal of having such an impressively small camera in the first place.

With a small prime lens attached, the FP2 is a great street and travel setup. I paired it with a compact Lumix 40mm prime, and the combination was incredibly easy to slip into a small sling bag, although it's not quite pocketable.

Unfortunately, larger lenses are another matter. I tried using the FP2 with my Lumix 24-60mm f/2.8, but it shifts the balance to make the camera very front-heavy, and more uncomfortable to hold. I found myself needing two hands on the camera at pretty much all times.

There is no builtin viewfinder, so the optional EVF-21 is – in my opinion – an essential accessory for photographers. This attaches to the side of the FP2 using USB-C and provides a 5.76-million-dot OLED viewfinder that can tilt upwards by 90 degrees.

I had a brief opportunity to try this viewfinder at the FP2 launch event, and I was impressed with its image quality. It's also smaller than the viewfinder offered with the previous generation, although it still adds quite a substantial amount of bulk to the camera.

So with no built-in EVF, you'll likely be relying much more on the screen. Sigma has made one of the biggest improvements over the original fp by introducing a tilting screen. The 3.15-inch display can tilt upwards by 90 degrees and downwards by 45 degrees, making it much easier to shoot from high and low angles.

It's a welcome addition, but I wish Sigma had gone a little further. The screen doesn't flip forward for filming yourself or taking self-portraits, and while a full vari-angle screen would make the tiny camera larger, I would have loved something like the tilting mechanism on the Fujifilm X-E5, which can fold all the way up and over the top of the camera.

Screen quality is otherwise excellent, with a sharp and clear picture that makes composing and reviewing images a pleasure. Unfortunately, I found the maximum brightness a little limiting in direct sunlight, and on particularly bright days in Lisbon where I was testing the camera, I struggled to see the screen clearly. As I didn't have the EVF at the time of testing, that made shooting less precise – and less enjoyable.

The camera's controls are relatively straightforward. On the top are two control dials, a two-stage shutter button, a dedicated video recording button, and a switch for moving between still and cine modes. I really like the tactile feedback from the dials, which have a reassuring click and feel robust.

Around the back, there's another control wheel, an AEL button, and a row of function buttons underneath the screen. The focus point can be moved using the rear controls, although this is not as intuitive as cameras with a joystick, and I ended up mostly tapping the screen to change focus. Some buttons can be customized, including the AEL button, although the customization options are obvious in the menus.

Sigma's OS is really nice. The menus are clean, modern, and without the endless pages of settings that can make some other camera systems feel unnecessarily complicated; however, this simplicity was a double-edged sword, as it is less obvious where I need to go to change certain settings. Sony's menus are a lot, but the page separation and icons do make it faster to navigate.

I also wish Sigma made better use of the touchscreen for menu navigation. While touch functionality is available for certain operations, I found myself wanting to swipe and tap my way through settings.

For connections, there are two USB-C ports, including a 10Gbps USB 3.2 connection for data transfers and external recording, along with a full-size HDMI port. The HDMI connection sits behind a protective cover, although the USB-C ports are left exposed, which gives me some reservations about dust and moisture getting in them. However, according to Sigma, the body has a dust- and splash-resistant construction.

Sigma has also incorporated a ribbed rear section to help dissipate heat, although there is no built-in cooling fan. This passive approach helps keep the camera small, but it's another reminder that Sigma is trying to fit some substantial filmmaking capabilities into an unusually compact body.

The FP2 uses the same 2,200mAh battery as Lumix cameras. Sigma rates it for approximately 370 still images or 130 minutes of video recording, although I was getting a fair bit more than that out of it, getting around twice the shots its rated for.

One final design feature I absolutely love is the inclusion of 70GB of internal storage, alongside the SD card slot. Every camera should have some form of built-in memory as a backup for those occasions when you inevitably forget a memory card.

Performance

The FP2 features a 24.5MP partially stacked full-frame CMOS sensor. For photography, I would usually prefer a few more megapixels from a camera at this price, particularly when there are now plenty of higher-resolution full-frame alternatives, but 24MP is still decent enough for most photography.

Image quality is excellent, with a good amount of fine detail, true-to-life colors, and plenty of flexibility when editing RAW files, which use the DNG format. I spent most of my time testing the FP2 with Sigma's 50mm f/2 and a compact Lumix 40mm prime, and both combinations produced great images from the FP2.

The main limitation comes when you want to crop your images substantially. I enjoy using prime lenses and digital crops, my main walkabout camera is the Fujifilm X100VI, where the higher-resolution sensor gives me plenty of flexibility, but the FP2's 24.5MP sensor doesn't offer quite as much room to play with.

I did notice that the camera's exposure metering had a tendency to produce slightly darker images than I wanted. I found myself regularly adding between +0.3 and +1 EV of exposure compensation to get the brightness I was looking for. But I must mention that I was testing a pre-production camera, so this behavior may change with the final firmware. However, it's something I would keep an eye on, especially if you prefer to shoot JPEGs straight out of camera.

Sigma has also included 13 built-in color modes, including Standard, Calm, Powder Blue, Warm Gold, Teal and Orange, and several more stylized options. These are easily accessible using a dedicated Color button and provide a quick way of changing the appearance of your images without having to edit them afterward.

Personally, I found some of these presets a little too heavy-handed for my tastes. There's something about the more subtle film simulations from Fujifilm that I find particularly appealing, whereas several of Sigma's modes feel more like digital filters.

That's obviously a matter of personal preference, and I'm sure plenty of people will enjoy having these creative options built into the camera, but I generally found myself returning to Standard.

The Standard profile produces nicely balanced colors that feel relatively true to life, with a sensible amount of contrast and saturation and it's a versatile starting point for most photography.

Unfortunately, Sigma doesn't offer the same flexibility as Panasonic's Real Time LUT system, which allows you to load your own color profiles directly onto newer Lumix cameras.

Autofocus has received a substantial upgrade over the previous generation, with the FP2 combining phase and contrast detection and offering subject recognition for people, dogs, cats, and birds.

The AF is good, its very quick, and the face detection works really well, although I had to use single spot autofocus more than I'd like as with wider focus, the FP2 just wasn't as good at picking out subject I was aiming for.

Sigma claims improvements in tracking speed and accuracy, including in low light, and the partially stacked sensor also enables burst shooting at up to 20fps, with Sigma quoting a maximum of 200 JPEG frames or 180 DNG RAW frames at that speed. Although I suspect relatively few buyers will be choosing the FP2 as their primary camera for wildlife or sports photography when there are more ergonomic alternatives with built-in viewfinders and image stabilization.

The biggest photographic compromise is undoubtedly the lack of IBIS. In a world where even some of the smallest full-frame cameras offer effective stabilization, its absence on the FP2 is difficult to ignore.

You can use optical stabilization when it's included in a compatible lens, but this limits the choice of lenses if you want to shoot handheld at slower shutter speeds. It's particularly disappointing given how well the FP2 pairs with compact prime lenses, many of which don't include optical stabilization.

Video performance

While Sigma is positioning the FP2 as a hybrid camera, I think it's pretty clear that filmmaking is where the FP2 is strongest.

The headline feature is 6K open-gate recording, which captures the full 3:2 area of the sensor rather than restricting footage to the usual widescreen aspect ratio.

I'm a big fan of open-gate recording, and I wish it were a standard feature on every camera. Having all that extra image area to work with makes it much easier to reframe footage for different platforms, particularly when you want to create both horizontal videos for YouTube and vertical clips for Instagram or TikTok from the same recording.

The FP2 can record 6K footage at up to 59.94fps using supported compressed formats, while ProRes RAW recording is available at up to 6K 29.97fps. There is also 4K recording at up to 60fps using the full-frame sensor, with higher frame rates of up to approximately 120fps available in crop mode.

Sigma offers a strong selection of recording formats, including H.264, H.265, L-Log, and ProRes RAW, providing plenty of options for filmmakers who want more control over their footage in post-production. And for more demanding workflows, the FP2 can output ProRes RAW to an external SSD connected via USB.

Sigma also claims up to 14.1 stops of dynamic range when shooting in L-Log. I particularly like that Sigma has opted for L-Log, as it gives me less of a headache when grading footage as not all Logs are created equal, and I already have LUTs designed to work with the format.

However, I do wish Sigma had also got in on Panasonic's MP4 Lite format as well. The 3.6K open-gate MP4 Lite files offers an excellent compromise between image quality, file size, and ease of editing, particularly for creators making content for social media. The FP2 has more advanced recording options available, but I would still appreciate a similarly straightforward format for occasions when I don't need the highest possible resolution or bitrate.

For substantial filmmaking, the FP2 also includes a Director's Viewfinder function, support for anamorphic de-squeeze, and professional monitoring tools such as waveforms, zebras, and false color. There is also support for 32-bit float audio recording when using compatible accessories.

However, the lack of IBIS is once again a significant consideration. The FP2 does offer electronic stabilization for video, but this introduces a 1.25x crop, and it cannot be used with 6K recording. However, Sigma has also included the ability to record gyro data alongside footage, allowing you to stabilize clips afterward using software such as Gyroflow.

It's not a perfect solution for anyone who needs the most stable footage immediately, as it introduces an additional step into the editing process, but at least its an option, and I don't really understand why all cameras don't offer it.

If you intend to mount the FP2 on a gimbal, where the FP2's unusually small body becomes a major advantage, particularly when you need to keep the weight of a camera rig down then the lack of IBIS becomes much less of a concern.

Sample Gallery

Early Verdict

I think the Sigma FP2 is one of those cameras that you have to really want, because the things that make it so appealing are also responsible for many of its biggest drawbacks.

Its tiny size is genuinely impressive, and when paired with a compact prime lens, it makes a fantastic little camera for traveling, street photography, or simply carrying around when you don't want to take a bigger camera. Image quality is excellent, the minimalist design is beautiful, and I really appreciate the improvements Sigma has made over the original fp.

However, there's no getting around the lack of IBIS, and I found the absence of a built-in viewfinder particularly frustrating when shooting photographs outdoors. Add a larger lens, and the small body quickly becomes less comfortable to hold, while fitting an optional grip and viewfinder starts to undermine the advantage of having such a compact camera.

The video capabilities are another story. I love the addition of 6K open-gate recording, and the flexibility offered by ProRes RAW, L-Log, external recording, and gyro data makes this a very tempting little camera for filmmakers. I think that's ultimately where the FP2 makes the most sense, particularly for anyone building a compact video rig or looking for a small full-frame camera to use on a gimbal.

The FP2 is a camera I really want to love, and in many ways, I do. However, it's also a camera that asks you to make quite a few compromises in pursuit of something that few other cameras offer.

Alternatives

After six years, Sigma’s super-small minimalist has returned – and the new Sigma FP2 fits 6K open gate, a tilt screen, and a larger-capacity battery inside an even slimmer body.

Announced on October 23, the Sigma FP2 takes the same unusual utilitarian design and hybrid focus as the original FP, but overhauls everything from the sensor to the autofocus. The new sensor has nearly identical still photo resolution at 24.5MP, but upgrades video from 4K to 6K open gate.

The FP2’s sensor also shifts to a partially stacked design. That only gives the burst speed a slight bump from 18 fps to 20 fps – but the buffer moves from a poor 12 shots to a more respectable 200, shifting the ability to maintain that speed from less than a full second to about ten seconds of continuous shooting.

Beyond the speed boost, the updated sensor also improves dynamic range, now up to 14.1 stops.

The original FP’s contrast detection autofocus system felt a bit outdated even in 2020, but the second generation overhauls this too, switching to a hybrid phase detection and contrast detection system. Sigma says that the move improves accuracy and speed, as well as performance in low light.

Like the first generation, the Sigma FP2 is a hybrid that leans a bit heavily towards the video side, with a switch to shift from cinema to still photo modes. Beyond the 6K open gate, the second generation also adds 32-bit float audio. In addition to shooting 12-bit ProRes, the FP2 can also shoot in Leica’s L-Log.

Unchanged from the FP is the camera’s image stabilization, which remains only electronic. That EIS isn’t available at the full 6K resolution, but comes into play for 4K and lower resolutions.

The body design of the Sigma FP2 remains very much in the same spirit of utilitarian, minimalist design – but there are a few key changes. Chief among them is the addition of a tilting LCD screen, which can tilt up to 90 degrees and down to 45 degrees to aid in shooting low and high angles.

The width and height of the camera remain the same, but the depth is a few millimeters smaller, allowing Sigma to once again bestow titles like the world’s smallest full-frame interchangeable lens camera.

While the design is slightly slimmer, the FP2 is heavier than the FP at 460g / 16.2 oz with the battery and memory card installed. The tilting screen and an updated battery with 30 percent more capacity are the likely culprits behind the slight weight increase.

The FP2 has a single SD card slot, but also has 70GB of built-in storage.

In the spirit of the original Sigma FP, the FP2 strips away several features but adds them back in using accessories, creating a compact system meant to be customized. The new EVF-21 external viewfinder, like the new screen, is tilt-capable, sporting 5.76 million dots across the .5-inch OLED.

The LVF-21 mounts over the camera’s built-in screen, helping to cut out glare while magnifying the monitor up to 2.5 times. A new baseplate attaches to that LCD viewfinder accessory and supports video accessories mounted to its 3/8-inch screw posts.

The hot shoe slot, battery charger, and a connector for running AC power are also add-on accessories.

The Sigma FP2 is expected to begin shipping on November 11, retailing for $2,199 / £1899 body only. The camera will also be available in a $2,699 / £2,399 kit with the add-on viewfinder, as well as with a 50mm f/2 DG Contemporary lens for $2,749 / £2,419.

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Compact cameras are the ideal companion for everyday shooting, travel adventures and capturing family moments. Best-selling lists in Japan, the US and the UK offer a snapshot of current trends – but some of the same point-and-shoot models keep appearing across different markets and retailers, even years after their launch, in top positions.

Right now, the No.1 best-selling compact camera on Amazon Japan and Amazon US is the Kodak PixPro FZ55. In the UK, it sits third in Amazon's compact camera Top 10. Close behind in Japan is the Kodak Charmera, a keychain camera that's popular due to its retro charm and collectible appeal.

The FZ55 launched in April 2023 and is available for only $139.99 / £129. Two years later, it was named Japan's best-selling compact camera in 2025 – and it continues to hold its own against newer models. So, what explains the FZ55's success?

Why the Kodak Pixpro FZ55 beats them all

Kodak's Pixpro series is known for its straightforward operation and affordable prices. That combination has helped the range find an audience worldwide.

The FZ55 is the standout model, with its predecessor, the FZ45, also proving popular and reaching No.3 in Amazon US's compact camera chart.

The FZ55 is a straightforward point-and-shoot camera with a 16MP sensor, 5x optical zoom and fully automatic operation. It has no headline-grabbing video specifications, elaborate app ecosystem, or attempt to compete on paper with premium compacts.

It focuses on the basics.

The compact camera comeback in recent years has helped fuel interest in models such as the FZ55. Social media trends and growing smartphone fatigue have also played a part, with more people looking for a dedicated camera.

Kodak has been particularly well positioned to benefit from this shift.

While much of the industry has focused on advanced features and hybrid shooting tools, Kodak has leaned into ease of use, portability and affordability.

The FZ55 is a standout example, but the brand's Pixpro C1 has also proved successful since launching in June 2025.

Their popularity reflects the strength of Kodak's strategy: offering accessible cameras that appeal to people who want to take pictures without getting caught up in complicated settings or expensive equipment.

Although compact cameras have evolved considerably, with more options now available for different users and budgets, simplicity and affordability remain powerful selling points.

The FZ55 is a prime example of why a camera launched in 2023 can still outsell newer models.

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Leica has never been shy about producing special-edition cameras, but its latest collaboration might just be one of its most exciting yet. The German camera manufacturer has teamed up with Formula 1 to bring a little motorsport magic to its hugely popular Q-series, unveiling the new Leica Q3 43 Formula 1 Edition.

Combining the precision of German engineering with the unmistakable design language of the world's most prestigious motorsport championship, this rather beautiful camera comes dressed in carbon fiber, racing-inspired details, and an exclusive new photographic look. However, with a price tag of $9,950 / £7,300 / AU$14,100, owning a piece of this partnership certainly won't come cheap.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens. However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. It also features a textured black Microvelour covering inspired by Formula 1 steering wheels, with subtle red accents, exclusive F1 branding, and a specially designed rope strap to complete the motorsport-inspired look.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack. Available exclusively for this edition through the Leica Fotos app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens.

However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. There's also a textured black Microvelour covering inspired by the steering wheels found inside Formula 1 cars, while subtle red accents, exclusive F1 branding, and a specially designed rope strap complete the motorsport-inspired appearance.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack.

Available exclusively for this edition through the Leica FOTOS app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

The Leica Q3 43 Formula 1 Edition will be available from October 21, 2026, through Leica stores, the official online store, and selected specialist retailers, priced at $9,950 at Leica Store / £7,300 at LCE. It's also compatible with the existing range of Leica Q3 and Q3 43 accessories.

There's no escaping the fact that this is an incredibly expensive fixed-lens camera, but then again, Leica has never really been about offering the cheapest way into photography. For enthusiasts who happen to love both Leica and Formula 1, this might just be the ultimate combination of two passions.

Trends have revived the point-and-shoot from the dead – and compact mirrorless designs seem to be riding the same wave. But amid the rise of the compact camera and the launch of a one-inch sensor mirrorless camera from GoPro, I can’t help but remember another compact mirrorless from another decade: The Nikon 1 series.

The Nikon 1 series was a line of tiny mirrorless bodies built around a one-inch sensor. The series launched in 2011 with the Nikon 1 J1 and the more advanced V1. At the time, Nikon said the 1 J1 was the world’s smallest and lightest mirrorless camera. The smallest models looked almost like point-and-shoots – though adding a lens made the camera far less pocketable.

Just a year after the series launched, higher-resolution options arrived with the Nikon 1 J2 and 1 V2.

Nikon discontinued the 1 series in 2018 as part of the shift towards the Z system – and that was absolutely the right move for creating more pro mirrorless cameras. But fast forward to 2026, and compact cameras have gotten so trendy that the most popular models are hard to find in stock.

That point-and-shoot trend has bled into mirrorless, as many mirrorless alternatives to popular compact cameras have also made regular appearances on best-seller lists, from the full-frame Sony A7C II to the new Micro Four Thirds OM System PEN. Nikon’s latest launch, the Nikon Z5IIC, takes on this trend and outfits the Z5 II’s sensor into a smaller body without a viewfinder.

It’s not just the point-and-shoot trend that has me fondly remembering the Nikon 1 series, however. GoPro has revived the one-inch sensor mirrorless with the launch of the Mission 1 Pro ILS – though it’s a camera built more for filmmakers than still photographers.

While the Nikon 1 series isn't around anymore, the one-inch sensor launched with the original models is still very much around. That one-inch format is highly popular among point-and-shoot cameras, and now the Mission 1 ILS has brought the format back to mirrorless.

Some of the Nikon 1 features that were unusual at the time, like a 60 fps burst mode using an electronic shutter, are now easy to find among modern, larger sensor mirrorless cameras. But some of the series most unique features are still in the past.

The Nikon 1 AW1 was the first waterproof mirrorless camera. There are plenty of modern splashproof cameras, but the AW1 remains unique in its ability to go underwater without extra housing. Even GoPro's first mirrorless camera is only splashproof if it's paired with a sealed lens, not submersible.

With the viral success of point-and-shoot cameras, I have to wonder – would the Nikon 1 series have been more successful if it launched in 2026 instead of 2011? The series was more popular among casual users than serious photographers who still preferred the larger sensors found in Nikon’s DSLRs.

But the revival of the point-and-shoot trend is driven in part by that same group. A growing number of casual users want to separate taking photos from their smartphones. A number of the most popular point-and-shoot models are options with zoom, which the 1 series lenses offered with swappable (though not usually pocketable) optics.

The rising popularity of compact camera designs is being accompanied by a growing trend of picking up early digicams – and there’s a decent selection of Nikon 1 cameras and lenses available from used camera retailers, sometimes for less than a new point-and-shoot.

That’s the real reason that I can’t envision a modern Nikon 1 series camera – because those old models hit on both the compact and retro trends in one.

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Looking for a modern but tiny Nikon mirrorless? Read about the Nikon Z5IIC, or the crop-sensor Nikon Z30.

Nikon has begun to discontinue the Nikon Z5. That’s according to Japanese news outlet Asobinet, which has reported that camera retailers have listed the full-frame mirrorless camera as discontinued. As it stands, US, UK and Australian markets have not been affected, with the camera still available for purchase and in stock across corresponding Nikon stores.

What would appear to be the beginning of the end for the Nikon Z5 comes just a year and a half after the announcement of the technically superior Nikon Z5II. The Nikon Z5 launched back in July 2020, and although this first-generation Z-Series camera lacks the processing power, whip-fast AF system, and video capabilities of later offerings, its often heavily discounted pricing has made it far and away the cheapest entry point in Nikon’s full-frame mirrorless system.

It’s perhaps no coincidence, then, that Nikon waited until the release of the Nikon Z5IIC, announced just last month, to begin winding down the Nikon Z5. The Nikon Z5IIC retails for just $1399.95 / £1,349 / AU$2,399. Once the Nikon Z5 is gone for good, the Z5IIC will be Nikon’s cheapest full-frame mirrorless offering.

Is the Nikon Z5 still worth it?

If you’re minded to clean up any remaining stock or perhaps even take advantage of a very good used deal, the Nikon Z5 is still a camera that I highly recommend for the right person. If you’re a stills-first photographer who doesn’t need blistering burst speeds, whip-fast AI, and a high-resolution sensor, but wants to get your foot in the full-frame door, it’s still a great camera.

All of Nikon’s Z-Series cameras produce top-quality JPEG and RAW files, and the Nikon Z5 is no different. It also gives you access to the coveted Z system via Nikon’s huge collection of Z series lenses. With all that said, I wouldn’t personally buy the Nikon Z5 at full price. I’d be minded to look for a good deal or used model.

At full price, it’s not all that far off the Nikon Z5IIC. And while the lack of an EVF will be a dealbreaker for some, this latest addition to Nikon’s lineup boasts far better specs. Another alternative, if you’re not married to full-frame, would be the Nikon Z50 II. It has a smaller APS-C sensor, but with a far superior spec sheet.

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A compact, creator-friendly full-frame mirrorless camera sounds like an ideal choice for photographers and videographers who want powerful features without carrying bulky gear.

The Panasonic Lumix S9 fits that brief, combining a 24.2MP full-frame sensor with creative tools in a body that Panasonic describes as the "smallest and lightest Lumix S Series camera." It has also earned industry recognition, including the "Best Content Creator Camera" award at TIPA.

But while the camera is currently available at a discounted price in some markets, including the UK, US buyers may face a longer wait to get their hands on one – with expected availability in early 2027.

Lumix S9 discounted, but US buyers face a long wait

UK buyers can currently take advantage of an offer at Wex. The Lumix S9 is available for £799 inc. £200 cashback, with £700 savings off its original £1,499 price.

In the US, B&H lists the Lumix S9 at $1,097.99, reduced from $1,497.99. However, the retailer marks the camera as temporarily out of stock, with expected availability listed for January 18, 2027.

Although some kit versions may still be available, buyers looking for the camera body may have to wait until next year. And this isn't the first time photographers have voiced frustration over getting their hands on a Lumix S9.

Photographer voice frustration over delays

Months ago, photographers were discussing their frustrations with the Lumix S9's availability and shipping process in a Reddit thread.

Some described getting hold of the S9 and L10 as feeling like a "lottery," suggesting that customers had little control over when their orders would arrive.

One photographer who had preordered the Black Titanium edition also questions the point of preordering after experiencing a delay.

"Can we talk about how Panasonic still hasn’t shipped preordered S9 titanium blacks but has restocked and is selling them again in the shop," the user wrote. "There was no point in the preorder and most likely was just used for measuring market interest for future batch manufacturing."

These comments reflect individual customers' experiences and highlight the frustration that can arise when delivery takes longer than expected. The reason for any delays has not been confirmed, and availability may vary by model and retailer, possibly due to electronic component and RAM shortages.

The award-winning mirrorless camera

Since its launch in 2024, the Lumix S9 has repeatedly appeared in Japan's Top 10 camera rankings at various retailers and received several industry awards. It was named the "Best Content Creator Camera" at TIPA, received an iF Design Award, as well as the Red Dot Design Award in 2025.

With its compact body, full-frame sensor and flexible creative controls, the S9 is a great option for content creators who want a portable camera without giving up the benefits of a full-frame sensor.

TIPA highlights, "Social media creators can save up to 39 preferred LUTs (look-up-table), offering a range of stunning looks and styles right in the camera.

"You can even customize with the LUMIX Lab app and download personal style options to make your content truly one-of-a-kind!"

For some buyers in the US, however, getting one may require patience.

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There’s something rather sad about seeing a camera manufacturer that dared to do things differently potentially disappear from the industry, especially when it was one of the few companies genuinely trying to challenge the traditional camera market.

Unfortunately, that appears to be the situation facing French camera manufacturer Pixii, which has entered judicial liquidation, casting serious doubt over the future of its innovative digital rangefinders and its ambitions to compete with Leica.

According to Leica Rumors and official French business records, Pixii initially entered court-supervised restructuring on December 10, 2025, before the Commercial Court of Besançon converted those proceedings into judicial liquidation on July 22, 2026.

The court permitted business operations to continue until July 31, but the company now faces a deeply uncertain future. In simple terms, judicial liquidation means that a business is no longer considered financially capable of continuing under its current circumstances, with a court-appointed liquidator overseeing the process of selling assets and settling debts. It doesn't necessarily mean Pixii is gone forever, but without a buyer, fresh investment, or someone willing to take over its technology, the prospect of another Pixii camera reaching the market looks increasingly unlikely.

What makes this news particularly disappointing is that Pixii wasn't simply another manufacturer producing a familiar mirrorless camera with a slightly different badge. Its APS-C Pixii+ and full-frame Pixii Max offered a genuinely alternative approach to digital photography, combining traditional Leica M-mount rangefinder shooting with modern computing technology. The absence of a rear LCD, built-in storage instead of memory cards, smartphone integration, and software-driven updates certainly divided opinion, but there was also some seriously impressive technology beneath those minimalist designs.

Perhaps the most interesting was Pixii's monochrome RAW technology, which used clever processing to reconstruct monochrome information from a conventional color sensor, producing up to 16-bit black-and-white DNG files while retaining the ability to shoot in color. As someone who spends much of his time shooting black-and-white photography, I always thought this was one of the company's most exciting achievements, and something I would have loved to see developed further.

However, while some of Pixii's technology was genuinely impressive, I can't help feeling that the company struggled with the balance between innovation, practicality, and price. Removing a camera's rear screen might appeal to photographers who want a more traditional shooting experience, but removing the memory card slot and relying heavily on smartphone connectivity was always going to be a harder sell.

Then there was the price. With the Pixii Max originally reaching $4,999, it was hardly an affordable alternative to Leica, particularly when photographers were being asked to invest in a relatively unfamiliar system from a small manufacturer. That doesn't mean these decisions caused Pixii's financial difficulties, but it demonstrates just how challenging it can be to turn an interesting photographic concept into a commercially sustainable product.

For the wider camera industry, I think this is where the real disappointment lies. We have reached a point where major manufacturers such as Canon, Nikon, Sony and Fujifilm dominate much of the market, while Leica continues to occupy its own established position in the premium rangefinder world. Independent manufacturers like Pixii are important because they challenge the established formula, experiment with ideas that larger companies might consider too risky, and remind us that not every camera needs to follow the same design philosophy.

Pixii was never going to threaten Leica's dominance overnight, but it offered something different in a category where genuine alternatives remain surprisingly limited. Losing that competition, along with the potential for its technology to influence future products, would be a shame for photographers and the industry alike.

There are also immediate questions for existing Pixii owners, particularly concerning warranty support, repairs, replacement parts, and future software updates. These are important considerations for anyone thinking of purchasing remaining stock, and at present the long-term support arrangements remain unclear.

There is still a possibility that another manufacturer or investor could acquire Pixii's intellectual property and continue developing its technology, particularly as the company had reportedly been searching for partners to help bring a next-generation rangefinder to market. I sincerely hope that happens, because although Pixii didn't get everything right, it was a manufacturer willing to take risks and rethink what a modern camera could be. And in an industry that sometimes feels increasingly predictable, that's exactly the kind of thinking we need more of.

Check out the best rangefinder cameras you can buy today

It’s quite staggering that, broadly speaking, a good two-thirds of Fujifilm camera sales are of Polaroid-style Instax instant print cameras alone.

This takes some getting my head around because, when thinking of Fuji, I typically visualize one of its sleek, metal-bodied APS-C sensor incorporating ‘X’ series mirrorless cameras. Or even its ambitious medium-format GFX lineup, via which it has built a solid reputation among enthusiasts and pros. As a member of the photo press, those large-sensor digital cameras are the ones I most typically experience – and value.

But as for Fuji itself, does it still value the ‘X’ series in the same way? Especially when it been almost exactly a year since the previous ‘X’ camera launch in the X-T30 III, which was preceded by the slightly gimmicky X-half.

Sure, competing manufacturers have had a very quiet 2026 too, but that’s not quite true of Fujifilm.

While there have been no new ‘X’ models this year, at the time of writing there have been four new Instax cameras in the Instax Mini Evo Cinema, the Instax Mini 13. the Instax Square 2 and the Instax Pal 2. Alongside these, there have been two Instax standalone portable printers launched this year in the Mini Link+ and the Link Wide 2, aimed at smartphone photographers.

It’s therefore not such a stretch to assume Instax is now the priority for Fujifilm and its X and GFX cameras for enthusiasts and professionals are, by contrast, on the back burner. It would come as no surprise to learn the typical Fuji customer is now a young female, not the middle-aged male typically found at photo shows.

If so, is there anything wrong with that? It makes sound business sense to go where the money is. Instax sales have boomed in recent years and there’s little apparent slowdown. All Fuji is doing is feeding the beast; that ‘beast’ being someone who likes cutesy, shiny things.

However, does that mean its traditional photographer audience is feeling slightly neglected right now, or worse still, alienated?

Not quite yet, I’d argue. Us photo enthusiasts are used to ever-lengthening gaps between new camera iterations – and, in the specialist photography market, a wait of one, two, three or even five years between models isn’t unheard of. Especially when the wider industry is beset by chip shortages and production delays.

However, no new Fujifilm ‘X’ cameras at all in the space of a year still feels unusual.

It’s too early to tell if this is a blip or the new normal, but, given the evidence above, I’d wager that it may well be the latter.

Check out the best Fujifilm cameras you can buy right now

Flashback’s first screen-free digital camera went viral for looking – and feeling – like a disposable film camera. But the company’s newest screen-free camera has an entirely different inspiration: Half-frame film. The Flashback One75 is a screen-free camera built with brass accents, eight film-inspired presets, and even the option to shoot double exposures.

The Flashback One75 has a small OLED screen at the top that allows photographers to choose from one of eight film-inspired presets and adjust settings like turning the flash on and off. But the camera is "screen-free" in that there’s no way to view the photos on the camera itself, bringing some of the wait of film.

That same mini OLED also powers access to a new feature that allows the camera to shoot double exposures, layering two shots together into one.

The One75 is inspired by half-frame film cameras from the 1970s. The sensor and viewfinder are oriented vertically rather than horizontally, as half-frame cameras fit two frames in the space a 35mm camera would fit one. The One75 shoots 13MP images – though the company did not share specifications like sensor size – and uses a built-in Xenon flash.

Where the FlashBack One35 V2 is meant to feel like a disposable film camera, the One75 uses an aluminum top plate and brass accents for a more high-end feel. The camera also has a tripod mount and a 25mm thread on the front of the lens to add accessories like filters and add-on lenses.

The One75’s mini OLED makes it possible to adjust settings without the app, but “developing” the photos is all done through the Flashback One app. Like with the earlier camera, the One75 shoots “rolls” of 27 photos. Then, those photos are “developed” in the Flashback app.

Users can use a 24-hour “developing” wait before seeing those photos, or photographers can use the digicam mode to access photos without the wait. The camera can also be plugged into a computer to transfer RAW files, rather than the JPEGs transferred through the mobile app.

An update to the app will also allow photographers to create their own presets with adjustable sliders for halation, chromatic aberration, saturation, and exposure. The earlier One35 V2 camera will also be able to access custom presets with the beta version of the app. The app update will also allow users to “redevelop” an exsisting roll in another film preset.

The One75 is meant to sit alongside the earlier One35 V2 – it’s not a replacement for the earlier camera, which also has a 13MP resolution.

The Flashback One75 is available for pre-order directly from Flashback, retailing for $179 / £139.95 / AU$249.95 / CA$254.95. The company says that pre-orders will arrive before Christmas.

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While I wouldn’t first and foremost describe myself as a Canon user, I have tried and tested almost every new camera it’s released over the past 25 years. I even have a Canon DSLR as a backup to my mirrorless setup.

I think we can all agree it’s a solid, reliable brand, no matter your skill set. And on initial glance, its latest mirrorless offering in the entry-level full-frame Canon EOS R8 Mark II feels like it continues that consistency of excellence. It’s a good bet for fledgling photographers seeking to throw their weight behind a system.

However, I could say the exact same thing about Nikon’s equally new Z5IIc, likewise a full-frame mirrorless aimed at beginners, or suggest its marginally older Z5II, if having an eye-level viewfinder in the case of the latter is a deal-breaker.

While Canon has always enjoyed better support in terms of the volume and variety of directly compatible lenses and accessories, with its equally long and distinguished heritage, Nikon is no slouch when it comes to own-brand and third-party support either.

Moreover, for those seeking to make the step up from an APS-C sensor camera, fixed lens compact or even smartphone, a further alternative is Sony, now Canon’s closest competitor for sales. Worth considering here is its own lightweight full-frame mirrorless A7C II camera with a handy, fully articulating touchscreen, or the even older but still available and more keenly priced A7 III.

Sticking with electronics manufacturers, the Panasonic Lumix S9 is a further viable full-frame option, particularly suited to those getting into content creation. Or, circling back to Canon, how about the manufacturer’s own step-up model in the EOS R6 Mark II, which, despite the lower numerical identifier, boasts more of a workhorse construction, a weather-sealed body and two card slots.

While the R6 Mark II may win for robustness, both it and the EOS R8 Mark II share the same 24.2MP full-frame CMOS sensor and DIGIC X processor. So, it depends whether your photography will benefit from the R6 II’s extra heft and slightly better spec, including in-body image stabilisation, or not.

In short, yes, there are better options than the latest EOS R8 Mark II out there. However, that doesn’t negate the fact that, at this point in time, it may well still be the best option for you.

I’ve got a love-hate relationship with pre-made presets and filters. On the one hand, they can prevent photographers from finding a unique editing style, and on the other, they’re an incredible force for good. Let’s get the negative bit out of the way first.

Everything looks the same

My biggest problem with pre-made presets and filters is that they can make people’s work look tonally very similar and also allow photographers to avoid learning how to edit their images altogether. Now, I’m not saying you absolutely have to edit your images, but I do think editing brings about an extra layer of creative agency. If you learn to edit, you suddenly have another avenue of creativity to go down if you so wish.

As for tonally similar images, I guess the same could be said for film. Beyond a little darkroom trickery, Kodak Portra 400 looks like Portra 400. And of course, there is much more to an image than just tones. So, what about the benefits?

Presets can be proactive

Perhaps the biggest benefit of using ready-made presets is that they allow you to spend less time sitting at a computer and more time out and about with your camera. They can also remove what I think of as a kind of editing anxiety – the need to create the ‘perfect’ edit every time. This can lead to overediting, which in turn results in even more time spent at a computer and less time out and about with a camera.

Becoming proficient at editing can also cause you to become a little lazy when taking photos, relying on the edit to manage the exposure, sharpening softness or heavily crop compositions. This is especially true when shooting with pliable RAW files. Presets and filters are applied to JPEGs, so they’re also a great lesson in exposure discipline, because if you get it wrong, you’ve got limited wiggle room in post in which to save the image.

Presets and filters can also boost your confidence. This is especially useful in the era of the EVF. You can see exactly what the scene in front of you will look like with a filter applied, and this can be a real confidence booster, because the images you are capturing in real time give you instant feedback and they look good. Another upshot of this is the ability to take images straight from your camera and upload them to online galleries or social media.

The recipe middle ground

Thankfully, there’s a middle ground. Most camera manufacturers such as Fujifilm, OM System and Nikon now allow you to edit filters to create what the industry calls recipes. This means you can start with a base filter and tweak various tonal qualities such as contrast and saturation to meet your own requirements.

This means you don’t need to spend hours in an editing suite, but can cultivate your very own look that you can apply to every photograph you take. Often, photographers think that they have to shoot RAW. And while I think it’s a great idea to shoot RAW+JPEG, so you have the backup files should you ever get into bespoke editing, recipes are a great middle ground that can boost your confidence and, more importantly, keep you taking photos.

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A photographer has shared on Reddit how he was able to “reverse engineer” the firmware on his Sony A7 IV to add a shutter angle feature to the mirrorless hybrid stills-and-video camera.

Reddit user Mr_BananaPants shared the feat of software engineering in a thread, although he didn’t go into the specifics of how exactly he achieved it. “I found a path traversal bug allowing me to get the fully decrypted firmware of the A7 IV, which nobody had managed to do before,” the videographer said.

Shutter angle is a way of measuring exposure time relative to your video’s frame rate. Measured in degrees, it determines how much motion blur appears in each frame of footage.

While photographers measure exposure in absolute time – such as 1/250 second – cinematographers prefer shutter angle because it automatically scales when you change your frame rate, enabling consistent motion blur without having to do any mental math.

Although the A7 IV would be perfectly capable of calculating shutter angle, Sony restricts the feature to dedicated FX cinema-line models, which include similarly priced models such as the FX30, as well as higher-end rigs such as the FX6.

After the initial hacking success, Mr_BananaPants then tried to enable 8K video recording on the A7 IV, despite the self-professed “major risk of bricking the camera.”

Failing to heed his own warning, the videographer’s next update in the Reddit thread was simply: “camera is bricked and stuck in a bootloop.” That’s to say, the camera had become unresponsive, rendering it useless and requiring a professional service.

Luckily, as Mr_BananaPants kept the details of the firmware bug under wraps, other users in the thread weren’t able to copy him. “Thank you for not publishing full details before you proved the hack – you probably saved dozens of people from bricking their cameras too,” said another Reddit commenter, HeavyDuty_Ken.

It’s not only the risk of bricking your camera that makes fiddling around with its firmware super risky, either.

Sony Alpha Rumors also covered this story, and someone left a comment on its article claiming to have even been contacted by a law firm representing Sony after publicly sharing that they’d used a similar firmware hack to enable 30fps shooting when using a Sigma 300-600mm f/4 lens on an A1 Mark II body.

“Be very cautious. I got a serious cease and desist legal letter served and several threatening phone calls,” said ScottOphoto.

I think it’s safe to say that, between potentially bricking your camera and facing legal action, it’s probably not a good idea to try to reverse engineer firmware. I know I won’t be attempting it anytime soon.

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Of all the mirrorless cameras introduced in 2026 so far, the GoPro Mission 1 Pro ILS is arguably the most unusual. The camera is not much larger than GoPro’s usual action camera, but it mixes a one-inch sensor with a Micro Four Thirds sensor and 8K an entry-level price point. Now, the ILS has been named one of TIME’s Best Inventions of 2026.

The TIME Best Inventions of 2026 is made up of 300 products, from bidets to folding coolers, based on originality, efficacy, ambition, and impact. The Mission 1 Pro ILS isn’t the only camera on the list – Nikon’s ZR also got a nod, while the unusual Instax Mini Evo Cinema also earned recognition.

Time wrote that while action cameras aren’t known for Hollywood-level footage, the ILS “shatters that silver ceiling.”

GoPro’s first mirrorless camera is both unlike any other GoPro before it – and unlike any other mirrorless camera. The ILS uses the same one-inch sensor as the new fixed-lens Mission 1 and Mission 1 Pro, enabling videos up to 8K. But the ILS pairs that with a larger Micro Four Thirds lens mount.

The ILS, however, doesn’t have electronic contacts in the mount, making the mirrorless a manual-focus-only camera that doesn’t support focus-by-wire lenses. The ILS’s build, which is almost identical in shape and size to the fixed-lens camera, makes it the smallest 8K camera yet, but that also means the ILS needs an external support system when working with heavier lenses.

The swappable lenses also mean that, unlike a traditional GoPro, the ILS isn’t waterproof – though it can be splash-resistant with a sealed lens mounted on the front.

But as unusual as the ILS is, GoPro is going after a small niche of creators looking for high-quality 8K in a portable and affordable package. The camera retails for $699 / £599 / AU$1099 / CA$949.

In the Mission 1 Pro ILS review, I wrote that “There's really nothing like the GoPro Mission 1 Pro ILS, at least not in the same price range. 8K60 and 8K30p open gate at this price point with swappable lenses is a rare beast.”

The Mission 1 Pro ILS does feel like more of a niche, highly specialized camera, as there are several limitations. But for as limiting as the manual focus and one-inch sensor are, the charm of the ILS lies in its small, affordable design that still reaches 8K.

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I’ve always thought of the Ricoh GR camera lineup as appealing to a rather select crowd of photographers. Namely those prepared to pay a premium for an advanced, yet portable fixed-lens compact, who at the same time value image quality way above a trendy design.

It never struck me as something that would find favor with the masses.

Yet now, with compact cameras all the rage, the latest GR camera variants are making multiple appearances in Japan’s top ten camera sales placings. Plus, to reference recent Nikkei Industry Map data from Japan, Ricoh is currently overtaking OM System sales overall. In fact, Ricoh has tripled its volume of camera sales to give it a 2.1% share of the digital camera market.

While despite the sturdy magnesium alloy body I wasn’t initially a fan of Ricoh compacts’ rather sensible, frill-free design, I’ve come round to its less-is-more appearance. Especially when we’re otherwise constantly over-stimulated by the increasingly digital aspects of daily life – much more so than we were when the GR Digital first appeared in 2005, successor to the late 90s GR1 film camera.

The most recently announced GR IVx, due to arrive toward the end of this year, looks to be continuing a golden lineage, squeezing a 25.74-megapixel APS-C sensor into its chassis and pairing it with another high-quality fixed lens; this time a 40mm f/2.8. Protecting against possible camera shake is five-axis image stabilisation, an improvement on paper over its GR IIIx predecessor’s three-axis IS.

Just prior to this model hitting the shelves, we have the tease of the limited edition (of 6,000 units) Ricoh GR IV 30th anniversary kit, boasting the same sensor with a wideangle 28mm f/2.8 lens, plus a pin badge, finger strap, and metal hotshoe cover to satiate the collectors.

With its cameras not only being steady sellers but also witnessing markedly increased sales, it begs the question as to why rival manufacturers haven’t wanted a slice of Ricoh’s big sensor / small camera market segment?

My guess is that, like me, until now they’ve considered the audience for Ricoh GR cameras to be too niche and too specialised to come up with their own competitive offerings.

Alternatives can be found in Fujifilm’s chunky fixed-lens, APS-C sensor X100VI of course, but it’s not quite the same thing. Ditto the luxury likes of Leica’s Q compact series, which similarly offers street and travel photography possibilities. However, it likewise doesn’t feel like a direct competitor to me.

It’s clear that when it comes to Ricoh’s GR series, it continues to plough its own singular furrow.

And for rivals looking on, it is very much the case that if you can’t beat ‘em, don’t bother joining ‘em.

Writing about a toothbrush on Digital Camera World wasn’t exactly on my bingo card for 2026, yet here I am – not just detailing how the Dyson CameraJet incorporates a camera into its design, but praising it. Or rather, Time Magazine has praised it by including it in its list of the best inventions of 2026.

The list, which also includes the Nikon ZR and HoverAir Aqua, features 300 of the year’s best inventions, and while a toothbrush might not sound like the most exciting addition, kudos to Dyson for coming up with what is arguably the biggest toothbrush innovation since it went electric.

Time Magazine praised Dyson for combining an electric toothbrush and water-jet flosser, of which the CameraJet is the result. And of course, the article highlighted the minuscule camera that the tech company has managed to insert into brush heads. This camera uses what’s called Gap Optical Targeting to precisely jet liquid between gaps in teeth, which is illustrated in the header image. And yes, you can live-feed the inside of your mouth, too (see above image).

When I wrote about the CameraJet last month, I was naturally interested in its camera specs. It turns out that it’s built around a 100,000-pixel camera and sports a teeny-tiny macro lens, which captures and analyzes 28 images each second. And yes, before you come up with any bright ideas, a resourceful photographer has already hit the streets with a CameraJet to take some unconventional, 'conventional' photos.

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A rising awareness of screen overuse has given way to a screen-free camera trend. But one upcoming camera that wants to fit in this low-tech category technically has a screen – it just uses it for game-like animations instead. The Dinooh is a “digital film” camera with a retro advance lever and a tiny screen to gamify photography.

Rather than being screen-free, the Dinooh is a “playback-free” compact camera. The small screen can’t be used for previewing or reviewing photos. Instead, the screen is built for retro, gamified animations ranging from cute dachshunds to a girl with bubble gum.

Created by a California-based startup, the Dinooh feels built for the digital minimalist movement. The camera shoots photos with one of four built-in filters. A “film” advance lever needs to be pulled after every shot. And there’s no mobile app at all, just a USB-C port to transfer images.

That advance lever is built with resistance and springs to feel like an old film camera, but the company says its purpose is simply a reminder to slow down.

The creators behind the camera say that the Dinooh is designed to be “a camera that you can just pick up, play with, and carry around without thinking too much about the perfect shot.”

Built by a designer from the Harvard Graduate School of Design, the compact form, lever, and built-in filters were inspired by “the playful spirit of ‘90s electronics,” including that Game Boy-like screen. The front includes a small drawing with the words, “time to be a dinosaur.”

The Dinooh is listed on Kickstarter as “coming soon” – and at this early stage, details like technical specifications and price haven’t yet been shared. While the campaign for the compact camera hasn’t yet opened to backers, a sign-up list is open for a launch-day notification.

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The compact camera’s viral success has brought a revival of the once-decimated category – but it’s not just the oversized sensors that can outperform a smartphone that have seen a resurgence in sales. The best-selling cameras in Japan across several major retailers, including Amazon, are dominated by budget point-and-shoot cameras.

The data comes from BCN+R, a Japanese research firm that tracks sales across more than 2,300 stores, which recently shared the best-selling compact cameras for September 2026.

The list is dominated by budget point-and-shoots. Four out of 10 carry the Kodak name, but are built by JK Imaging and license the Kodak name.

None of the cameras on the list carry a sensor larger than 1/2.3-inch.

BCN+R’s best-selling compact cameras for September 2026

1. Kodak PixPro ZF55 (black)
2. Kodak PixPro C1 (black)
3. Kodak PixPro C1 (brown)
4. Fujifilm Instax Mini Evo (Brown)
5. Kodak PixPro WPZ2
6. Canon PowerShot SX740 HS
7. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (silver)
8. Panasonic Lumix TZ99
9. Kenko Tokina KC-AF11
10. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (black)

While none of the cameras on the list use a larger sensor, BCN+R’s rankings differ from those of dedicated photo retailers in Japan like Yodobashi, who regularly include larger-sensor compacts like the Canon PowerShot G7 X Mark III, Ricoh GR IV, Fujifilm X100VI, and Sony RX10 V.

That makes sense considering the sources – serious photographers may be more likely to use a dedicated photography shop, while someone looking for a compact camera to spend less time on a smartphone may be more likely to visit larger retailers like Amazon and big box stores.

The list dominated by cheap point-and-shoots points to a broader trend – and that’s that photographers aren’t the only ones buying cameras. Before the smartphone, families owned a camera to capture memories, even among those not serious about photography as a hobby. The rise of the smartphone put a major hit on that camera market, but now the point-and-shoot is returning, even among buyers who prioritize price over sensor size. Digital minimalists are looking for a camera without the distractions of smartphones, sparking a rise in screen-free compact cameras.

BCN+R also ranks weekly sales, and looking at that narrower time frame hints at which cameras may be rising up those ranks. In addition to the cameras that are already on the monthly list, the short-term list includes the waterproof OM System Tough TG-7 and the vlog-focused Sony ZV-1F.

One newly launched compact camera has risen up on the weekly rankings as well: The Instax Pal 2. The Pal 2 is a tiny 3 oz / 87g digicam with retro dials and a tiny screen placed at the top. The Pal 2 has been particularly popular in the US, where it ranks at the top of B&H’s top trending cameras.

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Yashica is bringing a 1959 compact film camera into the digital era – and it comes with a retro dial to unlock different looks. The Yashica Y16 Pocket Camera is a compact digital camera built to mix the retro camera trend with a budget point-and-shoot.

The new Yashica Y16 Pocket takes its design inspiration from a 1959 camera by the same name (minus the Pocket). While the Yashica name has changed hands since then, the upcoming compact camera mimics that retro camera’s shape and dials.

Yashica previously teased the new Y16 last month, but that teaser left out a few key details, including the price. Now, Yashica has unveiled more details, including a price of $114.42 / £86.48 / AU$163.98 / CA$162.63.

There’s still one key detail missing from the Y16's list of features, however: Yashica hasn’t shared what size the sensor is. The Y16 has a 12MP default resolution, as well as a low-fi 5MP option, and the built-in lens is 27mm (full-frame equivalent).

Based on the price and pocketable design, that sensor is likely to use a smaller design, perhaps similar to the 12MP 1/3.06 from the new Yashica Crew. While there are no official details on the sensor size, Yashica has shared a set of sample photos that suggest the camera is built for low-fi nostalgia over serious image quality.

While the Y16 is a budget point-and-shoot, the camera does include a few controls. The dial at the top allows creators to choose from eight different built-in digital filters.

The Xenon flash also has three adjustable levels, allowing users to adjust to the lighting conditions – or perhaps the level of retro, direct flash look. The flash also has an auto mode in addition to those three manual levels.

The Y16 shoots videos as well as photos, with the highest resolution being 4K at 22 fps. For a more traditional 30p video, resolution drops to 2K.

The Y16 includes both an optical viewfinder and a small 1.45-inch LCD screen. An eye sensor will automatically turn off the LCD when the camera is brought up to the eye for more traditional viewfinder shots.

Those features are wrapped up in a retro body that weighs 93g / 3.28 ounces. The camera is 9.1cm / 3.5 inches on the longest side and just 2.9 cm / 1.14 inches deep.

Yashica says that the new Y16 is scheduled to begin shipping the week of November 30.

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For an idea of what to expect, take a look at the Yashica Tank review or the Yashica City 100 review. Or, browse the best retro cameras.

The Japanese market research firm BCN+R has released its monthly roundup of the top 10 best-selling interchangeable-lens cameras for September, and this month’s ranking features an unlikely Micro Four Thirds (MFT) shooter: the Olympus PEN E-P7.

The 20MP, lightweight, entry-level MFT model placed fifth for last month – albeit as part of a double-zoom lens kit including a 14-42mm EZ and 40-150mm lens – climbing three spots from eighth position in August.

While rankings from other market analyst firms, such as Kitamura and Yodobashi, pull data from specialty photo retailers, BCN+R tracks point-of-sale data from over 2,300 brick-and-mortar and online retailers across Japan, meaning more budget-model cameras, sold at places like Amazon, are typically included.

BCN+R's top 10 best-selling camera models are typically determined from around 120 different camera bodies and respective lens bundle combinations, of which only an estimated 15% are MFT cameras.

And in a world dominated by super-spec full-frame mirrorless and legacy DSLR cameras, the E-P7 has held the fort down for the MFT system in this ranking.

Since being released in 2021 (Europe/Japan only) – the first Olympus model produced by OM System after it acquired the imaging division of Olympus – the E-P7 has featured in BCN+R’s monthly top-10 roundup at least once in each of the last three years, as well as in its release year.

BCN+R top 10 best-selling interchangeable-lens cameras September 2026

• Sony ZV-E10 II Double Zoom Lens Kit (Black)
• Canon EOS R10 RF-S18-150 IS STM Lens Kit
• Canon EOS R50 Double Zoom Kit (Black)
• Canon EOS R50 Double Zoom Kit (White)
• Olympus PEN E-P7 EZ Double Zoom Kit (Silver)
• Sony A7 V Body
• Fujifilm X-M5 XC15-45mm Lens Kit (Silver)
• Sony A6700 High-Magnification Zoom Lens Kit
• Sony A6400 Double Zoom Lens Kit (Black)
• Sony ZV-E10 Double Zoom Lens Kit (Black)

The remainder of this month’s ranking was mostly a showdown between Sony and Canon, with a sprinkling of Fujifilm. The Sony ZV-E10 II took the top spot, followed by the Canon EOS R10 and two lens-combination variations of the EOS R50.

The latter half of the rankings was made up of the Sony A7 V, Fujifilm X-M5, Sony A6700 and A6400, as well as the Sony ZV-E10. Aside from the A7 V, all the other camera models came as part of a lens bundle.

Looking at the full list and how it's packed with rigs boasting full-frame and APS-C sensors, it's even more surprising to see an MFT model like the E-P7 make the top 10.

However, last month, OM System unveiled the new PEN, which carries a retro compact design but has weather-sealing and in-body stabilization. It doesn't start shipping in Japan until the end of October, but it will be interesting to see if the E-P7 is swapped out for the new PEN in future rankings.

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The top three mirrorless cameras at major Japanese retailer Yodobashi all come from the same brand. Topping the chart is a full-frame camera that made headlines before its launch in December 2025 and has since won multiple industry awards.

The No.1 mirrorless camera in Yodobashi's ranking for the second half of September is the Sony A7 V, followed by the ever-popular Sony A7C II with a zoom lens kit. In third place is the same full-frame camera in its body-only version.

Sony dominated previous Yodobashi rankings, with its camera accounting for 50% of the Top 10. Now, the manufacturer remains in the lead, but its presence has fallen to four models. Canon follows with three cameras: the EOS R50 (No.4), EOS R6 Mark III (No.8) and EOS R10 (No.9).

Yodobashi's Top 10 mirrorless cameras, 2nds Half Sep 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Sony A7C II | Silver | Black
4. Canon EOS R50 Double Zoom Kit | Black | White
5. Fujifilm X-T30 III XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
8. Canon EOS R6 Mark III
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Nikon Z50 II Double Zoom Kit

Japan's No.1: the "Camera of the Year"

The Sony A7 V is a camera many photographers have been waiting for.

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

It also highlighted the partially stacked Exmor RS CMOS sensor, which offers a dynamic range of up to approx. 16 stops and blackout-free continuous shooting at up to 30 frames per second (fps) in 14-bit RAW.

Designed as a true hybrid all-rounder, the Sony A7 V combines high-speed performance and advanced autofocus (AF) in a more affordable body.

Since launch, the A7 V has regularly topped sales charts across major retailers in Japan. It features a couple of headline-grabbing improvements we haven't yet seen debuted in other Sony cameras, as DCW's Reviews Editor Gareth Bevan highlights. He calls the full-frame a "more affordable jack-of-all-trades body."

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With the comeback of compact cameras, cult favorite models released years ago have been having a real moment. Now, according to the latest sales figures from major retailer Yodobashi, the Canon PowerShot G7 X Mark III – released in July 2019 – is Japan's new No.1 compact camera.

The Top 10 best-selling compact cameras in the second half of September are led by two point-and-shoots that have been popular since their release, comfortably outselling newer models. While new releases occasionally storm to the top thanks to anticipation and hype, Canon's PowerShot compacts regularly feature near the top of sales charts across Japan.

Close behind the PowerShot G7 X Mark III is the Canon PowerShot SX740 HS / Lite. First released in July 2018, the compact received an updated version in 2024, although it remains the same underlying camera technology as the original. Rounding out the top three is the ever-popular and hard-to-find Fujifilm X100VI, released in February 2024.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Sep 2026

1. Canon PowerShot G7 X Mark III | Black | Silver
2. Canon PowerShot SX740 HS / Lite | Silver | Black
3. Fujifilm X100VI | Silver | Black
4. Sony ZV-1 II | Black | White
5. Panasonic Lumix TZ99 / ZS99 | Black | White
6. Kodak Pixpro C1 Brown | Black
7. Canon IXY 650M / Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
9. Ricoh GR IV
10. Leica Q3 43

Canon's PowerShot champions

Canon first introduced the PowerShot compact camera line in 1996, with the PowerShot 600 among its earliest models.

Originally designed to bridge the gap between film and digital photography, the PowerShot line has evolved to include everything from straightforward point-and-shoots to models offering more advanced controls.

Staying true to this philosopy, both the PowerShot G7 X Mark III and PowerShot SX740 HS / Lite remained popular choices since their launches.

While the PowerShot G7 X Mark III features a 4.2x optical zoom lens (24–100mm equivalent, f/1.8–2.8) and a 20.1MP 1-in stacked CMOS sensor, the PowerShot SX740 HS / Lite comes with a 40x optical zoom lens (24-960mm equivalent in 35mm terms) and a 20.3MP1/2.3-inch-type CMOS sensor paired with a DIGIC 8 image processor.

The PowerShot G7 X Mark III offers strong video capabilities aimed at a new generation of bloggers and vloggers, while the PowerShot SX740 HS / Lite stands out for its superzoom range, making it a versatile travel and everyday camera.

Social media helped fuel the point-and-shoot revival, and the renewed interest in compact cameras drives the second-hand prices often higher than their original retail price.

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A camera that helped shape the future of photography has just sold for an extraordinary US$4.9 million (£3.7 million / AU$7 million / €4.25 million) at Wetzlar Camera Auctions in Germany, proving once again that when it comes to Leica, some pieces of photographic history are almost priceless. The Leica 0-Series, dating back to 1923, went under the hammer on October 10, 2026, becoming one of the most expensive cameras ever sold at auction.

You can watch the moment the camera sells in the Wetzlar Camera Auctions Instagram video.

The camera, serial number 103, was offered as Lot 3 with a pre-sale estimate of between €1.5 million and €2 million, but it quickly became clear that collectors were prepared to go considerably further. Following a reported 20-minute bidding battle between telephone bidders, the final price reached an incredible €4.25 million, more than double its upper estimate. And while that figure might seem difficult to comprehend for a camera more than a century old, its importance to the history of photography is almost impossible to overstate.

Produced in 1923, two years before Leica officially introduced its first commercially available 35mm camera, the 0-Series was an experimental run of just 22 to 25 cameras designed to test a completely new approach to photography. Of those original examples, only 16 are believed to survive today, making them among the rarest and most desirable cameras ever produced. These weren't simply early examples of a famous camera, either. They were the machines that helped establish the foundations of the Leica system we know today.

Developed from the pioneering work of Oskar Barnack at Ernst Leitz, the 0-Series cameras were created to evaluate the practicality of using 35mm film in a compact, portable camera. At a time when photography was still dominated by considerably larger and less convenient equipment, the idea of putting a capable camera into something that could comfortably be carried almost anywhere was revolutionary. The success of these experimental models ultimately helped convince Ernst Leitz II to approve production, leading to the introduction of the Leica I in 1925 and changing photography forever.

What makes this particular example even more remarkable is its provenance. Serial number 103 was the third camera produced in the experimental series and had reportedly remained in a private American collection for more than 50 years. For collectors, that combination of historical significance, extraordinary rarity and originality is precisely what makes these early Leica cameras so valuable. This isn't simply a camera that happens to be old; it is a surviving piece of the very beginning of modern 35mm photography.

Of course, this isn't the first time an early Leica has commanded an astonishing figure at auction. In 2022, another 0-Series camera, serial number 105, sold for a record-breaking €14.4 million, demonstrating just how fiercely collectors compete for these incredibly rare prototypes. The latest $4.9 million (€4.25 million) sale might not have broken that record, but it is another reminder of the remarkable value attached to Leica's earliest creations.

As someone who has used Leica cameras for years, both film and digital, I find the historical significance of these early models fascinating. There is something quite extraordinary about looking at a camera made over 100 years ago and recognizing the beginnings of a philosophy that still influences Leica's designs today. The simplicity, compactness, and emphasis on the photographic experience are all ideas that can be traced back to these pioneering cameras.

While $4.9 million (€4.25 million) is a staggering amount of money to spend on a camera, I would argue that what the successful bidder has purchased is far more significant than the camera itself. They have acquired a tangible piece of photographic history, one that helped change the way we see and document the world.

Check out the best Leica cameras you can buy new today

Not only are more young people eschewing their smartphones and getting into traditional photography – with, I believe, the greatest enthusiasm since digital photography exploded in the mid 2000s – but now’s also the ideal time to be a fledgling snapper.

Why? Well, for starters, look at the sheer volume and diversity of available tools.

If you’ve only pocket money to spend, or are asking to be gifted a device, then there are standalone digital cameras available from Kodak, Camp Snap, Chuzhao, Yashica and more, plus plentiful ‘no brand’ options currently flooding Amazon.

Is anyone looking to make high art with this low tech? No, but that’s exactly the point.

To this selection, we can add equally accessible entry-level instant print cameras from Polaroid, Fujifilm Instax and Lomography, some of which, in the case of certain Instax models, allow for digital camera as well as print output. And that’s even before exploring what can be found second-hand via photo specialist retailers or the worldwide marketplace that is eBay. Added to this, every day there seems to be a new Kickstarter campaign to fund weird and wonderful new image capture alternatives to curb our smartphone obsession.

Of additional benefit to beginner photographers exploring their options, there are plenty of ‘proper’ cameras offering greater accessibility and reliability with it, providing the benefit of AI-enhanced subject-recognising autofocus.

The only issue for anyone starting out is that cameras from the traditional photo brands are a bit more expensive. Or more than a bit. In fact, there’s a sizeable price gap between the pocket money offerings listed above and, say, a compact point-and-shoot from Canon or Panasonic. For example, the PowerShot G7 X Mark III or Lumix TZ300, aka ZS300, respectively.

The same is true of Ricoh’s equally popular GRIV series, another excellent learning tool for anyone new to the hobby that doesn’t yet want to have to deal with interchangeable lenses.

OK, so I ideally wouldn’t recommend starting out your photographic journey with one of the key fob-sized toy cameras currently doing the rounds, as the novelty will soon wear off.

But the best thing about the present photographic landscape is that there is the widest choice available in a good 20 years. Even the output from a cheap low-tech camera will help its user’s images to stand out against a sea of glossily unreal AI slop, making such snapshots much in demand.

It will be fascinating to see where the beginners of today drive the medium tomorrow. But, naturally, it’s not just about the tools. They need to first decide on what their vision is and then how best to communicate it.

It’s all too easy to get caught up in negativity online, particularly when it centres around Nikon’s first camera in nearly a year. And especially when said camera arrives and appears to be, mostly, a downgraded version of what was already available.

So, when specifications for the Nikon Z5IIC were published, my initial reaction was a shrug of indifference, followed by outright irritation. Nikon has removed the eye-level viewfinder… what the hell, Nikon?!

While my response was a personal one, I was acutely aware that my opinion didn’t really matter this time around, because the camera isn’t made for me.

Its target audience is closer to that of my teenage niece studying photography, someone who has grown up with parents and siblings shooting exclusively on a smartphone. She doesn’t care about an eye-level viewfinder to shut out distractions as a frame is composed. She’s never used one.

Of course, with familiarity, a viewfinder, may well in time become an appreciated creative asset. Taking and reviewing pictures in strong sunlight using only a screen can be tricky, but yes, we do manage to do just that with our phones.

As for me, well, if truly I like the cut of this camera’s gib, I can opt for the earlier Nikon Z5II from a year-and-a-half ago. That did include an eyelevel viewfinder. And two SD card slots, whereas this newer model makes do with one. So, there are options. There are always options.

While I can understand that, after a year-long release drought, Nikon announcing a ‘new’ camera that appears to simply be a lower spec version of what’s already available has left it open to accusations of sheer laziness, to the uninitiated it’s still the most budget-friendly full frame Nikon mirrorless out there.

We’ll leave aside the fact that it seems odd to expand your full frame range, when that specific market segment, along with Nikon itself, is experiencing a dip in sales.

So it remains to be seen whether the Nikon Z5IIc will play its part in turning things around for the wider photo industry and Nikon itself. But more options is always a good thing, right? And if something isn’t for us, then no worries, the next thing to come along might well be – and blow our minds.

I’m not an Olympus / OM System photographer, but I’ve always liked the PEN range, mostly because of the gorgeous-looking PEN-F. So when the OM System PEN launched last month, I was actually quite excited about it. Don’t get me wrong, I didn’t think I was going to buy one, and although I’ve surprised myself by considering it, I still don’t think it's quite the right camera for me. But for a lot of photographers out there, I think it absolutely is.

And yet, I’ve also seen criticism of the OM System PEN for not having better specs and essentially reusing old tech. Something that, to be fair, OM System has a habit of doing. If we were talking about an OM System OM-1 Mark III, I’d get it. Flagship cameras should be all about breaking new ground, but we’re not talking about a flagship camera; we’re talking about a small, stills-focused mirrorless camera that costs $999 / £849 / AU$1,499 body only.

Whether that’s affordable or not is by the by; it still sits at the lower end of the market alongside cameras such as the Fujifilm X-T30 III, Nikon Z50 II and Canon EOS R10. And while you can argue that its video features are lacking and a 25-MP sensor would have been nice, along with an image-processor update, you also get premium features in IBIS and weather sealing. IBIS in particular is unheard of in this class of cameras.

The thing is, not everybody wants top-notch video or action features. This is a camera that’s obviously aimed at photographers first, be it newcomers, casual snappers, or those looking for an everyday carry. Personally, I don’t see why every single camera release has to be a specs monster with an inflated price. If you want more from a camera with this form factor, you can pick up a Fujifilm X-E5 and pay for the privilege.

Don’t get me wrong, I love the X-E5, but does the world only need premium $1,000 / £1,000-plus cameras in 2026? I mean, cheap compact and mirrorless cameras do the numbers in sales charts, and we’re always moaning that consumer tech prices are climbing ever higher. So long as the price is right, I’m really not opposed to manufacturers recycling old tech.

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If I’m out and about on my daily business and unexpectedly see a great photo opportunity, I’ll automatically reach for my smartphone, it being the camera I always have with me. But when I’m heading somewhere, or to meet someone, that I know will end up making for a great photograph, I’ll make sure I pack my interchangeable lens camera – even if said camera is a Canon EOS 550D / Rebel T2i DSLR, also known as the Kiss X4 in Japan.

Outdated for video and action photography and improved upon since it may be, but this 16-year-old DSLR is still my go-to as a very capable 18-megapixel APS-C sensor camera that consistently produces excellent results, even when ‘just’ equipped with the standard 18-55mm f/3.5- 5.6 lens it came with. Relatively compact and lightweight too at 530g with battery and SD card, it may not meet the craze for low-resolution plastic-y fixed lens snapshots, but at the time of writing this DSLR can be picked up second-hand for essentially the same as what a very basic point-and-shoot will cost me new.

I believe this makes it an excellent choice for anyone seeking to learn the art of photography who wants a fully featured camera with enough functionality that I’m able to see the effects of manually changing settings in real time as I thumb buttons and spin the top-plate command dial. My nieces have both borrowed it when learning photography as students.

I also love the way that the DSLR’s eyelevel viewfinder removes peripheral distractions – and, when compared with an Internet-connected phone, additionally removes a whole load of other distractions with it. Yes, I could call using the DSLR a ‘purer’ form of photography compared to using an iPhone if I wanted to sound fancy. And while results from the DSLR may look a little flatter in comparison, having not already undergone heavy in-phone processing, I’m quite happy adjusting contrast and retrieving shadow detail myself, thank you.

And here we get down to the crux of the matter as to why a DSLR, even an old one, will still be better for ‘proper’ photography than a smartphone. Yes, my DSLR has a physically bigger sensor than my phone, allowing it to collect more light, plus utilises high-quality optical glass – that’s a given.

But this combination also produces a result that feels more authentic – something we’re all striving for in the current age of digital images not always being as they seem – without the need to rely on digital guesswork or AI to fill in any gaps, or the artificiality of digital smoothing to produce an acceptable result in low light.

OK, so maybe we need to know a bit about what we’re doing to get the best results from a DSLR… compared with just needing to point and shoot with our iPhone and achieve acceptable ones.

But that’s an integral part of the real enjoyment of photography, right?

Nikkei Shimbun has interviewed big wigs from Canon, Sony, Fujifilm and Nikon, providing some very interesting insights into the industry’s collective views on AI. But as Digital Camera World’s resident Nikon nerd, it’s the Japanese business publication’s interview with the ‘Big N’ that really caught my attention. The conversation was summarized by Nikon Rumors, and although it sounds a little complicated, I think Nikon will essentially be doubling down on its current strategy.

The summary talks of a modular design where technology is essentially bolted onto the image processor, with Nikon Rumors stating: “This approach might allow them [Nikon] to manufacture a wider variety of digital cameras more efficiently and in a shorter timeframe.”

But this seems rather familiar to me. The second generation of Nikon’s mirrorless cameras started with the Nikon Z9 and, bar the odd innovation here and there, every camera since has essentially received hand-me-down Z9 tech. A trickle-down model, if you will.

It’s why I’ve not been overly surprised that Nikon hasn’t been prolific with its camera releases of late. If rumors of a Nikon Z9II delay are true, it makes sense to me that any plans for a third-gen lineup would grind to a halt, because the flagship needs to come first to set the technological precedent.

It’s why I’ve been a little surprised that we haven’t received a Nikon Zfc II yet, because if it were to follow in the Nikon Zfc’s footsteps, it would be a reskinned Nikon Z50 II. By applying that line of thinking, the Nikon Z5IIC suddenly makes a lot of sense.

I can only assume that, since it’s essentially a Nikon Z5II without a viewfinder, it required comparatively little development. It also brings very little new to the table, so it doesn’t rely on next-generation tech. It’s a safe camera release that doesn’t rock the technological boat, so to speak.

Another quote from Nikon Rumors states: “Nikon believes that state-of-the-art technology needs to be embedded in products because that is what customers expect.” I can certainly understand this; we’re seeing some very advanced tech such as open-gate video, subject-detection, fast burst speeds and more at the lower end of the market with cameras such as the Fujifilm X-M5, Panasonic Lumix L10 and OM System PEN.

My only concern is what I’ve talked about time and again, and that’s Nikon’s reluctance to release an entry-level camera. I still stand by my assessment that photographers are extremely brand loyal and that all brands need a viable entry point into their ecosystem to ensure that they attract future generations of customers.

With that in mind, I’m not sure if this modular, trickle-down model that’s being talked about is a help or a hindrance. Sticking an Expeed 7 or maybe a potential future Expeed 8 in an entry-level camera would definitely be overkill, and perhaps not even cost-effective, but I still think that a true entry-level camera in the form of a Nikon D3500 would fill a giant hole in Nikon’s lineup. And even if it's a loss leader, I still think it would be a huge boon for the imaging division's future.

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I’ve just been looking back at BCN+R’s top 10 mirrorless cameras chart for the first half of 2026, and I spotted something I’d missed. Usually, I’m hyper-focused on the top end of the ranking, but right at the bottom, slipping into the #10 spot is the Nikon Z50. That’s right, a seven-year-old last-generation APS-C mirrorless camera that’s long been succeeded by the far superior Nikon Z50II. So, what gives?

Well, first off, the Nikon Z50II ranks higher in the list at #6. And secondly, the Japanese domestic market isn’t necessarily ruled by what’s new and what has the latest specs. Frequently, BCN+R provides evidence that consumers are not opposed to buying up smaller or older cameras, and while the Nikon Z50 has been discontinued, new stock is still relatively easy to get hold of and for some very good prices, too.

BCN's Top 10 best-selling mirrorless cameras (first half of 2026)

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-T30 III
8. Sony A7 V
9. Olympus PEN E-P7
10. Nikon Z50

Now, it’s easy to dismiss the Nikon Z50. It’s got last-gen AF that wasn’t exactly ground-breaking at the time, can only hit 11-fps bursts, and maxes out at 4K / 30p. But not everyone wants to photograph challenging subjects, and not everyone wants to shoot high-quality video.

In fact, the Nikon Zfc shares almost the exact same specs as the Nikon Z50 and is still in Nikon’s current lineup. At the end of the day, all of Nikon’s mirrorless cameras share the same two advantages: access to an incredible range of Z-mount lenses and supreme image quality.

If all you want is an everyday carry to take on holidays, day trips and family events, this is still a fine little mirrorless camera. And the fact it’s still selling well is proof that Nikon absolutely needs to make a true entry-level camera.

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For more of my Nikon ramblings: 27 miles, two days, and one Nikon Zfc. Is the retro Nikon Z fc still a relevant mirrorless camera in 2025? Plus, here's the latest camera news.

A video of the original Doom running on a Hasselblad X2D 100C has appeared on Reddit by rrRadium and has been published on YouTube by Andrea Pizzini. I guess all Doom players aspire to go medium-format eventually.

Having reviewed the Hasselblad footage, I was initially suspicious due to a visible cable connection, not to mention Hasselblad's locked operating system. However, rrRadium has published a link to a variety of assets on GitHub strongly indicating that this is a legitimate project. Pretty neat!

As always, though, it's important to remember that any unofficial firmware update or any attempt to change the architecture of your camera's operating system could brick the camera and potentially void any existing warranty.

Remarkably, this isn’t the first time somebody has come up with the idea of porting the classic 1993 PC game to a camera. Earlier this year, I reported on footage of the game purportedly running on a Nikon Zf, but there was some doubt as to whether or not it was possible to run the game on Nikon’s locked software, presenting the possibility that the video could be camera trickery.

Later in the year, Digital Camera World reported on the very real possibility of playing the legendary first-person shooter on a Canon EOS 550D, via custom firmware called Magic Lantern.

But why do this in the first place, and why Doom? Well, the code for Doom is open source; it’s ancient in software terms, so it can run on almost anything with a computer in it, and it’s one of the most famous video games of all time. As such, there’s a bit of an internet subculture of getting Doom to run on anything and everything. And I mean anything: from calculators to pregnancy tests.

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Yashica just unveiled a pocketable point-and-shoot – and the new Crew feels made for photographing friends like it's 2005. The Yashica Crew is a budget point-and-shoot camera built around a 180–degree flip screen and 6x optical zoom lens.

The Yashica Crew’s list of specifications feels made for the trend of shooting with older digital compact cameras from the start of the new millennium. The resolution is 13MP, but the sensor is the small 1/3.06-inch type – the same size found in budget cameras like the Camp Snap CS-Pro and the Instax Pal 2. The camera can also upsize shots to 24MP or 36MP, but 13MP is the native resolution.

But while the Crew may use a small sensor, it still manages to fit in a lens with 6x optical zoom in the classic retracting style of point-and-shoots. That’s paired with a three-inch screen that flips up 180 degrees for selfies.

The name “Crew” hints at who Yashica sees buying this camera. The Crew is meant for photographing outings with friends without using the same device that comes with social media feeds and notifications.

The Crew also supports video, shooting native 2.7K, 30p by default but supporting up to 4K60. An LED light, rather than a photo-only flash, is also built in.

Those features are tucked into a camera that’s only about 2.6cm / 1 inch deep and weighs about 126g / 4.4 oz. That small design means that the camera uses the microSD card format.

While the Yashica Crew reminds me of the Y2K camera trend, there are a few modern features inside, including face detection autofocus and USB-C charging.

Yashica has opened pre-orders for the Crew on its website, with the point-and-shoot retailing for $168.20 / £126.78 / AU$240.94 / CA$239.06. Shipping is expected to begin on October 26.

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A professional photographer who goes by the name u/wildyouth116 on Reddit has posted their setup, with many surprised to find that they regularly use a whopping 10 bodies. But what’s even more curious is the cameras in question.

Despite having a cutting-edge Nikon Z8, the photographer also uses five DSLR cameras: two Nikon D850s, two Nikon D780s and a Nikon D200. As well as four film cameras: Nikon FM2, Nikon F100, Nikon F6, and what appears to be a blacked-out Nikon N80.

One commenter suggested that a second Nikon Z8 would replace the four DSLRs, but the professional photographer explains that they use two bodies at a time for events and commercial shoots, so they like to have backups if the worst should happen.

Interestingly, the pro mentions that they “prefer DSLRs for lowlight events, and most every day work [sic].” Presumably the Nikon D780 wins out here, but only because of its lower-resolution sensor. The Nikon Z8 is still a monster camera in low-light situations.

One commenter mentions gear acquisition syndrome (GAS), but the pro explains that they have completed 700 jobs in three years. That certainly takes its toll on kit, and indeed, the original poster says that during a seven-year career, they “have burned through at least 5 camera bodies,” continuing, “It's more of an expensive insurance policy in case one breaks, I have to send it in for maintenance, etc”.

Having at least one backup body is essential for professional photographers, and many do have more. If you’re shooting a wedding and your primary camera breaks, you’re expected to have a backup. And while 10 cameras might seem like overkill, four are film cameras. The meat of the setup is a pair of D850s and D780s and a Nikon Z8. A sensible collection of cameras, if you ask me.

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Retro camera fans have long been waiting for a refresh of the PEN series – and the latest trends from Japan suggest just how excited photographers are about the new OM System PEN.

Japanese photo retailer Camera Kitamura has shared the best-selling mirrorless cameras for September, a list that’s led by the Sony A7C II, the new OM System PEN, and the Sony A6700.

Both the Sony A7C II and the A6700 have been around for a few years and are regular attendees on Japan’s best-seller lists. But the camera in second place is a fresh launch.

The OM System PEN was only announced on September 09, with pre-orders initially not scheduled to begin shipping until late October. But only two days after the announcement, OM System Japan said that there had been so many orders that some may not get their camera until November.

The new 2026 PEN’s early success isn’t unwarranted. I’ve been shooting with an early review sample for a few weeks now. The compact retro design makes it the camera that I instinctively want to grab.

While the design may have been what first drew me to the new PEN, OM System’s new Micro Four Thirds shooter is also one of the most affordable mirrorless bodies with both in-body stabilization and weather sealing. It retails for $999 / £849 / AU$1,499 body-only, or $1,099 / £949 / AU$1,799 with a kit lens (which is what’s made the Kitamura best-seller list).

But perhaps the more interesting aspect of the latest list of best-sellers from Japan is that it’s the smallest sensor camera of the three major bodies announced in September that’s in the top three. The PEN was one of three major camera launches in September. Canon also introduced the EOS R8 Mark II, and Nikon also unveiled the Z5IIC. The R8 Mark II sits in fourth place on Kitamura’s list, while the Z5IIC didn’t make the top ten.

Looking at a single retailer in Japan isn’t going to be indicative of the camera market as a whole, but it’s interesting that of the three major launches last month, it’s the Micro Four Thirds shooter that’s dominating Kitamura’s sales. The trends list will be interesting to watch as those cameras begin shipping in October and November.

The OM System PEN, however, fell just behind the first-place Sony A7C II. Sony’s more compact full-frame mirrorless has been regularly dominating best-seller lists since its launch three years ago. Its compact design that still crams in a full-frame sensor has been well-loved, despite the camera’s age.

Compact designs seem to dominate much of Kitamura’s list. The Sony A6700 comes in third place, an APS-C shooter that’s small but fast.

The R8 Mark II sits in fourth place, with a new, more angular design inspired by the film Canon T80. The R8 Mark II still follows the trend of a more compact body design as a more entry-level full-frame, but unlike the original, the Mark II includes stabilization.

Another longstanding Sony favorite, the Sony A7 IV, sits in fifth place. That camera’s successor, the Sony A7 V, which has been dominating a number of best-seller lists since its launch, doesn’t show up until 8th place.

The only Fujifilm camera on Kitamura’s best-selling mirrorless list is the compact, budget-friendly Fujifilm X-M5. The X-M5 is both one of Fujifilm’s most affordable bodies and the smallest, though it lacks a viewfinder, and many features are geared towards hybrid shooting.

Two more Sony APS-C cameras sit on the list, the ZV-E10 II in seventh place and the Sony A6400 in ninth place. Both of those cameras are on the list for two-lens kits rather than the single kit lens options.

Canon rounds out the list with the EOS R6 Mark II in 10th place. While the camera has now been replaced with the Mark III, the R6 Mark II remains available at a lower price point than the newer model.

Kitamura Camera’s best-selling mirrorless cameras for September 2026

1. Sony A7C II
2. OM System PEN with 14-42mm f/3.5-5.6 III kit lens
3. Sony A6700 with zoom lens kit
4. Canon EOS R8 Mark II
5. Sony A7 IV zoom lens kit
6. Fujifilm X-M5 with XC 15-45mm kit lens
7. Sony ZV-E10 II double zoom lens kit
8. Sony A7 V
9. Sony A6400 double zoom lens kit
10. Canon EOS R6 Mark II

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