The GoPro Mission 1 Pro ILS delivers an unusual mix between a one-inch sensor and a Micro Four Thirds mount without electronic contacts – but the action camera giant is now an official member of the Micro Four Thirds standards group.

OM System – one of the founding members of the MFT standard group alongside Panasonic – announced on September 17 that GoPro is now an official member of the group, thanks to the Mission 1 Pro ILS.

The Micro Four Thirds standard crosses several brands and includes a wide range of different cameras. But the Mission 1 Pro ILS is perhaps the most unusual. The only thing Micro Four Thirds on GoPro’s first mirrorless camera is the mount. The sensor isn’t MFT but rather a one-inch sensor built for shooting up to 8K video.

While the Micro Four Thirds system tends to be widely interchangeable, the Mission 1 Pro ILS has more limitations. The camera body doesn’t have any electronics in the mount. That means the ILS can’t usefocus-by-wire autofocus lenses, as these optics still need to communicate with the camera body to adjust the focus.

The ILS needs to be paired with a manual focus lens, which eliminates much of the optics from OM System and Panasonic from actually working with the new camera body. Still, OM System is welcoming GoPro into the official MFT family.

Along with camera makers like OM System and Panasonic, the Micro Four Thirds family includes several lens makers, including Laowa, Zeiss, Tokina, Cosina, TTArtisan, and SLR Magic.

GoPro’s acceptance into the Micro Four Thirds standard will likely raise another question: Will GoPro have additional MFT launches in the future? Will GoPro ever launch its own native lenses?

Joining the Micro Four Thirds standard doesn’t necessarily promise future products. Both Tamron and Sigma are still listed among the members. Tamron only launched one MFT lens, a 14-150mm released in 2014 and discontinued four years later. Sigma quietly stopped releasing MFT mount lenses, citing decreased demand in 2023.

But OM System says that GoPro’s entry into Micro Four Thirds mirrorless brings more options for videographers. “GoPro’s participation is expected to further expand the use of the Micro Four Thirds System in amateur filmmaking, professional video production, and at the highest levels of cinema,” the OM System press release reads. “The participation of a diverse range of companies in this open standard will continue to expand the product lineup and create new possibilities for visual expression and image capture.”

GoPro’s reputation is built on action cameras, but the company calls the Mission 1 Pro ILS not an action camera but a compact cinema camera. The Mission 1 Pro ILS began shipping in September, following the launch of the company’s fixed-lens versions earlier this year.

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Canon's Dual Pixel 3D has formally been announced – and it's an amazing piece of software that enables you to take 3D photographs with a standard Canon camera. You don't need any of the VR fisheye lenses or anything else; the software uses the Dual Pixel photosites, built into standard EOS sensors, to spatially map a third dimension onto your two-dimensional photographs.

I first saw this technology back at CP+ 2025, where it was being demonstrated with an EOS R5 a slightly spooky doll against a white background. Then I saw it again this year at CP+ 2026, where it had been used to photograph dogs, cats, owls and hedgehogs using the R5 Mark II and R6 Mark II.

Now the tech has been revealed in its final form, with Canon using a selection of food and floral photography to showcase what it's capable of. This was perhaps always the best use for Dual Pixel 3D, as it feels tailor-made for things like ecommerce applications, but obviously we're at the ground floor of what can be done with it – and industrious photographers will no doubt put it to all sorts of unexpected use.

The full list of compatible cameras and lenses has also been unveiled, spanning everything from brand-new bodies like the Canon EOS R8 Mark II to older entry-level models like the EOS R10, and L-series glass like the RF 24-70mm f/2.8 L IS USM to the bargain RF 50mm f/1.8 STM.

So how exactly does the tech work? I asked a Canon engineer in while I was in Japan, who was showing me the tech on the OG R5. "This Canon camera has a Dual Pixel sensor. That means two photodiodes in one pixel.

"Currently, we are using that for the autofocus. However, we can use that pixel to [produce] 3D. So we can take a photo as RAW data – we call it DPRAW, the extension is .CR3 – and then we made special application software for 3D."

ABOVE: Canon's full suite of 3D tech, shown at CP+ earlier this year

The algorithm converts your two-dimensional photograph into OBJ or GLB formats, or even an MP4 video if you don't want to mess around with an interface (whether its 3D glasses or a simple mouse or touchpad) to turn and manipulate your image.

And it really does only need a camera! "Yes, you just need [the] application software. We also sell Dual Fisheye [lenses], but you have to pay more. But this is regular [camera and lens]. Many solutions, so you can try [the app] and then move to Fisheye [if you like the technology]."

There are some limitations to the tech, such as too much bokeh (background blur) and blind spots created by shooting too close. So Canon has a number of recommendations, such as shooting at f/5.6 or wider with at a distance of 5-10 times the focal length.

The Dual Pixel 3D software will be available from October 08 and is currently Windows-only, requiring Windows 11 64-bit 24H2 or later.

You can find out more at the official Canon USA page with more examples, instructions and settings at the Canon Japan page.

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Take a look at the best Canon cameras, along with the best Canon RF lenses – but if you want to use Dual Pixel 3D, make sure to double-check the compatibility table above!

Best-seller lists hint at what cameras are trending – but where those cameras are sold plays a crucial role in analyzing the top camera trends. In one such list from Japan, a three-year-old budget mirrorless steals the top spot – again – while just one full-frame contender makes the list.

According to BCN+R, the best-selling interchangeable lens camera in Japan for August 2026 is the Canon EOS R50. All top three spots are taken up by budget-friendly APS-C models, with the Sony ZV-E10 II taking second and the R50’s faster sibling, the R10, coming in third.

Larger sensors don’t make an appearance until the fourth-place spot, where the one-and-only full-frame model on the list, the Sony A7 V, sits. APS-C sensor cameras continue to dominate the remainder of the top ten, with the one exception being the Micro Four Thirds Olympus PEN E-P7 in eighth.

The Sony A7 V has been leading multiple best-seller lists in Japan since its launch – and another August bestseller list from Map Camera put the A7 V at number one. So why does the Sony A7 V sit outside the top three from BCN+R?

BCN+R is a major retail aggregator in Japan that analyzes sales data from multiple stores in the nation, including Amazon Japan. Map Camera, meanwhile, is a specialty retailer dealing specifically in camera gear.

That distinction is an important one – general retailers tend to sell more beginner cameras than specialist camera stores. Amazon’s best-selling cameras, for example, also tend to skew towards budget and beginner cameras compared to dedicated camera stores.

Cameras with more accessible price points always tend to outsell pro models – just look at the CIPA data where crop sensor continues to ship far more than full-frame. But this is particularly true when looking at well-known retailers that sell across multiple categories, like Amazon.

The tendency of such lists to skew towards budget models makes the Sony A7 V’s fourth-place spot all the more impressive – particularly considering that the fifth generation is the most expensive in the A7 series to date. The Sony A7 V hits a sort of sweet spot between image quality and speed by mixing a 33MP full-frame partially stacked sensor with 30 fps bursts and impressive subject recognition autofocus.

While the A7 V may have risen up the list, lower-priced cameras have a clear advantage on the latest rankings. The number one Canon EOS R50 is such a popular budget model that it also topped the best-seller list for the first half of 2026 as well. The R50 mixes a 24.2MP APS-C sensor with a simple, beginner-friendly design.

Three Canon are big sellers in Japan

The R50 isn’t Canon’s cheapest mirrorless camera – that honor goes to the R100. But the R50 keeps an accessible price point with features that feel less basic, including a smarter autofocus system with subject recognition and a 15fps electronic burst speed that’s more than double the speed of the R100.

Canon’s budget mirrorless cameras take up three spots in the top ten list. The R50’s more advanced sibling slides into the third-place spot – the Canon EOS R10. The R10 houses the same sensor as the R50, but offers faster burst speeds and more physical controls. The video-oriented version of the R50, the Canon EOS R50 V, also finds a home on the list in seventh place.

Sony's crop sensor, vlogger cams, and the A7 V all make the list

Sony has four cameras on the list, including the A7 V. The Sony ZV-E10 II, a mirrorless camera that’s geared more towards beginner vloggers, sits in second place, and the original ZV-E10 in sixth place. While built to work with both video and stills, the ZV-E10 series’ missing optical viewfinder also makes it one of the more compact beginner mirrorless cameras.

Two stills-focused Sony crop-sensor mirrorless cameras also make the list, with the more affordable A6400 in fifth place and the pricier but faster A6700 in ninth place.

Compact and retro designs remain popular

The only OM System (formerly Olympus) camera on the list is from the popular PEN series, the Olympus PEN E-P7, which sits in eighth place. The camera maker unveiled the new OM System PEN on September 09, which brings weather-sealing and stabilization to the popular series. With that new launch, it will be interesting to see how different the September trends lists look.

Fujifilm has just one model on the BCN+R August list, but in keeping with the same theme, it’s one of Fujifilm’s most affordable mirrorless cameras, the X-M5. Without a viewfinder, the X-M5 is also one of the brand's more compact choices.

BCN+R actually has two different August trending lists – in addition to the one that mixes all the different color and kit lens variations together, the aggregate also tracks best-sellers broken down by color and kit lens. On that list, it’s the Canon R10 with an 18-150 kit lens that takes the top spot, but the R50 appears on the list four different times for different colors and kit lens options, making it the top model when combining all variations.

BCN+R best-selling interchangeable lens cameras for August 2026

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony A7 V
5. Sony a6400
6. Sony ZV-E10
7. Canon EOS R50 V
8. Olympus PEN E-P7
9. Sony A6700
10. Fujifilm X-M5

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Canon has given the popular R8 a retro-inspired makeover – and fixed some of the complaints about the entry-level full-frame camera at the same time. The Canon EOS R8 Mark II brings the same well-loved sensor and processor as the original, but adds in-body stabilization and overhauls the ergonomics.

Inspired by the 1985 film SLR T80, the Canon EOS R8 Mark II takes on a design with sharper angles without sacrificing the actual feel of the camera, keeping a good-sized grip and even adding the must-requested joystick.

I shot some portraits and wildlife with the Canon EOS R8 Mark II to see if Canon has found the ideal balance between features, ergonomics, and price.

Canon EOS R8 Mark II: Key specs

Canon EOS R8 Mark II: Price

The Canon EOS R8 Mark II is expected to list for $1,899 body-only and $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US. In the UK, the body lists for £1,729 and the kit for £2,119.

That’s notably higher than the original R8’s list price, which started at $1,499 / £1,699. In the US, that price later rose to $1,649 after tariff increases.

Despite being higher than the earlier generation, the R8 Mark II is Canon’s most affordable full-frame mirrorless with IBIS, and among competitors, the price still fares fairly well. The Nikon Z5 II comes in at a similar price point at $1,846 / £1,599. While the Sony A7C II comes in at $2,498 / £1,999, Sony has kept older models around with IBIS, like the A7 III, which is $1,998 / £1,499 retail.

Another worthwhile note? Canon plans on keeping the original R8 around for a bit as a budget alternative.

Canon EOS R8 Mark II: Design

The Canon EOS R8 Mark II is Canon’s first retro-inspired mirrorless camera, but where most retro bodies find inspiration from 1970s-era cameras, Canon is taking a dramatically different approach. The R8 Mark II is inspired by the Canon T80, a film SLR that was introduced in 1985 and discontinued less than two years later.

Taking inspiration from the mid-1980s, the R8 Mark II doesn’t scream retro but rather has a more subtle nod to the old camera, with a more angular pentaprism and a more angular cut.

While I was surprised at Canon’s first choice of a retro camera, what I love about the R8 Mark II is that despite the slight retro nod, the body still does what Canon does best – and that’s to create a very comfortable grip.

Retro cameras tend to have small and, in some, even nonexistent grips, but the R8 Mark II still has a very healthy grip that still managed well even with a 100-400mm lens mounted on the front.

I’m a petite person, and my hands wrap nicely around the grip without my pinky falling off the bottom. The R8 Mark III will have an optional extension grip that will leave more room for larger hands.

But the Mark II also fixes one of the biggest ergonomic oversights of the original and adds a joystick. While it’s not uncommon for entry-level models to do without, once you’ve used an autofocus joystick, it’s hard to go back to the old, clunky method of adjusting with the menu arrow keys.

That joystick is joined by a handful of key shortcut buttons and a nice tilt-enabled touchscreen. The screen uses a hinge at the side, which allows the screen to fully face forward for vlogging and selfies, along with being angled for high and low-angle shots.

The electronic viewfinder also juts out a bit from the body, and I love that my nose didn’t feel squashed up against the screen.

At the top of the camera, the R8 Mark II has two control dials, one placed horizontally and paired with an on/off switch, and the other arranged vertically within easy reach of the index finger. The top is completed with a classic mode dial (sorry, no retro dials here), an Fn button, a dedicated record button, and, of course, the shutter release.

There’s just a single SD card slot on the R8 Mark II, which is on the grip side and separate from the battery compartment at the bottom. (That battery door, by the way, is far enough away not to be blocked by a tripod quick release plate.)

On the opposite side of the grip, the R8 Mark II has ports for mic, headphones, a cable release, micro HDMI out, and USB-C.

Despite all of these changes, the R8 Mark II remains relatively lightweight. The camera weighs 546g / 19.26 oz once fully loaded with a battery and memory card. That is a little bit more than the 461g / 16.26 of the first generation, but I think that added IBIS system is well worth the slight increase in weight.

The Mark II also carries dust and weather seals, with the same level of sealing as the original.

Overall, while I think some may be disappointed that the retro take is subtle, the Canon ergonomics that fans already know and love are still in play here – and it even gains the joystick over the predecessor.

Canon EOS R8 Mark II: Performance

The Canon EOS R8 Mark II carries the same 24.2MP full-frame sensor and Digic X processor as the original-generation camera. That leaves the second generation with similar image quality to the original, outside of enhancements like fewer blurry shots thanks to the new in-body stabilization.

The lack of a sensor upgrade may disappoint some, but the 24.2MP resolution on a full-frame camera remains very capable. The resolution is still similar to similarly priced competitors such as the Nikon Z5 II and Panasonic Lumix S5 II, though options like the Sony A7C II sit at 33MP. Detail may not be as impressive as Canon’s pricier bodies, but the R8 Mark II strikes an excellent balance between detail and noise for the price point.

Dynamic range also fit right in with what I expected. I was able to recover quite a bit of detail in the shadows on RAW files from backlit, underexposed shots of birds.

Like the sensor, the Dual Pixel II autofocus system matches much of the specs of the original, except the Mark II sees a low-light boost, rated down to -7.5 compared to the -6.5 from the original.

The autofocus overall locked on quickly and managed to keep up with moving subjects. The R8 Mark II managed to freeze birds in midflight, though it dropped some frames. What made the autofocus all the more impressive was the fact that I was using a more affordable telephoto – the 100-400mm f/5.6-8 IS USM.

Subject detection locked onto human eyes well. Animal detection did well on uncluttered backgrounds, but the animal eye AF sometimes struggled to find the eye of some birds and also struggled when shooting with a few stray branches in the way, locking on to tree branches instead of the bird more than I would have liked.

Like the original, the R8 Mark II can shoot at 40 fps with the electronic shutter (but just 6 fps with the mechanical shutter). Even more impressively, those high-speed bursts didn’t come with a long wait to process shots, and I was able to photograph birds without waiting for the camera to catch up. Canon says the buffer improved 30 percent for RAW files over the previous version and 58 percent in JPEG, and it’s a noticeable, welcome improvement.

While the sensor and autofocus may be a match with the original, the new in-body stabilization is impressive. Working with a telephoto that shoots at only f/8 at 400mm inside shadowy branches was a good test for the camera’s image stabilization. I shot this photo at just 1/60th of a second at 400mm:

While I don’t mind that Canon kept the same sensor – at least at this price point – one of the annoyances from the original R8 that isn’t fixed on the update is the battery life. The R8 Mark II carries the same 220-shot (370 in power-saving) rating for battery life while using the viewfinder. Those specs tend to be conservative estimates – I shot more than 350 shots and still have plenty of battery remaining. But for long shoots and travel, picking up a spare battery will be a must.

Canon EOS R8 Mark II: Image Samples

Early Verdict

The Canon EOS R8 Mark II keeps the solid image quality of the first generation – while fixing all but one of our complaints. The camera now has in-body stabilization, a key move to keep up with competing options. A joystick creates fantastic ergonomics, while the memory card door is no longer in an awkward spot blocked by tripod plates.

The only complaint from the original Canon didn’t fix? It has the same battery life – so many users are going to want to factor in the cost of a backup battery.

The Canon EOS R8 Mark II delivers an excellent balance between performance and price. The autofocus and burst speed are excellent – though the animal eye AF doesn’t do as well at picking up a bird in a mess of branches as I would have liked.

The Canon EOS R8 Mark II is an ergonomically lovely camera that packs in a lot of tech for the price point.

Alternatives

Canon’s first mirrorless to take on a retro-inspired design is here – but the new Canon EOS R8 Mark II goes beyond a subtle 1980s look. Announced late on September 15, Canon’s more budget-friendly full-frame body now crams in stabilization and an autofocus joystick.

The Canon EOS R8 Mark II continues much of what fans already loved about the first generation, including the same 24.2MP full-frame sensor and Digic X processor. But Canon is also bringing in-body stabilization to the entry-level full-frame series in the second generation, with stabilization rated to 7.5 stops at the center and 7 stops at the edges.

That makes the R8 Mark II Canon’s lightest full-frame body with IBIS, despite the addition pushing the weight up slightly over the predecessor, bringing the body to 546g / 19.26 oz with the battery and a memory card.

But the second generation also adds a joystick to the camera’s ergonomics. That, along with the stabilization and fixing the odd placement of the SD card slot, fixes some of the biggest asks from the first generation.

With the same sensor and processor, design is a key upgrade for the Mark II. Canon has long been rumored to be making a retro-inspired mirrorless camera. The R8 Mark II brings a more subtle take on the trendy retro design, taking the sharp angular top of the 1985 Canon T80 without straying too far from the look and feel of Canon’s modern mirrorless.

Taking inspiration from a clunky 1985 camera rather than a 1970s era camera, however, means the R8 Mark II doesn’t skimp on the camera grip like many retro remakes. The body still has plenty of grip to wrap my hands around, and the camera also launches with an extension grip built for larger hands.

Outside of adding two of the biggest asks from the original – IBIS and a joystick – the tweaks throughout the Mark II are as subtle as the retro nod. The Dual Pixel II autofocus system carries much of the same specs – including subject recognition – but comes with algorithm enhancements and an improved low-light rating at -7.5 EV over the original’s -6.5 EV. The camera also borrows the people priority registration from pricier models like the R3 and R6 Mark III.

Canon says a number of the photographers who picked up the original R8 are creators coming to an interchangeable lens system from a smartphone for the first time. The R8 Mark II caters to those creators using Creative Assist, with in-camera explanations and adjustments inside the auto mode.

Canon also added 16 new color filters for JPEGs, including two options inspired by film. These new color filters are separate from Picture Styles, have adjustable levels, and also work for video.

Video specs top out at an uncropped 4K resolution oversampled from 6K at up to 60p. Enhancements include a new cinema view, an autofocus mode built for close-up product demonstrations, enhanced image stabilization settings, and a new Auto White Balance response and lock to control white balance transitions. Video creators can also assign a button on the camera to defocus the shot at a preset speed.

Canon says the original R8 will remain available as a budget option to the second generation, as the Mark II does come in at a higher price point than the original.

The Canon EOS R8 Mark II is set to retail for $1,899 / £1,729 / AU$2,529 body-only and $2,099 / £2,119 / AU$2,859 with the 24-50mm f/4.5-6.3 IS STM kit lens. In comparison, the original Canon EOS R8 launched at $1,499 / £1,699 / AU$2,299, though tariffs in the US later pushed the list price to $1,649.

The optional extension grip for the camera retails for $99 / £89 / AU$169.

The camera is expected to begin shipping in late October.

More on the new Canon EOS R8 Mark II

Dive into Canon's latest launch with the Canon EOS R8 Mark II review, ore read about Canon's new Speedlight. Or, browse all the Canon favorites with the best Canon cameras.

Fujifilm is without a doubt the hottest camera brand on social media right now, and with good reason. While Nikon, Canon and Sony have all been busy cramming the very latest specs into an array of boundary-busting modern marvels, Fujifilm has refused to compete. Instead, it’s doubled down on what it does best. Small, attractive retro-themed mirrorless and compact cameras.

No other camera has embodied the brand's cornering of the market quite like the Fujifilm X100VI. This little compact boasts oodles of character and a high-res 40.2-MP APS-C sensor. It’s a joy to use, small enough to carry around everywhere, and just about the most charming-looking device on the market. And it’s so popular that it’s famously difficult to get hold of even two years after its release.

Availability issues and a comparatively high RRP has meant that many photographers have turned to the back catalogue of Fujifilm X Series cameras available on the used market in order to experience that Fuji magic for themselves. Unsurprisingly, this has wildly inflated used prices; even Fujifilm cameras over a decade old have become sought after for their trendy aesthetic and ability to deliver the Fuji look.

What is the Fuji look?

Fujifilm fans will wax lyrical about the brand’s color science. And while I’ll stop short of calling it the best in the business, it’s definitely gorgeous and definitely stands out in comparison to other camera manufacturers.

What makes Fujifilm’s color science so unique is its series of X-Trans sensors. Or more specifically, the proprietary X-Trans color filter array that it uses instead of the more common Bayer filter that’s present on most other cameras.

But here’s the catch: not all Fujifilm X Series cameras have an X-Trans sensor. A good example is the Fujifilm FinePix X100. The first camera in the brand’s hugely successful X100 series of compact cameras, culminating at the aforementioned Fujifilm X100VI, was launched in 2010 with a Bayer filter array. It wouldn’t be until its successor, 2013’s Fujifilm X100S, that the series would get its first X-Trans sensor.

The FinePix X100 isn’t the only Fujifilm X Series camera to feature a Bayer filter. You can also add the entire Fujifilm X-A series, Fujifilm’s short-lived entry-level mirrorless series – this consisted of the Fujifilm X-T100 and Fujifilm X-T200 – the Fujifilm XF10 compact camera, and the Fujifilm X Half.

To confuse matters further, some Fujifilm X Series cameras feature EXR sensors, which differ slightly from standard CMOS sensors with Bayer filters and Fujifilm’s X-Trans sensors. These are the Fujifilm X10, Fujifilm XF1 and Fujifilm X-S1. Some may tell you that the Fujifilm FinePix X100 has an EXR sensor, but this is a confusion due to it having an EXR image processor.

To be clear, I’m not saying you have to avoid Fujifilm X Series cameras without X-Trans sensors. I’m simply making you aware that if you’re besotted by the Fuji look that’s all over Instagram and you want a faithful alternative on a budget, consider the sensor before you buy a Fujifilm X Series camera.

You’ll even find variations within the X-Trans sensor. For example, the 16-MP X-Trans I was only ever present in the Fujifilm X-E1, Fujifilm X-M1 and Fujifilm X-Pro1, but is considered by some Fuji fans to possess the best color science of any X-Trans sensor and a decidedly filmic look.

A word on Film Simulations

Another key ingredient for the Fuji look is Fujifilm’s much-celebrated Film Simulations. While these have become a Fujifilm X Series staple, they actually predate the series, having been introduced in 2003 on the Fujifilm FinePix F700.

However, if you’re in the market for an older Fujifilm X Series camera, make sure you check what Film Simulations it features before you buy, just in case you have a favorite. I say this because the number of Film Simulations tends to grow with each new generation of X Series camera.

For example, the aforementioned Fujifilm X-Pro1 might be revered for having gorgeous color science, but it features comparatively few Film Simulations to the latest crop of Fujifilm X Series cameras. The most egregious omissions arguably being Classic Chrome and Classic Negative.

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What's more fun than visiting a cool city you've never been to before? Visiting a cool city you've never been to before with a brand new camera you've never seen before.

I was lucky enough to attend the launch event for the new OM System PEN in Germany. I booked a seat with extra legroom on the plane, so I could stretch out and rest my limbs before pounding the pavement on Berlin's streets, and loaded my hand luggage with a few lenses I thought would suit the assignment.

I didn't know at the time that the PEN would launch alongside the new OM System M.Zuiko 14-42mm f/3.5-5.6 III – a compact, weather-sealed 28-84mm equivalent – so I packed a versatile walkabout lens: the M.Zuiko 12-40mm f/2.8 Pro, giving me an effective 24-80mm zoom.

That would cover close range, but I needed a pocketable telephoto – so I paired it with the M.Zuiko 40-150mm f/4.0-5.6 R, an 80-300mm equivalent that's smaller and slimmer than a soda can. And, because it's literally the size of a cookie, I also popped the 9mm f/8 Fisheye Body Cap, just because.

It turns out I barely needed the Pro lens, aside from a couple of times indoors where I needed that extra 4mm on the wide end or the additional stop of light to shoot in the dark. I didn't use the tele that much, either, though it was definitely useful for magnifying a couple of scenes and isolating subjects at distance.

Having used OM (and, before it, Olympus) kit for well over a decade, I was immediately at home with the new PEN despite having never seen it.

It looks and feels, unsurprisingly, like a cross between the Olympus PEN-F (a "holy grail" camera that has become a cult classic) and the Olympus PEN E-P7 (my daily driver, which is smaller but lacks a slew of features).

And it performs a whole lot like the OM System OM-5 Mark II – again unsurprising, given that the PEN shares many of the same specs and tech.

While it is, on paper, an entry-level camera – evidenced, if nothing else, by its $999 / £849 / AU$1,499 price tag – it boasts an impressive arsenal of flagship firepower inherited from the OM-1 and OM-3. And, indeed, it packs some computational photography tools that aren't found even in the most expensive cameras from other manufacturers.

This includes functions like High Res Shot, which uses the 5-axis in-body image stabilization (IBIS) system to power a pixel shift multi-shot mode that enables the 20.4MP sensor to produce 50MP or 80MP images – albeit only on static subjects, as movement invariably creates unpleasant artefacts.

However, the computational feature I used the most – handily accessed, along with the entire suite, via the CP (computational photography) button – was LiveND.

This brilliant bit of innovation gives you a "live" simulation of the blurred motion that you'd normally need a neutral density filter to achieve. However, by turning on this tool (offering up to a virtual four-stop filter), you can achieve creative slow shutter speed effects without needing a physical ND on your lens.

It embodies what the OM System PEN is all about: empowering you to create, and capture those unexpected everyday moments, even when you go out without your full kit. No ND filters? Turn on LiveND. No tripod? Rely on the 5.5-stop in-body stabilization. No medium format camera? Get a 50MP or 80MP image with High Res Shot.

Here's what people don't understand about the PEN: it's not supposed to be the best at shooting everything, but it enables you to shoot anything – even when you didn't anticipate it.

A few days of street shooting proved that perfectly. For candid portraiture, the human subject detection algorithm made sure that faces were in focus – along with the backs of heads and bodies, if they were facing the other way.

For shooting in poor light, even with a tiny-irised f/8 lens, the IBIS made it possible to shoot handheld at slow shutter speeds. For getting crunchy, black-and-white, Leica-like street photos, or color-popping graffiti images, or faded filmic 35mm-style shots, I could dive into the color and mono profiles along with selection of Art Filters.

It's those intangibles that are more important than having the most megapixels, the largest sensor or the latest tech. Because they enable you to create, on the spot, in the moment, without missing a beat – and then beam the shots straight to your phone to share on social or WhatsApp.

You make the magic in-camera – there's no need for post-production if you don't want to. And after a thousand shots in Berlin – and a few thousand more in less exotic locales – I sure do love making magic with this thing.

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See how the PEN compares to the best Olympus and OM System cameras, and see which are the best Olympus and OM System lenses with which to pair it.

The world has waited five years for this retro camera to make a comeback, but customers in Japan will have to wait a little longer – the brand new OM System PEN has received so many orders that it is currently facing delays in Japan.

Parent company OM Digital Solutions has just announced that, due to overwhelming demand for the aggressively priced and excitingly specced camera, some pre-orders "may be delayed until November or later" in the region.

While orders are currently unaffected in other territories, the new PEN has been so well received that it wouldn't surprise me to see similar demand across the globe.

This Micro Four Thirds camera is not only one of the most stunning-looking bodies on the market, it's also comparable in size to the ever-popular (and ever out of stock) Fujifilm X100VI – making this a great option for anyone seeking a compact, capable camera.

Moreover, the PEN represents unbelievable value for money; for just $999 / $849 / AU$1,499 it offers weather sealing, in-body image stabilization and an electronic viewfinder, a combination virtually unheard of at that price.

It also possesses a suite of impressive features. While its native resolution is 20.4MP, it can shoot 50MP and 80MP high-resolution stills, boasts advanced features like 30fps pre-capture (aka Pro Capture), as well as computational photography tools such as software-driven neutral density filters to achieve slow shutter speed effects without the need for a physical ND filter.

I'm a big fan of the camera, calling it "the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists" in my OM System PEN review.

It's available for preorder now, shipping in late September across Europe and late October in the US – and judging by demand in Japan, you should probably get in early if you want one at launch!

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The BCN Awards, sourced using data from major Japanese electronic retailers, has published its 2026 results and Nikon features in three categories: Mirrorless, DSLR, and binoculars, coming third, second and third in each category, respectively.

Nikon Rumors has posted BCN’s findings along with a short analysis of the brand’s fortunes. The rumor outlet praised Nikon’s presence within a very competitive market, while stating: “to climb higher, focusing on entry-level mirrorless or hybrid video capabilities could help.”

I couldn’t agree more! I’ve been saying for years that Nikon’s decision to focus on enthusiast and pro gear will hurt its imaging business in the long term, because brand loyalty is such a huge deal in photography.

The profit margin on an entry-level camera might not be as good as premium offerings, but it captures consumers at the very beginning of the funnel. Once you’ve bought into a system and got used to it, you’re likely to stick with that system when you eventually upgrade.

If Nikon isn’t fostering beginner photographers, it’s missing a crucial moment in which to build that connection. And I believe it’s even more important for Nikon to catch consumers early than some other camera manufacturers, because it’s competing directly with Canon and Sony. Let me explain…

Direct competition

Nikon, Canon and Sony are all going after the same corner of the market. They all build full-frame mirrorless cameras, boast huge collections of mirrorless glass, are jostling for the next big innovation in camera technology and are focusing increasingly more of their resources towards video cameras.

As such, they’re the go-to choice for professional landscape, portrait, wildlife and sports photographers, as well as run-and-gun video creators. The problem is that their customer bases are extremely loyal – fanatical, if you will.

Of course there are always exceptions to the rule, but most people who want to buy a serious mirrorless camera will choose one of the above manufacturers, not two, not three, just one. After all, they all pretty much do the same thing.

If you have a Nikon Z8 and buy a Nikon Z 24-70mm f/2.8 S II for $2,797 / £2,599 / AU$4,599, what’s the point of also investing in a Canon EOS R5 Mark II and then having to buy a Canon RF 24-70mm f/2.8L IS USM?

But other manufacturers such as Fujifilm, Leica and OM System don’t have to play by the same rules. You could very much own a Z8 and fancy picking up a Fujifilm X100VI, a Leica D-Lux 8 or the just-announced OM System PEN as an everyday carry.

Maybe the Nikon Zf and Nikon Zfc fill the role of something slightly different, but the majority of Nikon’s catalog is standard enthusiast- to pro-grade fare.

Entry-level gold

As a huge Nikon fan, every single Black Friday it pains me to see the utterly fantastic Canon EOS R100 become even more ridiculously good value, only to wonder why Nikon doesn’t have a camera like that. And while the Nikon Z30 and Zfc get close, they’re not truly affordable beginner cameras in the same vein as the EOS R100 or Nikon D3500.

Extenuating circumstances such as component shortages, the memory crisis, Trump tariffs and general economic instability mean it’s a difficult market out there for every camera manufacturer. And while Nikon isn’t in trouble, its financial results haven’t been where they ought to be of late.

Don’t get me wrong, Nikon is a huge company and its imaging division isn’t the only area it’s focused on. But to ensure a steady stream of Nikon photographers from now until well into the future, please, Nikon, don’t neglect entry-level photographers any longer.

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The popular retro Olympus PEN series is entering its OM System era. The OM System PEN is a compact mirrorless camera mixing the PEN legacy with simple controls and a design that’s small enough – and durable enough – to want to carry every day.

The OM System PEN, announced on September 09, carries the same unstacked 20.4MP Micro Four Thirds sensor and TruPic IX image processor as cameras like the OM-5 Mark II, but revives the longtime favorite PEN series with its retro, rangefinder-inspired design and yet sits on the more affordable end of OM System’s lineup.

Take a look at a guided tour of the camera:

The PEN has an unusual mix of stabilization and weather-sealing for the price

Price-wise, the PEN slots in between the Olympus OM-D E-M10 Mark IV and the OM System OM-5 Mark II, making the new camera one of the brand’s most affordable options, second only to the last remaining camera to carry the Olympus name.

Priced at $999 / £849 / AU$1,499, the OM System PEN brings two features that are difficult to find in this price bracket of mirrorless category: weather-sealing and in-body image stabilization.

The OM System PEN isn’t just weather-sealed but rated as IPX1 splashproof. That rating isn’t as robust as the IP53 rating for most of OM System’s higher-priced cameras, but weather-sealing is rare among budget-priced cameras and rarer still to come with an official IP rating. The IPX1 rating means the camera is rated to withstand rain (but not water spraying from every direction), while the X means that the camera wasn’t tested for dust resistance.

The OM System PEN also houses a stabilization system rated for 5.5 stops.

Weather-sealing and stabilization are arguably the two biggest features that OM System is known for, as the camera brand has positioned itself as an outdoor camera brand in the wake of the split from Olympus. With the launch of the PEN, even the cheapest mirrorless camera that carries the OM System name has those two features.

Finding both stabilization and weather-sealing in a mirrorless camera under $1,000 is hard to do without picking up an older or used model – though not impossible. The similarly priced Nikon Z50 II is weather-sealed but doesn’t have IBIS. Canon’s cheapest mirrorless with both weather-sealing and IBIS is the EOS R7 ($1,499 / £1,349 / AU$1,799); Sony’s is the A6600 ($1,399 / £1,450 / discontinued in AU), and Fujifilm doesn’t get to both features until the X-T5 ($1,699 / £1,399 / AU$2,699).

The biggest competition to the PEN for bringing both stabilization and weather-sealing is fellow Micro Four Thirds camera maker Panasonic, which offers five-axis sensor-shift stabilization with splash and dust seals on the Lumix G97 at about $850 / £899 / AU$1,499 with a lens.

The OM System PEN is the first in the PEN series to include weather-sealing, a move that makes a lot of sense for what the camera is meant for. OM System is targeting this camera both towards beginners and photographers looking for an everyday carry camera – and it’s hard to carry a camera every day if that camera can’t withstand a little rain.

The OM System PEN still maintains a gap between the brand’s next camera up in the lineup – the OM-5 Mark II – however. The OM-5 Mark II has better IP53 weather-sealing and up to 7.5 stops of stabilization, but also faster performance at 10 fps with a mechanical shutter to the PEN’s 6 fps. The PEN’s electronic shutter can also reach 30fps, but focus is fixed on the first frame.

Both the PEN and OM-5 Mark II share a 121-point autofocus system, though the PEN also has pet and human eye subject detection (albeit in stills only).

The OM System PEN keeps a retro but easy-to-use design

Like earlier PEN cameras, the newest addition to the series uses a viewfinder that’s placed off in the corner, rangefinder-style rather than the SLR-style centered placement. While the camera favors a retro design, the dials and controls are geared more towards simplicity and usability, featuring a more traditional mode dial. OM System describes it as “a timeless design for the joy of photography.”

But, like earlier digital PEN cameras, the 2026 PEN still has a dedicated control dial for creative control to easily switch between different color or monochrome looks. The PEN has the same color profiles as the OM-3, including the ability to customize different looks, but OM System is also launching an update to the OI.Share app that allows tweaking color recipes in the app and uploading to the camera – including creating new recipes based on an inspiration photo.

The PEN’s touchscreen is tilt-capable and includes a selfie mode that triggers shots with the touchscreen when flipped forward.

Alongside weather-sealing and stabilization, computational photography remains a big push for OM System, and the PEN features a dial just for those modes as well, including high-res mode, live NDs, and focus stacking. Additional modes, such as multiple exposures, are available inside the camera’s menu.

The OM System PEN is more geared towards stills, but the camera does offer 4K shooting, both vertical and horizontal videos, and the wider dynamic range modes OM-Cinema1 and OM-Cinema2, along with supporting the same creative controls for stills for shooting video.

The Olympus PEN series has long been a favorite among retro camera fans, spanning both the original film camera in 1959 to modern digital options like the 2016 Olympus PEN-F. The OM System PEN aims to pay homage to that inspiration as a camera that’s beginner-friendly, but that more serious photographers may want to reach for as a compact, everyday carry camera – and the weather-sealing and stabilization mixed with the retro design will go a long way towards those goals.

The weather-sealing makes the new OM System PEN slightly thicker than the PEN F, but the mirrorless still comes in at a compact 43.4mm depth and a lightweight 393g – including a new battery that’s rated to 410 shots.

The OM System PEN is expected to begin shipping in late October in the US, or late September / early October in Europe, along with the newly announced kit lens, the M.Zuiko Digital 14-42mm f/3.5-5.6 III.

Pre-orders have already opened at several retailers. The camera, available in black or silver, retails for $999 / £850 / AU$1,499.99 / CA$1,399 body only, or $1,099 / £999 / AU$1,799.99 / CA$1,549 with the kit lens. In North America, the camera will also be offered in a two-lens kit for $1,299 / CA$1,799 with 14-42mm and 40-150mm lenses.

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In my heart of hearts, I knew that the OM System PEN wasn't going to be a named successor to the Olympus PEN-F. But while it doesn't carry the "F", this new PEN is absolutely a spiritual successor to the PEN-F. And in every way possible – perhaps including its looks – it's a better camera.

I know that OM System can be a tough sell for some people, so let's quickly take an objective look at what the OM System PEN offers for the price.

For just $999 / £849 you get a camera that's weather-sealed, has in-body image stabilization (IBIS) and an electronic viewfinder (EVF), is loaded with pro features like 30fps Pro Capture, has computational photography tools like simulated ND filters (Live ND) and 80MP High Res Shot, has algorithmic autofocus (including astrophotography) and packs a stack of film-inspired picture profiles.

On top of all that, the OM System PEN is one of the best-looking retro cameras on the market. Seriously, aside from a sensor size prejudice, what's not to like about it?

Okay, there are a couple of things – like the 8-bit video, though honestly this is a stills-first camera to its core – but overall this is a frankly obscene amount of firepower in a camera that's sublimely small and effortlessly cool.

Take a look at my quick guided tour of the camera:

OM System PEN: Specifications

OM System PEN: Price & availability

The OM System PEN will be available in both silver and black in late September / early October with a price tag of $999 / £849 / AU$1,499 body only.

It will also be available in a bundle with the new, weather-sealed OM System M.Zuiko 14-42mm f/3.5-5.6 III kit lens (a 28-84mm equivalent) for $1,099 / £949 / AU$1,799.

In the US and Australia, a double-lens kit that adds the M.Zuiko 40-150mm f/4.0-5.6 R lens (80-300mm equivalent) will also be available for $1,299 / AU$2,099.

For reference, Fujifilm's cheapest body with weather sealing, IBIS and an EVF is the Fujifilm X-T5 at $1,999 / £1,699, while Canon's cheapest is the Canon EOS R7 at $1,649 / £1,449. (Call me churlish, but I'm discounting the Panasonic Lumix G97 due to its primitive contrast-based AF system.)

OM System PEN: Build & handling

The OM System PEN is almost identical in size to the PEN-F, with handling that's very familiar all-round – from the rangefinder-like positioning of the EVF on the left shoulder to the presence of the Profile Control switch on the front.

While it doesn't boast the same premium heft and construction as the PEN-F (as in, don't expect a single block of milled aluminum), in the hand it drives much as the F did – only this time you have the benefit of IPX1-certified weather sealing and operation in environments from 32°F / 0° to 104°F / 40°C.

Another big upgrade from the PEN-F is the presence of a dedicated memory card door on the side of the body – rather than stowing the card in the battery compartment, which these days is a mark of entry-level cameras.

Another upgrade for many, and something that has been adopted from the Olympus PEN E-P7 (a brilliant 2021 camera that was only released in Europe), is the repositioning of the power switch to the right-hand side of the top plate.

This makes it possible to turn on and operate the camera one-handed, for quickfire street shooting – or, as my friend Emily from Micro Four Nerds calls it – "Festival Mode". I personally never use a camera this way, but I know how important it is for a lot of photographers.

Also making its way across from the E-P7 is the aforementioned Profile Control switch, rather than the full Creative Dial from the PEN-F.

This is a simple flip switch that enables you to access the picture profiles menu while shooting, giving you access to the Color and Mono profiles, along with Color Profile Control and general recipe settings. (The Creative Dial offered dedicated positions for Color, Mono, Art (Filters) and CRT – the Color Creator / Profile menu.)

The battery compartment at the bottom contains a brand new battery design for OM, the squat (almost square) BLS-7. CIPA rates the battery as good for 410 shots (or 80-130 minutes of video), but I've got well over 600 shots out of a battery before recharging.

OM System PEN: Performance

The OM System PEN embodies everything that I've always loved about the PEN family, dating all the way back to the original E-P1 in 2009 (which was Olympus' first ever mirrorless camera).

It's a quick, nimble camera with agile autofocus that enables you to react instantly to the world around you. Paired with the compact new M.Zuiko 14-42mm f/3.5-5.6 III kit lens, it's a weather-sealed and near-pocketable marvel – making this a truly take-anywhere, shoot anything, whatever the weather setup.

True to the PEN ethos, "as simple as pen and paper", this camera can be used as a straight-up point-and-shoot; stick it in auto or semi-auto and it's a fire-and-forget snapper that gives you great results. But the more you investigate the many magic tricks up its sleeves, the more you realize what a creative powerhouse this thing really is.

Like Fujifilm cameras, the OM System PEN is loaded with film-inspired picture profiles and a slew of Art Filters. So, if you want to level up your images, you can enable a profile or filter and effectively "pre-produce" your image – giving you gorgeous JPEGs, straight out of camera, with no need to tinker in post production.

Want to jazz things up even more? You can fine-tune these profiles or dive into the Color Creator to customize the presets or make your own photo recipes.

You can even upload and share these using the OI.Share app (which, for my money, is the best companion camera app on the market if for no other reason that it actually works – and is brilliant for transferring files and remote shooting).

Want to get even more creative? Use the CP button to unlock a suite of computational photography features, including Live ND – a software-powered set of neutral density filters, enabling you to shoot long-exposure movement shots without the need for physical lens filters.

Or how about High Res Shot mode, which enables you to capture 80MP RAW images for those moments when you want hyper texture and detail – but without being bogged down by the everyday bulk of a medium format camera.

Experiment with in-camera focus stacking, shoot a spot of astrophotography with Starry Sky Autofocus, try light painting with Live Composite, shoot fast action like a professional with 30fps Pro Capture (which records the 12 frames before you fully press the shutter, so you never miss the magic moment)…

There is so much creative potential packed into the OM System PEN that you will become a more versatile and more adventurous photographer almost by osmosis.

But there are, of course, some limitations. The biggest one, as is ever the case with OM System and Olympus cameras, is the resolution; while Panasonic has graduated to 25MP sensors, OM is still using trusty 20MP affairs (for reference, this is the same one found in the OM-5 Mark II).

Personally, this makes no odds to me. As I've said before, ad nauseum, this is more than enough resolution for anything shy of larger physical prints; I have magazine covers and double-page spreads shot on 20MP and even 16MP OM / Olympus sensors. And if you do need the extra pixels for printing, High Res Shot gives you 80 million of them.

Really, though, the biggest limitation comes in terms of video; given that this camera uses the OM-5 Mark II sensor, you can only shoot 8-bit video. And while the OM System PEN adds the subject detection AF (for humans and animals) that was sorely missing from the OM-5, it only works for stills – not video.

In short, this isn't a vlogging camera; it's a pretty pure photography camera. If you want to shoot a bit of video for social media, or you need to snag a bit of B-roll, it's ideal – but moving pictures are absolutely secondary to still images. But make no mistake, those still images are stunning.

OM System PEN: Sample images

OM System PEN: Lab tests

While we've put the OM System PEN through our battery of lab tests, we are currently unable to process the results (until we can adequately de-crunch OM's newest RAW format).

I will update this review as soon as we've completed the lab analysis.

Until then, given that it uses the same sensor, you can probably expect the same ballpark performance as the OM System OM-5 Mark II's lab results.

OM System PEN: Verdict

I've been waiting half a decade for this camera; it's the first new member of the PEN family since the E-P7 launched way back in 2021 (which, incidentally, was also the first camera released after OM System splintered off from Olympus).

Some will opine that the OM System PEN isn't a PEN-F II. And I hear that, because few people wanted a PEN-F II more than me. But I'll be absolutely honest – this camera pretty much is a PEN-F II in everything but name.

The image quality is better. The stabilization is better. The autofocus is leagues better. The video, while limited, is also way better. It's IPX1 weather-sealed. And it's stuffed to the gills with clever computational features.

Heck, it's arguably better looking, too – though I'm sure plenty of people will pick a fight with me over that one.

Truthfully? There is now precisely zero reason for me to pick up my PEN-F. This new PEN does everything the F could, just bigger, better, more.

In terms of function, this camera feels a lot like the OM-5 Mark II – though I'd argue that the PEN is actually better thanks to the addition of the Profile Control switch and especially subject detection autofocus (which was the only real weakness of the OM-5, though it does boasts slightly better sealing).

However, as much as I'm inclined to compare it to other OM offerings, my biggest takeaway is actually how the OM System PEN compares to the Panasonic Lumix L10. And I should preface this by saying that I love shooting with the L10.

But the PEN is smaller and lighter. It's weather-sealed. It has IBIS. It's got dual exposure dials. In other words, it ticks all the boxes that the L10 missed – and of course, you can also change the lenses. Sure, the L10 absolutely annihilates it for video, but let's be real – nobody is buying the Lumix primarily for video, and the same is true of the PEN.

I would argue that anyone considering the L10 would be better off (quite literally, where cash is concerned) opting for the PEN. Not only does it offer acres more creative capacity, you'll also struggle to outgrow it – unlike the Lumix, which will leave you wanting the moment you fancy trying macro or telephoto photography.

The OM System PEN is the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists.

APS-C vs full-frame is a tale as old as time, and as a photography journalist, I’m definitely guilty of stoking the flames. But recently, I watched a YouTube video from a fantastic creator called Cam Mackey, and he simplified the whole debate into two words that have stuck in my mind ever since: “different looks”.

On a shoot where he was comparing the Leica M11 and Fujifilm X100VI, he talked about the different formats. Granted, he did acknowledge that there’s a big difference between the two, stating: “people out there that say: “Oh, full-frame vs crop sensor, it doesn’t matter,”” agreeing that in some cases it doesn’t, before continuing, “But those same people will also say: “Oh, medium format’s superior to full-frame””.

And as a predominantly full-frame photographer, I’ve definitely heard that argument time and again. But here’s the real thing I took away from the video: “So, you definitely get different looks, and you get different image quality, and you get a whole different feel from each sensor size.”

I absolutely love this sentiment. It’s such a simple way to think about sensor size, but creatively, it’s a healthier way than simply dismissing one or the other as better or worse. After all, they do supply you with different looks and different advantages. That’s why different sensor sizes exist – variety is the spice of life!

APS-C vs full-frame

The biggest difference between an APS-C image and a full-frame image is the crop factor. If both images are shot with the same lens, in the same position, with the same exposure settings, the APS-C image will appear zoomed in. If you cropped the full-frame image down to the exact composition of the APS-C image, it will look identical.

A big difference you usually hear people talk about is that full-frame cameras will give you a shallower depth of field and APS-C cameras will compress the image. But technically, an APS-C camera doesn’t produce a larger depth of field, nor does it produce more compression. The perceived difference is simply due to the crop factor.

Use the same lens on both bodies, and you’ll have to get closer to the subject with the full-frame camera, producing a shallower depth of field. And due to the cropped field of view on the APS-C camera, the image might look more compressed at a glance, but if you cropped a full-frame version of that image to the size of the APS-C image, the compression would look identical.

Another point that I often think about is that a lot of full-frame photographers heavily crop their images. But if you know a photographer uses a full-frame camera, you never question it. Ultimately, there’s no doubting that there’s a different quality to a medium format image, a full-frame image, and a crop-sensor image, but at the end of the day, there are way too many variables to simply crown one better than the other. It’s kind of like ranking the greatest bands of all time: everyone has a different taste in music, even if it's definitely Queen. I digress...

Different cameras for different purposes

There’s a reason why so many photographers end up having multiple cameras with multiple sensor sizes, and that’s because they’re different tools that excel at different applications. A lot of street photographers favor crop-sensor cameras, and a lot of professional portrait photographers favor medium format or full-frame cameras.

In recent years, APS-C has become more and more popular. A lot of this is down to Fujifilm’s excellent selection of X-series cameras. APS-C is also the choice of format for a lot of very popular Instagram photographers, especially those who capture street or travel photography.

So, if you’re choosing between an APS-C and full-frame camera or feel you need to ‘upgrade’ to a full-frame camera, think to yourself: you can still capture incredible imagery on both. At the end of the day, you’re getting “different looks”.

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Nikon silly season is beginning to heat up. As we head into the final third of 2026, the ‘Big N’ has only released two lenses, plus a development announcement for the Nikon Z 120-300mm f/2.8 TC VR S. And with a history of releases in September, October and November, the anticipation is high. So, when Nikon Rumors posts about an “exclusive product presentation” from Nikon UK on September 25 at Grays of Westminster, it’s hard not to get a little bit excited about potential camera rumors.

The event, hosted by Nikon and RED creative, Bruno Murari, is even more curious given that no products are mentioned in the event schedule. What will be on show is simply referred to as “product highlights” or “the products,” which Nikon Rumors has described as "a bit strange" and "cryptic," and I have to agree; it does sound a little coy.

A string of rumors

All of this comes off the back of another Nikon Rumors post that I reported on last week. An Internet sleuth noticed gaps in the schedules of various Nikon Ambassadors, with a series of Nikon events to follow later in September, and theorized that this could point towards a possible product release. Complete conjecture, of course. It wasn’t all that long ago that Nikon Rumors reported on “almost everything” being supposedly delayed until next year, so at this point it’s anyone’s guess.

A release could happen, but it’s far from certain

I keep coming back to the same conclusion: it’s certainly the time of year for a big release, so nothing is beyond the pale. But if the rest of the year is anything to go by, not to mention some less-than-stellar financial results and ongoing market turmoil due to various factors, including Trump tariffs and component shortages. Suffice to say, I’m cautiously optimistic about a major Nikon release this year but heavily tempering my expectations.

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The big three camera market leaders are Canon, Nikon, and Sony. Now, fresh sales numbers from major Japanese retailer Kitamura are in, and one global player accounts for 50% of the Top 10 best-selling cameras in August 2026, while one brand is nowhere to be found.

According to Kitamura, Sony takes 5 out of the Top 10 spots. Nikon didn't make the ranking with a single camera.

At No.1 sits the Sony A7C II, "recommended for users who want to carry a full-frame camera with them at all times and don't want to compromise on performance," as Kitamura explains. Right behind is Sony's A6700 in No.2, followed by the A7 IV. Sony's latest full-frame release, the A7 V, takes No.6 and the ZV-E10 II comes ninth.

Canon has two models: the Canon EOS R6 Mark II and Canon EOS R6 Mark III, placed fourth and tenth.

OM System and Fujifilm fill the remaining three spots in the sales ranking. The OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit comes fifth; the OM System OM-1 Mark II is seventh, and the Fujifilm X-M5 XC15-45mm Lens Kit is eighth.

Kitamura's 10 best-selling cameras, August 2026

1. Sony A7C II
2. Sony A6700 High-Magnification Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Canon EOS R6 Mark II
5. OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit
6. Sony A7 V
7. OM System OM-1 Mark II
8. Fujifilm X-M5 XC15-45mm Lens Kit
9. Sony ZV-E10 II Power Zoom Lens Kit
10. Canon EOS R6 Mark III

Sony's chart-topping cameras

No.1 Sony A7C II
Kitamura says, "The successor to the A7C, which debuted as the world's smallest and lightest full-frame mirrorless camera. Packed with the latest features into a compact body, it delivers performance that exceeds its appearance."

No.2 Sony A6700
"This kit includes the A6700 camera and the high-magnification zoom lens "E 18-135mm F3.5-5.6 OSS".

"Despite its compact size, this lens can zoom up to the equivalent of 202.5mm, allowing you to shoot a wide range of subjects, including landscapes, snapshots, flowers, animals, and sports, all with just this one lens," explains Kitamura.

No. 3 Sony A7 IV
Kitamura says, "This camera is Sony's most standard full-frame mirrorless camera. With high-precision real-time tracking, it keeps track of your subject, ensuring you never miss a moment for both still images and videos."

No.6 Sony A7 V
"The A7 series has finally reached its 5th generation.

"By adopting a newly integrated partial-stacked sensor and the next-generation image processing engine "BIONZ XR2," it achieves highly accurate AI subject recognition and blackout-free continuous shooting at up to approximately 30 frames per second.

"It is a high-performance camera that is hard to believe is a basic model," explains Kitamura"

No.9 Sony ZV-E10 II
Kitamura says, "This is the successor to the ZV-E10, which has gained popularity as a video camera for shooting vlogs and YouTube videos.

"It features the same BIONZ XR image processing engine as higher-end models, resulting in improved video capabilities and autofocus performance. It's a recommended camera for anyone who wants to shoot cinematic videos."

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It’s been a little will they won’t they when it comes to Nikon lately. Just last week I wrote about a rumor claiming big delays across the board, and now Nikon Rumors is back with a more positive tale from the grapevine, surmising some kind of Nikon release in September.

Apparently, a reader has looked into the schedules of various Nikon Ambassadors and found that many of them are free during the week of September 12, but scheduled for Nikon events on September 26. This has resulted in the theory that Nikon could be launching something in mid-September and showing it off later in the month.

The argument is supposedly bolstered by Nikon ambassador Kristi Odom, whose schedule is apparently free in both instances. Kristi is an award-winning wildlife photographer, which has caused the same camera sleuth to surmise that she’d be the perfect pro to test a rumored flagship APS-C camera (Nikon Z70) and the Nikon Z 120-300mm f/2.8 TC VR S (which has already had a development announcement).

While something could indeed be released in September, I’ve been burned by the rumor mill so many times lately, I’m not sure picking apart evidence like the imaging equivalent of Hercule Poirot is particularly helpful. After all, only a couple of weeks ago, everything was supposedly delayed…

And yet, if Nikon is intent on releasing something this year, we are definitely heading into the period where that could happen. You don’t have to be Jessica Fletcher to work out that Nikon has a habit of announcing cameras at this time of year. The Nikon Z6 II, Nikon Z7 II, Nikon Z9, Nikon Zf, Nikon Z50 II, and Nikon Zf Silver were all announced in September, October, or November. Anything later is a bit too close to Christmas, and then that’s the year over with.

As to what Nikon could announce, that’s beyond me. Lately we’ve had rumors regarding a Nikon Z70, fixed-lens full-frame Nikon, and of course, a Nikon Z9 II. I, for one, am still keeping my fingers (and toes) crossed for a Nikon Zfc II. So, take your pick. I’ll keep my ear and magnifying glass to the ground and let you know if more Nikon camera rumors surface.

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One of the key pieces to Sony’s mirrorless success is the speed made possible by the world’s largest sensor manufacturer’s stacked designs. But while Sony makes stacked sensors for full-frame mirrorless and stacked one-inch sensors in cameras like the RX10 V and RX100 VII, Sony’s APS-C mirrorless lineup skips the layered sensor built for speed.

Fresh reports are circulating that Sony’s sensor division is working on a 26MP APS-C stacked sensor. While Sony has yet to confirm the existence of such technology, the report is fanning the flames of rumors for potential new cameras such the Sony A6900 or a cinema-grade APS-C camera like the Sony FX30 II.

Sony’s stacked shutter design is the reason why cameras like the new Sony A7R VI can shoot at 30fps and 67MP when high-resolution cameras have traditionally been far slower than lower-resolution models.

The stacked design isn’t relegated only to Sony’s high-end mirrorless cameras either, with the layered sensor design also popping up in cameras like the RX10 V bridge camera and the RX100 VII compact camera – not to mention the stacked sensors inside some Sony smartphones. In fact, Sony first brought a stacked one-inch sensor to compact cameras in 2015.

Ten years after bringing the stacked design to compact cameras, I think it’s a fair question to ask when Sony could fill the gap between compact and full frame with an APS-C sensor.

Stacked sensors give the imaging chip dedicated layers for memory in order to speed up processing times. The result is faster burst speeds for stills and faster video frame rates.

Such an upgrade would make sense for the theoretical update to the A6700, as Sony’s more advanced stills-focused APS-C model is a good budget option for genres like sports and wildlife. But the rumors are calling for Sony’s upcoming sensor to be 26MP, which wouldn’t offer a resolution boost over the current model.

Without confirmation from Sony, it’s unclear if the brand’s next mirrorless camera could feature a stacked sensor design. Sony is the world’s largest sensor manufacturer, and even if the rumored sensor exists, there’s still a good chance that it isn’t destined for one of Sony’s mirrorless cameras.

But, having used the Sony a6400 as a budget birding camera and having also shot with the A7 V and A7R VI, I would love to see Sony’s stacked sensors come to the A6000 series.

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The secret is out: in an abnormally revealing teaser, OM System has revealed that a new compact, retro mirrorless camera is coming on September 09. But while the teaser has longtime fans hoping for a revival of the beloved PEN F series, the upcoming launch comes at a time when reports suggest the company’s mirrorless sales have dropped.

In a teaser revealed earlier this week, OM System shared a glimpse of the back and top sections of what looks like a retro, compact mirrorless camera. The first teaser revealed far more than most, without using the usual tactic to cast the camera in shadow. The rangefinder-style viewfinder had many fans hoping the camera is a refresh of the long-requested PEN series.

Then, a second teaser seemed to hint at a PEN legacy even more, displaying the 1959 Olympus PEN and the 2009 PEN E-P1 (the brand’s first digital mirrorless).

The teased camera will be the brand’s first major camera launch of 2026, as the company hasn’t launched a new model outside of the specialized OM-3 Astro and OM-1 Mark II Infrared. While it’s not unusual for OM System to launch only one camera a year, the teaser comes as the company is facing a sales slump.

OM System isn’t a publicly traded company, so unlike Canon, Nikon, Sony and Fujifilm, there’s no publicly available insight on the company’s sales and profits. But a recent report in Japan suggests that the company’s camera sales have dipped by 10,000 compared to last year, with an operating profit in the red to the tune of -¥1.6 billion – about -$9.9 million / -£7.4 million / -AU$13.9 million.

That echoes an earlier industry report ranking Japan’s top camera brands by the number of cameras shipped, which also said that OM System shipped 150,000 cameras, a drop of about 10,000 compared to the year before. That list showed Ricoh overtaking OM System, but more due to Ricoh’s sales numbers tripling, likely due to the popularity of the Ricoh GR IV series.

OM System has used a 20MP sensor on its Micro Four Thirds line since 2016, moving through two sensor variants with the same resolution in the past decade. While OM System says sensor development is ongoing, the company has focused on building rugged, outdoor cameras taking advantage of the Micro Four Thirds' more compact designs, well-loved stabilization system, and the brand’s computational photography prowess.

If the teased camera is in fact a refresh of the PEN line, I can see such a camera boosting the brand’s camera sales, regardless of whether or not the upcoming launch still uses a 20MP sensor. The PEN series is well loved, yet the last time the company launched a PEN with worldwide availability was still in the company’s Olympus days, back in 2020. (The Olympus PEN E-P7 launched in 2021, but was limited to Asia and Europe.)

Regardless, I think OM System fans are eagerly awaiting whatever’s next on September 09.

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Fujifilm has built a reputation for retro-styled yet compact designs – and the brand's efforts have not gone unnoticed. The compact Fujifilm X-E5 mirrorless camera has just won the top APS-C Camera award from the Expert Imaging and Sound Association (EISA) awards, with Fujifilm’s budget-friendly X-T30 III taking home a value-based award.

The EISA awards are an annual call-out to the biggest new cameras, lenses, and sound tech of the year. The 2026-27 awards are headlined by several highly popular models, including the Sony A7 V as the Camera of the Year, its big sibling the A7R VI as Professional Camera, Nikon’s first cinema mirrorless the ZR topping the photo-video category, and the sold-out Panasonic Lumix L10 taking top compact camera honors.

But Fujifilm has taken home honors for both the best APS-C camera with the X-E5 and the “Best Buy Camera,” a category meant to highlight a more affordable shooter, with the X-T30 III.

The X-E5 and X-T30 III sit at opposite ends of the price range for Fujifilm’s APS-C range, but the two mirrorless cameras have a few things in common – a compact, retro-inspired design.

The Fujifilm X-E5 is regularly heralded as the mirrorless twin to the viral X100VI compact camera when paired with its compact pancake kit lens. The X-E5 uses a rangefinder-inspired design that places the electronic viewfinder off in the corner, rather than in the center like an SLR. Like the X100VI, the X-E5 boasts plenty of retro dials.

But the X-E5 also gives a dedicated spot for one of Fujifilm’s most famous features: a dial just to swap film simulations. That gives photographers quick access to switch in-camera color profiles.

Inside, the X-E5 packs in the tech that sits inside Fujifilm’s top X-series models: a 40.2MP APS-C X-Trans sensor with the X-Processor 5 and, unlike the X-E4, image stabilization and subject-detection autofocus.

The EISA Awards called the X-E5 “a photographer’s delight for street, travel and everyday shooting.” As someone who has actually traveled with the X-T5, I would have to agree. Working with the mirrorless and the 23mm pancake lens, I could almost forget that I wasn’t shooting with a compact camera.

The Fujifilm X-T30 III, on the other hand, is still retro and rather compact for a mirrorless, but sits as one of Fujifilm’s more affordable choices. The X-T30 III takes on the look of a vintage SLR rather than a rangefinder, but unlike Fujifilm’s cheapest mirrorless camera, the X-M5, the X-T30 III still has a viewfinder.

The budget price shows a little in the specs, with a 26.1MP resolution X-Trans CMOS 4 sensor rather than the fifth-generation 40.2MP option. Still, that sensor’s no slouch – in fact it’s the same one inside my X-T4 that I still use as a pro photographer.

While the X-E5 was a major upgrade from the older X-E4, the X-T30 III feels like a more incremental update. Still, DCW gave the X-T30 III a Recommended badge, as the refreshed budget camera updates the autofocus but not the price point.

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GoPro’s first mirrorless camera is so small that the Mission 1 Pro ILS looks closer to an action camera than a mirrorless camera. The GoPro Mission 1 Pro ILS’s size creates wider flexibility in getting shots in tight perspectives and creating small mounted rigs. But the small design isn’t without its downsides: GoPro recommends using an added support for Micro Four Thirds lenses that weigh more than 250g.

The GoPro Mission 1 Pro ILS uses a Micro Four Thirds mount, which opens the action camera giant’s first mirrorless to hundreds of different lenses. However, the camera body doesn’t have any electronic form of communication with the lens, which means electronically driven “focus by wire” lenses aren’t supported.

In focus-by-wire optics, the focus isn’t physically adjusted from the turn of the focus ring but is instead adjusted electronically. This electronic design requires communicating with the camera body, and the Mission 1 Pro ILS doesn’t have any electronic contacts to communicate with the lens.

That takes MFT lenses like those from OM System and Panasonic off the table, as these lenses require communication with the camera to work. Besides disappointing creators who already own a stash of lenses from those brands, the incompatibility with OM System takes a number of weather-sealed lenses off the table.

While I was disappointed that I couldn’t mount my OM System 150-600mm lens on the Mission 1 Pro ILS – because how cool would a 1,800mm equivalent be! – the ILS will also need help supporting heavier lenses.

When I started testing the ILS, GoPro recommended that I use a lens support system for any optics over 250g, though the company noted that lenses with a built-in tripod collar could be supported by using the collar on a tripod.

Using a lens support system is going to increase both the size of the camera and the cost. SmallRig makes a universal lens support that sells for about $22, for example, but it requires rods and a baseplate. Adding the SmallRig 15mm baseplate and rods would be around $125 (about £91 / AU$175 / CA$173) worth of accessories to help support larger lenses.

Lenses 250g and under don’t need any additional support – and there are quite a few lenses that GoPro recommends from the Laowa 7.5mm f/2.0 Dreamer that I used with the new ILS to optics from TTArtisan, Rokinon, Meike, Viltrox and several others that fit both the mechanical focus and weight requirements.

One more thing to note? When swapping lenses, you have to go into the camera menu and select the correct lens, or HyperSmooth won’t work properly.

There are compromises that had to be made in order to create a mirrorless that small, and potential GoPro mirrorless buyers need to be aware of them before committing to the tiny 8K camera from the well-known action camera brand.

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I feel as if I’ve just shaken hands with Sasquatch. A mirrorless GoPro has been rumored so long it feels like a mythical creature – but now I’ve held the mirrorless GoPro Mission 1 Pro ILS in my hands.

I’m a professional photographer and camera reviewer, but the GoPro Mission 1 Pro ILS is unlike any other camera that I’ve used before – and that’s both good and bad.

While the ILS was initially revealed at the Mission 1 series launch, back in April, pre-orders for GoPro's first mirrorless camera opened today, August 26, with shipping and retail availability beginning on September 02.

The GoPro Mission 1 Pro ILS shares much of the same specs as the fixed-lens Mission 1 Pro, looking very much like the Mission 1 Pro had its fixed lens surgically replaced with a Micro Four Thirds lens mount. Besides the identical 8K60 sensor and GP3 processor, the ILS also looks and operates like a GoPro.

Holding the Mission 1 Pro ILS in my hands still felt very much like shooting with a GoPro – which is great news for GoPro fans. But the Mission 1 Pro ILS is a camera of compromises in order to pack swappable lenses into a camera that’s just 197g.

The Mission 1 Pro ILS packs high-end features into an affordable – and tiny – body

The legendary GoPro features that have migrated into mirrorless are headlined by HyperSmooth. I hate hauling around tripods, and I spent much of my time with the ILS capturing handheld video. Handheld shots are impressively steady, with just enough movement to have that POV-feel without being jittery or distracting.

The stabilization impressively even helped when getting in close to the subject. Using stabilization on different lenses is more challenge, however, and I did spot on occasional wobble – and HyperSmooth is definitely not smooth enough to actually run with the camera.

While that stabilization is possible with the fixed lens Mission cameras, the ILS mixes that with a handful of things that aren’t typically found on a GoPro, like longer focal lengths and yes, even bokeh and lens flare.

The other unusual feature of the ILS is how small it is – which is perfect for getting unusual angles. I even tucked the GoPro mirrorless inside a large jar. The body of the ILS is essentially the same as the Mission 1 Pro, but the mirrorless mount does jut out farther and taller from the body.

GoPros have long been the filmmakers' tool for shooting spots that a typical camera won’t fit – the ILS still offers that compact size, though naturally that will also depend on what lens is mounted to the front.

The ILS also has an impressive list of specifications for the $699 / £599 / AU$1099 / CA$949 price point. While there are a handful of mirrorless cameras that can be picked up at that price point, none of them are 8K-capable cameras. Yet, on the GoPro ILS, resolution reaches up to 8K60, with open gate available up to 8K30 and slow motion up to 1080p at 960fps (in 10 second bursts).

But, the GoPro Mission 1 Pro ILS has some significant compromises

The Mission 1 Pro ILS’s lens mount, however, doesn’t have any electronic communication between the lens and the camera. That means that the ILS is a manual-focus-only camera.

But, many Micro Four Thirds lenses are what’s called focus-by-wire, which means that the lens needs the electronics inside the camera in order to physically move the glass pieces to adjust focus. Without any electronic contacts, the GoPro ILS isn’t compatible with these lenses at all, even in manual focus mode, which eliminates a number of fantastic lenses from OM System and Panasonic.

One of the reasons the lack of support for lenses from brands like OM System is so disappointing is that the ILS body is splash-resistant when paired with a weather-sealed lens. The manual focus lenses that the ILS is compatible with are rarely weather-sealed.

Without any communication with the lens, users also need to go into the camera’s menu each time a lens is swapped and choose the right lens profile – forget this step and HyperSmooth will look terrible, as the camera needs that data for the stabilization algorithms to work properly.

The ILS’ small design also comes with a compromise – GoPro says that lenses that weigh more than 250g should be paired with an external lens support. Pairing the ILS with a heavier lens will require an additional investment in a base plate, lens support, and rod – accessories that add on to the cost, no to mention negating the small size.

GoPro users should also be very careful with mounted setups. GoPro doesn’t list a maximum recommended weight for their existing accessories – after all, all GoPros were small before the ILS, so a maximum weight wasn’t really needed. GoPro doesn't list a specific weight lens-ILS combo that should be avoided for traditional GoPro mounting accessories.

But, a GoPro representative told me, “If you plan to subject the camera to higher shock and vibe levels, then we recommend using heavier-duty third-party solutions and the 1/-4-20 threaded insert to mount the camera.”

The combination of a one-inch sensor with a Micro Four Thirds mount also creates a 3x crop factor. This can be great if you want to get in close for telephoto or macro, but less so if you need an ultra-wide view. The widest lens on GoPro’s list of supported lenses is the Laowa 4mm f/2.8 Fisheye, which will act like a 12mm wide-angle lens.

While many of the GoPro mirrorless compromises are related to the lens, the ILS is also geared towards cinema, not stills. Still shots have a built-in delay, and processing leaves the camera temporarily unable to shoot a second shot. GoPro’s mirrorless camera can take stills, but it’s secondary to video.

The non-electronic lens mount and the camera’s small size introduce several compromises. But the Mission 1 Pro ILS is built for filmmakers who likely already use manual focus or follow focus accessories.

Ahead of the GoPro mirrorless launch, a GoPro executive told me that the ILS isn’t going up against the likes of Canon, Sony and Nikon – GoPro sees the ILS as more of a tool in a multi-camera kit where the ILS isn’t the main camera.

The GoPro Mission 1 Pro ILS is meant for mounting scenarios with more flexibility – and bokeh – than a classic GoPro, as well as for run-and-gun filmmakers who need something small and affordable. And for that, I’m glad the GoPro mirrorless is no longer the stuff of myths.

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GoPro has sliced off its longstanding ultra-wide lens and given a GoPro a Micro Four Thirds Mount. The GoPro Mission 1 Pro ILS is the action camera giant’s first venture into the world of mirrorless cameras – and it’s unlike any other camera that I’ve tried.

The ILS feels as if GoPro sliced off the lens of the Mission 1 Pro and gave it a Micro Four Thirds Mount. GoPro’s first mirrorless carries the same body design, handling, 8K60 sensor, and GP3 processor as the fixed-lens Mission 1 Pro.

But the ILS also carries the same price point as the Mission 1 Pro, making GoPro’s first mirrorless camera one of the cheapest 8K mirrorless cameras available.

GoPro’s move into mirrorless carries a set of features that feel very GoPro, including HyperSmooth and a familiar double-screen design. But there are some unusual sacrifices made to get such a small camera, making the ILS a bit more of a niche shooter.

GoPro Mission 1 Pro ILS Review: Price

The GoPro Mission 1 Pro ILS launches at the same price as the fixed-lens Mission 1 Pro: $699 / £599 / AU$1099 / CA$949 – but you will also need to budget for a lens.

That makes the Mission 1 Pro ILS one of the most affordable 8K-capable mirrorless cameras.

But, as a GoPro, expect to be heavily tempted by the accessories, as the ILS feels almost like a modular camera. That list price doesn't include a lens. The point-and-shoot grip is a huge help for shooting handheld; then there's the Media Mod for added mic ports or the GoPro wireless mic.

Heavier lenses over 250g are going to need a third-party support system to help the tiny camera support the weight of the lens. And while the ILS has the classic GoPro mounting fingers, most GoPro mounts are only designed for lightweight setups – GoPro recommends using the tripod mount and third-party accessories made for larger cameras when mounting in a high-vibration scenario or with heavier lenses.

GoPro Mission 1 Pro ILS Review: Specs

GoPro Mission 1 Pro ILS Review: Build and Handling

The GoPro Mission 1 Pro ILS may be GoPro’s first mirrorless, but the camera still feels quintessentially GoPro. The ILS feels like GoPro took the Mission 1 Pro and just swapped out the lens for a Micro Four Thirds mount.

The main part of the ILS body uses the same design as the fixed-lens Mission 1 cameras, making the camera the smallest mirrorless camera available. The lens mount juts out from the body a bit, increasing the depth and height of the camera’s dimensions, but the ILS can use the same Point-and-Shoot Grip and the same Media Mod as the fixed-lens Mission 1 cameras.

The ILS’s small size makes it possible to get some unusual perspectives from angles that a mirrorless camera wouldn’t normally fit, although this, of course, depends on the size of the lens.

The small size isn’t great to hand-hold, but GoPro also launched a point-and-shoot grip that gives the hand a decent-sized grip to wrap around for handheld shooting.

But there is a downside to the small design. GoPro says that lenses that weigh over 250g should be used with an external lens support, which means buying the support, a base plate, and rods. This not only increases the cost of the camera but also the size by adding in all those accessories.

Users should also take care when choosing mounts. GoPro’s mounts were designed for action cameras, not mirrorless cameras. GoPro recommends using third-party mounts and the camera’s tripod mount rather than the mounting fingers when working with heavier lenses or mounting scenarios with higher levels of shock and vibration.

The size isn’t the only thing the ILS has in common with earlier GoPros – the user interface will also feel very familiar to anyone who has used a recent Hero camera. Like the Mission 1 Pro and the Hero13, there are just two buttons on the ILS: one at the top to start a recording and the on-off button at the side (which also swaps modes).

That leaves most of the GoPro ILS adjustments through the touchscreen. I love that there’s the option to build your own modes, so you can save frequently used settings inside of its own custom mode (and you can delete the standard modes that you don’t want).

One key step that ILS users can’t skip? The ILS requires telling the camera body what lens you are using – if you skip this step, HyperSmooth won’t look smooth without that essential data.

Like recent Hero cameras, the ILS has a large screen on the back as well as a smaller screen on the front, but large lenses will partially block that front screen a bit.

A door at the side of the camera opens up for the battery and the microSD card slot. That Enduro 2 battery is rated for around 3 hours of 4K30, but the battery levels did drop fairly quickly when shooting 8K60.

Like GoPro’s action cameras, there are both the mounting fingers and a ¼-20 threaded mount at the bottom of the camera.

While the ILS has the same build as the Mission 1 Pro, the lens mount makes GoPro’s usual waterproofing impossible. The GoPro Mission 1 Pro ILS is not submersible without underwater housing, though the camera body is splash-resistant if paired with a weather-sealed lens.

GoPro Mission 1 Pro ILS Review: Lens Compatibility

The GoPro Mission 1 Pro ILS uses a Micro Four Thirds mount – but not every MFT lens is compatible. The ILS doesn’t have any electronic communication between the body and the lens. This means that the ILS uses manual focus only.

But, this also means that focus-by-wire lenses won’t work on the GoPro ILS. Autofocus lenses with a focus-by-wire lens require electronics to move the lens pieces to focus; these lenses aren’t capable of adjusting the focus by a twist of the focus ring if there’s no communication between the camera and lens.

That means that most autofocus MFT lenses, like those from OM System and Panasonic, are not compatible with the Mission 1 Pro ILS. That does limit the number of available options quite a bit and is particularly disappointing because it eliminates a lot of weather-sealed lenses.

Lenses that weigh more than 250g will also require an external support in order to avoid putting too much stress on the small camera’s mount.

For this review, I used the Laowa 7.5mm f/2.0 Dreamer, which is one of a few dozen manual focus lenses that GoPro recommends (and is under 250g).

GoPro Mission 1 Pro ILS Review: Performance

Like GoPro’s action cameras, the Mission 1 Pro ILS leans heavily towards cinema and video rather than still photos, though the ILS is still capable of 50MP still photos.

For video, the Mission 1 Pro ILS packs much of the same specs as the fixed-lens Mission 1 Pro, including the same one-inch sensor, GP3 processor, 8K60, 8K30 open gate, and 1080p 960fps slow motion.

One of the biggest advantages of the ILS is the combination of HyperSmooth with swappable lenses. I spent most of my time with the ILS shooting handheld, yet the footage was surprisingly steady – not quite as good as from the fixed-lens Mission 1 Pro, but I was impressed that HyperSmooth even seemed to work on close-ups.

With HyperSmooth, handheld footage looks solid – not tripod solid, but usable footage that still has enough movement to feel like a POV shot. Occasionally, I did detect a bit of a wobble towards the edges when handheld and (attempting) to hold fairly still.

There was a noticeable fish-eye edge wobble when trying to do fast movement handheld, however, so I think true run-and-gun filmmakers actually running are going to want to pair the ILS with a gimbal.

The other key advantage the ILS has is how tiny it is. That makes it possible to get shots from tight angles. I even tucked the camera into a jar for one shot.

The Mission 1 Pro ILS's small size also makes the camera more mountable – however, dedicated GoPro fans will notice that the interchangeable lens model doesn’t support GoPro’s horizon lock to keep the horizon in the same place.

Mounting the camera on a bicycle with HyperSmooth on, footage was naturally not as steady as the handheld shots, but still impressive for a camera without any mechanical stabilization.

The 8K open gate resolution in 4:3 offers a lot of crop-ability for social videos, while still keeping a high level of detail. Naturally, the sharpness comes from the lens, not the camera, but the 3x crop factor means the ILS is going to be using the sharpest center of MFT lenses.

While the Mission series one-inch sensor is larger than that of a typical GoPro, it’s smaller than a typical cinema camera, which comes into play in low-light scenarios. I recorded some fireflies as dusk turned to dark. The ILS managed to capture some tricky shots at dusk that I don’t think a typical GoPro would have captured.

But, the ILS only stretches to ISO 1600 – which is still quite noisy – and I think the low-light shots hinted at some of the biggest limitations compared to a larger sensor cinema camera.

The ILS has a few color profiles built in, ranging from vibrant to cinematic. I spent much of the time in the cinematic color profiles, and I thought colors looked good, but a little too muted at times. But, the ILS is also equipped with GP-Log2 for the most color flexibility in post.

Much of the image quality coming from the ILS is going to depend on what lens is twisted on the front. But unlike any GoPro before it, that interchangeable lens mount means creators can pick a lens with the right vantage point and sharpness for the project. I loved that I was actually able to get some excellent lens flare and bokeh not typical of a GoPro with the Laowa 7.5mm that I tested.

Mixing a one-inch sensor with an MFT mount gives the ILS a 3x crop factor. That means that the ILS is using the sharpest center of the lens. That will give extra telephoto reach and even turn lenses that aren’t really macro into close-up-capable shooters.

But, that also makes getting an ultra-wide angle far trickier. The lens that I used with the ILS is technically a fisheye, but with the 3x crop, it didn’t have that typical fisheye look and instead functioned more like a 22mm lens.

The audio coming from the built-in array of 4 mics was surprisingly solid for a built-in mic, with minimal wind noise and decent volume for close subjects. GoPro includes the option to record 32-bit float to a separate file for editing. While fantastic for a built-in mic, serious videographers will want an external mic system. The Media Mod offers more ports for mics, while GoPro also launched its first wireless mic alongside the Mission 1 series.

The Mission 1 Pro ILS is a compact cinema camera, so still photos come secondary. The camera can shoot 50MP or 12MP shots with single shot, burst mode, and interval shooting for time lapses available.

There’s a slight one-second countdown before each photo, and after each shot, there’s a short processing period where you can’t shoot another photo until the camera is finished. Bursts are also limited to a pre-set number; you can’t hold the shutter button down until you want the camera to stop shooting.

This setup is one of the reasons the ILS doesn’t feel like a stills camera – you can take photos with it, but the Mission 1 Pro ILS doesn’t operate like a typical mirrorless camera geared for stills. Outside of the small size, the biggest perks of the ILS, like HyperSmooth, all lean towards video.

GoPro Mission 1 Pro ILS Review: Initial Verdict

The GoPro Mission 1 Pro ILS feels like a cross between an action camera and a mirrorless camera. The small size, stabilization, and 8K open gate are key perks that create a novel filmmaking tool.

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

But while the Mission 1 Pro ILS is GoPro's first mirrorless camera, it's more of a niche filmmaking tool – the Mission 1 Pro ILS isn't designed to go up against the longstanding mirrorless brands like Canon, Sony, and Nikon. For starters, it's built for filmmaking and not stills, but it's also manual focus only and requires external support for heavier lenses.

With a manual focus design and video-first skillset, I wouldn't recommend the Mission 1 Pro ILS for beginner vloggers or still photographers.

And while the one-inch sensor may be large by action camera standards, it's small by mirrorless standards – so I don't see serious filmmakers using the Mission 1 Pro ILS as their primary camera.

But the small, mountable design with the ability to swap lenses is unusual. I can see filmmakers loving the Mission 1 Pro as a secondary purpose-built camera for shooting in tight spaces, mounted rigs, and run-and-gun setups where mobility is key.

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UPDATE: OM System Japan has dropped a second teaser for its new PEN camera, due to launch on September 09.

This time there is less focus on the new camera itself, as it remains entirely in shadow (unlike the original teaser, which gives us a great look at the body). Instead, it positions the new product as a new chapter in the history of the PEN lineup.

First it shows the original Olympus PEN half-frame film camera from 1959, then the Olympus PEN E-P1 from 2009 – which was the company's first ever mirrorless camera. Finally, it shows the outline of the new camera – which, as I discuss below, certainly looks like a PEN-F II. Or maybe a PEN E-P5. Or maybe something new altogether… 

ORIGINAL STORY: Has the day finally come? OM System has just dropped a teaser video for a new camera – and it sure as sugar looks like it could be a successor to the iconic Olympus PEN-F.

"Stay tuned. Something new is coming" states the text on the video (which I've embedded below) announcing a reveal on September 09. Unlike a lot of teasers, we get a surprisingly good look at the camera – which, as you can see, boasts the rangefinder-style silhouette of the manufacturer's PEN cameras (rather than the SLR-style shape of the OM series).

And I may be biased, so you tell me – take a look at the camera shown in the teaser next to three of my PEN cameras: the original Olympus PEN-F film camera, the PEN-F digital camera and the Olympus PEN E-P7, which was the last PEN camera to hit the market:

As you can see, the new camera that OM is teasing bears the same signature two-tier top plate as the PEN-F digital. Most PEN models have had a similar design that homages the original film PENs, but as you can see with the PEN E-P7 – it has been much more subtle, with only the PEN-F digital having a stepdown that's anywhere near as pronounced as we see in the teaser.

Other signposts that we might be looking at a PEN-F II are the fact that the teaser camera has an electronic viewfinder (EVF). Famously, the PEN-F digital was the only camera in the product line that possessed an EVF.

Taking a look at the power switch, I'll grant you, it looks a lot more like the design found on the EP-7 (and it's on the same side, too). However, if you look at the second (rear) dial, you'll note that the E-P7 had both exposure dials on the top plate while the PEN-F digital had the rear dial positioned essentially on the back of the camera – in the same position seen on the teaser.

Finally, the E-P7 has a pop-up flash on the left shoulder and a tilt-only screen. As you can see, the teaser camera – like the PEN-F digital – has no pop-up flash and has a hinged screen that indicates a fully articulating affair.

So, does all this mean that we're looking at an OM System PEN-F II? Well, not necessarily.

While this is certainly a PEN camera, it's entirely possible that this is an evolution of the EP series or even a new line altogether. The old rules, under the Olympus regime, don't necessarily apply any more – so the fact that it has an EVF and articulating screen don't necessarily mean that it's a PEN-F.

But then, by the same token, the old Olympus missive that the PEN-F had to be a premium camera milled from a single ingot of aluminum – which made it a pricey camera that therefore sold under expectations – don't necessarily apply either. This can be a PEN-F that isn't made of aluminum and doesn't carry a high manufacturing cost.

If the Lumix L10 has taught us anything, it's that there is still a huge appetite for a pretty-looking Micro Four Thirds camera – which this new PEN, whatever its designation, is guaranteed to be. But it also has to have modern specs to match – and that's a department where OM System, which is still trotting out long-in-the-tooth 20MP sensors and underwhelming video specs, faces the biggest challenge.

OM has previously told me that every lens it launches will be weather-sealed, because it has styled itself as an outdoor brand. Thus, I expect this camera to be similarly sealed – and it would be the first PEN to possess the feature.

This might also explain what looks to be the OM System M.Zuiko 17mm f/1.8 II on the front of the camera in the teaser video. That's a perfect outdoor 35mm equivalent lens for street photography, so it would make sense, though it does pour cold water on hopes for a new pancake lens (like an upgraded version of the M.Zuiko 14-42mm EZ Pancake that doesn't suffer a fatal cable issue).

Whatever it is, we've only got a couple of weeks to wait until OM reveals what this new camera is, does and looks like. You can bet I'll be right there to tell you all about it – quite possibly with my credit card in hand…

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Japan's latest camera sales figures by major retailer Yodobashi are out – and the No.1 is a full-frame mirrorless that many photographers have been waiting for. Since its release in December 2025, the Sony A7 V has regularly topped the sales charts. But the real all-rounder camera champion sits at No.2 and No.4: the Sony A7C II, a compact full-frame that has been on the market for almost three years.

The A7 V is a multi-award-winning camera, having been named Camera of the Year twice by EISA and the Camera Grand Prix, and was also awarded the title Best Full Frame Expert Camera at the TIPA World Awards. When it entered the market around eight months ago, it quickly became one of the most popular cameras in Japan.

But the more interesting success story is the A7C II. Announced in August 2023, it continues to appear among Japan's best-selling mirrorless cameras, beating newer releases more often than some might expect – and there's a good reason why.

Yodobashi's Top 10 best-selling cameras, 1st Half Aug, 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Fujifilm X-M5 + XC15-45mm Lens Kit | Silver | Black
4. Sony A7C II | Silver | Black
5. Canon EOS R50 Double Zoom Kit | Black | White
6. Hasselblad X2D II 100C
7. Canon EOS R5 Mark II
8. Canon EOS R10 + RF-S18-150 IS STM Lens Kit
9. Canon EOS R6 Mark II
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

The Sony A7 V vs. Sony A7C II

So why is a nearly three-year-old camera still selling alongside Sony's newest full-frame model?

Both the A7 V and A7C II are full-frame mirrorless cameras, but the A7C II has two major advantages: price and portability.

At 514g, it is considerably lighter than the 695g A7 V. The A7C II is currently available for $2,498 / £2,099, while the newer A7 V costs $2,898 / £2,799.

The A7C II is a compact all-rounder that champions performance and portability. It already delivers advanced AF, high-resolution imaging, and solid video capabilities – meaning some users may not see a compelling upgrade in newer models.

That's why, even three years later, the A7C II is still a competitive player in a competitive market that's known to move fast.

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Japanese electronics retailer Yodobashi Camera has released its top-selling camera rankings for the second half of July 2026. The Sony A7 V reigns at the top spot and, for the first time, its kit bundle featuring an FE 28-70mm f/3.5-5.6 OSS II cracked the chart, landing in the tenth spot.

Yodobashi releases its top 10 best-selling cameras report twice monthly, for the first and second halves of each month, compiling sales data from its online store as well as 24 brick-and-mortar locations across Japan.

Positions 2 to 8 remained the same as for the first half of July, with the 100MP medium format Hasselblad X2D II 100C continuing its unexpected Japanese momentum in third place with the renowned Canon EOS R5 II in seventh.

But the dominance of the A7 V, the latest in Sony’s prosumer A7 lineup, is worthy of note. According to Map Camera, another major Japanese retailer, following its release in late 2025 the A7 V “swept through the market,” dominating Map’s charts for 4 months consecutively.

Yodobashi top 10 digital cameras (second half July 2026)

1. Sony A7 V
2. Sony A7C II kit (FE 28-60mm f/4-5.6)
3. Hasselblad X2D II 100C
4. Sony A7C II
5. Fujifilm X-M5 kit (XC 15-45mm f/3.5-5.6 OIS PZ)
6. Canon EOS R50 double zoom kit (RF-S 18-45mm f/4.5-6.3 IS STM + RF-S 55-210mm f/5-7.1 IS STM)
7. Canon EOS R5 Mark II
8. Nikon Z50 II double zoom kit (Z DX 16-50mm f/3.5-6.3 VR + Z DX 50-250mm f/4.5-6.3 VR)
9. Canon EOS R10 kit (RF-S 18-150mm f/3.5-6.3 IS STM)
10. Sony A7 V kit (FE 28-70mm f/3.5-5.6 OSS II)

It’s no wonder Sony has topped sales charts, considering how well the A7 V is geared toward both stills and video.

The hybrid camera features a 33MP partially stacked sensor, up to 30fps blackout-free shooting, 7.5 stops of in-body image stabilization, plus oversampled 4K 60p video with 4K 120p in a Super35 crop.

However, the Sony rig sits at the higher end of the prosumer hybrid setup price range, with an RRP of $2,899 / £2,799 UK / AU$3,999.

Currently a Sony A7 III shooter, I certainly recommend the A7 V – but there’s an alternative that doesn’t appear in Yodabshi’s best-selling list I’d look at before deciding: the Panasonic Lumix S1R II.

This is Panasonic’s flagship full-frame mirrorless hybrid, featuring a 44MP sensor, Phase Hybrid AF with AI tracking and internal 8K video recording.

Since moving away from the old Depth From Defocus (DFD) contrast-based AF system to the newer Phase Hybrid AF system, Lumix cameras have seen their performance bolstered and popularity grow.

What’s more, not only do the S1R II’s specs rival the Sony A7 V’s, but it’s a flagship model for just $100 more in the US (£100 less in the UK / AU$1,000 more in Australia). So, just because Lumix doesn’t make Japan’s top-10 sales ranking doesn’t mean it isn’t worth considering.

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I hear a lot of people talking about autofocus as if it’s some kind of cheat code: it’s taken the challenge away from photography – you can’t miss. And while I certainly think that AF algorithms have advanced tenfold in the era of the mirrorless camera, changing the game forever, it worries me that beginner or intermediate photographers might feel like they’re doing something wrong when they miss focus.

Let me tell you, I’m a photography educator with years of experience and I still miss focus regularly. Granted, how much you’re likely to miss depends on what you’re shooting. But it also depends on your standards for critical focus. I’m somebody who likes to know that I’ve absolutely nailed my focus and it really bugs me when I haven’t.

Other photographers have different standards – and that’s not to say they’re wrong. Something I’ve had to work on in recent years is my tendency to overemphasize the importance of critical focus and be a bit more lenient with my images. But what I’m interested to know is where does this myth that you can’t miss actually come from?

The ‘you can’t miss’ myth

Autofocus is so much more than camera tech. The lens, aperture, light, and subject all affect your hitrate. It’s one thing for a camera reviewer to test a body with a ‘nifty fifty’ at f/8 in broad daylight, and a whole other ballgame for a wildlife photographer shooting in drab weather at f/2.8 with a 200mm lens, trying to focus on a red squirrel that won’t keep still! Don’t get me wrong. I’ve been that camera reviewer and the time you get with a new release and the lens that comes with it means that the latter scenario is rarely an option. But you get my drift.

As someone who enjoys photographing both sports and wildlife, I can tell you that no current autofocus system is capable of hitting a darting critter’s eye or the helmet of a superbike rider consistently. These situations usually require long lenses, which complicate things further. You’re usually shooting at a fast aperture in order to gather more light so you can increase your shutter speed and compensate for camera shake.

All of this results in a much smaller depth of field, allowing far less margin for error if you don’t quite hit your intended point of focus. And since long lenses amplify camera shake, the setup is moving around a lot more, causing the camera to refocus more than usual. Add low light into the mix, and even advanced hybrid-autofocus systems will find the situation more challenging. So, not matter how good your autofocus system is, you absolutely can miss. Don’t let anyone tell you otherwise.

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Want more of my ramblings? Nikon never bothered to support the Nikon Zf and Zfc with retro-cool lenses, but thanks to Voigtlander it doesn’t need to. You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday! Plus, “Overwhelming” demand forces Nikon to halt Z 600mm f/6.3 VR S orders (report).

When you think of the world’s largest camera manufacturers, your mind probably jumps straight to Canon, Sony or Nikon. Leica? Probably not.

Leica is the luxury option; the beautifully engineered German camera brand that makes expensive rangefinders, exquisite M lenses and cameras assembled with an almost obsessive attention to detail. But I recently started counting Leica’s current cameras and something rather surprising happened: I got to 16!

Yes, Leica currently makes 16 distinct camera models. Look at the M-System alone and you have the Leica M11, M11-P, M11-D, M11 Monochrom and the new Leica M EV1 on the digital side. And it still manufactures the M6, MP and completely mechanical Leica M-A for film photographers.

That's eight cameras before we have even left the M-System.

Then there is the SL mirrorless system. Leica currently offers the SL3, SL3-S, and recently introduced Leica SL3-P, giving photographers and filmmakers three distinctly different full-frame professional bodies.

The SL3 concentrates on high-resolution 60MP photography, the SL3-S takes a faster 24MP hybrid approach, while the SL3-P sits between them with a 44MP sensor and some seriously impressive photo and video credentials. Suddenly we are at 11 cameras.

And we are nowhere near finished. The Q family now consists of the Leica Q3 with its 28mm Summilux, the Q3 43 with its more natural 43mm perspective, and the Q3 Monochrom, which takes the same fundamental idea and builds it around a dedicated 60MP black-and-white sensor.

Add the Leica D-Lux 8, a premium compact camera, and the Leica Sofort 2, a luxury hybrid instant camera, and there it is: 16 cameras currently sitting within Leica’s portfolio.

What makes that number even more remarkable to me is that 14 of those 16 cameras are arguably aimed squarely at serious photographers, advanced enthusiasts or working professionals.

I would probably exclude the Sofort 2 and, depending on how strict you want to be, the D-Lux 8 from that description. Everything else is a serious photographic tool.

Leica is not inflating its range with dozens of inexpensive beginner bodies separated by tiny specification changes; it has film rangefinders, digital rangefinders, an EVF-equipped M, dedicated monochrome cameras, professional mirrorless hybrids and some of the most capable fixed-lens full-frame cameras money can buy.

So, does that secretly make Leica the largest camera manufacturer of them all? Literally, no. I am not suggesting for one moment that Leica produces more cameras by volume than Canon, Sony or Nikon, nor that it has suddenly overtaken the Japanese giants in market share.

But judged by the sheer number of serious current camera bodies available from what we continue to think of as a small, specialist luxury manufacturer, Leica suddenly looks enormous. Sixteen cameras is not a boutique selection any more. That is a proper ecosystem.

I think our perception of Leica simply has not caught up with what the company has become. We still talk about Leica as though it essentially makes “the M”, with perhaps a Q sitting alongside it.

Yet today you can buy a completely mechanical film camera with no battery, a metered film rangefinder, a 60MP digital rangefinder, a screenless digital M, an M with an electronic viewfinder, a dedicated monochrome body, a 30fps full-frame mirrorless camera, an 8K-capable professional hybrid or a fixed-lens full-frame compact.

Few manufacturers cover such wildly different interpretations of photography while retaining such a clear identity across all of them.

There is also something rather refreshing about the way Leica has done it. Rather than trying to build one camera that supposedly suits everybody, Leica seems increasingly happy to make highly specific cameras for highly specific photographers.

Want color? There is an M for that. Want black-and-white? There is an M for that, too. Hate rear screens? Leica has you covered. Want an EVF but still want M lenses? That now exists. Want autofocus and interchangeable lenses? Buy an SL. Want the whole experience condensed into one body and one lens? Buy a Q. Want film? Leica will still sell you a brand-new mechanical camera in 2026.

That is why I think Leica might be the camera giant hiding in plain sight. Not the largest by sales, production numbers or market share, but perhaps one of the largest when it comes to the breadth of genuinely serious photographic choices coming from a single premium brand.

For a company whose reputation is built around exclusivity, simplicity and doing things the old-fashioned way, Leica has somehow ended up producing 16 distinct and diverse cameras at the same time. And the strangest thing is that almost nobody seems to have noticed.

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It’s been a busy week for Nikon camera rumors, with updates regarding a proposed Nikon Z70 and a stills-focused iteration inspired by the Nikon ZR. But Nikon Rumors has published grim reading for anyone hopeful that Nikon’s 2026 will finally burst out of the starting gates any time soon.

The outlet has reported that multiple unnamed sources are warning of delays for “almost everything,” with some releases apparently being pushed into next year.

Now, I love a good camera rumor as much as the next person and actively enjoy getting excited about what’s in the pipeline. But I can’t stress enough that rumors like this should be taken with a grain of salt until the manufacturer releases a statement.

Not a Nikon-only problem

It’s easy to hear about news like this and wonder what’s going on in Nikon land, especially following the Big N’s recently revealed financial results.

However, let’s not forget that camera and lens releases have been sparse across the whole industry so far this year. And there are a multitude of possible contributing factors.

Tariffs, component shortages and memory prices have all driven up consumer tech prices. And with many countries experiencing an increase in the cost of living, not to mention the possibility of tech saturation, consumer reticence has meant camera sales are down.

Nikon Z9 II bottleneck?

It’s also worth noting that Nikon could be in a bit of a transition period, assuming that the much-talked-about Nikon Z9 II is on the horizon.

A second-generation flagship is a huge milestone and, if it follows the same trajectory as the Nikon Z9, it will lock in the overarching technology for future Nikon camera releases for years to come.

With that in mind, it’s possible that a release like the Z9 II could act as a bottleneck, because anything Nikon releases prior to a new flagship camera’s launch will surely be running on current-generation tech.

This is fine for potential releases like a Nikon Zfc II or Nikon Z30 II because, assuming they follow the same blueprint as their predecessors, they would borrow tech from the existing Nikon Z50 II.

But anything more advanced, like the rumored Nikon Z70 (assuming it’s a flagship APS-C mirrorless), would likely include next-gen tech. If that’s the case, surely the Nikon Z9 II would need to be released first or adjacent to.

Look no further than Nikon’s last flagship APS-C camera for evidence. The Nikon D500 launched alongside the full-frame flagship Nikon D5, famously borrowing some of its pro-grade sibling’s tech.

Ultimately, rumors will always circulate, but we’re never quite sure what’s happening behind Nikon’s closed door until there’s an official line. But one thing’s for sure: it’s a challenging environment out there for everyone. There’s no need to panic.

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As a self-confessed Nikon fanboy, there’s nothing I enjoy more than a good rumor about a new Nikon camera. And if there’s one camera rumor I’m holding onto more than a Nikon Z70 or a Nikon Z9 II, it’s talk of a stills-focused Nikon ZR. Especially if it turns out to be Nikon’s first full-frame fixed lens compact camera in the Z era.

Nikon Rumors has caught wind of a teeny tiny sliver of information that could have huge consequences, were this camera ever to make it to market. This unnamed and unsubstantiated Nikon camera was previously said not to feature a viewfinder, à la the Ricoh GR IV. But now, the rumor mill is saying it will have an EVF. Talk about whiplash!

Personally, this is music to my ears. I’m trying not to get caught up in Internet talk, but I cannot help but be extremely excited about even the slimmest prospect of this camera blossoming into reality. And while I was willing to live with it, I really wasn’t keen on the no-viewfinder talk.

To my mind, a camera like the Fujifilm X-M5 entirely warrants not having a viewfinder. Not only is it a capable stills and video hybrid camera, but it’s incredibly small. So small in fact, it’s about the closest you can get to an interchangeable-lens compact camera (however much an oxymoron that is).

Removing the EVF was a crucial design element in maintaining that incredible form factor. Another example is the GR IV or any model from the GR Series. These cameras are true compacts in that they can slip into the most conservative of pockets. A viewfinder would spoil that.

Obviously, it depends on what (if anything) Nikon is planning. If it’s aiming for the most portable design possible, then an EVF probably isn’t warranted. But if its intention is to compete with the larger compacts of the world, like the Fujifilm X100VI or Panasonic Lumix L10, then I think a viewfinder is absolutely necessary. Essential, even.

Interestingly, the rumor post doesn’t mention the fixed-lens aspect. It simply refers to “rumored Nikon camera without an EVF,” and talks in terms of the Fujifilm X-E5 and Sony A7C II. So, I guess there’s always the chance this camera could have an interchangeable-lens design. If it exists…

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Japan's sales numbers give us a great indicator of broader camera-buying trends, but the six-month figures are arguably more revealing than the monthly charts.

A new launch promotion can push a camera to number one for a month, but six months of sales give us a better idea of which models are consistently popular – and which could end the year as Japan's best-selling camera.

Major retail aggregator BCN+R has now published its list of the best-selling mirrorless cameras for the first half of 2026. And while we've seen some extraordinary releases this year, the top spot goes to an APS-C camera that was released in March 2023 – and Sony's record-breaking A7 V only makes eighth place.

The Canon EOS R50 triumphs at number one. Available for just $729 / £649 and despite being more than three years old, it continues to prove hugely popular.

Featuring a 24.2MP APS-C sensor, full-width 4K video and a wealth of social media-friendly shooting modes, it makes a great choice for beginner photographers, enthusiasts and content creators.

BCN's Top 10 best-selling mirrorless cameras, First half of 2026

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

Eight of the top ten cameras are APS-C, with one Micro Four Thirds camera at number nine – the Sony A7 C is the only full-frame camera on the list.

That suggests that photographers in Japan are still strongly drawn to cameras that are relatively compact, affordable and easy to use – rather than simply buying the newest or most expensive technology.

BCN's data is based on sales units, rather than revenue, and covers major electronics retailers and online stores in Japan.

Japan's #1: Canon EOS R50

The Canon EOS R50 combines a 24.2MP APS-C sensor with a compact body, interchangeable lenses and beginner-friendly controls, making it a natural upgrade for someone moving beyond a camera phone or compact camera.

But it's also unusually well-suited to modern content creation, featuring non-classic shooting modes. The EOS R50 can record vertical video via an orientation sensor that embeds rotation data. It also includes display aspect markers to help creators frame footage for different social platforms.

There's even a dedicated Movie for Close-up Demos mode, designed to make it easier to show products close to the camera – a particularly useful feature for product reviews and demonstrations on TikTok, Instagram and YouTube.

Its compact size and all-around make it one of the best travel cameras, while its affordable price and beginner-friendly design continue the Canon EOS M50's legacy as one of the best cameras for vlogging.

Record-breaking Sony only makes 8th place

Sony's latest full-frame hybrid camera launched in December 2025 and quickly became one of the most talked-about new cameras in Japan, dominating sales charts for months across different Japanese retailers.

The Sony A7 V offers a 33MP full-frame sensor, fast continuous shooting, AI-powered subject recognition, strong video capabilities, and the kind of performance aimed at serious enthusiasts and professionals.

Yet it only ranks eighth in BCN's first-half sales data. Which doesn't mean that the A7 V isn't popular; the important distinction is that BCN is ranking units sold.

A high-end full-frame camera costing several times more than an entry-level APS-C model doesn't need to sell anywhere near as many units to generate substantial revenue.

And that's where the EOS R50 has an obvious advantage. At around $729 / £649, the Canon is far more accessible than the A7 V, which is priced around $2,898 / £2,799.

For someone buying their first interchangeable-lens camera, the R50 offers plenty of image quality and flexibility without requiring a huge investment in the camera body.

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GoPro isn’t the only action camera giant working on a mirrorless camera. In a recent interview, Insta360 CEO Jingkang “JK” Liu revealed that the company is working on not one but two mirrorless cameras.

The interview with Japanese publication MyNavi confirms the firestorm of camera rumors that Liu triggered himself earlier this year, when the CEO shared a photo of what looked like a mirrorless camera under development.

But while mirrorless is a well-known category, Liu’s comments hint that Insta360’s upcoming cameras won’t be like a typical interchangeable lens camera.

“I think we’ll be able to show everyone a prototype at next year’s CP+,” Liu said (translated by Google).

“This camera has the potential to completely change the way we take pictures with a camera – framing, focusing and pressing the shutter button. I’m really looking forward to seeing what kind of unconventional camera will be unveiled.”

But one of the reasons the mysterious mirrorless cameras will be unlike current options could be that Insta360 is planning on using AI in order to build, as Liu puts it, a mirrorless for “people who don’t know how to use interchangeable lens cameras”.

The interview hints that AI will be more of a focus than in cameras from traditional Japanese mirrorless makers, and include tools to automate shooting and reduce failed shots.

Liu offered one more hint about one of the upcoming mirrorless cameras: “It will be a shape no one has ever thought of before.”

Insta360 is no stranger to oddly shaped cameras, as the dual-lens nature of 360 imaging requires a design far different than traditional single-lens cameras.

During the interview, the CEO indicated that the new Insta360 Luna Ultra was selling well and that the optional head-tracking accessory had been so well received that some orders may be delayed.

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GoPro’s first mirrorless is coming – and creators will only have to wait until next month to get hands-on with one. During an update to investors, GoPro Founder and CEO Nicholas Woodman revealed that the company’s first mirrorless camera, the Mission 1 Pro ILS, will debut in September.

GoPro has already revealed the upcoming ILS, but Woodman’s statement narrows down when the highly-anticipated camera will arrive, as previous announcements only indicated a “third quarter” announcement.

Woodman’s confirmation of the Mission 1 Pro ILS timeline, however, also reveals a new detail: The Mission 1 Pro ILS will come with several tools for previewing shots and checking focus, including a new app for pro-grade monitoring tools.

Dubbed the GoPro Mission Monitor App, the app is coming to the Apple App Store for iPhone and iPad and serves as a tool for previewing and monitoring footage from GoPro’s upcoming mirrorless camera.

“Mission 1 Pro ILS supports more than 300 readily available Micro Four Thirds lenses along with GoPro’s award-winning in-camera HyperSmooth video stabilization,” Woodman said. “The combination of HyperSmooth video stabilization with such a broad range of lens options in a small, durable 8K camera body has created enormous excitement and anticipation within the industry. And customers will only have to wait until next month to get their hands on it when Mission 1 Pro ILS launches in September.”

GoPro Mission 1 Pro ILS: What we know so far

While the Mission 1 Pro ILS has yet to hit store shelves, there’s quite a bit of information already available on the upcoming camera, thanks to the launch of GoPro’s similar fixed-lens cameras.

The Mission 1 Pro ILS houses the same 50MP one-inch sensor as the already available Mission 1 Pro, with 8K30p and 4K120 open gate, jumping up to 8K60 and 4K240 without open gate. But the ILS pairs that same sensor with a Micro Four Thirds mount.

The Micro Four Thirds Mount, however, will change a few key features compared to the fixed-lens cameras in the series. The swappable lenses make GoPro’s usual fixed focus design impossible. Instead, the Mission 1 Pro ILS is manual focus only, geared towards filmmakers already comfortable with focus pulling, zone focusing, and accessories like follow focus.

The other key sacrifice in trading the fixed lens for a mirrorless mount is that the Mission One Pro ILS won’t be submersible – though GoPro has said that the setup will be splash-proof if paired with a weather-resistant lens.

The manual focus design and specs like 8K30p open gate are clearly targeting video creators over photographers – GoPro is calling the ILS a “compact cinema camera.” In fact, GoPro says the Mission 1 Pro ILS will be the world’s smallest rugged mirrorless camera.

The specs for the ILS suggest the upcoming mirrorless will come in at 197g / 6.9 oz without a lens – and measure 89.6 W x 58.7 H x 46.1 D (mm) (3.4 x 2.3 x 1.8 inches). That puts the ILS a little larger than the fixed-lens Mission 1, but it comes in at a lighter weight without the lens.

Beyond the lens, focus, size, and durability, many of the ILS specs match up with the Mission 1 Pro. The ILS will be able to pair those swappable lenses with GoPro’s HyperSmooth stabilization. Even the design of the ILS looks every bit a GoPro, including screens on both the front and back of the camera.

Woodman did not share an expected date beyond “September” for the ILS's arrival. The camera is expected to retail for $699 / £599 / CA$949 / AU$1099.

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It’s been a while since we’ve had a good tangible Nikon camera rumor to set pulses racing – but that’s exactly what we’ve got this week, thanks to a supposed Apple oversight on a list of compatible ProRes RAW products.

The report from New Camera claims that beneath the Nikon section, the listing was as follows: Z6 III, Z70, Z8, Z9, ZR. Wait a minute… Z70? There’s no such thing as a Nikon Z70. Or is there?

The error has since been removed, leaving Nikon fans to ponder two possibilities: either it was a completely innocent typo or an unreleased device.

What makes the news even more tantalizing is the timing. Nikon’s had an exceedingly quiet 2026 thus far. We’ve only got two lens releases in the Nikon Z 24-105mm f/4-7.1 and Nikon Z 70-200mm f/2.8 VR S II, and one lens development announcement in the Nikon Z 120-300mm f/2.8 TC VR S.

And with Nikon’s latest financial results laid bare, the time seems ripe for a big camera launch.

Spiritual successor to the Nikon D500?

Still, the Nikon Z70 wasn’t on my bingo card. Most of the Nikon rumors have centered around a fixed-lens full-frame compact camera and a Nikon Z9 II. And indeed, in my own mind, I’ve been patiently waiting for a Nikon Zfc II.

But there’s a possibility that a Nikon Z70 could turn out to be exactly what I’ve wanted all along: a mirrorless successor to the Nikon D500.

This is pure conjecture, of course, but thus far, any Nikon Z Camera with a ‘0’ has been an APS-C camera: namely the Z30, Z50 and Z50 II. And in a world where the already very capable Nikon Z50 II exists, you’d have to assume it’s either going to be a more entry-level or premium offering.

Add to that Nikon’s clear targeting of the enthusiast-to-pro market in recent years, alongside rumors of a high-end crop-sensor offering, and it seems most likely that if a Nikon Z70 were in the works, it’d be a flagship APS-C camera, à la Nikon D500.

New Camera also makes the important point that if there’s stock in the Apple post, it would suggest the ability to capture internal ProRes RAW, which is a high-end video feature.

The outlet then goes so far as to list the rumored specs of a surmised Nikon flagship APS-C mirrorless, including a 26MP sensor, IBIS, dual card slots, and high-end Nikon AF and burst speeds.

If Nikon were to release such a camera, I would also hope that it would follow in the footsteps of the Nikon D500 in delivering extensive weather sealing.

So, there you have it. Let me know your thoughts on whether or not you'd like to see a Nikon flagship APS-C camera in the comments below.

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GoPro is best known for sparking the action camera revolution, but the brand renowned for small, rugged cameras will enter an entirely new category before the end of 2026 with a GoPro mirrorless camera.

When GoPro announced the new Mission 1 series earlier this year, the action camera giant also marked its entry into compact mirrorless cinema cameras.

Ahead of the launch of the GoPro Mission 1 ILS later this year, I sat down for an exclusive interview with GoPro’s senior vice president of product management, Pablo Lema, to chat about the first mirrorless GoPro.

The idea for a mirrorless GoPro dates back to DIYers cracking open Hero4 cameras

While the announcement for the Mission 1 Pro ILS earlier this year came as a surprise to fans of the action camera brand, Lema says that the idea of a GoPro with swappable lenses has been circulating among the company’s team as far back as the GoPro Hero4 – which came out the same year Lema joined the team, in 2014.

Lema explained that fans have been tearing apart GoPros and modifying them for years, but GoPro’s usual action camera sensor wasn’t well-suited to an interchangeable lens setup – until the 1-inch sensor on the Mission 1 series.

While it’s the sensor of the Mission 1 Pro that’s inside the ILS, the first prototypes were built from a modified Hero13. “We were all blown away by the footage,” Lema said of the prototype, “and we decided to make it into a product.”

The GoPro Mission 1 "isn't for every creator"

GoPro is very aware that the Mission 1 Pro ILS isn’t like any other mirrorless camera on the market. On the one hand, there’s 8K open gate, 4K 240fps, and FullHD 960fps on a camera that retails for $699 / £599 / AU$1099 / CA$949.

But, on the other hand, the ILS uses a one-inch sensor paired with a manual-focus Micro Four Thirds (MFT) mount.

Lema says the Mission 1 ILS “isn’t for every creator” but is built for filmmakers looking for a small, mountable system, as well as run-and-gun videographers.

“This won’t necessarily be their only camera,” Lema adds. “[The Mission 1 Pro ILS] is kind of like this pocket rocket of an 8K, open gate, 4K 240 – which is golden – and 1080p [FullHD] 960 bursts.

"These high [framerates] really create something that you can’t see with any other package, paired with the ability to have creative control of the optical look of the film. It will be a really good tool chest for all kinds of cinematographers from automotive to birds to street videographers.”

The first photos of the ILS that GoPro has shared ahead of the official launch look like a quintessential GoPro with the small boxy design – but a Micro Four Thirds mount at the front.

GoPro wanted to strike a balance between all the features that the action cameras are known for, while still stepping into a new category.

The GoPro ILS isn't meant to go up against established mirrorless brands

To strike that balance, the ILS body still has GoPro’s well-known HyperSmooth image stabilization and GoPro’s compact design. But the ILS isn’t submersible (though it is splashproof, if paired with weather-resistant lenses) and the camera is manual focus only.

“We wanted to find our own corner of that world. When we make our first step into this market, we're not trying to go directly against very established ILS options from other companies,” Lema says.

“We wanted to come from our place of authentic, small, normal-priced, very high-performance imaging and create this flexibility in imaging composition that you can get from the MFT ecosystem.”

One of the key types of creators that GoPro sees being drawn to the ILS is those looking for mounted footage without the size or complexity of cranes and gimbals.

“[Mission 1 ILS] still comes with the stuff that we're really well known for,” Lema says.

“What we're excited about with Mission ILS is a combination of ILS with HyperSmooth. That is something that we don't see in the market really at all. A lot of cameras have IBIS in them, but it doesn't get to the performance that you can get with HyperSmooth.”

Micro Four Thirds opens GoPro up to hundreds of lens choices

Pairing a 1-inch sensor with a Micro Four Thirds Mount is an unusual mix that means lenses will have a 3x crop factor.

GoPro originally toyed with the smaller C-Mount format, which is designed for sensors up to one inch, but the wide range of readily available and affordable Micro Four Thirds lenses drew the company to a mount larger than the sensor.

“We shot a lot of video with a different series of lenses,” Lema said. “In internal blind tests, it was very obvious that the MFT lenses were gonna be a better match… and they're affordable, they tend to be small. There are some really wide ones, too.”

The 3x crop factor can make getting that ultra-wide GoPro look more of a challenge, but not impossible. The Laowa 6mm T2.1 Zero D creates an 18mm equivalent view, which sits between the 15mm and 21mm equivalent views from the fixed lens Mission 1 Pro’s different crops.

GoPro says the response to ILS has exceeded expectations

One of the classic GoPro features that an interchangeable lens can’t replicate is fixed focus. The fixed-focus lenses of GoPro’s action cams rely on the fact that ultra-wide lenses have a wider depth of field, making it possible to get most of the shot in focus with a fixed lens.

Lema says that the camera system would have been much more complicated with autofocus, but the response from filmmakers at NAB was exactly what the company was hoping for – with many filmmakers saying they don’t use autofocus or already use follow focus rigs.

According to Lema, the Mission 1 Pro ILS isn’t for the creators who want a point-and-shoot but is targeted towards filmmakers already versed in filmmaking focus techniques.

While GoPro had an idea of what to expect for the fixed-lens Mission 1 Pro and Mission 1, the company was a bit more cautious on what the response would be to the action camera giant’s first mirrorless camera.

“We’re putting our feet into a new pond,” Lema said, “and the response was way more positive on ILS than we had expected.”

While the fixed-lens Mission 1 and Mission 1 Pro cameras are already on shelves, GoPro says the Mission 1 Pro ILS is coming in the third quarter of 2026 – so filmmakers can expect the camera to arrive before September 30.

This story is part of a four-part series on GoPro's next era.

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About 16 years ago, smartphones utterly decimated the camera industry. It's taken all this time for the market to even remotely recover – and it has done so just in time for the most powerful phone cameras ever made to challenge traditional cameras all over again.

So, can the best camera phone of 2026 outperform the best mirrorless camera on the market when it comes to photography? And I'm not talking about an iPhone versus a random Canon here.

I'm talking about two best-in-class photo machines built on the same industry-leading color science: the 200MP Oppo Find X9 Ultra with its Hasselblad Master camera Mode versus the 100MP Hasselblad X2D II 100C with its Hasselblad Natural Color Solution.

ABOVE: Watch the video and see who won the shootout!

Of course, while both systems are built on the same imaging pipeline, there are important differences – not least sensor size. The X2D II packs a massive medium format sensor, while you could put all four of the X9's sensors together (those being a 1/1.12-inch, 1/1.28-inch, 1/1.95-inch and 1/2.75-inch) and they still wouldn't be as big.

Four sensors also means four lenses (and cameras) on the phone: a main 200MP 23mm f/1.5, a 50MP 14mm f/2.0 ultrawide, and a pair of telephotos in the form of a 200MP 70mm f/2.2 and a 230mm f/3.5 – all equivalent 35mm focal lengths.

So to make this comparison as fair as possible, given that all those lenses are fixed in the phone, I paired the camera with a single zoom lens: the Hasselblad XCD 35-100E, which gave me an equivalent 27-78mm f/2.8-4 focal range (I left the 230mm lens out of the equation, for sake of ease).

Rather than setting up fixed scenes, I thought the most neutral thing to do was take both systems on a gentle stroll (around The Regent's Park in London, England) to see how they performed in spontaneous real-world conditions.

Oppo Find X9 Ultra vs Hasselblad X2D II

There's no doubt about it: the Oppo is hands-down the best camera phone you can buy right now. Between its excellent lenses and the Hasselblad Master image tuning, this is the most "camera-like" performance you can get on a phone.

In ideal conditions, I think you would be very hard pressed to tell that its photos weren't taken on a mirrorless camera… but what about non-ideal conditions like blazing direct sunlight, harsh contrasty backlight and hue-torturing green grass gardens?

This is why we always field test equipment in our reviews on Digital Camera World, because fixed setups and carefully controlled studio shoots only tell you so much.

I dare say that, in a straight-up portrait or landscape or still life shoot, the results might be much closer. But head to head, in unflattering wildcard conditions, the Hasselblad truly outclasses the Oppo.

Colors

The first thing that jumped out to me was the color. If you've ever tried to shoot grass, gardens or flowers, you'll know how tricky it can be for even the best cameras to render authentic hues and tones.

Green plays havoc with most cameras' imaging engines, but Hasselblad cameras are renowned for their ultra-faithful reproduction of even these challenging colors. However, the Oppo would start to struggle when magenta tones were introduced to the scene, as you can see in the above image of the bees feeding on flowers.

Indeed, the Oppo is apt to skew towards magenta in general – and it can be prone to punching up the blues to compensate, which is visible in the shot of the parked Mini where the highlights are overcooked with blue tones.

Dynamic range

That "overcooking" is a byproduct of the Oppo's heavy reliance on computational HDR (high dynamic range), which uses software-based masking and stacking to artificially boost the shadows while dimming the highlights.

In the crosswalk / zebra crossing shot above, you can see that this does really funky things to skies, looking like you've used the Magic Wand selection tool in Photoshop to do a very crude sky selection.

In the top image of the backlit building in the garden, the Oppo is trying so hard to HDR its way to even exposure that it has rendered the building completely flat – there's no sense of shadow or dimension. It's like the Shadows slider has been cranked all the way up while the Highlights sliger has been dragged right down.

The middle shot of the parked BMW is probably the happiest medium, but in all three images you can see that the Hasselblad – with 15.3 stops of dynamic range – is able to render faithful tonality without any computational correction.

Lenses

Even without adding the fantastic 300mm teleconverter, the Oppo's integrated 230mm telephoto lens absolutely smokes the 78mm maximum reach of the Hasselblad lens, as you can see in the top image of the water feature.

However, while the Oppo's 230mm camera produces a 50MP image, the Hasselblad captures images at 102MP.

And thanks to the superior optical formula of the much larger lens, coupled with the superior optical performance of the much larger sensor, you can perform a like-for-like crop into the Hassy image and actually achieve superior detail – as evidenced by the middle image.

Speaking of optical performance, the lenses on the Oppo (like all smartphones) is very prone to lens flare. But as you can see in the above image, thanks to premium lens coatings, the Hasselblad lens wasn't affected at all – even without deploying the lens hood.

Bokeh / blur

As if there was any doubt, the Oppo simply can't match the Hasselblad when it comes to subject separation – aka blurry backgrounds, aka shallow depth of field, aka bokehliciousness.

Its sensors are so small that they struggle to achieve a shallow depth of field, even though its lenses are pretty fast (ranging from f/1.5-3.5) while the XCD lens on the Hasselblad is more sedate (at f/2.8-4).

While you can "cheat" background blur by increasing the distance between your subject(s) and background, you can see just how much more blur is achieved with the Hasselblad when shooting things that are close together.

Long exposure

Some might think this one is a bit unfair, but since we passed a beautiful waterfall I wanted to shoot a long exposure image where the flowing water turns silky smooth.

This requires shooting with a very slow shutter speed, which typically means using a tripod to keep the image steady – and in sunny conditions it usually necessitates an ND filter, too, as a slow shutter speed will quickly overexpose the image.

Sadly, I simply couldn't juggle the shutter and aperture enough on the Oppo to do anything other than freeze the water into unpleasant, static splashes – not the effect I wanted.

As you can see above, though, the Hasselblad had no problem shooting handheld for a full second – a piece of cake, thanks to the generous lens aperture and ten stops of in-body image stabilization – giving me the silky water I wanted.

So I tried cheating and slapped an ND filter onto the Oppo – but even then, as you can see, the phone wasn't able to shoot a handheld full second exposure without blurring the image (and blowing it out), as it simply lacks the stabilization and exposure finesse of the Hasselblad.

Verdict

I know that this reads very one-sidedly, so I feel it's important to say that – in its own right – the Oppo Find X9 Ultra performed heroically. I took a few pictures on my iPhone during the same shoot, and honestly it's embarrassing just how much better Oppo's camera tech is than Apple's.

The X9 Ultra takes impressively "camera-like" photographs and offers an amazing degree of manual control and impressive color processing. However, in a straight shootout with the X2D II, there's no contest here.

The Hasselblad is the finest stills camera ever made, boasting a gigantic medium format sensor with 100MP resolution, 15.3 stops of dynamic range, 10 stops of image stabilization and some of the finest lenses money can buy. As good as the Oppo is, there's simply no way it can match that firepower.

But let's add some context here. The fact that a £1,400 phone can come as close as it does to a £6,400 camera – with a £4,100 lens on the front – is absolutely astonishing.

Yes, the Hasselblad is better. But is it £9,100 better? I'll let you be the judge of that…

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When the Nikon Zfc released back in 2021, it brought with it the lovely retro-themed Nikon Z 28mm f/2.8 (SE). And while the absence of an aperture ring seemed like a bit of a missed opportunity, I assumed that more retro Nikon Z lenses would be on the way. Jump to the release of the Nikon Zf in 2023, along with the Nikon Z 40mm f/2 (SE), and my heart sank. Another super affordable, retro-cool lens, without the substance (an aperture ring) to back it up.

The Nikon Zf and Z fc are modeled on the legendary Nikon FM2 from the early ‘80s. And they’re by far the most faithful replications of a film-era SLR on the mirrorless camera market today. Their slimline profiles and seriously lacking grips make them feel gratifyingly unwieldy and their chunky physical dials are a tactile pleasure to shoot with. The only thing missing, then, is a lens with an aperture ring!

I’m not alone in my grievances. Such feedback has plagued the Nikon Zf and Zfc ever since each retro camera's respective release, but thankfully, third-party options are available. However, none are quite as lovely as Voigtlander’s Z-mount line up.

Voigtlander immediately gets plenty of kudos because all of its Z-mount lenses are developed and manufactured under licence, so it’s got an official thumbs up from Nikon. What’s more, a trio of specialist APS-C (DX) optics are available, such as the Voigtländer D23mm f/1.2 Nokton Z Aspherical, alongside a broader range of 10 full-frame optics, like the Voigtländer 15mm f/4.5 Super Wide-Heliar Z Aspherical. That’s a decent lineup of glass!

Each Voigtlander lens feels authentically retro, too, boasting all-metal lens barrels, as well as manual-focus only designs, with many also featuring beefy scalloped grooves for better purchase. But they haven’t omitted the mod cons entirely. Lenses feature electronic contacts to supply EXIF data and work in tandem with IBIS.

And yes, they all have aperture rings.

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After cooling off for a while, there are fresh camera rumors about the Nikon Z7 III – which is purported to be a "high resolution camera" with a resolution of up to 61MP.

While Sony's latest resolution-focused body, the Sony A7R VI, has upped the full-frame ante to 66.7MP, a pixel count of 61MP would put the Nikon Z7 III on the same playing field as resolution monsters like the Sony A7R V, the Leica SL3 and the Sigma fp L.

The new report comes courtesy of Ordinary Filmmaker, citing a source he has known for a couple of years that he believes to be reliable:

"I do have news from a known source about the Z7 Mark III. Nikon is working on a Z7 Mark III that will be a high-resolution camera. We have confirmation on that, but don't have many specifications.

"The autofocus will be much improved over the Z7 Mark II. Okay, yes, that one was a gimme. That was an easy one. But let's get to the sweet spot, the resolution of the Z7 Mark III: Nikon's testing a resolution between 56 and 61 megapixels."

There is something of a precedent for this, as there have been rumors dating back as far as 2019 that Nikon was planning to use a 60MP Sony sensor for an upcoming camera.

I think the company would certainly do well to further differentiate its products at the top end, as currently there are a trio of Z bodies using a 45.7MP sensor (the Nikon Z7 II, Nikon Z8 and Nikon Z9) so having a dedicated "resolution model" would help give the Z7 line a distinct identity.

That would give us a full-frame lineup comprising the Nikon Zf for relaxed, retro-focused users, the Nikon ZR for dedicated video, the Nikon Z6 III for hybrid and action shooting, the Z7 III for the highest fidelity capture and the Z8 and Z9 for ultimate performance.

It would also leave Canon in the lurch as the only one of the "big three" full-frame brands without a high-resolution camera, which increasingly feels like a gap in its lineup.

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Fujifilm has yet to launch an X-Series camera in 2026 so, in the wait for its next generation, rumors are swirling over what’s next for the camera brand. Fujifilm has, however, debunked one particular rumor making the rounds: the demise of the Fujifilm X-T5.

Two major camera stores in Japan recently listed an X-T5 variant as discontinued, or 'sales ended', according to one report, fueling rumors that Fujifilm has already discontinued the X-T5 ahead of the arrival of a successor.

Digital Camera World reached out to a Fujifilm US representative, however, who confirmed, “the X-T5 has not been discontinued.”

It’s unclear why the Japanese stores had the X-T5 marked that way, but Google Translate suggests that it’s the “X-T5 bilingual model” that has been specifically listed as discontinued at some Japanese retailers.

That may ease worry about the availability of one of Fujifilm’s high-end X-Series bodies, but it’s unlikely to dull the anticipation over what’s next for the brand beloved for its retro designs and Film Simulations.

Fujifilm is in the pause between generations, having updated nearly all its X-Series cameras with the 40.2MP X-Trans CMOS 5 HR or the 26.1MP X-Trans CMOS 5 HS sensor. (The X-Pro3 is a notable exception.)

With nearly all Fujifilm cameras seeing a recent refresh, fans are eagerly awaiting the brand’s next reveal. Fujifilm tends to bring new image sensors to one of its flagship models first, so the X-T and X-H series are often among the first with a new generation of sensor.

As one of the company’s top models in the X series alongside the X-H2 and X-H2S, the Fujifilm X-T5 combines 40MP 20fps still photos with 6.2K 4:2:2 10-bit video recording, along with a 7-stop in-body image stabilization system and weather-resistant construction.

But the X-T5 is also known for its retro-styled body, with its iconic top dials and centered, SLR-style viewfinder. And, according to Fujifilm, it's still very much alive and kicking.

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The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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The Sony A7 V and A7R VI have been headlining several best-seller lists since launch – and now Sony says the cameras are selling so well that the company has an expanded share in the full-frame market.

In Sony’s first-quarter earnings report shared on July 31, the tech giant called out both the Sony A7 V and A7R VI as the camera market overall remains stable outside of a decline in China.

“Against this backdrop, strong sales of the A7 V, which won the Grand Prize at the Camera Grand Prix 2026, and the A7R VI, launched in June, helped raise average selling prices and expand our market share in the full-frame camera market, enabling the Imaging business as a whole to maintain its sales on par with the same quarter of the previous fiscal year,” Sony told investors.

The success of the A7 V and A7R VI doesn’t come as a surprise, as both models have made regular appearances across best-seller lists. But while Sony is collecting a larger share in the full-frame market and selling cameras at a higher average price, the company’s camera sales are similar to the same time last year.

The segment that had the highest increase in sales, however, is Sony’s image sensor division. Sony’s sensor division had a 104.5 billion yen increase compared to the same time frame last year – that’s about $656 million / £489 million / AU$938 million / $921 million at current exchange rates. While Sony’s gaming and music division still takes a bigger chunk of the Sony pie, the imaging sensor division had the most growth out of all of Sony’s divisions for the first quarter.

Sony says image sensor sales have jumped 26 percent over the same time last year, attributing the success largely to a higher average selling price for smartphone-bound image sensors. That left Sony with a record-high operating income for the sensor division.

While the A7 V, A7R VI and growth for smartphone camera sensors mark a positive shift for Sony, the report wasn’t without its concerns. First, the company’s largest image sensor plant has suspended operations after an earthquake on July 28, and production remains paused.

Another key challenge is one that several camera manufacturers have noted: the increasing cost of memory.

“The continued surge in memory prices remains a key business challenge for this segment this fiscal year,” Sony said, discussing the Entertainment and Tech segment. “However, the business is doing everything it can to implement cost-reduction measures in procurement and design, and to adjust its pricing strategies, including foreign exchange management.”

Sony says it also expects increasing memory costs to impact the number of shipments for high-end phones.

Overall across all segments, Sony shared that sales are up 8 percent and net income is up 32 percent compared to the same quarter in 2025.

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I’m always glad to see that the Fujifilm X-M5 is trending on Google, because it means plenty of people are giving this unassuming little powerhouse the attention it deserves. You see, despite its popularity, I’ve often wondered how many would-be Fujifilm X-M5 creators have simply dismissed Fujifilm’s smallest interchangeable-lens camera as being an entry-level body, maybe even a casual camera akin to the Fujifilm X Half, when in actual fact, it’s anything but.

Last year I claimed “the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera,” but it’s not just this camera’s tiny footprint that makes it so appealing; it’s the surprising power that lurks beneath the hood.

Firstly, the Fujifilm X-M5 is built around the company’s last-gen flagship APS-C sensor, the 26.1 MP X-Trans CMOS 4. This imbues it with some serious X-Series credentials right off the bat, complete with that coveted Fujifilm color science.

Then things get really interesting: 20fps burst speeds (30fps with 1.25x crop), along with 6.2K / 30p, 4K / 60p (1.18x crop), full HD / 240p, as well as 4:2:2 10-bit and F-Log for plenty of pliability in post-production. And to top it all off, it supports open-gate video.

Now, the elephant in the room is the lack of a viewfinder, but unusually that really doesn’t bother me here, because it’s clear that the Fujifilm X-M5 is designed to be as small and light as possible, and without compromise. Nobody bemoans a traditional compact camera for not having a viewfinder; it’s either your bag or it isn’t.

But here’s the thing. I reckon the Fujifilm X-M5, like the Ricoh GR IV, is the camera nerd's 'compact camera'. It’s small enough to be a constant companion, but it’s got the image quality, the specs, and the interchangeable-lens system to be an infinitely useful tool. In a world where the Fujifilm X100VI gets the lion’s share of the attention and plaudits, spare a thought for the Fujifilm X-M5. It’s easy to miss, but hard to find fault.

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Photography is a wonderful hobby and profession. It should come as no surprise, but I love it! It’s also an absolute privilege to write about cameras for a living. But the part of my job that I hate most is how sedentary it is and that’s largely due to the high levels of screen time. I reckon I spend a minimum of six hours every single working day, looking at my computer screen. That’s not even counting time spent on my phone, watching TV, playing video games, and capturing photographs with my mirrorless camera.

A recent IPA survey put the average British adult’s daily screen time at nearly 7.5 hours. I nearly hit that at work! Let alone all the other screens that are vying for my attention. Now, in the grand scheme of things, my mirrorless camera’s EVF is a drop in the ocean. But my unhealthy obsession with screens might go some way to explaining why I lament the death of the optical viewfinder.

It’s not the EVF’s fault, but I find myself, especially later in the day, feeling screen fatigue. And honestly, when I’m taking a few fun snaps on a dog walk or during a day out, sticking my retina millimetres away from yet another screen can feel like a headache-inducing drag. I’ve said it before, but I miss optical viewfinders. And it’s not like the industry hasn’t come up with a solution, and by industry, I mean Fujifilm…

What’s a hybrid viewfinder?

A hybrid viewfinder is both an optical and electronic viewfinder, allowing the user to switch between the two. Fujifilm debuted the technology in 2010 with the Fujifilm FinePix X100 and thus kickstarted the legendary X100 series of fixed-lens compact cameras that has, thus far, culminated with the ever popular Fujifilm X100VI.

Fujifilm’s X-Pro series of cameras also features hybrid viewfinders. Both the X-Pro and X100 series are rangefinder-style cameras, but the X-Pro range features interchangeable-lens cameras. Fujifilm’s solution to a fixed rangefinder style optical viewfinder when changing lenses was to introduce digital rectangular indicators as a visual aid to illustrate the new focal length’s parameters.

Fujifilm managed to advance its hybrid viewfinder tech even further with the Fujifilm X100T by introducing a third option, Electronic Rangefinder Mode. This merges both technologies by providing an optical view with a small, picture-in-picture EVF, so you get the best of both worlds.

This is exactly the kind of innovation I like to see from an industry where technical specs are beginning to feel oversaturated and therefore underwhelming. Don’t get me wrong, I’m not suggesting that a workhorse mirrorless camera like the Canon EOS R6 Mark III, Sony A7 V or Nikon Z8 should have a hybrid viewfinder.

The EVF has transformed the pro-grade sphere for the better, but for enthusiast-level cameras, especially retro cameras, where nostalgia is king, I’d love to see more manufacturers experimenting with hybrid viewfinder tech. And if it gets my screen time down just a little bit, well, that’s just a healthy byproduct.

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Photographers are getting tired of carrying around heavy full-frame cameras, if the latest numbers from Japan are any indication. The latest data from retail tracker BCN+R for trending mirrorless cameras in June 2026 is almost entirely made up of cameras known for smaller designs – and more affordable prices.

The monthly data also featured a camera that made the top ten for the first time, despite launching a year ago: The OM System OM-5 Mark II. The Micro Four Thirds mirrorless slid into 8th place in the monthly rankings.

The OM System OM-5 Mark II is a compact mirrorless body built for the outdoors with IP53 weather-sealing. Part of the lure of the camera is also the stabilization system, which means fewer shots that need a tripod.

The OM-5 Mark II, however, is far from the only smaller-bodied mirrorless on the list. In fact, nine out of the top ten cameras have cropped sensors (APS-C or Micro Four Thirds) and only one is a full-frame model.

According to BCN+R, these were the top mirrorless cameras in Japan in June 2026:

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Sony A7 V
7. Fujifilm X-T30 III
8. OM System OM-5 Mark II
9. Fujifilm X-M5
10. Nikon Z50 II

That’s a list packed almost entirely with APS-C bodies – though it’s worth noting that the data from BCN+R often doesn’t match up directly with major Japanese camera stores like Map Camera. BCN+R only tracks around 40 percent of electronics sales in Japan, and much of the data comes from general tech stores rather than retailers geared specifically for serious photographers, which tend to lead more towards advanced models than BCN+R’s lists.

Regardless, the list is an interesting look at the latest mirrorless trends in Japan. Of course, crop sensor cameras also tend to be more affordable than their full frame counterparts, so beyond the smaller size, the format also tends to fit into more beginner budgets.

The Sony A7 V is the lone full-frame model on the list, a mirrorless camera that has topped charts across several sources and multiple regions since its launch. The A7 V mixes a full-frame sensor with blackout-free 30 fps shooting and smarter autofocus.

But, the Sony name dominates the list. Both of Sony’s APS-C video mirrorless models, the ZV-E10 and ZV-E10 II made the list, along with the more stills-focused crop sensor, the Sony A6400.

The Canon EOS R50 tops the list; however, a crop-sensor beginner camera with a low price point that has proved exceptionally popular, driving the R50 to numerous bestseller lists since launching in early 2023.

The Canon EOS R10 is still a crop-sensor camera, but is more advanced than the R50 with an autofocus system and burst speeds geared towards fast action.

Fujifilm similarly had two models make the top ten – and both fall on the more affordable end of the brand’s X-series. The X-T30 III is a budget model that still has Fujifilm’s retro looks and a viewfinder, where the X-M5 is Fujifilm’s cheapest, smallest current mirrorless body, but it lacks a viewfinder and is more geared towards vlogging.

Sliding into the tenth-place spot is the Nikon Z50 II, a popular ASP-C model that brings some of Nikon’s high-end speed and autofocus into a more affordable crop-sensor body.

The sales data from general retailers tends to lean more towards affordable beginner models than photo specialty stores. From Yodobashi in Japan, for example, the latest trends list is led by pricey models like the Hasselblad X2D II 100C; but cameras like the A7 V, X-M5, X-T30 II, Z50 II, R50, and ZV-E10 II make both lists.

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The Nikon Z6 is trending on Google and I think I know why... There’s a point in many a photographer’s journey where they decide: I want to go full-frame. Now, going full-frame isn’t a fast-track to becoming a better photographer and it certainly isn’t a necessity, especially in 2026 when APS-C cameras, MFT cameras and even compact cameras are boasting some very serious specs indeed. But in the same way that many people gush over medium format, the full-frame ‘look’ is something that a lot of photographers aspire to capture, and as a full-frame photographer myself, I only have good things to say about full-frame cameras.

However, the system’s biggest shortcoming is price. Not only are larger camera sensors more expensive to make, but full-frame cameras tend to be stuffed with the latest mod cons and specs, not to mention full-frame glass tends to be more expensive than comparable crop-sensor lenses. This can sometimes make full-frame photography feel out of reach for photographers on a budget. That’s why I always suggest looking at the used market and buying from a reputable seller such as MPB or KEH Cameras.

Nikon Z6: Specs

• Sensor: 24.5MP full-frame BSI CMOS sensor
• Image processor: EXPEED 6
• AF points: 273-point phase detection AF, 90% coverage (horizontal and vertical)
• ISO range: 100 to 51,200 (exp. 50 to 204,800)
• Max image size: 6,048 x 4,024px
• Video: 3,840 x 2,160 at 30p, 25p, 24p
• Viewfinder: EVF, 3,690k-dot OLED, 100% coverage, 0.8x magnification
• Memory card: XQD/CFExpress Type B
• LCD: 3.2-inch tilting touchscreen (2,100k dots)
• Max burst: 12fps (focus locked on first frame)
• Connectivity: Bluetooth, Wi-Fi
• Size: 134 x 100.5 x 67.5mm (body only)
• Weight: 675g (body only, with battery and memory card)

Usually, I recommend an older DSLR camera as a great full-frame starting point, but when I noticed that the Nikon Z6 was trending on Google, I was shocked to see some very affordable used prices. The Nikon Z6 tends to fly under the radar a bit nowadays. It was released alongside the Nikon Z7 as a part of the ‘Big N’s’ first full-frame foray into mirrorless camera tech when it launched the Z mount back in 2018.

The biggest difference between the Nikon Z6 and Z7 was that the former was built around a 24.5-MP sensor and the latter a 45.7-MP sensor. Both cameras were relatively well received, but drew criticism from professional photographers because they only had a single card slot and did not launch alongside a battery grip.

They didn’t boast the greatest AF, either, although this was eventually patched by a firmware update that improved it significantly. Ultimately, the Nikon Z6 and Z7 would be succeeded by the Nikon Z6 II and Nikon Z7 II, which essentially fixed the aforementioned shortcomings. And thus, the Z6 and Z7 were consigned to the annals of camera history.

But if you’re looking for a budget leap into the world of full-frame mirrorless cameras, or are looking for a second backup body, I think the Nikon Z6 is still a great buy. Prices start at just $609 / £434 over at MPB, which is the price of an entry-level camera.

The beauty of Nikon’s mirrorless Z mount is that you don’t have to ditch your DSLR glass, either. You can pick up the Nikon FTZ II adapter, allowing you to mount hundreds of compatible DSLR lenses on a mirrorless Z-mount body. Obviously, APS-C lenses are going to initiate crop mode, but full-frame F-mount lenses should work seamlessly.

If your budget is very tight, it’s worth noting that the Nikon Z6’s single card slot is an XQD/CFExpress slot, so if you don’t have one of these cards already, expect to pay in and around $100 / £100 for a suitable memory card. Ultimately, the Nikon Z6 isn’t going to compete with current-gen full-frame cameras when it comes to specs, but for those looking to simply get their foot in the full-frame door, you simply cannot argue at this price point. The ability to continue using existing Nikon DSLR glass is the icing on the cake.

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I have a confession to make: I was wrong about the Leica M EV1.

Before I had the opportunity to use one, I made no secret of my concerns about Leica replacing the traditional optical rangefinder with a built-in electronic viewfinder. I worried that an M-System camera without a rangefinder might no longer feel like a proper M.

Worse still, I thought removing that beautifully-engineered mechanical system could leave the camera feeling strangely hollow, as though Leica had retained the familiar shell while removing part of its soul.

Well, after finally getting my hands on the Leica M EV1, I think it is time to serve myself a generous slice of humble pie. I was wrong. The Leica M EV1 absolutely is an M camera – and it might be precisely the kind of M camera that many photographers have been waiting for.

I have used every digital M camera the company has produced since the Leica M9, so I have watched Leica’s full-frame digital journey develop almost from the beginning.

I know where the modern M-System started, how it has evolved and, to some extent, where it might be going next. I have seen resolutions increase, batteries improve, screens become more useful and sensors become far more capable, but the basic M experience has always remained remarkably consistent.

That is why the M EV1 seemed like such a risk. The rangefinder is not merely another component inside an M camera. For many photographers, it is the defining component. Remove it and, on paper at least, you appear to remove the very thing that makes an M an M.

Except that is not what has happened.

The first surprise is how familiar the Leica M EV1 feels in the hands. It does not feel like an imitation of an M camera, nor does it feel like a Leica Q3 that has somehow been modified to accept interchangeable lenses. It feels like an M because, in almost every physical sense, that is exactly what it is.

In fact, I would go so far as to say that the M EV1 feels better balanced than the Leica M11-P. It sits beautifully in the hand and retains that reassuring sense of solidity that Leica does so well. Leica currently lists the M EV1 at approximately 495g with its battery, compared with 530g for the black M11-P.

That difference is noticeable, but it does not make the EV1 feel cheap or insubstantial. Attach a lens, and the camera's entire character changes. It becomes balanced, purposeful, and every bit as satisfying to hold as an M should be.

Whether I mounted a compact Summicron, a faster Summilux or something considerably larger, the camera maintained that sense of balance. I had worried that the reduced weight might make it feel like a paperweight with a heavy lens hanging from the front, but that simply was not the case. Once a lens is attached, the M EV1 feels complete.

Then we come to the most controversial part of the camera: the electronic viewfinder.

I have plenty of history of criticizing EVFs. I have argued that they cannot reproduce the clarity, depth and almost three-dimensional “pop” of an optical finder. I have found some electronic viewfinders slow, unresponsive and uncomfortable, and prolonged use has occasionally left me with eye strain or a headache.

The EVF inside the Leica M EV1 gave me none of those problems.

It activates incredibly quickly when I raise the camera to my eye, even when I have previously been composing via the rear screen. Movement looks natural, too. I did not experience that unpleasant, Jell-O-like effect where the image appears to smear or distort until the camera stops moving.

The 5.76-million-dot OLED finder refreshes at 60fps, offers 100% frame coverage and includes a sensor that automatically switches to and from the rear display. More importantly, it feels responsive in actual use rather than merely impressive on a specification sheet.

The ability to magnify the live image is also genuinely useful, particularly when working with some of my more unusual lenses.

Something like the Leitz 135mm Elmarit-M f/2.8 can be challenging to focus critically through a traditional rangefinder, but the M EV1 enables me to punch directly into the sensor image and confirm focus with far greater confidence.

That does not necessarily make the experience better than using an optical rangefinder, but it does make it different – and in certain situations, it is unquestionably easier. Long lenses, ultra-wides, close-focus designs and extremely fast glass all become more practical because you are seeing the image through the lens itself.

Quite frankly, after using the M EV1 properly, I struggled to find the major problem with its viewfinder that I had expected to encounter.

Even battery life has been excellent during my time with it, enabling me to concentrate on taking photographs rather than watching the remaining percentage disappear.

I particularly like what Leica has done with the traditional frameline selector. On a rangefinder-equipped M, that lever previews the different frameline pairs. On the M EV1, it can be configured to control focusing assistance and digital zoom.

With the camera I used, pushing the lever one way allowed me to toggle focus peaking, while moving it in the opposite direction activated the 1.3x or 1.8x digital crop. Those produce approximately 39MP and 18MP images, respectively, giving the old mechanical control a genuinely useful new purpose.

One complaint among some members of the Leica community is that this camera should not carry the M name at all. Without the rangefinder, the argument goes, Leica should have created an entirely separate product category.

From a marketing perspective, I understand that position. The M name has always been closely associated with rangefinder photography – and Leica buyers tend to care deeply about tradition.

But make no mistake: the M EV1 is an M-System camera through and through. It has the body, controls, sensor philosophy, manual focusing experience and direct connection to the catalog of M lenses. It simply places an EVF in front of your eye instead of a mechanical rangefinder.

That does not mean I have no complaints, though.

My first is the internal storage. The M EV1 provides 64GB, matching the original Leica M11, while the Leica M11-P offers a much more generous 256GB. In practice, 64GB is plenty for the way I shoot – and an SD card can always be inserted when more space is required.

Even so, considering where the M EV1 sits within Leica’s current lineup, I would have preferred to see the 256GB capacity carried across.

My second complaint could potentially be addressed through firmware. I frequently shoot DNG+JPEG, with the JPEG set to black-and-white. When that configuration is selected on the M EV1, both the LCD and EVF display the monochrome preview.

I would love the option to show the black-and-white preview on the rear screen while retaining a color image in the EVF. That would enable me to assess the monochrome interpretation when reviewing on the LCD, while the finder could provide a more natural, optical-style color view when the camera is raised to my eye.

It would be a small change, but one that could make the EV1 feel even closer to the traditional rangefinder experience.

Those are relatively minor complaints, however. The bigger question is whether replacing the optical rangefinder has taken away the spirit of the M-System.

No, it has not.

In some respects, I think the M EV1 strengthens the system. It creates a more accessible route into M photography for people who may be intimidated by rangefinder focusing. It also offers a natural next step for existing Q-series users who love the compact body, manual controls and EVF experience but want access to a wider range of lenses.

Would I buy one instead of my optical rangefinder-equipped Leica? Put it this way: if Leica releases the M EV1 in silver, the answer could very easily be yes.

I adore my Leica M Typ 240, and I am not ready to abandon the optical rangefinder. But when that camera eventually becomes too long in the tooth, the M EV1 may well be in my sights.

I have been genuinely blown away by how well its EVF performs and by how little the camera compromises the feeling of shooting with an M.

I thought removing the rangefinder would leave the Leica M EV1 feeling hollow. Instead, it has shown me that the soul of the M-System may not be contained in one mechanical component after all.

Perhaps it was hiding in the lenses, the proportions, the simplicity and the act of slowing down to focus for yourself.

Whatever it is, the M EV1 still has it.

Shop the Leica M EV1