I’ve lost track of how many times I’ve read in a press release for a new camera that a new or updated feature is the result of user requests. They most likely are – given how vocal users can be on social media if they’re disappointed about something – and it gives the impression that consumer demand has a lot of influence in product design.

It makes us feel like we’re all part of the family. In reality, though, I’m not so sure – and what fuels this doubt is the demise of the DSLR camera. I recently noted that we’re now down to a handful of models that you can buy new, so I decided to do a bit more investigation.

Out and about – especially at any public event – I started to check out what anybody who was taking photographs was using. Lots of camera phones, of course, and a few compact cameras plus more film cameras than I was expecting – including, on one occasion, a Pentax 6x7. I commended the user on his courage and tenacity.

However, overall, there were quite a lot more DSLRs in evidence than mirrorless cameras. We’re talking mostly amateur photographers here, shooting for fun.

Then, low and behold, we find out that the crew of the recent Artemis II Moon flyby mission took a pair of 10-year-old Nikon D5 DSLRs along with a Z9 and a bunch of GoPros (incidentally, even older Hero4 Black models).

So, D5s being used as the main cameras – not even the later Nikon D6 – which means that so-called ‘old’ camera tech was being relied on to record some of the most important pictures taken in recent times.

Specifically, NASA decided to go with the D5 because it had already been extensively tested for reliability issues such as exposure to radiation and vibration as well as operation in zero gravity.

NASA also noted that familiar physical controls and the D5’s exceptional low-noise performance were also factors, the latter obviously being important for space-related applications.

Notably, though, the many thousands of spectacular images shot during the mission – including a reprise of the famous Earthrise shot from 1968, but redone as Earthset – proved that the decade-old D5 is still up to the biggest of assignments.

It needs to be pointed out that the Z9 was being evaluated with a view to being used on future Artemis missions, but the point here is that the D5 is actually still a better camera – most notably its high ISO image quality (with the D6 even better again here) – and this convinced NASA to live with the extra weight when every gram counts.

In reality, this is true of a number of the last-of-the-line full-frame DSLRs including Canon’s EOS-1D X Mark III and the EOS 5D Mark IV.

However, the starker reality is that if you want a new DSLR – at least one badged either Canon or Nikon – you’re nearly all out of choices, especially in terms of higher-end models. And, while Ricoh says it’s committed to Pentax DSLRs, a brand new model has been a long time coming.

So, my question is, have DSLR sales declined because users have been totally wowed by the mirrorless camera – or have they declined because you haven’t been able to buy what you want (and, remember, DSLR lenses have also been rapidly disappearing)?

I don’t know the answer to this question, but I suspect that the “DSLR is dead” messaging that really gathered strength after the intro of the Canon R and Nikon Z systems would definitely put you off considering another reflex camera.

I also think it’s telling that there’s a growing market for second-hand and refurbished DSLRs. I counted 24 models – from entry-level to pro – for sale online recently from one of Australia’s leading camera retailers, and there were plenty of others to be had from elsewhere.

You don’t have to be a rocket scientist to conclude that this suggests there’s still some demand – and that’s likely to increase, now that the rocket scientists at NASA have given the veteran Nikon D5 a red-hot endorsement.

Of course, it’s unlikely that there will be any going back – because the priority for both Nikon and Canon is to remain as leading interchangeable lens camera brands, which now means putting all their resources into their mirrorless systems.

The big positive, though, is that thanks to NASA and the Artemis II mission, we now know that a ten-year-old DSLR can still cut the mustard. And, more than likely, your camera is younger and of a later generation. For now, then, let’s consider the DSLR to be very much alive as an option on Earth as well as in space.

Right now you can save hundreds on what is arguably Canon's best DSLR – and the best Amazon Prime Day camera deals aren't even here yet.

The powerhouse Canon EOS 5D Mark IV is currently available for just $1,999 with a free battery, memory card and copy of Capture One Pro in the US, while it's priced even better at just £1,399 in the UK!

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The Canon EOS 5D Mark IV (review) has cultivated a place as a workhorse camera used and trusted by pros all over the world.

Even today in this mirrorless world, it remains a full-frame powerhouse – and a camera that's more physically robust than pretty much any mirrorless body you put it against.

At its heart is a 30.4MP CMOS sensor packed with Canon's beloved color science, delivering natural hues and accurate skin tones straight out of camera.

It's bolstered by dual memory card slots, one CompactFlash and one SD, to give you peace of mind that you won't lose your shots even if you suffer a card failure.

While it's not a sports camera, its 7fps continuous shooting speed is enough to capture most action – and combined with the sensor and memory cards, has made the 5D Mark IV a staple of working pros' and wedding photographers' kit bags for years.

On top of that, you've got excellent robustness and weather sealing. With this camera, you don't need to stop shooting when the temperature drops, the rain starts or the dust kicks up – it just keeps on shooting.

Video was never the 5D Mark IV's strongest suit, as 4K suffers a 1.64x crop – not the end of the world, but certainly a consideration (especially if you shoot wide). But if you can work with that, it still delivers crisp 4K video – and of course, the FullHD is uncropped.

All in all, there's a reason this camera has been a favorite of pros around the world for years – and a reason why you'll still find it in studios and on the sidelines to this day!

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Take a look at the best lenses for the Canon EOS 5D Mark IV and the best Canon lenses for DSLRs to see what glass you need to pick up.

The Sony Alpha name has officially been around for more than two decades. On June 5, 2006, Sony announced its first DSLR, the Sony Alpha A100. Twenty years later, Sony’s interchangeable lens cameras still carry the Alpha name, but the imaging giant’s latest models are a far cry from Sony’s first.

The Sony Alpha A100’s 10.2MP APS-C DSLR, which shot at just 2.49fps, shows just how far imaging technology has come in the last twenty years – after all, Sony’s most recent announcement, the A7R VI shoots 66.8MP images at 30 fps.

But, the A100 did have a feature that Sony’s modern E-Mount cameras do not. The Sony Alpha A100 had a feature called “eye-start autofocus” – while the name sounds a little like Sony’s modern eye detection autofocus, the older tech had an entirely different purpose.

Eye-start autofocus used a sensor placed near the DSLR's optical viewfinder. Whenever this sensor detected something within about an inch of the camera, the DSLR would start autofocusing. That meant the camera would start focusing as soon as photographers pulled it up to their face, starting to focus before photographers even pressed any buttons on the camera.

The feature could help boost the camera’s autofocusing speed by starting the focus before the photographer pressed the shutter release halfway. But the eye-start autofocus never made it out of the A-mount DLSRs and into the E-Mount. A likely culprit? The eye sensor drained a lot of power, reducing the battery life. Other objects coming within an inch of the back of the camera, like a camera strap or having the camera bounce around a neck, would also trigger the camera to begin focusing.

The feature also illustrates how Sony Alpha cameras got their start, despite being a little late to the DSLR game: from Konica Minolta. Some Minolta film SLRs had eye-start autofocus in the 1990s.

The Sony Alpha A100 arrived in part from Sony’s purchase of the Konica Minolta camera division, and along with the eye-start AF, the Minolta heritage also brought in-body stabilization. While the stabilization is common in the mirrorless era, the feature wasn’t as easy to find at the time.

The A100’s stabilization was rated to somewhere between 2 and 3.5 stops – another key example of how far Sony has come, as cameras like the A7R VI have stabilization systems rated up to eight stops.

Other features that speak to the DSLR’s early 2000s age? The native ISO topped out at ISO 1600, and low-light autofocus was only rated to +1 EV.

While Sony celebrated 80 years in May, the Sony Alpha series has just passed its 20th anniversary. Happy 20th birthday, Sony Alpha series!

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Take a look at the best Sony cameras, or the best Sony E-Mount lenses.

Ricoh remains the last major manufacturer still supporting traditional mirror-based DSLR cameras. But new signs suggest another popular Pentax DSLR could soon disappear from the market – just three and a half years after its launch in November 2022 – and this would be a loss for beginners and enthusiast photographers.

Major Japanese retailers, including Map Camera, have marked the Pentax KF as a "discontinued product", raising concerns that Ricoh may be quietly winding down another DSLR model from its shrinking lineup. The KF is one of the only and most accessible beginner-friendly models available new in 2026.

That follows several other signs for Pentax users in recent months. The Pentax K-3 Mark III production ended in January, while retailers listed the Pentax K-3 Mark III Monochrome as discontinued in February. In April, signs also emerged that the Pentax K-1 Mark II could be nearing the end of its lifecycle after one of its kit bundles disappeared from retailers.

Pentax KF: discontinuation hints

For many photographers, the Pentax KF represents something rare in the modern mirrorless world: an affordable, weather-sealed DSLR designed for people who start or simply enjoy photography.

In our guide to the best Pentax cameras, we ranked the KF as the best Pentax DSLR for beginners thanks to its balance of price, ruggedness and enthusiast-friendly features.

The camera combines hybrid AF (autofocus) in Live View with 4.5-stop IBIS (in-body image stabilization), a vari-angle screen and built in flash.

While it doesn't dramatically outperform rivals on paper, the KF delivers the classic Pentax experience many photographers value: durable construction, tactile controls, and dependable cold-proof performance down to 14°F (-10°C).

It's also one of the last affordable APS-C DSLRs that is available brand-new in stores or online – a category that has rapidly disappeared as the camera industry continues shifting toward mirrorless systems.

Although Ricoh has not officially announced the KF's discontinuation, retailer availability is becoming increasingly inconsistent across major markets.

Current availability & prices of the Pentax KF body

Several US and UK stores now list the camera as backordered, limited stock, special order or awaiting stock, while some retailers have removed listings entirely.

A combination like this often signals the final stage of a camera's retail lifecycle before an official discontinuation is confirmed by the manufacturer.

For photographers who still prefer the DSLR shooting experience – particulary optical viewfinders, longer battery life and traditional handling – the Pentax KF may soon become harder to buy new.

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The internet is buzzing with large-format-related searches today. Full-frame DSLR is currently trending, as well as the Nikon Z5, which I’ve just written about. If you haven’t got the time to check that article out, I’ll give you the gist: the Nikon Z5 is an older camera – six years old in fact – but it's still a viable option in 2026 because it’s such a fantastic deal for a full-frame camera.

It’s currently available for $1,146.95 at B&H Photo and £789 at Wex Photo Video. But that’s still a lot of money to justify for some photographers, which I can only assume is why people are searching for full-frame DSLR cameras. It is important to note that full-frame shouldn’t be considered an entirely superior option to APS-C or Micro Four Thirds.

We all have different budgets and priorities when it comes to buying cameras and for some, the smaller form factor and advanced features of a modern crop-sensor camera, compared to an older full-frame camera, will win outright. But if image quality is your main concern, it's a different story. A larger sensor allows for bigger photo sites, which makes each photo site more effective at gathering light. This is why full-frame cameras generally boast better low-light capabilities and higher dynamic range.

So, while the Nikon Z5 doesn’t boast the mod cons of some newer APS-C mirrorless cameras, it does boast better image quality. If you're a landscape photographer, for example, the Z5's shortcomings of slow burst rates, unpredictable last-gen autofocus and 4K / 30p video probably won't matter to you. However, the same can be said about full-frame DSLR cameras. And they can be found on the used market for a lot cheaper.

Full-frame DSLRs deals on the used market

You can pick up some scintillating full-frame DSLR deals on the used market. I’m talking a Nikon D800 for under $600 / £500 or a Canon EOS 5D Mark III for around the same price range. Heck, one of my colleagues has just bought a Canon EOS 5D Mark I for next to nothing. He’s never used a full-frame camera and wanted to see what all the fuss was about without spending a fortune.

Ultimately, picking up a used full-frame DSLR is a great choice for stills photographers who want a cheap lens platform, the ability to experience a full-frame system without investing too much money, or somebody who just wants a camera with decent image quality to capture landscapes and architecture, who doesn’t need the latest-and-greatest mod cons.

And of course, if you simply love the DSLR system and don’t mind spending more, some of the greatest stills cameras ever created are DSLRs. I personally still stand by the Nikon D850 as one of the greatest stills cameras ever made and many would say the same thing about the Canon EOS 5D Mark IV.

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Take a look at the best Canon cameras and the best Nikon cameras. Want to go back even further to the real age of full-frame? Here are the best film cameras.

The full-frame DSLR is still an extremely capable option in 2026. But with every passing year, more photographers make the jump to mirrorless. And once you head down that road, you’re probably not coming back. Like-for-like mirrorless cameras are technically superior to their DSLR counterparts. I’m talking faster and more intelligent AF, faster burst speeds, access to more advanced optics, and of course, much better video capabilities.

So why would I recommend a full-frame DSLR ‘dinosaur’ to anyone? Performance and price. Performance? But you just said mirrorless cameras are technically superior… That’s true, but image quality is the great equalizer. While mirrorless sensors have advanced in terms of readout speed and in-body image stabilization, raw imaging power hasn’t changed all that much.

The biggest visible difference will be the optics used, but in real-world use cases, most people are not going to notice the difference between an image captured on a pro-grade DSLR and the same image captured on a pro-grade mirrorless.

For example, you can wield the 45.7-MP Nikon D850, safe in the knowledge that the 45.7-MP Nikon Z8 isn’t going to capture noticeably better images. The trade-off is that you have to work a little harder when shooting on a DSLR. Think about it like this. The Ferrari F40 is one of the most desirable classic cars in the world. It looks just as good today as it ever did. Just don’t expect it to have power-assisted steering, traction control and ABS.

A top-of-the-range DSLR like the Nikon D850, Canon EOS 5D Mark IV or Pentax K-3 Mark III will deliver gorgeous imagery, but you’re not going to be able to rely on an electronic viewfinder to set your exposure or AF subject detection that’s stickier than a puddle of cherry cola.

This leads me onto my next big reason why a full-frame DSLR might be the right choice for some photographers and that’s price. With mirrorless now well established, DSLR prices have plummeted on the used market and crucially, so have DSLR lenses. My old favorite camera is the Nikon D800 and it’s a fantastic example of how a DSLR with a high-resolution sensor can be purchased for less than even entry-level mirrorless cameras.

At the time of writing, the Nikon D800 can be purchased for as little as US$319 / £224 over at MPB. That is simply astounding for a camera with a gorgeous 36.3-MP, full-frame sensor. If you’re a landscape or architecture photographer, for example, you don’t need fast burst speeds and advanced AF algorithms. You could quite happily carve out a career with a Nikon D800.

Don’t get me wrong. I use a mirrorless camera myself – although I still dig out my old D800 from time to time – and there’s absolutely no doubt that mirrorless is the future (or rather present) of photography. But if I were starting out as a serious photographer all over again and I only had, say, $1,500 to spend on a setup that could take me to the moon and back. I wouldn’t be spending it on a Fujifilm X-T30 III or a Nikon Z50 II and a kit lens; I’d be picking up a pro-grade DSLR on the used market with plenty to spend on lenses.

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Are you happy to stick with your DSLR? In a mirrorless world, I still love my DSLR and see no need to upgrade. For a deeper dive on the Nikon D800, it's old, cheap and still takes gorgeous photos – I think it’s a great lens platform. And for those who want cutting-edge camera tech (nothing wrong with that at all!) here are the best professional cameras on the market.

I’ve written opinion pieces on this platform recently about why digital SLRs might be due a comeback – and what still appeals to many photographers about the format. 

Even so, you’d expect a multi-billion-dollar fly-by of the Moon to be using the very latest in cutting-edge technology.

So, I was as surprised – and intrigued – as anyone, to discover NASA’s recent Artemis II mission was using the decade-old Nikon D5 as a primary image capture device. 

Yes, there were multiple GoPros used both inside and outside the capsule, plus selfies taken with the latest iPhone 17 Pro – while the flagship mirrorless Nikon Z9 also squeezed onto the mission at the last minute. 

But the most amazing shots I’ve seen from the trip – of the Moon’s crater-scarred surface and those showing its proximity to, and distance from, Earth – were taken on a DSLR, as widely reported.

Does that now mean we can stop declaring mirrorless better in all respects, and that DSLRs should remain in the past? Even if that’s the stance most camera manufacturers have taken in their desire to get us all to replace and upgrade existing kit?

While some keyboard warriors / worriers might automatically assume NASA’s deployment of the Nikon D5 sheer lunar lunacy, there was method in the astronauts’ madness. 

Mission insiders suggested that the D5’s low light performance when it came to deep shadow detail was still peerless, even when pitted against its much newer Z9.

However, while the D5 offers a stratospheric maximum sensitivity setting of ISO3,280,000 compared with the Z9’s top whack ISO102,400, a look at the EXIF data accessible on NASA’s official Flickr page – where it’s posted the now most widely publicised images – reveals that, whichever camera was used, ISO400 was uniformly selected.

Now, I don’t know whether the cameras were not taken off this baseline because that provided consistency, whatever they were being pointed at, or if the desire for maximum clarity, high dynamic range and the lowest possible noise in challenging conditions was of paramount concern. 

Yet the quality from both the D5 and Z9 when used in space is so very impressive that I couldn’t slip a slice of dehydrated cheese between them when comparing performance.

To paraphrase the tagline for the original Alien movie: in space no one can hear you scream about whether mirrorless or DSLR is better! 

Simply put, now that Artemis II has been around the Moon and back with a DSLR on board, I believe there’s no longer any reason on Earth to have that debate.

It's been six years since Canon and Nikon launched their last DSLRs; the EOS 1D X Mark III, and the D6, respectively. That now leaves only one DSLR brand left in the game: Pentax. But although it does still produce DSLRs, it's not like we're being flooded with new hardware. Just two Pentax DSLR models are still officially current. There's the full-frame K-1 II, now 8 years old, and the APS-C KF, which though launched more recently in 2022, was little more than a re-badged K-70; a camera that dates back to 2016.

This begs the question: is Pentax really committed to DSLRs? Well, in a recent interview with Spanish-language photography website Photolari, executives from Ricoh/Pentax explicitly confirmed that Pentax will not abandon DSLRs and will continue to develop the camera format as long as there is demand for better, more up-to-date DSLR cameras - “We will never give up if there are customers”.

The same execs go on to state that they're committed to serving loyal Pentax shooters and giving them meaningful upgrades. To that end, they go on to say that a new Pentax DSLR is currently in development. No specific details are given, but a full-frame model is hinted at, potentially a K-1 III.

With the K-1 II closing in on its 10th birthday, its successor would need to be a considerable leap forward in terms of tech. However, with Pentax restricting itself to serving quite a small niche of die-hard fans, will it have sufficient development budget to produce and all-new camera that's meaningfully better than what's gone before? Another re-badging exercise like the KF really wouldn't do justice to the claim that Pentax wants to give its users "meaningful upgrades".

I'd genuinely love to see Pentax not just keep the DSLR on life support, but develop it into a strong alternative to mirrorless rivals. Even the best electronic viewfinders just can't match the analog immediacy of a true optical SLR viewfinder, and this helps make the entire DSLR shooting experience feel more engaging and satisfying, for me at least.

DSLRs are steadily disappearing from the modern camera market – and now there are growing signs that this full-frame flagship could be next.

Ricoh remains the only major manufacturer still committed to mirror-based cameras, but recent developments suggest its lineup may be shrinking – again. Following a series of discontinuities, new clues point to the K-1 Mark II potentially being on the way out.

The popular DSLR kit with the 28-105mm f/3.5-5.6 lens is now listed as 'discontinued' at major Japanese retailers, including Bic Camera, and marked as 'completed product' at Kitamura. Could the K-1 Mark II body-only version soon follow?

Discontinuation hints

Last year, the production of the Pentax K-3 Mark III ended, followed in March 2026 by the Monochrome version – a niche model that had only been on the market for around three years.

Now that the K-1 Mark II lens bundle has left the market in Japan, it's fueling speculation that the full-frame DSLR could be next.

It's important to note, however, that a bundle being discontinued doesn't automatically mean the camera body will follow – factors like new lens versions, updated bundles, or changes in retail strategy can also play a role.

That said, this pattern is common in the camera industry – and it could fuel even more rumors for a successor. Combined with mixed signals from retailers in the US and UK – some showing 'limited stock' or 'special order' – it suggests that overall K-1 Mark II availability is gradually shrinking.

Current availability & prices

So, for anyone considering a K-1 Mark II, now is a good time to buy a sealed DSLR rather than relying on the second-hand market, which could become the only option if global stock continues to shrink.

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Browse the best Pentax cameras and the best Pentax lenses. Also, take a look at the best DSLRs and the best full-frame DSLRs.

Much has been made of the incredible images coming from the Artemis II spacecraft, but what about the camera tech that has been deemed worthy of making it aboard this momentous mission? Maybe some exotic specialist photographic hardware has been developed especially for NASA, or failing that, then surely the astronauts must be using the very latest and best equipment that the mainstream camera industry has to offer?

There are plenty of premium cameras that could potentially work well for such a special task, but NASA has a long history of trusting Nikon for its photographic requirements, so it's of little surprise NASA has again picked Nikon for Artemis II. What's more surprising is the particular Nikon camera bodies you'll find on board. Though Nikon's current flagship camera, the Z9, is present, it was apparently not NASA's primary choice, and it isn't the main camera being used for the mission. That honor goes to the D5 DSLR.

Yes, while DSLRs are almost extinct in the consumer camera market (Nikon won't be making any more, and it’s now into its third generation of mirrorless Z cameras) NASA continues to favor the classic single lens reflex camera design. This is surprising given that DSLRs are usually heavier than their mirrorless alternatives, and for a space launch every gram really does matter. What's more, NASA didn't even choose Nikon's most recent flagship DSLR, the D6 - it instead went with the preceding D5.

This will likely be due the D5 already being a known quantity for NASA, having been extensively tested for its ability to survive the rigors of space travel and the unique demands of photography in zero gravity. But the D5 also makes a solid case for itself when it comes to image quality. The D5 was launched in early 2016, so you'd be entirely forgiven for thinking that a 10-year old camera would now be trounced by something like the Z9 in terms of stills quality, but that's simply not the case. In the depths of space, ambient light isn't always plentiful, so high ISO image quality is especially important. And in this area the D5 doesn't just hold up against current Nikon Z cameras, it actually BEATS them!

We've lab tested the image noise levels from every full-frame Nikon camera released over the last 15+ years, so can compare the D5 with the Z9 directly in the graph below, and the results may surprise you:

So how has a decade gone by with no improvement in high ISO image quality? Well, Nikon has prioritized increased resolution for its flagship mirrorless body, and unfortunately you just can't have extra resolution and maintain the same low noise levels. Squeezing more pixels onto a full-frame sensor means each individual pixel has to be made smaller, which in turn reduces the amount of light it can capture over a set shutter speed. The end result is more image noise, and even modern advances in signal processing haven't managed to compensate for this. Quite simply, if you need to shoot at high ISO sensitivities in space and want the lowest possible noise levels, you need a camera with a large sensor and a low megapixel count.

The 20.8MP full-frame Nikon D5 fits this profile very well, though it's not the only camera that scores well for high ISO image quality. The newer D6 actually generates slightly less noise at very high ISOs than the D5, and Canon's final flagship DSLR, the EOS 1D X Mark III, outperforms the D5 up to ISO 6400. NASA could also have selected the mirrorless EOS R1 and been rewarded with slightly better low light image quality than the D5 delivers. This is thanks to Canon opting for a more conservative 24.2MP resolution for its flagship mirrorless camera, which gives it a significant low light advantage over the 45.7MP Nikon Z9.

So what have we learned here? Though cameras have improved in many ways over the last 10 years, high ISO noise levels have barely reduced. The major camera brands may not be making DSLRs any more, but that certainly doesn't mean more recent DSLRs won’t still hold up very well against current mirrorless cameras for still image quality. And finally, if you're a NASA astronaut and want to take a camera into space, then it'd better be a Nikon!

If you spend any time with photographers these days they'll tell you about the greatest DSLRs. And if you spend any time with someone who's best friend was a photography enthusiast twenty years ago, they'll tell you about how DSLRs are the top of the tree – the "proper camera" that everyone aspires to.

Have none of these people grown up and looked at the world around them in all that time? Or are they not prepared to accept that things might have changed in two decades?

My first digital camera, on which I could change the lens, was the Canon EOS Rebel XT (the Canon EOS 350D), and it was a brilliant camera, but that incredibly successful line of cameras was first launched in 2003.

I have long since left not only the technology behind – when another was shown to be better – but even the brand. I now shoot with the Sony A7 series of full-frame cameras.

These cameras also boast interchangeable lenses, so I don't miss out on any of the possibilities afforded by my Canon in that regard. But they are "mirrorless," which, I suspect, as a current technology, just doesn't quite have the ring to it as the now past-it mirrored DSLR.

Crucially, one of the flaws that the mirrorless design 'solves' is that it gets rid of the large prism in the center of the camera, simply using the camera's imaging sensor to see the light directly.

As a result there are no moving parts to get out of the way of the part that is sensitive to light. And that movement – much more than the shutter – is what elicited the volume of the famous click noise.

Noastalgia enthusiasts then immediately miss most of the noise that a DSLR (and a film-based SLR before that) made before the wake of the mirrorless.

I think that makes people feel like the newer mirrorless camera is somehow weaker because it's smaller. Sure it's newer, and can certainly offer a silent shutter mode and, likely, better focus tracking in video mode.

It's also physically smaller and perhaps even lighter because it doesn't fill internal space with unnecessary optics. But does being smaller make it look even weaker? Are people just expecting the strongest to 'bulk up'?

Time has progressed and camera companies have all-but abandoned their DSLRs in favor of mirrorless designs, yet there is always immense excitement at the thought of SLRs – or at least digital SLRs – returning.

The other day it was the possibility of a Pentax K-3 Mark IV. The brand name Pentax itself is a reference to penta-prism, so you can see why they'd prefer the tech to be back.

But enlighten me? I don't understand.

Why buy a bigger, heavier camera because it's also an inferior technology with fewer options?

One Reddit user backed me up: "I would not start out with a DSLR unless you have significant budgetary constraints. There is no real upgrade path and all the innovation is going into mirrorless."

Another, though, argued: "I happen to prefer the way an image looks in a pentaprism rather than a digital screen. I have a friend that loves a TLR viewfinder."

I'd say the latter was a spurious argument – the final image will have to be recorded digitally and re-produced, as happens live on the mirrorless preview; the prism view on the DSLR side-steps that only for the viewfinder, and not for the final photo. So what's the point?

Ultimately, I find myself asking: "Is it that important to you to carry something that looks big and professional to the inexperienced?"

And yes, I am aware that there are circumstances this is useful – but not that many!

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Check our guide to the best camera for beginners, and the best mirrorless camera.

I am never surprised to see the Nikon D850 trending online. In my mind, it is without a shadow of a doubt, the greatest DSLR camera ever made. And you can bet it’s right up there with the best cameras ever made, too. It was released in 2017, at the peak of the DSLR’s power. But little did the industry know that the writing was already on the wall for the DSLR camera technology that the ‘Big N’ had popularized way back in 1999 with the release of the Nikon D1.

By the time the Nikon D850 launched, Sony was already a few years into its Alpha full-frame mirrorless system, and the following year, both Canon and Nikon would go toe-to-toe with the consumer tech giant by releasing their own full-frame mirrorless systems.

But in many ways, the Nikon D850’s timing couldn’t have been better. Rather than being seen as outdated tech just months after its release, it was very much the professional photographer’s camera. A bastion of image quality and a resolute workhorse that could be relied upon time and again.

You see, the mirrorless landscape wasn’t what it is today. High-end DSLR cameras tended to feature more reliable autofocus and much better battery life. And while both Canon and Nikon launched their full-frame mirrorless systems alongside their proprietary DSLR adapters, it took years for their mirrorless lens line-ups to reach maturity.

And then you had some inherent design teething problems. The Canon EOS R’s multi-function touch bar was so poorly received that it never appeared again, while the Nikon Z6 and Nikon Z7’s single card slots and lack of a native battery grip drew the ire of working professionals.

The only thing that dated the Nikon D850 was the bulky form factor that accommodated its reflex mirror and the lack of an electronic viewfinder. Otherwise, its 45.7-MP sensor was capable of delivering gorgeous high-resolution files, it had a very reliable 153-point AF system, could shoot 4K / 30p (uncropped), boasted a base ISO of 64, and featured a dual XQD (later CFExpress) / SD card slot.

Such is the Nikon D850’s enduring popularity that it remains in Nikon’s ever-dwindling line-up of DSLR cameras today. If you’re interested in making the move to full-frame, but aren’t bothered by mirrorless, or simply want an upgrade where you can still natively attach your F-mount lenses, I still highly recommend the Nikon D850 for stills photography.

Personally, I’d save a packet on the RRP and buy it used, but it’s still as capable as it ever was. I myself used to own a D850 before I traded it in to buy its spiritual successor, the Nikon Z8, and while I love the Z8’s mod cons and its ability to take Z-mount glass, I can tell you that the image quality is no better than that of the Nikon D850. As far as DSLR cameras go, it’s the absolute GOAT.

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Let me take you on a journey back even further and tell you why the Nikon D800 is still a beast! If you're interested in the Nikon Z8, I can see it staying in my kit bag for a decade – at least! And for a real trip down Nikon memory lane, here's why the Nikon FM is the only film camera I'll ever need.

Usually, I report on DSLRs reaching the end of their life – when manufacturers stop production, end support, and discontinue beloved mirror-based models.

But here's a rare bit of news in today's digital camera world: Pentax may be launching a new DSLR in 2026!

For some time, rumors have suggested that Ricoh could be preparing a new DSLR, possibly a Pentax K-3 Mark IV. Here's what we know so far...

The rumors

Rumors of a new Pentax DSLR are heating up in the photography community – particularly on forums like DP Review.

While Ricoh has yet to make an official announcement, one well-known source Asahi man, responded confidently to a forum question: "In short, yes, the new one is coming in 26, no speculation."

Even in a mirrorless-dominated world, a new DSLR from Pentax wouldn't exactly shock anyone.

After discontinuing both the original flagship APS-C K-3 Mark III and its Monochrome variant, the K-1 Mark II full-frame DSLR remains available – but the gap in Pentax's lineup leaves plenty of room for a new model...

The K-3 Mark III was an interesting hybrid – combining DSLR handling with some mirrorless-style innovation.

So, could the upcoming model carry forward that DNA? Many photographers hope so.

While some voices are skeptical, forum discussions are full of speculation: "Hopefully it comes with some new fast focusing PLM, DC, and/or modern SDM lenses," said one user. "Full frame? If so, sign me up for at least one," added another. "Most likely a warmed-over KF upgrading to the 26MP sensor as the 24MP one I think is out of production," speculated a third.

Pentax is known as the brand for photographers who refuse to give up on DSLRs.

And for shooters who still love the familiar mirror slap, robust handling, and Pentax ecosystem, a new DSLR would be a welcome breath of fresh air in a mirrorless-dominated market...

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I wrote recently about why digital SLRs could be due a comeback, if indeed they ever conclusively went away. 

Reader replies were divided between those in agreement and those calling the idea idiotic. DSLRs clearly remains a topic – and format – in which folks are deeply invested.

That didn’t surprise me, as millions were sold to photographers over the past 25 years. In fact, it’s more than you might think. Official CIPA figures put global DSLR sales at around 100 million – and a good number of these are still being used by their owners.

Ironically, at the peak of DSLR popularity – the early 2010s – the camera industry was already introducing mirrorless cameras. In hindsight, then, it isn’t all that surprising that there was some initial resistance to mirrorless. Especially from professionals who had invested thousands into DSLR camera systems.

Pros typically voiced concern about how smaller camera bodies and lenses might make them appear amateurish when they rocked up to photograph paying clients. The image of a working photographer back then was someone who turned up with big, expensive-looking gear and glass. Some of that mindset still exists today.

The counter argument has always been that clients are paying for the photographer’s expertise – and shouldn’t concern themselves with whatever kit is in use.

So, if gear comes second to ideas and personal vision,why is there still a lot of residual love for the DSLR?

Perhaps it has something to do with the fact that when, starting in 2008, Panasonic, Olympus, and then Sony began to introduce mirrorless models, the ‘big two’ of Canon and Nikon clung onto the DSLR for the longest time, seemingly waiting to see if mirrorless caught on.

A tipping point was reached when Nikon introduced the consumer-targeted Nikon 1 system in 2011, subsequently replaced in 2018 by Nikon Z, with Canon introducing the short-lived EOS M in 2012 before getting serious with EOS R in 2018. Appearing to have since put all their eggs in the basket marked ‘mirrorless’, neither has announced a new DSLR since 2020.

That leaves Pentax, hardly the format’s biggest player, as the current last man standing when it comes to developing new DSLRs. Even then, its own K-Mount full frame and APS-C releases have slowed of late.

A format once so big and popular doesn’t just go away overnight, however. There’s still a big market for DSLRs, particularly among students learning the basics of photography – albeit one increasingly catered to via second-hand.

The truth is, some of us just love a ruggedly built camera, with a decent-sized grip, impressive battery life, the ‘purity’ of an optical viewfinder rather than mirrorless’ EVF, plus a system supported by thousands of existing vintage lenses and accessories that can now be snapped up for a bargain.

After all, it doesn’t need to be a something akin to a divisive Beatles vs Stones, Oasis vs Blur, or Remainers vs Brexiteers debate when it comes to DSLR vs Mirrorless. 

There’s nothing to say we can’t use and enjoy shooting with both. Which is exactly what I do.

You decide - check out our guides to the best DSLRs you can still buy, and to the best mirrorless cameras in 2026

Pentax remains the only major camera brand still focusing on DSLRs – but now the Pentax K-3 Mark III Monochrome is no longer available. Not even three years after launch, the dedicated camera for black-and-white photography is marked as discontinued at major retailers, leaving photographers with fewer options than ever.

First, Ricoh ended the production of the Pentax K-3 Mark III in January 2025; now, its monochrome sibling has followed suit – a dedicated mono DSLR designed for photographers craving pixel-level detail without post-processing color conversions.

With kit lens bundles already disappearing weeks ago, the body-only version quickly sold out as well – leaving photographers wondering: is this the end of Pentax monochrome DSLRs – or is a new model on the horizon?

A dedicated niche DSLR leaves the market

Dedicated black-and-white DSLRs are increasingly rare. The K-3 Mark III Monochrome catered to a very specific audience: photographers longing for the precision and handling of a DSLR, paired with the aesthetic and immediacy of film-style black-and-white capture.

It's not for everyone – if you want full editing flexibility with color files, or rely heavily on highlight recovery, this isn't the camera for you.

But for black-and-white enthusiasts it delivers exceptional detail, strong image quality at high ISO performances up to 25,600, and the classic DSLR experience – without a premium Leica price tag.

Availability of Pentax K-3 Mark III Monochrome

Alternatives for dedicated B&W shooters

Options are limited. Leica's Q2 Monochrom, Q3 Monochrom and M11 Monochrom exist – but both are extremely expensive, and the Q2 is reportedly in its final production stages.

Ricoh's GR IV Monochrome offers a more budget-friendly option with a true monochrome sensor – but with compact handling, not DSLR ergonomics.

For traditional DSLR fans, these options may feel like compromises – either in cost or in shooting experience.

But camera rumors suggest that Ricoh may be preparing a new DSLR – a Pentax K-3 Mark IV. If so, a monochrome variant could make a comeback. Gain more insights here.

For now, though, photographers are left with few choices.

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The Canon EOS 5D Mark IV was one of the last great survivors of the DSLR era – but before it can celebrate its 10th birthday in August 2026, the iconic camera has now been added to Canon Japan's discontinuation list.

Canon's step to end the production of this full-frame DSLR may feel like a natural step in today's mirrorless-dominated camera market – but the disappearance of the 5D Mark IV will still sting for many photographers.

Even years after launch, the 5D Mark IV is known as one of Canon's most dependable pro DSLR workhorses, and remains widely used. However, with the discontinuation now official, photographers should expect no further official support from Canon, including firmware updates.

A milestone full-frame DSLR

Canon returned to its all-rounder roots with the 5D Mark IV when it was announced in August 2016.

At the time, it introduced several important upgrades, including a 30.4MP full-frame sensor, 7fps continuous shooting, 4K video recording, Dual Pixel CMOS AF (autofocus), and built-in Wi-Fi and GPS.

The camera also introduced Dual Pixel RAW, a unique feature that allowed photographers to make small focus adjustments and refinements during post-processing.

Even today, the 5D Mark IV offers some features that many photographers prefer over modern mirrorless cameras. For example, it provides a large full-screen digital level on the rear LCD, which many find easier to work with than smaller electronic level displays on cameras like the EOS R5.

Availability

Although the 5D Mark IV is now officially discontinued, it is still available to purchase – at least for now.

Retailers will continue selling the camera until the remaining stock runs out, meaning photographers may still find good deals in the upcoming weeks/months (if stock lasts).

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Dare I call the Nikon D750 the Big N’s first modern full-frame DSLR? Released the same year that Gangnam Style reached two billion views on YouTube and that infamous World Cup bite. Nearly a decade on from its launch in September 2014, the Nikon D750 is still a very capable camera that’ll handle pretty much any photography application you can throw at it.

Nikon launched this much-loved DSLR as the debutant in a range of compact and lightweight full-frame bodies. And while such a statement might garner a wry smile in today’s mirrorless market, stacked up against the Nikon D810 and Nikon D4, the Nikon D750 was notably smaller and lighter. But what was perhaps most interesting was Nikon’s claim of “full-scale specifications that pursue those of professional models”.

That’s because the Nikon D750 brought with it a new FX-format sensor and the then-top-notch Expeed 4 image processor. According to Nikon, this delivered superior image quality to the D810 at high ISO sensitivities. In fact, the Nikon D750’s impressive low-light capabilities still very much hold up today.

Add to that a respectable 6.5fps max burst speed, a new AF sensor module, top LCD screen and dual SD card slots, and it’s not surprising that the D750 was adopted by enthusiast and professional photographers alike.

It even presided over a few Nikon firsts; it was the first FX body to sport a tilting rear LCD, feature built-in Wi-Fi and have seven special effects modes (accessed via the mode dial).

In January 2020, the Nikon D750 would be succeeded by the Nikon D780 – and although the latter is arguably an underrated gem, the Nikon D750 had successfully cemented its place in the pantheon of legendary Nikons.

If you’re an enthusiast stills photographer on a budget, you could do a lot worse than a used Nikon D750. And with used examples going for as little as $300 / £300, it’s still an awful lot of camera for the money, even in 2026.

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I was in my 20s before digital photography became a mass market concern and the seismic shift condemned my family’s film cameras – 35mm and APS – to the bottom drawer or, worse still, the dustbin.

Now, in middle age, it feels like the past has come back to haunt me.

Nostalgia is a powerful drug. So, as someone who grew up with film cameras and fiddly rewind levers, buttons and dials, I certainly get the appeal of a modern digital equivalent of a 35mm rangefinder that’s equally tactile, solid and ‘classic’ looking (even if I never previously owned one – in fact my first gifted camera was a 110-film compact).

And I acknowledge that, because there’s so much about today’s fast-paced consumer-driven society that’s disposable, constructing a camera built to last ‘just like in the old days’ suggests we are getting something worthy of the sizeable price tag the manufacturers want to charge.

But there’s not only the aspect of longevity; some designs are just timelessly cool.

Although it wasn’t the reason I chose it, I often get asked ‘is that an old camera?’ when carrying around my digital Olympus PEN E-PL7. As it had a 2014 release, it is officially now an ‘old’ camera, but it’s not the film camera casual observers think it might be from its throwback design.

But lately, as much as I admire classic aesthetics and value the tactile user experience of thumbing levers and dials, I’ve begun to worry the penchant for ‘old school’ styled mirrorless cameras and compacts is stifling innovation. My suspicion is engineers are being led by the algorithm and social media trends, rather than their own blue sky thinking. It sometimes feels like retro cameras are ALL we’re seeing these days.

The cine camera-inspired Fuji Instax Mini Evo Cinema and to a lesser extent the same manufacturer’s X half compact may be recent cases in point, yet I feel can be partly excused for genuinely giving us industry observers a couple of ‘WTF?’ moments.

Also getting a pass from me is the Sigma BF, magically milled from a solid block of aluminum, because it falls into the section where the circles in an imaginary Venn diagram marked ‘innovative’ and ‘retro’ overlap – to the satisfaction of both camps. Minimal and futuristic in design with pressure-sensitive haptic buttons, its handling might divide opinion, but it remains worthy of applause for simply daring to be different.

So, the manufacturers can still innovate if they try – and not just trade on past glories.

It’s now up to us photographers and image-makers to vote with our wallets to encourage them to do it a little more often.

While Artemis II astronauts will rely on the latest spaceflight technology, they won’t rely on the latest camera technology. The first crewed mission around the moon since 1972 is set to launch no earlier than April of this year, and will be armed, not with a state-of-the-art mirrorless camera, but an aging DSLR. The news was revealed by mission commander, Reid Wiseman, during a Facebook post that the crew would be relying upon the Nikon D5.

Nikon announced in 2024 that it had entered into a Space Act agreement with NASA for Artemis mission support, but that was for its flagship mirrorless, the Nikon Z9. And indeed, the Nikon Z9 has since proven its worth on the International Space Station. So why is the Nikon D5 the preferred option for a trip around the moon?

Nasa told PetaPixel: “future Artemis missions will incorporate next-generation camera systems currently undergoing spaceflight qualifications.”

I can only assume that means the Nikon Z9 simply hasn’t been cleared for extended space flight and therefore won’t be available in time for the fast-approaching Artemis II window, which was supposed to be no earlier than March 6.

However, as I write this article, the Artemis II moon rocket is in the process of being removed from its launch complex at the Kennedy Space Center and returned to its hangar, following a helium-system issue that has delayed its launch.

Sending a camera into space isn’t exactly a walk in the park, and with the Artemis mission’s ultimate goal of landing on the moon no sooner than 2028 (via Artemis III), Nikon will be working with NASA to ensure that its cameras can withstand the ride. According to Nikon, cameras on the moon have to weather vast temperature changes and cosmic radiation, requiring component redesigns. This isn’t a trip to the ISS, cameras have to remain operational an incredible 238,000 miles away from Earth, requiring a plethora of tests and simulations.

It’s hard to believe that the D5 was launched a decade ago, in 2016. It’s a pro-grade, full-frame DSLR that’s built around a 20.8-MP CMOS sensor and runs via Nikon’s Expeed 5 image processor. The D5’s most notable spec is its huge ISO range 100 to 102,400, which can be expanded to an equivalent ISO3,280,000.

As such, it was known as a low-light monster and is still an incredible low-light camera. It also boasts exceedingly good autofocus for a DSLR, thanks to its, then, all-new 153-point AF system. As with any older DSLR, it’s not a great video camera, but can still capture 4K / 30p (1.5x crop).

But perhaps the Nikon D5’s biggest attribute, especially for space flight, is that it’s an absolute tank. It’s an absolute hunk of camera that’s as rugged as they come, and also boasts a formidable battery life that’s officially rated for 3,780 shots.

Nikon has enjoyed a long history working with NASA. The Nikon Photomic FTN was the first Nikon to go into space, as part of 1971’s Apollo 15. Since then, various Nikon cameras have accompanied astronauts, largely on the ISS, from the Nikon D1 to the Nikon D850.

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One of the only major brands still focused on DSLRs is the subject of new rumors after a DSLR was marked as discontinued at one retailer.

US retailer B&H has labeled the Pentax K-3 Mark III Monochrome as discontinued.

Importantly, one retailer's discontinuation doesn’t always mean the camera will be unavailable everywhere. Case in point? B&H also has the discontinued label on the color K-3 Mark III, but the DSLR is still available to order directly from Pentax in the US.

The K-3 Mark III Monochrome hasn’t moved to the brand’s list of discontinued products on parent company Ricoh’s US website either. However, the black-and-white camera doesn’t appear to be available to order directly from the manufacturer, nor is it available at competing retailer Adorama.

In Europe, Pentax’s website lists the K-3 Mark III as out of stock in the color and Monochrome models. However, in Japan, the K-3 Mark III is listed among the discontinued DSLRs, while the Monochrome is still among the available models.

While the reports of the discontinuation of the Pentax K-3 Mark III in both the original and Monochrome are conflicting, if the K-3 series exits the lineup, that leaves Pentax with two DSLRs: The full-frame Pentax K-1 Mark II released in 2018, and the crop-sensor Pentax KF announced in 2022.

Discontinuing the K-3 Mark III Monochrome, if the change extends beyond one retailer, is also notable because cameras with a black-and-white sensor are harder to come by than their color counterparts. Along with the K-3 Mark III Monochrome, other colorless cameras include the Ricoh GR IV Monochrome, the Leica M11 Monochrom, and the Leica Q3 Monochrom.

While Pentax experimented with mirrorless back when the format first came out with the Pentax Q lineup, the company has since declared a focus on DSLRs. As the text on the Pentax K-3 III page reads, “Pentax believes in the future of SLR photography.”

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In a recent YouTube video discussing DSLRs’ apparent return to popularity, a UK photographer said that these cameras enable you to learn photography better than mirrorless cameras do.

More specifically, photographer and YouTuber Lee Iveson said: “You’re in control, and it’s up to you to learn what your camera and your gear is capable of.” You can watch his full video below.

Iveson may not be a household name in the UK photography scene but I think his photos are high-class, giving his opinion merit.

However, with all due respect, I disagree with his point about DSLRs being the better system for learning the craft – and think the nostalgic feeling he has for the older camera technology is blurring his vision.

Iveson’s point is that mirrorless cameras now pack so much technology that they do the heavy lifting instead of the photographer, whereas a DSLR, with its more limited specs, “forces” you to make more considered decisions.

In terms of technology, you can’t disagree with this. Autofocusing on a mirrorless camera is comparatively a breeze, as is ensuring correct exposure thanks to the preview available in the electronic viewfinder.

However, to me, Iveson is misconstruing knowing how to use your camera with being a good photographer. While a good photographer needs to know their equipment, they’re also the one who best captures the scene as they envisioned it. And, if anything, a mirrorless system better enables this than a DSLR.

We’ve now got the luxury of features like AI-powered autofocus that rarely misses the mark and electronic shutters with blazing fast fps capturing moments that otherwise would’ve flown by a DSLR. Mirrorless systems put all these technical advancements in the palm of our hand without taking the creative reins.

And you still need to learn how to use all these functionalities, just as you would the settings of a DSLR, so I don’t see Iveson’s point in this respect either. In fact, there are arguably even more features to master on a mirrorless camera…

But I understand why Iveson might feel this way, as the feeling of picking up a DSLR again after years is akin to rediscovering old clothes when clearing out your wardrobe. There was a time when you loved these garments, but it’s only because you haven't seen them in years that you now want to wear them again.

And there is something special about the experience of using a DSLR that makes it seem like the better system for learning photography.

I particularly like knowing that, when I look through the optical viewfinder of a DSLR, I’m seeing real light bounced up through the camera. I also love how DSLRs feel in hand, and I’m yet to hold a mirrorless camera that feels as snug and, of course, light.

However, none of this changes my opinion that DSLR cameras are not the better choice for learning photography. Right now, I think mirrorless cameras optimally balance high-end specs with requiring user input, empowering you to hone the ability that truly matters – creativity, to a greater extent.

Later in his video, Iveson says he isn’t getting into a DSLR vs mirrorless camera debate – and neither am I with this article.

After all, I completely agree with the YouTuber when he says, “There is no right or wrong when it comes to photography… The right camera is the one that gets you out of the house, taking pictures.”

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The best DSLR cameras are still going very strong indeed, according to a Digital Camera World poll, in which nearly 1,200 of you had your say, and the results were very interesting. You were asked to divulge your main camera by choosing one of five categories: mirrorless, DSLR, compact, film camera, or mobile phone. Most of you – nearly 40% – are still using a DSLR camera as your main body.

This surprising figure, which totalled 458 votes, led the next most popular option, camera phones, by nearly 100 votes. But perhaps the most surprising figure was that only 20% of voters are using a mirrorless camera as their main body.

And despite a surge in compact camera sales, this in vogue class could only garner 6% of the votes, almost equalling the film camera category.

Now, this information certainly shouldn’t be applied industry wide. For starters, Digital Camera World’s target demographic will have, of course, skew the results. I dare say a similar poll from a more casual Gen Z TikToker would place compact cameras higher. But I do know one thing for certain, there is still an exceedingly loyal DSLR contingent out there.

Whenever I write an article about DSLR cameras, it tends to do relatively well. And whenever DSLRs are mentioned, across the Internet, I’ve noticed that a vocal support tends to follow, with plenty of positive DSLR chatter in comment sections, on social media, and in forums.

In fact, such is the enduring legacy of the DSLR, the latest Digital Camera World podcast episode centered around rising DSLR lens sales. And I myself am still a strong proponent of both DSLR cameras and DSLR lenses.

If you’re primarily a photographer and have little to no interest in video, it's my opinion that a quality DSLR will not put you at a disadvantage. In some cases, it may even put you at an advantage. I’ve talked extensively about the value of DSLR kit on the used market and if you’re looking to get into photography, or upgrade your gear on a very tight budget, you can buy DSLR camera kit, used, for a fraction of the price of mirrorless camera kit.

While a brand-new full-frame mirrorless camera with a ‘holy trinity’ of f/2.8 zooms might be way out of your budget, you may find that a secondhand full-frame DSLR with a ‘holy trinity’ of f/2.8 zooms is, for example. What I’m not trying to do, though, is dissuade anyone from buying a mirrorless camera.

I have upgraded to a mirrorless camera and I certainly don’t regret it. When compared like for like, mirrorless cameras tend to be smaller and lighter, boast faster autofocus, better video features, and open you up to the practicality of having an EVF (although I still love optical viewfinders). Lenses also tend to be smaller, lighter, sharper, and more detail rich.

But the key takeaway here is ‘like for like’. In a straight head-to-head bout, most mirrorless cameras would beat a comparable DSLR, but the difference in price means that those on a budget can often afford a more premium camera if they opt to go down the DSLR route, without spending any more money. Such premium features could include a full-frame sensor, higher resolution, or weather sealing.

And while there will come a time when DSLR cameras may start to become reliably dubious, due to their age, DSLR optics will enjoy a much longer lifespan. And, with Canon and Nikon allowing for mirrorless users to adapt DSLR lenses, if you decide to go the DSLR route now, your collection of DSLR glass won’t necessarily become redundant if you make the move to mirrorless later down the line.

The question on my mind now, is how long do we have to wait before DSLR cameras inevitably make a comeback like film and compact cameras? Pentax aside, surely we’ll see a new DSLR released by one of the big camera companies within the next 10 years, it’s a matter of when, not if.

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In the 2000s, digital SLRs – DSLRs – were the big beasts of the digital photography world – and if you were a serious photographer, then you needed to own one.

Since the 2010s, however, mirrorless cameras have stealthily replaced them. We’ve already reached the point where there’s a mere handful of choices should we want to buy a DSLR new. As sales have flatlined for several years, most manufacturers with the notable exception of Pentax, have simply stopped making them.

I think that’s a great shame. And rather short sighted.

Why? Well, there’s still stuff that DSLRs are great at.

Large, obvious tactile controls for one. A handgrip of sufficient size to be practically useful for another. A large, bright optical viewfinder as opposed to an electronic one. A more robust, ‘built to last’ feel. A longer battery life, typically, than their mirrorless camera equivalents. A better body/lens balance too, especially if attaching longer optics.

Plus, particularly if buying second-hand, better value with it. And that money-saving goes for the lenses and accessories to use with DSLRs too.

Just as we’ve seen a resurgence of interest in compact snapshot cameras and, to a lesser degree, big zoom all-in-ones, for all the reasons listed it wouldn’t surprise me at all if the digital SLR was the next format to enjoy a resurgence of interest and reappraisal.

It’s often only when something appears it’s about to disappear completely that folks, by which I mean us photographers, sit up and take note. Just look at the white rhino.

With camera manufacturers increasingly taking a content creator-centric ‘video first’ policy when it comes to releasing new, mirrorless kit, at the time of writing the DSLR does also feel like the last preserve of those who’d rather the focus was ‘photography first’. Those who want to freeze an idea and present it as a definitive moment, with video a secondary concern, if a concern at all.

All this said, I haven’t ditched mirrorless entirely. The portability of the cameras still appeals when I want an image capture device I can slip into my bag to take along to a press event or use for fly-on-the-wall street photography; a scenario for which a traditional DSLR would feel too obvious and intrusive. Or to use when I don’t want to be distracted from picture taking by the apps and notifications on my smartphone.

But I reckon there is lots of life in the DSLR yet, and certainly creatively the two camera types can continue to happily co-exist.

The history of technology often records what’s newest replacing whatever’s current. But as regards the DSLR, I feel there’s still another chapter to be written.

I enjoy using both Canon DSLRs and mirrorless cameras. But one of the reasons I still enjoy using DSLRs like the Canon EOS 5D Mark IV is the lovely noise it makes when taking a photo. I don't mean using Live View without the mirror, I mean taking a photo the "proper way" via the viewfinder.

That press of the trigger and rapid-fire double "clack". It’s like the reassuring "clunk" of the heavier doors of better cars. Cheaper, lighter cars have crap doors that sound plasticky when they close with a lightweight "click".

Modern mirrorless cameras don’t produce that reassuring click or clack of the curtains (or blinds) moving out of the way of the shutter during an exposure.

For example, there’s a weird "digital squelching" noise that my Canon EOS R5 Mark II makes when you press the shutter button. This noise makes sense when you’re in high-speed burst mode, but not in day-to-day normal photography with single shooting drive mode.

Thankfully on my R5 Mark II, there’s a quick fix: simply switch the shutter mode from electronic shutter to mechanical shutter!

To do this, go into the red Shooting menu and find the Shutter mode page, then select the louder, more satisfying Mechanical option. Bingo! Press the shutter button now and you get that instantaneous "clack clack"!

Mirrorless mechanical shutters sound like a pistol with a silencer, compared to DSLRs' louder mechanical shutters, but they still sound more soothing to my ears!

On the R5 Mark II, you have two other shutter modes: there's Electronic 1st-curtain or the near-silent crunchy-beeping Electronic Shutter (ES) if you prefer, or if you need to be quiet.

What about other brands? Nikon gives you more choice of shutter sounds on top-of-the-range Nikon Z series cameras like the Z8 and Z9 – perhaps too much choice.

With sounds such as DSLR, Digital and Film, that might sound (literally and figuratively) all good. But there’s even a customizable shutter sound on the Z9 that mimics a cat’s meow. To this I say, woof woof!

The Nikon D3000 was launched back in 2009, which makes this DSLR camera for beginners an astonishing 17 years old. And yet, in 2026, it remains a surprisingly relevant camera for new photographers.

In fact, if your goal is to learn photography properly without breaking the bank, the Nikon D3000 might be one of the smartest and most low-risk second-hand camera purchases you can make. The cheapest offers that I found on second-hand retailer KEH in the US is $65, while in the UK it's just £41 at MPB.com.

In a modern mirrorless world obsessed with specs, AI autofocus (AF) and video features, the Nikon D3000 is often forgotten. But it focuses on what truly matters in photography: exposure, control and storytelling.

Why the Nikon D3000 from 2009 still makes sense for

At first glance, recommending a 17-year-old DSLR camera as a beginner tool might sound absurd. But the Nikon D3000 offers everything a photography beginner actually needs – and very little that they don't.

For anyone upgrading from a camera phone, compact camera or point-and-shoot camera, the Nikon D3000 is a perfect step towards a more advanced photography system. It strips shooting down to the essentials and encourages learning rather than automation.

I've been there myself. Today's camera market is intimidating. And once you commit to a system, you're often looking at thousands of dollars in lenses and accessories – before you even know what kind of photography you actually enjoy. Investing heavily at that stage often leads to regret.

Before spending big money, the most important skill to learn is manual exposure. The first, real photographic control comes from understanding aperture, shutter speed and ISO (also referred to as the exposure triangle). And that's where the Nikon D3000 truly shines.

The perfect learning tool

One standout feature makes the Nikon D3000 exceptional for beginners: Guide Mode.

Guide Mode actively teaches photography while you shoot. It explains camera functions, suggests settings for different scenarios, and walks beginners through common shooting situations like portraits, landscapes and motion.

Instead of guessing, you learn why certain settings work – building a real photographic understanding rather than reliance on auto modes.

Also, the ergonomics and menu systems of the Nikon D3000 are refreshingly simple. There's no feature overload, no endless menus and no intimidation factor.

Too many modern cameras overwhelm beginners with options that they don't yet understand – which often leads to frustration. The Nikon D3000 avoids this trap by keeping things focused and approachable.

Cheap second-hand prices = low-risk learning

For minimal investment, you get a capable DSLR, interchangeable lenses, full manual controls and access to affordable older Nikon DSLR lenses.

Its compatibility with manual-focused Nikon lenses is also valuable. Learning manual focus is an underrated skill – and one that strengthens your understanding of composition and depth of field.

So, before you spend thousands on a brand-new US$6,000+ full-frame mirrorless camera, it's best to learn the craft first. Because photography isn't about specs. It's about storytelling, light and exposure.

And that's something that the Nikon D3000 still teaches better than many modern cameras.

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It might be ten years old in 2026, but the pro Canon EOS 5D Mark IV is still a fantastic full-frame camera, with an impressive set of specs and tons of top features that makes it one of the strongest survivors from the DSLR era.

Celebrating its 10th birthday in August 2026, the Canon EOS 5D Mark IV is still on sale and available as a new camera at many online dealers and direct from Canon, it’s still used by many professional photographers, and it offers more than enough for most people’s photographic needs. I still use mine regulary today 

The Canon EOS 5D Mark IV offers great image quality whatever you’re shooting, and it has that reassuring sturdy body that you can rely on, and you know is built to last. The Canon EOS 5D Mark IV also has a huge range of excellent Canon EF lenses to capture every type of genre, as well as top third-party lenses from Sigma and others.

Personally I still love my Canon EOS 5D Mark IV, and it’s a camera I still use regularly for all types of photography – alongside my newer EOS R5 Mark II. From landscape photography for editorial content, headshot photography, or client’s products in my home studio. It’s still a highly versatile camera today.

It has a ‘mummy bear’ sensor size with its ideal 30MP CMOS sensor; bigger than the general baby 24MP sensor, but not-too-large daddy 45MP sensor. Other specs include Dual Pixel RAW and Dual Pixel CMOS AF, it can fire in bursts of 7 frames per second for 21 RAWs, it has GPS / Wi-Fi / NFC, plus EOS Movie 4K + Full HD.

Even better - the Canon EOS 5D Mark IV is a bit of a bargain now, even new, making it a tempting choice for those looking for a professional camera body (see below). 

While via used dealers like MPB you can pick up a real bargain with a Canon EOS 5D Mark IV with a lower shutter count for just over $1000 in the US, or just over £800 in the UK.

It’s time for my anual reminder to everyone that the Nikon D800 still exists and is still a very good camera indeed.

I’ve lost count of how many times I’ve waxed lyrical about the D800 over the years, but even as it approaches its fourteenth birthday, I stand by my view that it’s one of the most overlooked cameras on the market for those who want to start taking their photography seriously. And best of all, with each passing year, the price plummets farther and farther.

At the time of writing, MPB is selling used D800 cameras from $304 to $519 / £224 to £309. Sure, the Expeed 3 is getting very long in the tooth, the 51-point AF system is sluggish by today’s standards, and the 4fps max burst speed is laughable.

But the D800 is a premium camera that cost around $3,000 / £2,600 upon its release back in 2012. While the majority of its specs place it way behind the pack now, it’s still got it where it really counts. To this day, the Nikon D800 still churns out gorgeous 36.3MP RAWs and boasts a bulletproof Japanese build.

Its autofocus shortcomings won’t make it overly appealing for action photographers – not that it ever was – and if you shoot video, forget it. But if you’re a landscape photographer, an architectural photographer, or a portrait photographer on a very tight budget, it could still offer you the foundation in which to build a career.

Heck, I cut my motorsport photography teeth using the Nikon D800, and there are images I captured on that camera that remain in my portfolio today. I’ve said it many times before, but you’re far better off compromising on the camera body – if it means you can spend more money on quality lenses – than you are investing everything into an expensive body and having to make do with a kit lens.

Casual photographers and enthusiasts can get by with a standard kit lens, but if you want to take your photography more seriously, specialize, become a student of the medium, or take on work, you’ll need to invest in lenses. And that’s the Nikon D800’s secret weapon. It’s a Nikon DSLR, and that means it’s built around the company’s long-standing F-mount.

Now that Nikon Z lenses and cameras have come of age, F-mount glass has plummeted in price. You can pick up professional-grade ‘trinity’ glass for hundreds rather than thousands of bucks. And I can promise you that a ‘holy trinity’ of f/2.8 DSLR zoom lenses will stand you in much better stead than a tip-top, all-singing, all-dancing mirrorless camera and a kit lens.

If you can find one on the cheap, the Nikon D800 is still a great camera. I know. I still use one!

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Want more D800 ramblings? I bought a used Nikon D800, and it made me laugh… but in a good way. Perhaps you're set on buying a mirrorless camera with D800 DNA? The Nikon Z8 is two years old, but I reckon it could remain in my kit bag for a decade AT LEAST. And if you want a really old camera, I bought the only film camera I’ll ever need: the Nikon FM is an SLR in its purest form.

I can still remember the first time I shot a superbike racing event with the Canon EOS-1D Mark III. Just to clarify, that’s not a typo. I do mean EOS-1D Mark III. Not EOS-1D X Mark III.

While the original Canon EOS-1D launched in 2001 – 4MP sensor, anyone? – it was the Canon EOS-1D Mark III (released in May 2007) that really left its mark on me.

The Canon EOS-1D Mark III may’ve been seen as the tricky middle child of sensor sizes, it still boasted a newly-developed APS-H-size (28.1 x 18.7mm) 10.1-megapixel CMOS sensor. This CMOS sensor was unique as it produced a 1.3x crop factor.

This meant the camera was the perfect middle ground between Canon's APS-C 1.6x crop sensor cameras and full-frame cameras. Giving you an edge over both versions; as you had the image quality over the smaller sensor 1.6x crop cameras, but more reach with telephoto lenses over the 1Ds and 5D full-framers.

The Mark III offered superb image quality with incredible speed, enabling continuous shooting at 10 frames per second for over 100 consecutive JPEGs or 30 RAW files.

Plus a high-speed, high-precision Area AF with 19 cross points, and a viewfinder offering 100% coverage contributed to the Canon EOS-1D Mark III’s outstanding performance.

It was a joy to shoot any fast-moving sports, but particularly awesome for motorsports. The hair-trigger AF and super-fast 10fps was so impressive back then, just listening to the rapid-fire click-clack of the shutter bursts when pressing the button!

The Canon EOS-1D Mark III had an ISO range from 100 up to the heady heights of 3200 ( expandable to 6400), and a new-at-the-time Dual DIGIC III high-speed image-processor enabled it to handle the large bursts of high-res images. I captured some of my favorite motorsports images with this camera.

It was a beast of a camera body, and felt bullet proof to shoot with – it was 156 x 156.6 x 79.9mm and weighed 1155g (a bit stockier but similar weight to today’s Canon EOS R1 which is 157.6 x 149.5 x 87.3mm at 1115g).

Designed to meet the demands of professional news, sports and studio photographers, the EOS-1D Mark III could handle 300,000 shutter cycles. Other nifty Canon specs included a then-innovative EOS Integrated Cleaning System, to prevent dust inside the camera.

Sadly, the EOS-1D series wasn’t to last, and we never saw a 1.3x crop sensor EOS camera again after the Canon EOS-1D Mark III. RIP, you big beautiful brute.

While it was the original Canon EOS Digital Rebel (Canon EOS 300D in Europe) that was the first sub-$1,000 digital SLR when released in 2003, it was its successor two years later that really kick-started the DSLR revolution for millions of new beginners around the world.

The Canon EOS Digital Rebel XT (Canon EOS 350D in Europe) was smaller, lighter with much better specs than its predecessor, bringing an affordable ‘interchangeable lens’ digital camera to the amateur masses.

Before the Canon EOS Digital Rebel XT/EOS 350D, the camera market was mainly making expensive and bigger professional cameras. The Rebel XT was different – it was a budget entry-level digital SLR for consumers, and helped accelerate significant growth in the DSLR amateur market in 2005 and throughout the 2000s.

The 350D gained many upgrades previously ‘locked’ in the original Digital Rebel, including an 8.0 megapixel CMOS sensor (up from 6.3 megapixels), producing 3456 x 2304 pixel images, a new DIGIC II image processor, faster power-on time of 0.2 seconds.

It could also shoot at 3fps for 14 JPEGs or 4 RAW images continuously before hitting the buffer. This was very impressive back in 2005!

Writing images to the CompactFlash card was three times faster, and an USB 2.0 connection meant higher-speed data transfer to your PC.

Plus it was the world’s lightest digital SLR camera at the time, weighing in at 485 grams. It came in a classier black body so it looked more like a proper camera, although silver versions were available for those who wanted one to match the 300D.

Check out the best lenses for Canon DSLRs

In my mind, the Nikon D3500 sits firmly within the pantheon of legendary cameras because it arguably introduced more people to the world of digital photography than any other camera (Canon EOS Rebel T7 (EOS 2000D) aside). But far from being one of the best cameras for beginners, it’s also an extremely versatile little camera that’s perhaps capable of far more than you might think.

To prove just how capable this little camera really is, I took it to a local race circuit to photograph a superbike race and captured the image (above) with the Nikon AF-S DX 55-200mm f/4-5.6G. I do the occasional motorsport photography talk, and this image sits within my presentation as an example of how you should never let gear (or lack of it) stand in the way of your photography.

Sure, I had to crop into this image a bit, and if I’d been using a high-resolution camera, more detail would have been present. A longer lens would have reduced the need to crop altogether, and if it was a good-quality optic, the subject might have been sharper. Maybe a more advanced image-stabilization system would have helped me capture a sharper subject, too. And with more frames per second, perhaps I could have selected a more dynamic moment. But all that aside, this is still a solid motorsport photography image.

I’ve no doubt that a beginner with an interest in sports photography could put together a formidable portfolio with just a Nikon D3500 and a healthy dose of determination. Don’t get me wrong, gear does matter when it comes to photography – however much I hate to admit it – but it’s certainly a law of diminishing returns.

If you can’t capture a decent photo on a Nikon D3500, you’re not going to suddenly capture a decent photo on the best Nikon camera money can buy. Whatever photography gear you have, don’t let it get you down. Look upon it positively and you might just capture your best images ever.

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Put the Nikon D3500 in the hands of a skilled street photographer and this happens – here’s how Chris Aldred set out to take creative street photos with an entry-level camera. The Nikon D3500 might be discontinued, but you can pick the Nikon Z fc up for a very good price nowadays. And if you’re looking for budget buys, here are the best cheap cameras.

I have to admit, I’ve always had a soft spot for Pentax. In a world dominated by mirrorless cameras and endless autofocus chasing, it's somehow managed to stay delightfully offbeat.

It continues to release DSLRs; it brought back the half-frame format last year with the Pentax 17 film camera, and it just seems to do things its own way. It’s this willingness to surprise that keeps me genuinely interested in what it does next, and its latest user survey has me more intrigued than ever.

Ricoh recently rolled out a survey aimed at Pentax users, and some of the questions point toward ideas that are, frankly, a little bonkers, but in the best possible way. Question 7, for example, asked whether users would consider purchasing a DSLR designed specifically for manual focus.

At first glance, this sounds completely out of step with the times. But then I read the reasoning: a manual-focus DSLR could offer a brighter viewfinder, split-image focusing screens, improved battery life, and a more compact body. Suddenly, what seemed bonkers makes a lot of sense, and I found myself nodding along. A camera like that would feel wonderfully tactile and deliberate, something that really rewards slowing down and thinking about each shot.

Question 8 took things even further, asking whether users would consider a full-frame DSLR designed exclusively for monochrome shooting. Pentax already experimented with this concept with the K-3 III Monochrome, but a full-frame version opens up so many possibilities.

The survey highlights benefits like cleaner noise characteristics, improved ISO performance, and enhanced resolution. And then comes the kicker: the follow-up asked what megapixel count users would prefer – 60MP, 45MP, or 25MP. A 60MP full-frame monochrome DSLR?

Of course, I know this is just Ricoh Pentax feeling out its community. None of these ideas is confirmed, and nothing in a survey guarantees a product will actually hit the shelves. But what I love about Pentax is that it listens to its users in a way that feels genuine, rather than chasing market trends or trying to please everyone.

Imagining a manual-focus, full-frame monochrome DSLR with potentially 60MP is exactly the kind of camera that gets me excited. It’s wild, it’s unexpected, and it feels like something only Pentax could pull off.

If they actually make one, I’ll be first in line to test it. And honestly, I wouldn’t be surprised if I’m not the only one. Pentax has always marched to the beat of its own drum, and this survey is a reminder of why so many of us are happy to follow along.

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The cameras topping the best-seller charts right now are often the smallest options – but the limited real estate often means sacrificing some tactile controls. I went the opposite route when I picked up a short-term loan of the Pentax K-1 Mark II.

When I picked up the Pentax K-1 Mark II a few weeks ago, it was my first time using a DSLR since I traded mine in for a mirrorless a few years ago. The experience isn’t tempting me to revert back to the bulkier interchangeable lens camera system, but it is reminding me of the perks of the classic format – and that you don’t have to have the latest, greatest camera to be enamoured with the photographs.

The Pentax K-1 Mark II launched back in 2018. (Pentax confirmed the development of the Pentax K-1 Mark III in 2023, but there's still relatively few official details beyond rumors.) Seven years is a long time for the pace of technology, yet too short to be really considered “retro.”

Still, I’m enamoured with the images that I’ve captured with it so far. The sharpness doesn’t have the razor-thin clarity of some mirrorless optics, and there are plenty of cameras with specs higher than the 36.4 MP full-frame sensor. But I’m rather in love with the colors and contrast on some of the unedited JPEGs that I shot.

Mirrorless cameras are undoubtedly the future, but the experience of using a DSLR still feels quite a bit different. The grip on the K-1 Mark II gives my hand far more to wrap around, and the larger space leaves more real estate for a plethora of controls. Enough controls that it almost becomes hard to remember where they all are, at least at the start.

The optical viewfinder is one of the DSLR-standard features that’s incredibly hard to find on mirrorless. (Cameras like the Fujifilm X-Pro3 have a hybrid viewfinder with an optical and digital option.) On the one hand, the optical viewfinder doesn’t allow you to preview your exposure or color profile. But on the other hand, we’re already bombarded with enough screens, and exposure preview can be a downside in scenarios like exposing with flash.

Then, of course, there’s the battery life. I’ve shot portraits, landscapes, macro, and astrophotography, totalling more than 800 photos. I still haven’t charged the battery since the first time that I pulled it out of the box, and the battery life indicator is still at 75 percent.

What I really missed was the autofocus system on mirrorless cameras. Yes, when mirrorless cameras first came out, DSLRs still had the better focusing system. But eye-detection autofocus is a major perk, not to mention the ability to place the focus point far closer to the edges.

Am I going back to DSLRs? No, I don’t plan to go back, I love the lighter weight and autofocusing perks too much, not to mention DSLRs are no longer the focus of most advancements in imaging.

But I think there’s a lot of pressure in the photography community sometimes to conform to the latest tech and trends. I love my mirrorless camera, but no judgment here if you prefer those beefy grips, plethora of controls, and envious battery life of a DSLR.

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Is a new 61MP DSLR coming soon? That's something few photographers expected to hear again in a market dominated by mirrorless cameras. While most major brands have shifted focus away from DSLRs, Pentax is holding the line – and if the latest rumors are true, it's preparing something big: the Pentax K-1 Mark III launch.

Official development of the K-1 Mark III was confirmed back in 2023. The first detailed camera rumors began to surface in 2024, including an early spec sheet that hinted at a significant leap forward in DSLR design. Now Pentax Rumors has shared that the K-1 Mark III is expected to be announced in October 2025, with shipping likely to begin between late November and December.

A brand-new DSLR with a high-res back-illuminated sensor, in-body image stabilization (IBIS), modern connectivity and top-tier weather sealing almost feels too good to be true. Yet Pentax remains the last major camera brand still designing DSLRs from the ground up.

The latest rumored specs echo those from last year, but they also closely resemble the internals of Sony's top-tier mirrorless flagships – obviously without the electronic viewfinder and with a rugged DSLR body build like a tank.

If the reports are accurate, the Pentax K-1 Mark III wouldn't just be the highest-resolution DSLR ever made, but potentially the most feature-packed DSLR ever released.

Rumored specifications: Pentax K-1 Mark III

• 61MP Sony back-illuminated CMOS sensor
• 4K60p video
• New SAFOX 14 autofocus system for improved focusing performance
• Dual CFexpress Type B slots
• USB-C 3.2 port
• Bluetooth, Wi-Fi, GPS
• 5-axis IBIS
• Same battery (D-LI90)
• Higher-resolution touchscreen
• Joystick
• Price: $2,799 to $2,999

Release Timeline: official development confirmed, with a formal announcement scheduled for October 2025 and shipping expected between late November and December 2025

(Original source)

Let's put this into perspective

Apparently, the Pentax K-1 Mark III will feature a 61MP back-side illuminated sensor with in-body image stabilization, GPS and the latest version (14) of the company's SAFOX autofocus system.

While the latest 2025 rumor omits mention of the Astrotracer system, this Pentax-exclusive feature has been a staple in earlier DSLRs like the K-1 Mark II and the K-3 series. Given its popularity among astrophotographers, it's possible the K-1 Mark III will still include built-in Astrotracer functionality – but its absence in the latest list could also reflect editorial focus rather than a feature removal.

So, if the rumors of this 61MP full-frame DSLR are true, this camera would surpass DSLR powerhouses like the Canon EOS 5D R's 50.3MP sensor by a significant margin. That would make the Pentax K-1 Mark III the current resolution ruler of the full-frame DSLR sector, standing in competition with today's high-end mirrorless cameras in terms of image detail – a feat that no existing DSLR has achieved.

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In the camera world of 2025, mirrorless cameras are booming. No doubt about that. They're fast, compact, tech-packed – and clearly the mainstream choice today. But... DSLRs are still shipping in the millions.

Despite the hype around mirrorless, many of us still swear by the optical clarity, battery life, durability, and overall shooting experience that only (!) DSLRs can deliver. And now we've got the numbers to prove it.

According to DC Life, citing the Nikkei Financial Yearbook "Industry Map", we now have a clear breakdown of DSLR and mirrorless camera shipments by manufacturer – focused on Canon, Nikon, and Pentax. So let's dive in, and put things into perspective...

While DSLR shipments have dropped over time, the demand is far from gone. Canon, for one, has not launched a new DSLR model since 2020. But it shipped an impressive 790,000 DSLR units in 2024 alone. That's nearly 90% of the entire DSLR market worldwide. Nikon, on the other hand, dropped from 440,000 units in 2021 to just 70,000 in 2024, while Pentax has held steady at around 10,000 units per year – a small but loyal niche.

Those numbers tell a story many of us still feel in our hands. That the DSLR experience is something mirrorless just hasn't replaced yet.

Canon's continued success is likely driven by entry-level bundles, which remain attractive to beginners, students, and enthusiasts. There's also a massive legacy audience out there – photographer with decades of EF-mount lenses, built-out kits, and no reason to switch systems when their DSLR still works just fine.

Nikon is all-in mirrorless, with a significant growth from 290,000 units in 2021 to 760,000 units in 2024. But Pentax isn't chasing mainstream. Instead, it's embracing DSLR as a niche tool. With cameras like the K-3 Mark II Monochrome, Pentax is leaning into the artistry of photography, betting on analog-style shooters who want a more tactile, focused experience.

Mirrorless is mainstream – DSLR is for those who know why

Yes, mirrorless is the future – it's where innovation is happening, and for anyone starting fresh, it makes sense to go that route. The numbers show that mirrorless shipments have grown over 1.6 million units since 2021, a 43% increase. But what the same numbers also show is that the DSLR isn't dead – it's just taken a different place in the market.

I still have my DSLR, and I'm not giving it up anytime soon. Maybe never. Because there's a certain connection to the craft that I just don't get from mirrorless. It's a reliable, beautiful, and simple tool that feels right.

So, the next time someone asks you why you're still "stuck" with a DSLR, just show them the numbers. Show them that nearly a million DSLRs shipped last year, that Canon still leads the market with zero new models in five years, and that photographers like you and me are still out there, loving shooting with a DSLR. It's a system that is solid, trusted, and for many of us, it's still the choice.

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The Canon SL3 – aka the Canon EOS Rebel SL3 in the US, the Canon EOS 250D in the UK, the Canon EOS 200D Mark II in Europe and the Canon EOS Kiss X10 in Asia – was released way back in 2019. Ever since, it's been a go-to recommendation for newboes – but over half a decade later, is it still worth buying?

Yes, I absolutely think the Canon SL3 remains one of the best cameras for beginners – and indeed, anyone looking for an affordable camera. And in fact, I think its age actually works in its favor; y'see, a six-year-old DSLR has aged way more gracefully than a six-year-old mirrorless camera.

Think about it for a second. Let's consider a few of the Canon SL3's peers from the class of 2019: its Canon EOS M6 Mark II stablemate, the Nikon Z50 from Canon's arch rival and the Fujifilm X-T30.

Obviously these are three very different cameras from three very different categories, and I'd venture that someone interested in the Canon SL3 isn't really interested in. any of them. But they all have one thing in common; they have all been superseded in the intervening six years. Heck, the entire EOS M system has been taken out back and been Old Yellered.

That's because, fittingly, 'mirrorless years' are like 'doggy years' – they move a whole lot quicker. And there are newer, superior iterations of all three cameras that I would recommend above these three mirrorless models.

By contrast, 'DSLR years' are now virtually ageless. DSLRs like the Canon SL3 are now vampires, because the technology has hit its apex – there will never, ever be a better version of the SL3. So it's still as good today as ever it was.

Which means, if you're looking for a beginner camera or a small affordable DSLR, the Canon SL3 is still a great recommendation. Its 24.1MP sensor still takes fantastic photos (I have taken similar pictures on this and the EOS R6 Mark, and nobody could tell the difference), you get Dual Pixel AF when shooting in live view, you get a vari-angle screen and even 4K video.

So if you've been eyeing up the Canon SL3 and wondering if it's still worth considering in today's market, my answer is a big fat yes.

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In our review in 2018, we called the Nikon D500 "a dream camera" – and even then, some were saying that DSLRs were on their way out. Fast-forward to 2025 and the mirrorless wave has only grown stronger, reshaping the camera market from top to bottom.

But even as tech moves on, the Nikon D500 refuses to die. Nearly a decade since its launch, Nikon's APS-C flagship is still quietly doing what it does best: delivering pro-level performance, reliability and an unmistakably classic shooting experience.

Launched in January 2016 alongside the full-frame Nikon D5, the Nikon D500 was designed to be its APS-C counterpart with much of the same DNA backed in. With a 20.9MP DX-format sensor and the Expeed 5 processor under the hood, it brought power and finesse to a smaller form factor.

At launch, it was a serious investment of $2,000 / £1,729 / AU$3,500. But today, thanks to second-hand retailers like MPB, you can find it for $424-959 / £424-769 / AU$900-1,400, depending on condition. And at that price, you're getting a camera that still punches well above its weight.

Yes, mirrorless cameras have pushed boundaries of what's possible: in-body stabilization, intelligent eye-tracking and lighter, more compact builds are undeniably appealing. But there's a reason that some photographers – especially those shooting wildlife, sports, or action – still cling tightly to their D500. It's about trust. Tactility. That satisfying click of a mechanical shutter and the direct clarity of an optical viewfinder.

What keeps the Nikon D500 relevant in 2025 is its sheer capability. It's fast: 10 frames per second with a buffer that holds up to 200 RAW files, provided you pair it with a fast XQD or CFexpress card. The 153-point autofocus system, borrowed from the D5, remains outstanding – especially when paired with long lenses in the field. For birders and sports shooters, it still holds its own, tracking subjects with precision that even beats some newer models like the Canon EOS R7 or Sony A6700 in erratic, low-contrast situations.

While those mirrorless cameras boast impressive AI-driven eye detection and subject recognition, they can occasionally struggle with fast lateral movement across the frame – something the D500's wide, phase-detect AF coverage in the viewfinder handles with a level of confidence that's hard to beat.

Its build quality is another lasting strength. Weather-sealed and made of magnesium alloy, the Nikon D500 feels like it could outlast the apocalypse. The controls are intuitive, the grip is reassuring and its battery life puts most mirrorless rivals to shame – especially when compared to options like the Fujifilm Z-T5 or Nikon Z50 II, which often require battery swaps during a long day of shooting.

The Nikon D500 easily powers through 1,200+ shots on a single charge (CIPA-rated), while many mirrorless systems average around 300-500 depending on usage. And in a world of ever-shrinking bodies and fiddly touchscreen menus, the D500 feels gloriously solid – like a real camera in your hands.

Image quality, too, holds up remarkably well. Thanks to that Expeed 5 processor, high ISO performance is solid, even up to ISO 6400 and beyond. And if you're already invested in the F-mount ecosystem of Nikon lenses for DSLRs, the D500 gives you instant access to a treasure trove of glass – without any adapters or compromises.

Of course, it's not without its caveats. There's no in-body stabilization, and Live View autofocus for video work is sluggish by modern standards. The 4K video, while decent, is cropped and lacks the finesse of today's hybrid mirrorless options. The D500 was officially discontinued in 2022 but still, for many photographers, none of these are deal-breakers.

So, the Nikon D500 isn't dead. Not even close. It's just entered a new phase of life – as a dependable, affordable, pro-grade DSLR that still deserves a place in your bag. However, if you're after a mirrorless sibling with similar DNA, look to Nikon's Z50 II (APS-C), Z5 II (full-frame), or even the powerhouse Z8 (full-frame).

But if you're craving a true DSLR experience and a budget wildlife or sports camera, the Nikon D500 might be exactly what you didn't know you were still looking for.

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Take a look at the best Nikon cameras. You may also want to check out other DSLR stories: 7 years on, the Nikon D3500 is still my top DSLR choice (not just for beginners), or Who remembers the hype (and headaches) of the Nikon D800? A DSLR revolution that took us by surprise.

The Nikon D800 opened the door to something huge – a 36.3MP full-frame sensor, the highest resolution DSLR had ever seen back in 2012. It dropped jaws and challenged even medium format cameras. Nobody saw such a DSLR coming, nor the drama of its introduction.

Now, 13 years later, the Nikon D800 has become a cult classic that's still relevant if you want a stunning full-frame camera at an affordable price.

Nikon boldly followed up the D700 with this powerhouse, essentially stepping into medium format territory – a move that photographers didn't expect, but loved. The Nikon D800's pixel-packed 36.3MP sensor wasn't just a modest bump from the D700's 12.1MP – it was a total leap forward.

If you remember the Nikon D800's announcement, you'll remember the buzz. But what followed was a launch rollercoaster: pre-orders sold out globally. Production couldn't keep up. A mix of natural disasters severely impacted Nikon's manufacturing capabilities. As a result, some markets faced months-long delays and grey market prices went through the roof.

And then came the pricing saga. In the UK, Nikon initially announced a price – and then raised it by £200. Nikon called the first price a "mistake" and, while those who pre-ordered got their cameras at the original rate, everyone else had to cough up the extra cash. Not a great look, but still – the demand didn't slow.

Despite the hiccups, the Nikon D800 was groundbreaking. Nikon eventually discontinued it in 2014, but here we are in 2025 and this cult-classic DSLR is still going strong – now available on the used market for $400-$600, depending on condition.

So why is the Nikon D800 still a total steal today?

Let's start with the sensor: a 36.3MP full-frame CMOS with no optical low-pass filter. That means razor-sharp detail and image quality that can still hold up today. Its base ISO100 dynamic range hits around 14.4 stops, on par with sensors found in newer bodies like the Nikon Z7 or Sony A7R III.

And there's something that today's mirrorless cameras just can't replace. The Nikon D800 features a full magnesium alloy body that is weather-sealed and handles like a true pro-grade DSLR.

You also get dual card slots (CompactFlash and SD), perfect for backup or RAW+JPEG workflows. Sure, it doesn't have WiFi or a touch screen, and no AI features. But that's part of the charm: it's a pure photography machine, with fewer distractions and full creative control.

The Nikon D800 is not built for sports photography (with only a 4fps burst) but for portraits, landscapes, studio and architecture it still shines. It features a 51-point autofocus (AF) system with 15 cross-type sensors.

Like most other DSLRs the Nikon D800 beats modern mirrorless cameras in battery life, giving you 900-1,000 shots per charge. By comparison, the Nikon Z6 II gives you approximately 420, the Sony A7 IV 580 and the Canon R6 II around 450 shots.

And it features the F-mount lens ecosystem of Nikon DSLR lenses, of which there is a great selection for small money on the used market thanks to the modern focus on mirrorless systems.

What about Nikon's more modern DSLRs?

There are newer DSLRs that offer more features, but at a much higher cost. The Nikon D750 (launched in 2014) is better in low light, slightly faster at 6.5 fps, but just features 24.3MP in terms of resolution.

The D850 (launched in 2017) comes with a stunning 45.7MP resolution, faster performance, 4K video and "silent" shutter. But you'll pay $1,500-2,000 used. And the Nikon D800 gives you 80% of the image quality for a fraction of the price.

Then there is the Nikon D780 (launched in 2020), featuring hybrid AF, 4K video and live view shooting. But unless you shoot video, it's not dramatically better – and costs as much as triple or quadruple, at around $1,600-1,800 used.

The Nikon D800 changed the game. It became a DSLR classic, now cheap enough to be accessible and powerful enough to still deliver world-class results in 2025. This DSLR rewards intention, demands skills and delivers files that still impress in a modern world obsessed with specs.

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Browse the best lenses for the Nikon D800, and the best Nikon cameras.

I needed to take a few quick shots of something at the weekend and my old Nikon D800 was closest to hand, so I fired it up, looked through the optical viewfinder and instantly felt at home. I realize I’m probably going to be in the minority here, but I really do prefer optical finders to electronic viewfinders (EVFs).

Maybe it’s because I’ve got a bee in my bonnet about being present, having recently stood behind an Oasis fan, at the much-hyped reunion tour, who proceeded to film the entirety of the two-hour set on their phone. Even going so far as to plug the darn thing into a power bank halfway through. They might as well have watched it on YouTube and saved themselves from Ticketmaster’s dynamic pricing.

My point is, I already spend 85% of my life staring from one screen to another. Getting out and taking photos has always provided a much-needed respite from this digital world. So, try as I might, I simply cannot get totally comfortable sticking my eye millimeters from yet another screen.

Call me old-fashioned, but photography is all about light. I simply don’t feel as present when my retinas are being fed digitally-manufactured light from a series of minuscule LEDs, as when I’m witnessing the actual light rays I’m capturing, flooding directly into the viewfinder.

Encasing my eye in an EVF can feel like a very lonely place to be. How can that not sever some of the connection between photographer and subject? I actually find myself taking pictures through the rear LCD screen of my camera nowadays, much like a phone. And before anybody accuses me of hypocrisy, it’s partly so I can look up in a split second or connect with the scene I’m shooting through my peripheral.

Don’t get me wrong. I understand why the industry has shifted to EVFs; the mirrorless camera really is a technical marvel and, clearly, I don’t hate electronic viewfinders enough to stick exclusively with my old DSLR. But I can’t help how comfortable an old optical viewfinder feels. There’s a reason why the Fujifilm X100VI has a hybrid viewfinder, and that’s because some people do prefer using an OVF.

And while I absolutely agree that EVFs make learning the exposure triangle easier for beginner photographers, I had become so used to my D800’s built-in light meter that I knew its foibles and could work around it quite happily. Besides, EVFs aren’t a perfect replication of the image you’re shooting.

Ultimately, I know very few people are going to agree with me on this one, and that’s okay. But maybe we can both agree that an EVF is a physical barrier placed between your eye and the subject. I think that matters.

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Want to experience the joy of an optical viewfinder? Take a look at the best DSLRs. I think the decade-old Nikon D800 is still a beast. Despite its EVF, I reckon the Nikon Z8 could remain in my kit bag for a decade AT LEAST. On the subject of the Fujifilm X100VI, I can’t believe I actually bought this camera.

Yes, the Nikon D3500 is seven years old. Yes, it's discontinued. But this camera is still a gem. It defies the usual rules about aging tech and remains one of the most-recommended DSLRs for beginners. And not just beginners – anyone curious, creative, or working on a budget will find this camera rewarding.

What makes the Nikon D3500 it so special? For one, it's Nikon's last true beginner camera before its switch to the mirrorless Z-mount system. And when it launched, it was praised as the lightest DSLR featuring an APS-C sensor, yet you get the classic DSLR feel.

The Nikon D3500 body weighs 365g, which is only 15g more than Nikon's mirrorless Z30. The D3500 is still widely available used through trusted sides like Wex, MPB or B&H – often around or even under $350 / £300 / AU$450.

It features a 24MP sensor (the same resolution as higher-end models), and it skips the optical low-pass filter, meaning your images come out surprisingly sharp for a "starter" DSLR camera, especially when paired with a decent lens.

The Nikon D3500's battery life is legendary, too, rated for up to 1,550 shots per charge. For comparison, something like the Sony A7 III only gets you around 710 shots using the LCD or 610 using the EVF. And the Canon EOS R6 is capable of creating around 510 via LCD and 360 via EVF per charge… but the D3500 just keeps going.

Of course, it's not perfect. And at this age and price point, we expect some downsides. Autofocus is limited – 11 AF points, no face or eye detection in live view – and there's no 4K video. However, the Nikon D3500's Full HD 60p video is crisp enough to give you a solid start to get into vlogging and videography.

Also, there's no touchscreen. That's rare for post-2017 cameras, but it has a generously sized 3.2-inch LCD. Unlike newer models, it also has no articulated (flip-out or tilt) screen.

The optical viewfinder doesn't show you exposure previews, which might sound like a downside – but that's what makes the Nikon D3500 such a great learning tool. You're actually learning how to shoot manually.

And Nikon really leaned into that educational angle with its Guide Mode, swapping out intimidating jargon like "shutter priority" for plain-language instructions and helpful visual examples. It's like having a mini tutor built into your camera.

Being an F-mount DSLR, the Nikon D3500 gives you access to decades' worth of Nikon lenses. Some older models may lack an internal autofocus motor, but the ecosystem is massive. And finally, even though it's super lightweight, it still handles like a real DSLR.

The grip is deep and secure, and makes a big difference when you're shooting with bigger lenses or just want that classic, intuitive DSLR feel.

So if you're looking for that classic form factor, a user-friendly way into photography, a capable sensor and that satisfying slap of a mirror, the Nikon D3500 still holds its own all these years later.

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A video on Instagram reminded me of Kodak's doomed DCS series, which launched in 1991 and was ultimately axed in 2005. DCS stands for Digital Camera System and was Kodak’s pioneering foray into the digital camera market.

I say pioneering because the first camera in the series, the Kodak DCS 100, was the first DSLR to hit the consumer market back in 1991.

Rather than focus on its own DSLR cameras, Kodak’s DCS system modified existing film cameras by the big manufacturers or supplied digital camera backs – which enabled a digital sensor to be slotted into a compatible camera's film compartment.

The camera in Kamerastore’s Reel (below) is the Kodak DCS 760, released in 2001.

Fans of the Big N will instantly notice that it’s built around a Nikon F5, with a big battery grip bearing the Kodak logo.

The camera is built around a 6.3MP APS-H CCD sensor, which is bigger than an APS-C sensor but smaller than a full-frame sensor. Something that sticks out in the video is just how huge the batteries are – no wonder the battery grip was necessary!

Upon its release in the US, the Kodak DCS 760 retailed for around $8,000 – which was a huge sum of money in 2001. Just for fun, that’s roughly $14,500 if you account for inflation! Today, though, used units from websites such as Kamerastore go for a fraction of the price.

Still, this is a piece of digital imaging history – and a fascinating reminder of just how bizarre the transition from film to digital really was, back in the early days of the technology. Not to mention how much cooperation happened between the big brands back then!

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If you're into camera history, is this the world's best camera museum? If you're a Nikon film fan, I think the Nikon FE is a perfect first film camera. And from the dawn of the DSLR to the future of photography, here are the best mirrorless cameras.

DSLRs never stood a chance when mirrorless cameras arrived. Not because mirrorless cameras were any kind of breakthrough in imaging technology, but because they had the entire weight of the camera marketing industry behind them.

Don’t get me wrong. The best mirrorless cameras have a lot of advantages – in certain situations. The more compact design (i.e. no mirror) makes them ideal for small system cameras, while the always-on live view makes them perfect for video where mirror-up operation was always a bit of a kludge with DSLRs. The best travel cameras are almost all mirrorless (or compacts).

Mirrorless cameras were and still are pitched as being smaller, lighter, more mechanically efficient, more versatile,with a wider range of lens designs and quieter or even silent operation. The DSLR looked like a dinosaur by comparison.

But it turns out that maybe we like dinosaurs – the current craze for film and retro camera designs is proof enough of that. Some of us like blunt, direct, uncomplicated tools, and while a lot of DSLRs looked pretty complicated to audiences of the day, they’ve got nothing on modern mirrorless cameras. The best DSLRs have a directness, solidity and clarity of function that I think a lot of us kinda miss.

And in taking that lemming-like leap into the new mirrorless world, we have left behind some things that perhaps we wish we could have back, like…

Optical viewfinders:
Mirrorless camera makers have spent years and a great deal of (our) money perfecting responsive, blackout-free EVFs for high-speed action. It’s still a premium feature on mirrorless cameras. You don’t get viewfinder lag on a DSLR. What you do get is a real-world optical image that matches what your eyes see, and not a digital rendering filtered through the camera sensor, your current settings (OK, that could be a good thing) and the contrast, dynamic range and color rendering limitations of the EVF display. 

With a DSLR’s optical ‘finder you can see into the shadows and highlights, but with an EVF these are often clipped even if the sensor will still record them.

Battery life:
We’ve all got used to carrying spare camera batteries, right? Sometimes I shoot with a Sony A7 II which can just about manage 300 shots on a battery, so I carry three extras. Ten years ago I was shooting with Nikon DSLRs which had a battery life four times longer.

Handling:
Yes, a lot of DSLRs were heavy. I currently have a thumb sprain, and my big old Nikon D610 is not going to be my first choice right now, but there were lighter DSLRs too, and my actual point is that along with this extra weight went extra grippability, easier ergonomics, more space for controls. I have quite small hands and yet I find many mirrorless bodies too small, even for me.

Lenses:
This is a more complicated situation. Mirrorless camera designs have allowed more extreme, more exotic lens designs (at a price) and I would say better optical quality and consistency overall. But lenses have not got smaller. That was one of the big promises of mirrorless and it hasn’t happened. 

Before, we often had big lenses on big DSLR bodies, now we get big lenses on small mirrorless bodies. Maybe not such a giant leap forward after all? 

Worse, what has happened to the thriving APS-C DSLR lens ecosystems of ten years ago? Once, if you had a Nikon, Canon or Pentax DSLR you could choose from scores of own-brand and third-party APS-C lenses at prices that were affordable for beginners and enthusiasts. APS-C mirrorless lens choices are improving, but those old days do seem to be gone.

A focus on stills:
Earlier this year at a photo show I overheard a photographer complaining to an exhibitor about paying for video features he would never use. It’s an old argument, but people are still quite bitter. 

Nevertheless, camera makers have decided hybrid cameras are the future. It’s fine. Perhaps video capability is now so baked into the hardware that you can’t even disentangle it? Maybe it really doesn’t add much to the cost at all? 

The issue (for me) is all the interface space it takes up, all the irrelevant video marketing photographers now have to endure and how, in particular, camera makers have stopped bothering about stills photography and instead want to draw us into a nightmarish vortex of frame rates, codecs, bit-depths, log profiles, bitrates, long GOP vs All-I, ProRes vs ProRes Raw, H.265 vs H.264 and this whole purgatory of permutations.

What about video?

To be honest, when I need to shoot video, I could use my Canon EOS R8, which is pretty good at it, but I'm more likely to use my iPhone, an Insta360 or a DJI Pocket 2. I don’t run a production studio or a film crew. I don’t need the cinematic ‘depth’ of larger sensors as much as I need portability, simplicity, unobtrusiveness and proper stabilization. 

But if I want to take photographs, I use my stills camera. That’s what it’s good at, that’s what it’s for. And it’s this simple clarity of purpose that I most miss from the DSLR era.

Finding your Canon camera’s shutter count isn’t as simple as some other manufacturers make it.

Since it's not stored in EXIF data, you won't be able to follow the same steps required to find a Nikon camera’s shutter count. So, I’m going to show you an alternative method using two pieces of software for macOS and Windows users, respectively: ShutterCount and Canon EOS Digital Info.

Finding your camera’s shutter count is useful if you’re selling your camera, since it’s a better indication of the wear and tear it may have experienced than its age alone.

Most manufacturers provide an estimated shutter count lifespan. For example, the Canon EOS 6D Mark II is rated for 150,000 shutter actuations – but at the time of writing, there are examples of this camera over at MPB that far exceed this number. And that’s certainly not unusual.

But another reason you might like to look up your Canon camera’s shutter count is for no other reason than it’s often just cool to know. As Henri Cartier-Bresson famously said: “Your first 10,000 photographs are your worst.” So it’s certainly a useful figure to know!

How to find your Canon camera shutter count

1. Download the software

Download ShutterCount via the App Store if you’re using macOS, and Canon EOS Digital Info via your browser if you’re using a Windows computer. Physically connect your Canon camera to your computer using the USB cable that came with it and switch your camera on.

2. Find your shutter count

If you’re using ShutterCount, the camera will automatically connect, supplying you with the camera model, serial number (also useful when selling), shutter count and rather interestingly, shutter wear.

This is calculated as a percentage, suggesting it’s finding what percentage of the camera’s estimated shutter life your shutter count represents.

If you're using Canon EOS Digital, click ‘Connect’ and you’ll be greeted with the camera model, firmware version, attached lens, serial number, and shutter count.

If you’re not using a Canon camera, check out our guide on how to find your shutter count. Fujifilm and Olympus users, for example, can actually find their shutter count in-camera, simplifying the process somewhat.

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If you're a Canon user then check out the best Canon cameras and the best Canon lenses for DSLRs. If you're looking to learn more about your camera, here's how to update your Canon EOS firmware.

Nikon Rumors reports that the Nikon D6 is now listed as discontinued on Nikon's official Japanese website. Introduced almost exactly five years ago in 2020, the D6 was - and forever will be - Nikon's last flagship DSLR, pitched squarely at professional stills photographers shooting fast-paced action.

The D6 represented a marked improvement over the preceding D5, with an overhauled AF system, faster burst shooting speed, CFexpress memory card support, built-in 5GHz Wi-Fi and GPS, and awesome high-ISO image quality. For those already invested in the Nikon ecosystem (and with suitably deep pockets), the D6 was worthy of its halo status and proved itself to be a hugely powerful tool for sports photography. However, even with its AF improvements, we found the D6 just couldn't match the uncanny accuracy of the Canon EOS-1D X Mark III's subject tracking, while the then-new Sony A9 II trounced the D6 both in terms of burst shooting speed and video performance.

But the D6 was - and still is - a stunning camera, and we therefore mourn its demise. However, we're not surprised to see it go. Even at its launch in 2020, the mirrorless revolution was in full swing, with cameras such as the A9 II proving that a professional camera can shoot both stills and video without compromise. Though the D6 was always intended for stills first and video a distant second, it was already looking dated even at launch. Now in 2025, it's thoroughly outclassed by the current crop of flagship mirrorless bodies, most of which cost substantially less cash.

The discontinuation of the D6 leaves just three Nikon DSLRs still in production: the D850 and D780 full-frame (FX) offerings, and the D7500 as Nikon's sole remaining APS-C (DX) body. That said, while Nikon Japan may have pulled the D6 from sale, Nikon USA and Nikon UK both still have the camera in stock, as do retailers like B&H and Wex. But at $6,500/£6,799, you'd need to be a die-hard Nikon DSLR fan to actually buy one, considering a Z9 can be had for 20-30% less, and a Z9 II is rumored to be coming soon.

I’ll admit it, I’m a bit superstitious. Y’know, no passing on the stairs, no walking underneath a ladder, and certainly no opening up an umbrella indoors. And that extends to my cameras, too.

You see, I’ve used a lot of cameras in my time, and I’m adamant that some of them have more ‘mojo’ than others. That’s right, a mystical-and-magical quality that makes one camera’s identical innards produce better photos than another.

I know, I know, I’m making no sense whatsoever. Or am I? I mean, I don’t actually believe mojo has anything to do with the quality of the digital or analog end product. One Nikon Z6 III RAW file is another Z6 III RAW file, is another, is another.

But I do believe that photographers build a relationship with their cameras, and that familiarity and comfort make for better images. Heck, if you’ve been driving a 2009 Ford F-Series for the past 15 years, it probably feels like an extension of your home in a way no other car could. And a good camera is no different.

I still have my trusty old Nikon D800 at home. And while I pick up my Nikon Z8 much more often, it’ll take a good few years before I build the same kind of relationship. Sure, the Nikon D800 is an old DSLR now. It’s slow, it's clunky, but I’ll be damned if it ain’t the most comfortable darn camera I’ve ever used.

Every bump, scratch, and bit of baked-in mud tells a story. I’ve worn away the grip, inadvertently polished my most-used buttons, and I still can’t get that flippin’ sunscreen out of the leatherette. We’ve been through thick and thin together, me and that camera. You can’t tell me it doesn’t have mojo, man!

Can you believe it? My Nikon Z8 is the first camera I’ve ever bought new, and I hate how pristine it is and how I mollycoddle it! Of course, the upshot is that over the years, every ding and scratch will be mine and mine alone.

But mojo is one of the reasons I love buying secondhand gear. My latest camera purchase was a Nikon FM and, while it’s in very good condition for a decades-old device, it’s still seen its fair share of action. Sometimes when I hold it, I think of the stories it could tell.

Maybe it belonged to a mother or father who documented their young family. Perhaps it was a photographer’s first serious camera, or maybe it belonged to a seasoned pro. Has it been abroad or on any adventures? What genre was it predominantly used for? I guess I’ll never know, but that all adds to its mystical-and-magical quality.

Classic film cameras like the Nikon FM are particularly cool, since they’re never really out of fashion. In many ways, I’m just a custodian until it passes on to its next owner. Maybe that’ll be one of my children, grandchildren, or another photography enthusiast. Regardless, I’m sure it’ll live on long past the lifespan of its shutter. Even if it just sits on a shelf somewhere to be admired.

So, the next time you pick up your favorite camera – perhaps it's your only camera – think about what you’ve been through together. And if you’re going to buy one of the best mirrorless cameras, think about the adventures you’re going to have with it. Whether it be now or in the future, have a blast instilling it with your unique brand of mojo.

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For more mystical camera-related content... Nikon hasn’t ruled out more retro cameras like the Zf and Z fc. Check this out! McDonald’s camera is the weirdest point-and-shoot… I'm lovin' it! And if you're into rare cameras, take a look at these $24,000 Lenny Kravitz Leica cameras.

I was rummaging through Digital Camera World’s stock cupboard and came across, not one, but two Nikon D70 cameras. I’m not sure where the time’s gone, but last year was the 20th anniversary of this legendary little DSLR’s release. I say legendary because it was one of the best Nikon cameras back in 2004 and, pound for pound, arguably the best. Not only was it the spiritual successor to the Nikon D100 and a competitor to the Canon EOS Digital Rebel / 300D , but it was the first Nikon DSLR to cost under $1,000 (priced at $999). That made it one heck of a deal, given that the two-year older Nikon D100 was twice the price, and the D70 was widely regarded as the better camera.

In fact, looking back at these pioneering DSLRs, I’m reminded of just how well-priced many of today’s cameras really are. We’re arguably living in the golden age of the best cheap camera, but I digress. The Nikon D70 was built around a DX-format (APS-C) 6.1-MP CCD sensor, had a fast 1/8000 sec max shutter speed (1/500 sec sync speed), an ISO range of ISO200-1600, a five-point phase-detection AF system, 3-fps burst shooting, a 1.8-inch rear LCD (fixed), a top-plate LCD, and no video capabilities whatsoever.

And sure, while these specs might seem laughable by today’s standards, this was a respectable spec sheet for a mid-noughties DSLR, especially one priced at $999. Still, this was an odd period in camera history. The digital revolution was really beginning to take hold, but many professionals and indeed consumers were still using the best film cameras. This is illustrated by the fact that the same year the Nikon D70 was released, the ‘Big N‘ launched the Nikon F6, one of the most advanced film cameras ever produced and Nikon’s film swansong, remarkably remaining in its line-up until 2020.

Digital Camera World’s Nikon D70s have certainly seen some action. One of them has a hole in its bodycap, the victim of an N-Photo: The Nikon Magazine pinhole camera project, no doubt. And both suffer from the notorious sticky grip, where the rubber leatherette has degraded and become tacky – yuuuuucky! But man, these little cameras are still cool.

In fact, I’m going to spend the rest of my afternoon searching around for an old EN-EL3 battery to see if I can fire one of these gems up.

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I often write about old Nikon cameras here at Digital Camera World: I’ve always loved how the Nikon D3500 holds your hand, yet allows you to flourish with Manual mode and high-quality RAWs. I'm always looking for a bargain, too, which is why I found the Nikon Z50 for under $500... And when it comes to the cameras of yesteryear, I still think a crusty old DSLR is still the best cheap camera for serious photographers working within a tight budget.

Lego photography is my way of acting out my dream of becoming a film stills photographer. You see, while I’m unlikely to step on the set of a big Hollywood production, I can at least build and photograph miniature sets from the comfort of my own home.

But to create truly cinematic Lego photography, you have to get your hands dirty – or rather your camera. And that’s why I won’t let my Nikon Z8 anywhere near my brick-built film sets.

I learned this the hard way, too. A few years ago, I decided to create a snowy scene inspired by the intro to The Empire Strikes Back. I used flour to represent snow and used an airblower to fire puffs of flour towards the camera to make it look like the Millennium Falcon was blasting off into the sky.

This worked perfectly, and I was extremely happy with the effect, but it turns out that flour gets everywhere. Thankfully, I had the foresight to cover my setup with one of the best rain covers. Even then, it left a dusty film on the front lens element, and to this day, bits of flour are baked into the Nikon Z6 II’s grip.

Obviously not every Lego photography setup has to be this messy. But with smoke machines, flour, sand and even dirt from the back yard used to build environments and produce practical effects, I don’t take any chances.

My years-old Nikon D800 is battered enough as it is, and if it were to break beyond repair, I know I can find a comparable replacement on the used market for little over $300 / £300. Sure, I’d be devastated if something happened to it, but I’d be a lot more devastated if something happened to my $3,000 mirrorless camera!

And this doesn’t just apply to Lego photography. Don’t get me wrong, most cameras are pretty hardy – especially if they’re weather-sealed. But unless you absolutely have to get rid of your old camera when buying a new one, do consider keeping it as a ‘beater’ camera.

Maybe you’re heading out in the pouring rain, want to take a camera on a kayak or boat trip, or are heading somewhere you don’t want a flashy camera on show. If that’s the case, there might be life in the old DSLR or mirrorless you have in the cupboard yet…

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If you're into Lego photography, you might want to invest in the best macro lenses and the best rain covers. And if you'd like to try it out for the first time: I used a smoke machine to photograph Lego and the results are cinematic.

Every time I walk into a consumer electronics store, I’m always a little disappointed that there’s no longer a Nikon D3500 in the modest camera section. For years, the Nikon D3500 and its entry-level predecessors were a stalwart of UK-based stores such as Dixons, Currys, and Comet, and I dare say it was no different in RadioShack, Best Buy, and the like. I’d love to know exactly how many D3XXXX cameras Nikon shifted during the series’ lifespan, between 2009 and 2022, but I can imagine it was a lot.

The Nikon D3500 was the cream of Nikon’s entry-level crop and one of the best cameras for beginners during its time. Heck, even today, you can capture great-quality images from its APS-C 24.2-MP CMOS sensor. And while 5fps certainly wasn’t lightning fast upon the camera’s release in 2018, it was still fast enough for most entry-level users, simply looking for a camera to capture memories.

Sure, the Nikon D3500’s 11 AF points were always a bit limiting – I’d usually opt to use the focus-and-recompose method when using this camera – but it’s worth noting that it’s the first and only 3XXXX-series camera to feature 3D tracking. That was a pretty big deal at the time, having only been featured on higher-end Nikon DSLRs up until that point.

But easily the best thing about the Nikon D3500 is the journey it can provide beginner photographers. Guide Mode holds your hand through a series of basic functions from setting up the camera to retouching photos. And then you have Scene Modes, which set up the camera to deal with the corresponding genre: Portrait, Sports, Close up, and Night Portrait. These features were a lifeline to anyone who’d never used a DSLR before, but with a little effort, you could quickly breeze past them and move on to more advanced settings.

And that’s the genius of this little camera. On the one hand, it eased you into the world of photography, but on the other, it allowed you to shoot in full manual mode and capture high-quality Raw images. All of that’s before you consider the Nikon D3500’s build. It feels solid and not at all toy-like in the hand. And the deep grip and ample physical controls always made me feel and look like a proper photographer, which inspired confidence.

Even today, there’s absolutely no reason why you couldn’t use the Nikon D3500 to capture some really lovely images. Especially if you invest in some good, fast glass. I’ve said it before, and I’ll say it again. It might be a little camera, but the Nikon D3500 has left a gaping hole in Nikon’s line-up. I’ll keep dreaming of a Z3500.

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Want to hear my thoughts on other Nikon cameras? I bought a Nikon D850 in 2023. And here's why the Nikon Df is the DSLR I'd buy today. Plus, the Nikon FM is an SLR in its purest form.

The Nikon D6 has been discontinued, according to Japanese news outlet Asobinet, which has reported that the flagship DSLR is “no longer available in camera stores.” It’s worth noting that at the time of writing, the Nikon D6 is not yet listed as an ‘Old Product’ on the Nikon Japan website. But, with several Japanese camera stores having listed the beefy DSLR as ‘discontinued’, I'm assuming it's only a matter of time.

If the Nikon D6’s time truly has come, only three Nikon cameras would remain in the 'Big N's' dwindling DSLR line-up: The mighty Nikon D850, Nikon D780, and Nikon D7500. But the D6’s farewell seems particularly significant, given that it’s almost certainly the very last flagship DSLR Nikon will ever make. Just like the Nikon F6, it brings a tear to the viewfinder!

The Nikon D6 was always a bit of an awkward release. As the last DSLR Nikon launched, it coincided with the manufacturer’s transition into the mirrorless era. Less than two years after the D6’s release, Nikon would launch its first mirrorless flagship, the Nikon Z9, which was actually $1,000 cheaper than the Nikon D6. And yet, the D6 allowed Nikon to cater to professionals who were still more than happy to stand by their F-mount setup and the best DSLRs, and to this day, it offers something that’s lacking in the Z-Series line-up: flagship specs with a 21-MP sensor.

Not all professional photographers want to deal with space-hungry files, especially photo journalists and sports photographers who need to send images to the newsroom or clients ASAP. And although rumors of a high-speed, low-megapixel Z-Series flagship have persisted, we’ve yet to receive any concrete evidence of a so-called Nikon Z9H. Could the D6’s final curtain call be making way for something else?

While some criticised the Nikon D6 as an incremental update to the ground-breaking Nikon D5, it will still head into the annals of camera history as one of the most advanced DSLRs ever made. Unless, of course, we see a DSLR resurgence akin to the film camera resurgence we’re enjoying today...

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Are you still into all things DSLR? Here's why the Nikon Df is the DSLR I'd buy today. And if you're looking for the best cheap camera, here's why I think a crusty old DSLR is still the best cheap camera for serious photographers working within a tight budget.

Yeah, yeah, the best DSLR cannot match up to the might and power of the best mirrorless camera. And if you’re a videographer or hybrid shooter, you’re never going to look back. But if you’re serious about photography – and photography only – and don’t have the money to pick up a $4,000 high-resolution, full-frame mirrorless like my Nikon Z8, I think a DSLR is the way to go.

When I say serious about photography, I mean somebody who wants to capture the very best images they can. The sky’s the limit, if you will. And although a skilled photographer can take a great picture with any camera, there’s a reason most professionals use high-resolution full-frame cameras. If you want the best image quality, you have to invest in decent kit.

But here’s the thing. The DSLR era arguably perfected digital image quality. And while high-end mirrorless cameras typically feature better low-light performance, overall image quality is negligible. Sure, top mirrorless cameras boast better autofocus, readout speeds, processing power, optics, and video. But stick a photograph captured on a Nikon D850 and a Nikon Z8 side by side, and nobody’s going to tell the difference.

So let’s take a look at some secondhand DSLR prices. You can pick up a good-condition Nikon D850 over at MPB for around £1,000 / $1,200 right now. While a good condition Canon EOS 5D Mark IV will set you back roughly $800 / £800. Now, I will admit, the mirrorless Nikon Z7 and Canon EOS R both throw a bit of a spanner in the works, because these 45-MP behemoths are also very reasonably priced at around the $850 / £1,000 and $850 / £700 mark, respectively.

But these cameras are still rather pricey for a lot of photographers. And the problem with interchangeable-lens cameras is that the outlay only begins with the camera. Let’s face it, most photographers will spend more on lenses in their photography lifetime than on cameras. And if you’re not, you might want to consider why. After all, if the camera is the canvas, lenses are the brushes. Different focal lengths and maximum apertures open up a wealth of creative possibilities, and I feel this is what a lot of photographers get wrong. They spend most of their budget on the camera and neglect what makes the real difference, lenses.

And this is the crux of what makes DSLRs still very viable today. Let’s take the Nikon D800 and Canon EOS 5D Mark III. Both are very capable stills cameras, and you can pick up a good-condition Nikon D800 for around $400 / £400 and a good-condition Canon EOS 5D Mark III for under £400 / $500.

And with a DSLR camera comes great-value lenses. Let’s take the Nikon F-mount for example. If you’re serious about photography, you’ll want to pick up a holy trinity of f/2.8 lenses. Right now, you can pick up the Nikon AF-S 14-24mm f/2.8G IF-ED for about $600 / £500, the Nikon AF-S 24-70mm f/2.8G IF-ED for around $500 / £400, and the Nikon AF-S 70-200mm f/2.8G ED VR II for roughly $600 / £500.

Combine that with the Nikon D800 and you’ve got a 36-MP stills camera and a holy trinity of f/2.8 lenses for $2,100 / £1,800. And to put things into perspective, the admittedly very well specced Nikon Z5 II retails for $1,699.95 / £1,599.

You can, of course, go down the route of picking up your preferred mirrorless and the necessary DSLR mount adapter to take advantage of cheap secondhand lenses. But my point is that you can end up with an entire pro-capable setup for the price of a modern mid-range mirrorless camera. And I can tell you, if I only cared about photography and not video, and was starting afresh with a tight budget, this is the route I’d take.

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Want more of my DSLR ramblings? The decade-old Nikon D800 is still a beast, and here’s why. Also, I keep saying that the Nikon Df is the DSLR I'd buy today. Plus, I bought a Nikon Z8 two months before the Z6 III launch – did I make a mistake?

The Nikon Df is a camera that holds a special place in my heart. As someone who has spent 20 years using Nikon cameras professionally, I’ve always admired the brand’s ability to blend tradition with cutting-edge technology.

While I now shoot exclusively with the Leica M system for my personal work, the Nikon Df remains a unique and desirable piece of photographic history—one that I wouldn’t hesitate to add to my collection when the right opportunity arises.

When the Nikon Df was introduced in 2013, it was something entirely different from the prevailing trends in digital photography. This was the first serious attempt by a major manufacturer to create a DSLR that truly evoked the look and feel of a classic film camera, without sacrificing the conveniences of modern digital technology. At a time when most DSLRs were focused on high-speed autofocus, video capabilities, and ever-growing feature lists, the Nikon Df was a refreshing departure. It wasn’t about specs; it was about the experience.

The heart of the Nikon Df is its sensor—borrowed from the legendary Nikon D4. This full-frame 16.2-megapixel sensor was known for its incredible low-light performance and dynamic range, and packing it into a smaller, lighter, and more classically styled body made the Df an instant hit with photographers who valued image quality above all else. The camera’s mechanical dials, metal construction, and optical viewfinder provided a shooting experience that was as close to film as one could get with a digital camera. Nikon’s decision to omit video functionality reinforced its commitment to still photography, a rare move in an era where hybrid shooting had become the industry standard.

The Df was the trendsetter that sparked the retro digital camera movement, paving the way for its spiritual successor, the Nikon Zf. The Zf builds upon the Df’s foundation, integrating the latest mirrorless technology while refining the classic design elements that made the original so beloved. Today, the global success of the Nikon Zf proves that the demand for digital cameras with an analog soul is stronger than ever. But while the Zf may be the new standard-bearer, the Df remains an icon—the camera that started it all.

With time, the Nikon Df is poised to become a collector’s item. Its rarity, distinctive design, and connection to one of Nikon’s greatest professional DSLRs make it a camera that will only appreciate in value. It may not have been a commercial blockbuster upon release, but its influence on camera design is undeniable. For those of us who appreciate the tactile joy of physical dials, the balance of old and new, and the purity of still photography, the Df represents something truly special.

I will always have an affinity for Nikon, and despite moving away from the system in my current work, I know that one day a Nikon Df will find its way onto my camera shelf. It remains one of the most unique digital cameras ever made—one that offers the analog experience without compromise, housed in a body that still feels like a true photographer’s tool. If ever there were a digital camera that deserved a second life as a sought-after classic, it is the Nikon Df.