The vlogger-oriented Sony ZV-E10 cameras have gone largely unchallenged since the original was released in 2021. Any search for the best cameras for vlogging, content creation or travel photography now seems to bring up these models, and justly so.

However, I also think that a certain competitor camera, the Canon EOS R50, which came out in 2023, subsequently gets overlooked in this debate – and it’s actually a pretty solid rival to the ZV-E10.

These cameras boast similar specs and cost around the same. So if you’re looking for a small, nimble, creator camera, I want to make the decision easier for you.

The big question, then: which one would I choose? I’d go with Sony, simply because it's more versatile.

While both cameras pack a decent but respectable 24MP APS-C CMOS sensor, can record 4K 30p and FullHD 120p, and have a 3.0-inch fully articulating touchscreen, the Sony E-mount system has a much wider array of compatible lenses and better battery life.

There are over 80 native Sony E-mount lenses compatible with its cameras, whereas Canon can has over 50 native RF and RF-S lenses.

You’re sure to find the Canon lens you need from that range, but it’s the third-party options that boost Sony's appeal – swelling the total catalog to over 300. With Canon restricting third-party manufacturers' ability to release RF / RF-S glass, there are far fewer to choose from.

The Sony camera battery, the NP-FW50, also significantly outperforms Canon’s LP-E17 battery, powering approximately 440 still shots versus 310 on a full charge.

Of course, there are things about the Sony I don’t like, notably the lack of an electronic viewfinder. I get that this is because the ZV series is aimed at video, but it’s annoying if you shoot stills as well.

I also give the ergonomics points to the Canon. Its grip has more depth and, in general, the camera seems to fit in your hand more snugly. The Sony is way too thin for that snug feel, which is a criticism I’ve had of all Sony Alpha cameras – even my beloved Sony A7 III.

Still, the ZV-E10 is the winner for me – but not by a country mile. It's smaller and lighter, has a better selection of lenses and more juice in the battery – though I still wish it had an EVF for stills.

The Sony ZV-E10 II is also available, which brings a few extra megapixels of resolution and almost double the battery life thanks to the new NP-FZ100 (though it will set you back around $300 more than its predecessor).

And there's also the Canon EOS R50 V, a vlogging-oriented version of the R50 that's more of a direct competitor to the Sony options… but again you lose the viewfinder…

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It’s been over a year since the Nikon Zf topped Map Camera’s used sales charts, but if I was surprised to find a nearly three-year-old full-frame retro camera at the top of the pile, I was doubly surprised to find a ‘Big N’ lockout in first and second place. According to the major Japanese camera retailer’s data for June, the Nikon Z50 II APS-C mirrorless landed second place, fending off strong competition from Sony and Fujifilm, with the ever-popular Sony A7C II and ultra-trendy Fujifilm X-E5 occupying a joint third place.

The chart then skips straight to fifth place, with the aging Fujifilm X-T5, with the oldest camera on the list in sixth, the Sony A7 III. I’m not surprised to find the Canon EOS R6 Mark II on this list, although I would have backed it to sit higher than seventh, given the buzz around the Canon EOS R6 Mark III and the Mark II’s position as a fantastic budget alternative. Nikon’s other retro mirrorless camera, the APS-C Nikon Zfc is eighth, with the Sony A7 V and Sony A7 IV bringing up the rear, respectively.

Why are Nikon Zf used sales up?

You need only look at the Nikon Zf to get caught up in its romantic retro aesthetic, but however good looking this full-frame mirrorless camera is, it’s been over a year since it topped Map Camera’s used ranking. According to the retailer, this could be due to a fluctuating supply of used Nikon Zf inventory, stating: “If it can maintain its current high inventory level, it will certainly become a formidable rival to Sony cameras, but we'll see…”.

It’s interesting to see the Nikon Zf beating the newer Fujifilm X-E5. Another very attractive camera and one that was almost certainly designed to tug on the heartstrings of fans of the compact camera king, the insanely popular Fujifilm X100VI.

But the Nikon Zf has something that no Fujifilm X-Series camera has, a full-frame sensor. Rather than compete against Fujifilm cameras like for like, which the Nikon Zfc and its APS-C sensor have to do, the Nikon Zf is targeting a different kind of photographer. As such, I've heard of plenty Fujifilm stalwarts speaking kindly of the Nikon Zf, currently the only retro-themed mirrorless camera on the market.

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Nikon launches ingenious Nikon Zf bottle holder among other camera-related swag – but they're only available in Japan. I’m a landscape photographer and the last-gen, full-frame Nikon Z7 II is still a tour de force. Why pay more? DSLR cameras are picture-making machines; mirrorless cameras are picture-making computers. Sometimes I just want to go back.

Landscape photography is one of the most accessible forms of shooting. So long as you can get yourself to a local park or woodland, you can capture great landscape photos.

You don’t need thousands of dollars worth of expensive photography equipment, either. Plenty of landscape photographers have built formidable portfolios with a camera, a single lens and a sturdy tripod. Maybe add in a filter or two and you’re set for life.

You can capture great landscapes with almost any camera. But if you’re really serious about landscape photography, you will probably gravitate towards a high-resolution full-frame body. And the Nikon Z7 II is a last-generation mirrorless camera that's a diamond in the rough for landscapes.

Pro body, enthusiast price point

This isn’t a beginner recommendation, it’s an enthusiast-to-pro recommendation. After all, the Z7 II was essentially the brand’s unofficial flagship until the Nikon Z9 came out.

It launched for around $2999 / £2,999 back in 2020 and with no Nikon Z7 III to replace it (yet…), it’s only recently that the price has dropped significantly. At the time of writing, I can see the Z7 II for as little as $2,196 / £1,699 – and on the used market, MPB is selling the camera from $1,229 / £954.

That’s a very good price indeed for a high-resolution, full-frame mirrorless camera. The downside of the Nikon Z7 II for modern photographers is that it isn’t the fastest camera in the world.

The last-gen autofocus is no match for Nikon’s current-gen AF system, present on cameras such as the Nikon Z8 and Nikon Z6 III. Burst speeds max out at 10fps and while it can capture 4K / 60p footage, it applies a slight crop.

But here’s the thing. Landscape photographers don’t need class-leading AF systems. They don’t need lightning burst speeds. And they don’t need pro-grade video features. What they need is a robust, reliable body that’s capable of capturing gorgeous imagery.

And the Nikon Z7 II is just that. It’s extensively weather-sealed for the rigors of outdoor photography, boasts a robust magnesium-alloy chassis and a supremely good-quality 45.7MP sensor that can deliver images akin to the mighty Nikon D850. That’s almost everything a landscape photographer could need.

The only mod con that the Nikon Z7 II doesn’t have, which is present on newer Nikon cameras such as the Z8 and Nikon Zf, is pixel shift shooting.

This moves the sensor in tiny increments to capture massive multi-shot images that can be stitched together to form mammoth 96MP+ (the Z8 can hit 180MP) photographs. This is a useful tool for a landscape photographer, but far from essential.

I actually considered the Nikon Z7 II before I purchased a Z8. At the time, the price difference between the two cameras wasn’t huge and since I photograph sports and wildlife, the Z8 won out. But now, with Nikon Z7 II prices having plummeted, I could have gone the other way.

Ultimately, the Nikon Z7 II might be over half a decade old, but it’s still a fantastic choice for landscape photographers. It’s great value, robust and most importantly capable of capturing gorgeous images.

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The Leica SL3-P is the third full-frame mirrorless camera in the SL3 range – so what does it offer that its relatively recent siblings don't? In short, it tries to outperform both of them, with a set of specifications that make it the first can-shoot-anything camera that Leica has ever produced.

It comes with a new speed of AI-assisted autofocus and burst rate that puts it right up there in contention with the likes of Canon, Nikon, and Sony. It is also the most video-centric camera that Leica has ever produced – with 8K RAW open gate video shooting being the headline feature that outguns some of its better-known hybrid rivals.

In terms of resolution, it takes a middle ground between the existing Leica SL3 and SL3-S – offering a BSI sensor with a 44MP resolution (compared to the 60MP and 24MP of its siblings). It is a sensor that we believe has been used on the Panasonic S1R II, which offers a similar specification, but with some significant differences.

But what does this camera actually deliver? We have extensively field tested it and put it through our lab to find out…

Leica SL3-P: Specifications

Price

The Leica SL3-P is now on sale at $6,690 / £5,150 for the body on its own.

Three kit versions of the camera are also available with a choice of either one or two zooms from Leica's SL lens range:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH. - $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. - $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. - $10,995 / £8,560

It is not a cheap camera – but given its specification and the usual luxury price tags you expect from Leica, one of our team commented that it was not as expensive as she thought it would be. There are certainly hybrid mirrorless cameras from Japanese manufacturers that cost as much.

In terms of Leica's own range of full-frame mirrorless cameras, it is priced to sit in the middle. The lower-resolution SL3-S body costs $5,665 / £4,500 and the 60MP SL3 body is priced at $7,485 / £5,920 – compared to these, the SL3-P certainly looks like by far the best value for your money.

Leica SL3-P: Design & Handling

Curiously, the Leica SL3-P makes do without the iconic red dot Leica logo on its front – giving it a visual distinction from the SL3 and SL3-S, which, from the outside, look almost exactly the same as the new model.

The three all-metal bodies share the same size, weight, LCD screen, viewfinder, monochrome status panel, twin card slots, battery and more – so having this as a distinguishing mark for this new poster boy of the Leica range makes some sort of sense.

However, the "P" designation has historically been used for stealth, less-branded versions of existing models (such as the M11-P). However, the SL3-P is much more than a minor, cosmetic update of an existing model.

Sure, the minimalism continues on the camera itself. Only four of the buttons or dials on the SL3-P have any type of label to suggest their purpose - and that's the Play, Function, Power and Menu buttons on the rear. This, however, is exactly the same as found on the SL3 and SL3-S.

The simplicity, of course, means you are given the ability to customize practically every button and input to the way you want to use the camera – although these choices do run the risk that you will end up with your camera being harder to use rather than easier, if you don't know what you are doing (and harder to pass to someone else to use).

Leica has worked hard on the UX of the camera, however, and the menu system takes a subtle, monochrome approach to the layout which keeps everything looking impressively clean as you scroll through the options.

There are some clever implementations - such as being able to toggle quickly between video and photo options. Also, as you toggle between video settings, for instance, it gives you a headline number of options you have with that setting – so as you select 8K settings, the unavailable options simply aren't shown.

Again, this is a boon when you know what you are doing and what is available - but not necessarily helpful for the first-time user.

One thing I love is the big diopter control for the electronic viewfinder – its mechanical dial isn't fiddly to use in the way that eyesight adjustment is on other models, and you can even see where it is set (so you can quickly set it to where you need it if you lend your camera to someone else).

Another big plus point is the app. I get rather tired of camera apps that are not reliable and difficult to use. Leica has obviously spent a lot of time getting Fotos so that it looks good and works without any fuss.

I was impressed at the speed at which I was able to set up the SL3-P with the app, and download images that I had taken, and review the settings I had used

Leica SL3-P: Performance

I shot some 3,500 photos with the SL3-P. shooting in a range of different shooting scenarios, including street portraits, studio fashion, garden flowers, travel and motorsport. It gave me a thorough chance to put the camera through its paces.

I was impressed with the improvements to the autofocus system. With portraits and motorsports, in particular, providing strong proof that the AI detection options work well – with eyes being reliably in focus, and 150mph racing cars looking sharp in every frame.

There are only six AF detection modes to choose from, two each for people, cars and animals – so not as many options as with some rival cameras (there are no options for planes or insects, for instance).

I was also able to test out the camera's remarkable 40fps burst mode on the Nurburgring track. This worked well - but was perhaps overkill for the subject in hand, as the movement through the frame is not as great as the track speeds suggest.

Part of the issue here is with the buffer. The maximum frames it can shoot at 40fps which is just 70 RAW files - so just over 1.5 seconds' worth, which is not enough time for the vehicles to enter the frame and pass you. In this instance, a 15fps setting would have been more appropriate - but even then I would still have only got 70 frames before the buffer filled up.

The most impressive part of the camera is the quality of the images... It could be the color science, or a secret sauce created between the way the DNG RAW files are handled and the SL lenses – but the image looked much better straight out of camera than I would have expected. That's a quality that we should all be willing to invest more money in than most of us actually do.

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

This review does not do a deep dive into the video performance of the SL3-P, but the video clips shows the performance and in particular shows the excellent stabization that the camera can provide when using heavy zoom lenses with it (the SL 24-90mm and 90-280mm).

It is worth noting that the SL3-P combines two seemingly incompatible features – open gate and weatherproofing.

The IP54 water protection rating is unusual for system cameras (of its rivals, only OM System offers this). But shooting 8K open gate means that the camera is more likely to overheat – and the standard solution for this would be big vents to help the cooling.

It is extremely impressive that we get both in the same camera. Leica quotes typical recording times at 25°C for 8K/30 fps as approximately 20 minutes (25mins for 6K/30 fps, and 30mins with 4K/30 fps).

Although Open Gate recording is impressive, it is limited to shooting at 24p – and if you want to shoot RAW open gate you need to use an external recorder. Nonetheless, the video specs are impressive for a manufacturer that has always been photo-first.

Leica SL3-P: Lab results

We compared the SL3-P to its older brother the Leica SL3-S, as well as to its cousin the Panasonic S1R II in our standard lab tests. Into the mix, we've also thrown in the popular Canon EOS R5 Mark II – which has a similar resolution and specification.

We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.

Signal to Noise Ratio

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Signal to Noise Ratio Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	41.46	44.64	43.48	46.75
2	38.03	42.08	39.59	43.47
3	36.5	39.06	36.94	41.24
4	34.29	36.17	33.8	38.6
5	31.05	33.63	31.3	35.6
6	27.51	30.66	28.26	32.84
7	24.01	28.38	26.57	30.11
8	21.39	25.37	23.3	27.61
9	17.89	22.21	20.18	24.64

Dynamic Range

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Dynamic Range Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	12.3	12.82	12.54	12.49
2	12.31	12.82	12.25	12.4
3	12.01	12.46	12.23	12.47
4	12.12	12.46	12.25	12.47
5	11.16	12.07	11.78	12.48
6	9.95	11.26	10.91	12.29
7	8.95	10.62	10.47	11.71
8	7.98	9.76	9.49	10.88
9	7.01	8.95	8.8	10.06

Resolution

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Resolution Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	39	34	40	28
2	39	34	40	28
3	39	34	40	28
4	39	34	40	28
5	39	34	40	28
6	38	34	40	28
7	38	32	38	28
8	35	30	35	26
9	32	28	33	26

The SL3-P performs better in terms of dynamic range and signal-to-noise ratio when compared to the other two 45MP cameras, but can not quite compete with the SL3-S with its larger-sized photo sites.

Despite the new Leica performing better than its cousin the Lumix S1R II in these two tests, the Panasonic does provide a higher resolution across the ISO range.

Verdict

There is a lot to like about the Leica SL3-P. Part of its appeal should be the way that Leica has not changed everything, but simply upgraded major internal components to bring us the latest and greatest member of the SL3 family.

I also salute the way in which Leica – a small player in the global mirrorless market – has successfully collaborated with other companies.

The L-mount Alliance means that there is a great range of lenses available for the camera – even if the SL range itself is relatively small. It also has obviously worked with Panasonic on the source of the sensor, to ensure that the camera can be produced profitably.

But there are smaller cooperations embedded in the camera to. It is Leica's latest C2PA camera – enabling you to add content credentials to your files so that you can prove they are not created with AI. It supports Frame.io for cloud collaboration on work projects – and offers in-body de-squeeze when used with Sirui anamorphic lenses.

What I particularly loved about the camera was the photos that it delivered. I think there are three ways to fall in love with a camera. The first is the specifications and looks. The second is in terms of the way it feels in your hands and its general ergonomics. The third is in terms of the results that it delivers. It is the last of these that is the most persuasive for picking the SL3-P.

Alternatives

Check out our full guide to the best full-frame mirrorless cameras

Earlier this month, Nikon appeared to stealth launch an unusual “new” mirrorless camera: A Z6 III with all the same features, except all wireless communication capabilities were removed. Now, the store listing for the Wi-Fi-free camera has since disappeared, but Nikon has finally told us why the unusual Z6 III existed in the first place.

Speaking to Digital Camera World, a Nikon USA representative explained the unusual Wi-Fi-free camera this way:

“Nikon works directly with various government and industrial entities that may require cameras without wireless functionality for security reasons. These cameras are produced in limited quantities with long lead times. Some of our retail partners also have customers with similar needs, and we have made a small allotment of cameras available to evaluate potential market demand.”

The statement fits along the lines with what a Wi-Fi-free camera would seem to be created for – use cases where a lack of communication hardware makes a camera more secure. Nikon appears to be making a small number of these cameras, but since the appeal is more limited, the Wi-Fi-free option doesn’t typically make it to consumer shelves. That means there’s a wait to get such a secure variant.

The Wi-Fi-free Nikon, which first popped up at B&H appears to have already been removed from the US retailer.

Outside of lacking the communication capabilities, the unusual Z6 III variant also sat at a higher price point – which may make sense since the production line probably has to adjust for the limited run of cameras. But, that makes the camera make less sense for general consumers.

Either way, Nikon’s statement may help satiate the curiosity of Nikon fans wondering over the unusual – and now removed – Wi-Fi-free Z6 III.

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The newest Nikon mirrorless camera has arrived without the usual fanfare: Nikon has sneak-launched a new variation of the popular Z6 III.

A new Nikon Z6 III has popped up in retail stores, despite no official announcement coming from Nikon. But, there’s perhaps a good reason for the quiet announcement. The new Nikon Z6 III is identical to the earlier camera by the same name, except it lacks all forms of wireless communication.

The Nikon Z6 III with no wireless connectivity repackages the same full-frame 24.5MP sensor with 20 fps bursts, but eliminates Wi-Fi and Bluetooth.

That means the camera isn’t compatible with the Nikon app to transfer files and update firmware. It also lacks the original model’s ability to use a smartphone connection to tag photos with a GPS location.

The rest of the specifications are identical – removing the wireless capabilities doesn’t change the battery life rating, nor does it change the camera’s weight or size.

Nikon has created Wi-Fi-free cameras before. Cameras without wireless connectivity may be helpful for certain secure use cases, including government work that may require a device without external connectivity for security. A wireless-communication-free device could potentially also be used for security or forensics.

But the real reason that I wouldn’t buy the new Z6 III without Wi-Fi? The variant without communication capabilities sits at a higher list price. In the US, the original sits at $2,696.95 and the new Wi-Fi-free at $3,079. (Both currently have a $700 discount in the US.)

Unless you really need a camera that can’t possibly be hacked, I’d save the extra money and buy a regular Z6 III and turn on airplane mode for privacy.

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Forgive the double negative, but I cannot believe that Nikon isn’t at least planning a Nikon Zfc II. I love the Nikon Zfc, it’s quietly become one of my favorite Nikon cameras. Sure, the aging autofocus and image processor make it feel a bit sluggish, but it’s a camera that’s got mojo and that’s not something you can say about every camera in 2026.

It’s also very competitively priced in comparison to other retro cameras such as the OM System OM-3 and Fujifilm X-E5. Although admittedly, they do boast more modern specs. And of course, it’s still one of the best-looking cameras on the market. It’s not a modern take on a retro camera like a Fujifilm X-T30 III, it’s modelled to look exactly like a film SLR from Nikon’s past, such as the Nikon FM2.

And that’s part of the camera’s charm. It’s not very ergonomic, what with its thin, boxy shape, chunky dials and no grip. It can feel a little like driving a classic car, the ride’s a little bumpy but it’s so full of charm you’ll take it out for a Sunday afternoon’s drive, just because.

So, we know a Nikon Zfc II would need a big internal upgrade from the tech that it borrows almost entirely from 2019’s Nikon Z50. But what about new physical attributes? Surely I’m talking about replacing that plasticky bottom plate and toy-like battery door, right? Wrong. I mean, I’d love Nikon to fix that, but what I really, really want (zig-a-zig-ah) is a thread on the shutter button so I can add a soft shutter release button. That’s it.

It pains me every time I see a little Nikon Zfc. I think to myself, that’s crying out for a bright red soft shutter release button. The folks at Fuji know where it’s at, even the Fujifilm X-M5 and Fujifilm X-T30 III have provision for one! And to be fair, Nikon gets it, too. The Nikon Zf, which was released a couple of years after the Zfc, has a shutter button with a thread.

So, all the evidence points towards a potential Nikon Zfc II allowing you to attach a soft shutter release button, but just in case. Nikon, if you’re ever going to make a Nikon Zfc II, make sure it can accommodate a soft shutter release button! Please and thank you.

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The Nikon Z30 is trending again. Just yesterday I was advocating for the Nikon Z50 as one of the best beginner cameras for those who don’t mind buying used. But unlike the discontinued Z50, the Nikon Z30 is still a part of the Big N’s APS-C lineup.

For how long, and whether or not we’ll get a Nikon Z30 II, remains to be seen. But given Nikon's commitment to video in recent years and the Z30's successes, it certainly doesn't seem unlikely.

After all, we live in a very different landscape when it comes to vlogger-centric cameras than we did during the Nikon Z30's release in 2022. The DJI Osmo Pocket and, more recently, the Insta360 Luna Ultra have completely redefined the best cameras for vlogging.

These handheld pocket gimbal cameras might not be as versatile as, say, the Nikon Z30 or Sony ZV-E10 II, but the one job they do, they do very well indeed.

And yet, far from being dead in the water, the Nikon Z30 has sold very strongly in Japan. I’ve written an article before on why the Nikon Z30 never really won over the West but has remained big in Japan, and I dare say it’s trending today for similar reasons.

Old tech, trendy soul

The Nikon Z30 was never a technical marvel. By and large, it’s built around the same 2019 tech as the Nikon Z50. The biggest difference is that the recording limit has been upped from 30 mins to 125 mins. Otherwise, you’re looking at the same sensor, image processor, and photo and video capabilities.

What is different is the Z30’s physicality. While it adds a flip-out rear LCD screen, it omits a viewfinder. This is a big deal, and is likely the main reason why the camera hasn’t charmed consumers in the West. It is, however, precisely why the Nikon Z30 has proven so popular in Japan.

Without a viewfinder, the Nikon Z30 is extremely compact for an APS-C interchangeable-lens camera. It’s not going to beat the Fujifilm X-M5, and its thick grip makes it less pocketable than the Fujifilm X-E5, but it’s still incredibly compact.

It’s the most compact Z-Series camera by some margin, especially paired with the Nikon Z DX 16-50mm f/3.5-6.3 VR that barely protrudes beyond the grip. And what a nice chunky grip it is.

And unlike the Nikon Z fc, another Z50 in sheep’s clothing, which has a cheap-feeling plastic bottom plate, the Nikon Z30 boasts a really solid, premium feel.

Ultimately, technology has left the Nikon Z30 behind – so much so that I struggle to recommend it as a vlogging camera. However, as a premium ‘compact’ camera, it still excels.

It captures gorgeous images, has decent specs for compact use, and hasn’t been affected by the often inflated compact camera market.

I’m a Nikon fanboy at heart, so I’m always going to recommend Nikon’s excellent color science and RAW file quality. However, if you’re looking for a compact-sized camera that’s also a robust video option, I really do recommend taking a look at the aforementioned X-M5.

It’s smaller than the Nikon Z30, and its video spec blows it out of the water. It’s also a relatively similar price. That said, if you can find a Nikon Z30 for the right price, it’s still a fantastic little camera for everyday use.

At the time, I simply couldn’t understand Nikon’s play. Why remove the viewfinder? Well, as it turns out, it’s precisely the removed viewfinder and more compact size that’s made the Nikon Z30 a winner.

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Among the 21 RF-mount Canon cameras launched since 2018, newest among them is the Canon EOS R6 V – with the V indicating a ‘video first’ approach and mindset.

The camera has as many similarities with the Cinema EOS range, specifically the Canon EOS C50 – but this is smaller and lighter.

But one thing, however, that the ‘V’ in the camera’s nomenclature doesn’t indicate is the presence of a ‘viewfinder’. It has none – just a 3-inch, 1.62 million-dot rear LCD screen.

Yes, its maker will argue that this full-frame camera is designed to be used handheld, possibly at arm’s length, by influencers, and therefore an eye-level viewfinder wasn’t a development priority. But there’s not even an option to add an external viewfinder as an accessory, should users wish to do so, which feels like an opportunity overlooked.

More positively, a basic boxy shape may more readily fit a variety of camera cages and rigs. And, staying with practical concerns, the space usually reserved for an EVF has given way to a cooling fan to enable extended recording times without interruption.

And yet, thanks to the generous 32.5MP sensor at its heart – inherited from the C50 and R6 Mark III – the Canon EOS R6 V is also a very capable stills camera. Photos can be captured at full resolution up to 40fps, partly because it uses an electronic, as opposed to mechanical, shutter.

The lack of a mechanical shutter will also gaslight some photography purists.

Given that the R6 V could justifiably be considered a hybrid device, it does underline my question as to why Canon has limited its appeal by not providing an eye-level viewfinder for those who prefer to shoot that way – or at least want to have the option, on occasion.

The body-only price is still considerable, even for those who do want to primarily luxuriate in 7K 60p video recording, 4K 60p oversampled or up to 120p slow-motion footage.

Canon’s promotional tagline for the EOS R6 V is "loved for handheld creative brilliance". So why limit that creativity? I can’t help but feel it would have been adored if only, like the R6 Mark III, it had provided a viewfinder as well – even as an optional extra.

There was a lot of noise about the Panasonic Lumix S9 when it launched – and not all of it was positive.

From the complaints that it was a bigger version of the compact Lumix camera we really wanted (sound familiar?), to laments over its lack of EVF and hot shoe, to criticism of it trying to be a Fujifilm X100 VI, to blowback over the lens it launched with… the noise was hard to ignore.

And my colleagues and I were definitely part of that noise.

"Sorry, Panasonic, I don't want the S9 – I want the camera you made 11 years ago" I wrote, lamenting that it wasn't the Lumix GM1.

"The Lumix S9 hit all the right marks – until you attached a lens, said Gareth, our Reviews Editor, regarding the poorly-received 26mm launch lens. "Honestly, I didn't enjoy using the camera because of it."

Most damning of all was DCW contributor Rod Lawton, who wrote, "I saw Panasonic's Lumix S9 for the first time at a show and I just kept walking. That’s bad!"

Well, fast-forward two years from its launch, and Gareth and I both have a Lumix S9 – along with a lot of young creators who absolutely love it.

(The Lumix S9 is currently enjoying massive discounts in the Amazon Prime Day sale, particularly with the 18-40mm kit which has hit its lowest ever price in the US as well as its lowest price since January in the UK.)

So what turned us around? Well, for starters, there was plenty to love about the S9 from day one that had already won us over.

The body is absolutely tiny for a full-frame camera. Being about the same size as an X100 VI, it offered the most compact full-frame offering on the market.

Its 24.2MP sensor delivers brilliant stills at up to 30fps (though it's limited to 8fps with continuous autofocus) as well as 6K 30p open gate video.

Best of all, you can employ Realtime LUTs for both photo and video – which is essentially Fujifilm's Film Simulations on steroids, fully customizable and enabling you to perform your exact editing style and post-production looks in-camera at the point of capture.

The Crop Zoom and Hybrid Zoom functions were always big winners, too, enabling you to extend the focal range of your prime and zoom lenses by seamlessly adding a scaling digital zoom. With Hybrid Zoom on the Lumix 20-60mm lens, for example, keep turning the zoom ring and it becomes a 20-187mm!

As far as what changed, well, I have to take my hat off to Panasonic because significant improvements were made right from the off.

Firmware version 1.1 unlocked the much-maligned recording limits, which previously restricted filming to 10 mins in 6K, 15 mins in 4K and 20 minutes in FullHD. Of course, the camera is still limited by temperature build-up, as it lacks an active cooling system, but disposing of the artificial limits was incredibly welcome.

We also got the ability to display multiple frame markers when shooting open gate, which is a godsend for framing shots for multiple outputs.

The autofocus also got a serious improvement, including the addition of two new subject detection algorithms, and we received multiple quality of life improvements to everything from the startup speed to deeper integration with smartphone apps like Lumix Lab.

Perhaps most importantly, we now have lenses that actually suit the S9's size. I've often said that compact full-frame cameras are an act of folly, because there aren't enough compact lenses to go with them – and the S9 was deathly guilty of this for. However, the L-Mount Alliance stepped up.

Panasonic gave us both the Lumix S 18-40mm zoom and the Lumix S 40mm f/2 prime, amazingly both the same size. Then TTArtisan dropped a 40mm f/2 of its own, but my favorite is the Viltrox AF 28mm pancake – which is the lens that the Lumix 26mm wishes it was.

Honestly, if any of these lenses were available at launch, I think the reception to the S9 would have been completely different.

Of course, some of our core complaints remain. Until Panasonic (or a third party) releases an external EVF add-on, the lack of viewfinder still hurts. And the omission of both a hot shoe and a mechanical shutter means that flash photographers are still SOL.

But as a true hybrid camera aimed at creators on the go, the Lumix S9 has finally become the camera that Gareth and I both hoped it would be when we first saw it. It's not often that cynical journalists admit they were wrong or put their money where their mouth is, but as S9 owners we're both very happy to have seen the light!

🇺🇸 Lowest ever price

🇬🇧 New low price

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Take a look at the best lenses for the Panasonic Lumix S9 as well as the best L-Mount lenses from the entire range.

Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH -  $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. -  $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. -  $10,995 / £8,560

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I put this together while working on my full Leica SL3-P review. This 45 megapixel camera offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

UPDATE: Specifications continue to leak for the Sony FX5 – and it's looking more and more like a camera that's gunning for Canon, featuring technology appearing for the first time in a Sony camera.

We already knew that the FX5 would shoot 5K open gate video, but the latest report reveals that it will also possess triple-base ISO – both features making their Sony debut.

Of course, Canon introduced open gate with the Canon EOS C50 – a hybrid camera that was squarely positioned as an FX3 rival. And the company also introduced triple-base ISO to the industry with the Canon EOS C400, a high-end cinema camera.

For Sony to jump on the bandwagon with both technologies shows that it really is firing back with all guns blazing.

"Three sources confirmed the Sony FX5 has a triple-base ISO which is a first on Sony cameras," reported Sony Alpha Rumors. "It also records internal RAW," adds the site, noting that it possesses X-OCN (extended tonal range Original Camera Negative) internal RAW, Sony's 16-bit linear encoding.

UPDATE (Jun 30): There appears to be some disagreement over two key points: whether this camera will be called the Sony FX5 or Sony FX4, and whether or not it will have a global shutter sensor.

While Sony FX5 is the name that has been "confirmed" by Sony Alpha Rumors, rival camera rumors site Photo Rumors has been claiming that it is actually the Sony FX4 – a report that seems based largely on a post by sometimes-reliable X.com leaker, how2fly.

Both sites do seem to be describing the same camera but, given the nature of these kinds of leaks, it's also possible that there's a Sony FX4 and FX5 on the way. It's still most likely that they're both the same model, but we shouldn't discount the unexpected launch of a new product (a la the Sony FX2) that is causing the streams to get crossed.

As far as the sensor goes, after initially reporting that the camera would feature a global shutter affair, Sony Alpha Rumors is now unsure "whether the camera uses a new 5K global shutter sensor or something entirely different."

A user on the site's forums insists that, "We have the leaked roadmap that has shown itself to be very accurate. The IMX01A is there, 16MP, 5K 240p, fully stacked, 'high sensitivity', full sensor dual pixel AF… It's basically the dream sensor as an FX3 upgrade."

UPDATE (Jun 26): It has been reported that the Sony FX5 will indeed be an open gate camera – and, fittingly enough, it will record in 5K resolution in the 3:2 aspect ratio.

The report also notes that the global shutter image sensor will be different to the one featured in the Sony A9 III.

The addition of open gate represents something of an about-turn for Sony, which for years insisted that there wasn't sufficient consumer demand.

"On multiple occasions, Sony managers said they didn’t believe it was a feature users really needed," writes Sony Alpha Rumors.

"But it looks like they’ve finally changed their mind: the upcoming Sony FX5 is expected to feature full open gate support. Specifically I have been told the camera has open gate 5K 3:2 support!"

ORIGINAL STORY (Jun 24): A new report "confirms" that the Sony FX5 will be announced in July, featuring bleeding-edge features like a global shutter sensor (previously seen in the Sony A9 III) and specs from the Venice cinema line.

The report also hints, with a wink and a smile, that highly requested features from users will also be included on the FX5. Could this be the long-desired introduction of open gate video?

For years we have heard camera rumors about a successor to the Sony FX3. However, while both Nikon (with the Nikon ZR) and Canon (with the Canon EOS R6 V and EOS C50 in particular) have eclipsed the original model, Sony hasn't brought an FX3 II to market.

Instead, Sony Alpha Rumors writes that we will see an FX5 next month.

"While everyone else was convinced that a new FX3 II was on the way, I can now confirm through trusted sources that Sony will announce a new Sony FX5 in July!"

We know from Weibo outlet E8M_8888 that Sony has registered a new FX model, having spotted the filing with Chinese certification bodies. So a new model is definitely on the way – and Sony Alpha Rumors is confident that it will be a "mini Venice" in terms of capability.

"It's a substantial upgrade over the FX3. It gets a new name because it's more like a compact Venice camera than an Alpha camera with cine features," adding that, "button and menu layout take over many aspects of the professional Venice camera".

E8M_8888 had previously reported that it would be "a modular camera that adopts an FX3-like style but moves away from standard Alpha camera design language.

"Its body layout and button configuration are more professional," with modularity supporting cinema peripherals and expansions such as XLR handles, external EVFs and SDI connectivity.

Crucially, due to its hybrid Alpha / Venice nature, the FX5 looks like it could shake up the hierarchy of Sony's cinema camera lineup – much as Canon did with hybrid bodies like the EOS R6 V and EOS R5C.

Should Canon be worried? The company already debuted global shutter sensors in its Cinema EOS lineup (with the Canon EOS C700 PL), so that in and of itself isn't new.

But Sony has invested heavily in the tech and will surely be doubling down on its advantages – and if that does cross the streams with open gate, this could be a very big deal…

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See where the biggest gaps are that the FX5 might close, with these Canon EOS C50 vs Sony FX3 and Nikon ZR vs Sony FX3 comparisons.

Buying your first "proper" camera is an absolute minefield. Which brand should you buy? Which lens should you get? What kind of memory card do you need? And then comes the cost, as you quickly discover that cameras aren't as cheap as you thought they were.

I used to teach photography, so I've been recommending "first cameras" for years. And if you're looking for the best beginner camera for you or someone else, I think the Canon EOS R100 is the best place to start – especially bundled with its kit lens, the Canon RF-S 18-45mm f/4.5-6.3 IS STM.

I'm going explain what all that means, why it matters and why it's the camera you should start your photographic journey with.

(If you're interested in this camera, there's currently an amazing Amazon Prime Day deal in the US where you get the camera, lens, memory card and bag for just $499.)

Is the Canon EOS R100 a good starter camera?

The first thing that makes the R100 perfect for newcomers to photography is the price: this is the only camera on the market with a truly entry-level price tag.

I know that $499 might not seem "entry level", but in the context of cameras – which typically cost thousands and thousands just for the body – trust me, $499 for a camera and lens is an absolute steal.

It achieves this price point by omitting everything but the essentials for learning photography. So there's no touch control, the rear screen doesn't tilt or articulate, and the 4K video has some compromises.

But as a pure photographic device, for learning how to use a camera and take great pictures, it's brilliant.

It has a high-resolution, 2.36 million-dot electronic viewfinder, which is the best way to learn how to "see" and compose your shots. It also reflects your camera settings in real time, so you can see what happens as you adjust the dials, making it a fantastic way to learn things like the exposure triangle.

It has a powerful 24.1MP APS-C image sensor, much bigger than the one in your phone, able to render crisp detail and beautifully shallow depth of field (aka blurry backgrounds). It also offers a burst rate of 6fps (frames per second), enabling you to fire off continuous frames when shooting moving subjects.

The menus are guided, too, helping you understand how these features work and how to achieve creative effects.

And the camera is also extremely compact and lightweight, making it easy to carry with you everywhere – whether you hang it off your neck or shoulder with the camera strap, or throw it in a bag or your glove compartment.

However, the biggest appeal of the R100 is that it gets you into the world of interchangeable lenses. You know that feeling when you use your phone to take a picture and you can't get close enough, or you can't get enough of the scene into your frame? Being able to change camera lenses liberates you from this problem.

Is the Canon RF-S 18-45mm a good starter lens?

The Canon EOS R100 often comes in a kit, or a bundle, with the Canon RF-S 18-45mm f/4.5-6.3 IS STM lens – which is why it is described as a "kit lens". What do all those letters and numbers mean?

'RF-S' is the lens mount employed by the R100. It means that the camera can mount any of Canon's RF lenses, but the 'S' denotes that the R100 has an APS-C image sensor (you can find out more in our What is sensor size? article). Because APS-C sensors are smaller than full-frame sensors, you have to apply a crop factor of 1.6x to the focal length of a given lens.

So in this case you multiply 18-45mm by 1.6x, which gives you an "equivalent" zoom range of 28.8-72mm. That's an incredibly versatile range that's perfect for everyday shooting, street and travel photography, and even some light landscape (at the "wider" 28.8mm end) and portrait (at the "longer" 72mm end) shots.

The 'f/4.5-6.3' refers to the lens' aperture range (how "wide" the aperture blades open, which dictates how much light reaches your sensor and how shallow your depth of field is). This isn't the "fastest" lens in the world (the lower the f-number, the "faster" a lens is) but it's perfect for starting your journey, with excellent center sharpness throughout the range.

Finally, the 'IS' stands for 'image stabilization' (meaning this lens offers shake compensation for handheld shots) while 'STM' refers to Canon's precision 'stepper motor' that delivers smooth, near-silent autofocus.

Does the Canon EOS R100 have good image quality?

Some people will tell you that beginner cameras are only good for beginners, but these shots illustrate the kind of image quality that the R100 is capable of. Yes, there are "better" cameras and more powerful image sensors out there – but I've taken shots on this sensor for portfolio and even paid client work, and never had any issues or complaints.

The Canon EOS R100 gives a newcomer everything they need to start mastering photography, but in professional hands it can deliver sensational shots.

The next model up, the Canon EOS R50, offers some very welcome improvements (not least an articulating touchscreen and full-fat 4K) but they come at a higher price tag – and I don't think a burgeoning photographer needs them.

So if you're considering which camera to get, for this price I simply don't think there's a better beginner camera and lens combo than the Canon EOS R100.

Get a great deal

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Take a look at the best lenses for the Canon EOS R100 to see what your next lens should be. Personally, I think everybody should own a nifty fifty – so check out my Canon RF 50mm f/1.8 STM review.

If you’re planning on making the step up from APS-C (cropped sensor) to a full-frame camera, then my top recommendation right now would be the Sony A7 IV. Yes, as a longtime Sony A7 III shooter, you might think I’m biased, but hear me out.

The Sony A7 IV is a powerhouse hybrid camera that bridges the gap between professional stills and high-end video. Its standout features include a sharp 33MP back-side illuminated (BSI) sensor, AI-driven autofocus, 10-bit 4:2:2 video capture and a dedicated photo / video / S&Q dial.

While you’ll find competitive specs and prices in models like the Fujifilm X-T5 and the Canon EOS R7, you’d have to compromise and remain an APS-C photographer.

You could look to full-frame alternatives in the likes of the Canon EOS R5 II or the Panasonic Lumix S5II, but then it’s a toss-up between spending around $1,000 (approximately £750 / AU$1,400) more for the Canon or settling for decent but not A7 IV-level specs with the Lumix, albeit for a friendlier sum.

Specs aside, what people often forget about Sony cameras is that the sensors they pack are proprietary, containing industry-leading technology that major competitors like Hasselblad and Nikon prefer to use over their own in-house sensor design.

This is one of the main draws to Sony for me and something that will keep me a Sony shooter for some time.

In fact, the A7 IV sensor handles a solid 14 stops of dynamic range and has an ISO range of 100-51200 for stills and movies (and it’s expandable to 50-204800 for stills).

These attributes, along with the larger sensor surface area, mean the camera packs a hard-hitting low-light performance punch.

Funnily enough, even our Editor in Chief – who’s a Canon man through and through for full frame – has the A7 IV as his best all-rounder in our best full-frame cameras guide.

You should have a gander at that guide before making your decision as, although I say go with the A7 IV, the list goes into way more comparative depth.

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Make sure to use best lenses for the Sony A7 IV to get the most out of this brilliant body. And if you want to learn more about other Sony rigs, check out the best Sony cameras for vlogging, filmmaking and photography.

All good things must come to an end. And so it is that Canon has quietly started sunsetting the Canon EOS RP in Asia, first indicated by the "Sales ended" tag on the official Canon Japan store listing.

While the RP hasn't yet officially moved to the company's discontinued products listing, and though it's still being sold by both Canon USA and Canon UK, this is the first indication that the svelte mirrorless camera is being Old Yellered.

With Canon Japan having exhausted its inventory, it's only a matter of time before stocks are gone elsewhere in the world – so if you've been thinking about getting one, now is the time.

This marks the end of the first generation of EOS R cameras (following the original Canon EOS R) – but, for me personally, it's also the end of the first Canon mirrorless camera that I truly fell in love with.

The R System wasn't Canon's first mirrorless foray, of course; that was the APS-C-only M System. But while I thought the EOS M50 was a neat little camera, I don't think anybody ever felt the same affinity for M cameras that they did for the R series.

I bought the EOS R on day one, trading in my 6D Mark II so that I could join Canon's mirrorless revolution from the beginning. The original R was essentially a 5D Mark IV in drag, making it ostensibly an upgrade from the 6D Mark II. However, even though the RP was essentially an adjacent model, it was the RP that I really wished I'd gone for.

The Canon EOS RP lacked mirrorless essentials like in-body image stabilization, and the 4K video was tragically cropped and robbed of Dual Pixel AF. Crucially, though, it was Canon's smallest and lightest ever full-frame camera, coming in at just 440g body only and measuring 132.5 x 85 x 70 mm (making it smaller and lighter than the 800D DSLR).

And it was very aggressively priced, launching at just $1,299 / £1,399 for the body and the Mount Adapter EF-EOS R to use DSLR lenses straight out of the box. All of which contributed to the name, "RP", meaning "Popular" – in the Japanese sense that it's a camera meant 'for everybody'.

Even today, while the Canon EOS R8 is a better camera, the RP is still Canon's best value full-frame camera.

It's currently available for just $617 at Walmart in the US or only £799 from Amazon in the UK – an absolute steal for anyone wanting to upgrade to full-frame photography or get into Canon's mirrorless ecosystem.

So, whether you want to get one while you still can or it's a camera that you never knew existed, please join me in pouring some sip on the kerb for the Canon EOS RP. My first love of the R System.

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Got an RP? Check out the best lenses for the Canon EOS RP. Looking for an alternative? Take a look at the best Canon cameras along with the best Canon RF lenses.

The Nikon Z fc was launched back in 2021 and even back then it was rocking aging tech. This is because it’s essentially a reskinned Nikon Z50, which was released in October of 2019. So why is this five-year-old camera with seven-year-old innards trending in 2026? Well, it’s darn good looking, extremely affordable, and it’s got soul.

Hey good lookin’

The Nikon Z fc is one of the most faithful representations of a retro SLR in mirrorless form, arguably rivalled only by the full-frame Nikon Zf. I love Fujifilm’s flagship X-T line of cameras, but I wouldn’t say it’s faithfully retro, it’s its own beautiful thing. An X-T5 looks like it’s been inspired by the retro SLRs of yesteryear, but it’s still its own retro camera.

The Z fc on the other hand is modelled after 1982’s Nikon FM2 and if you ignore the rear LCD, which you can actually hide by flipping it all the way around, casual onlookers could mistake it for the real thing. It’s so faithful, in fact, that one of its main criticisms is that it basically has no grip, so it’s worth investing in a good neck strap or an aftermarket grip attachment.

The Nikon Z fc is great value

The wild popularity of Fujifilm’s X100 series over the past few years has had a huge impact on retro camera prices, both new and used. And while the Nikon Z fc was launched after the Fujifilm X100V, it was still born into a world that wasn’t quite as gripped with ‘Fuji-fever’ as it is now. It therefore remains an incredibly affordable option for a retro camera, retailing for $1,059.95 / £849 / AU$1,499 and often discounted. On the used market, there simply isn’t the clamour for secondhand Nikon cameras as there is Fujifilm cameras so you can find some incredibly good deals.

Nikon’s got soul!

My final reason why I think the Nikon Z fc is trending and why it’s still one of my favorite cameras is that it’s got soul, mojo! Maybe it’s more superficial than I’d like to admit, but there’s something about shooting with the Nikon Z fc that’s hard to find in many modern cameras. It’s an experience akin to using cameras such as the Fujifilm X100VI, Fujifilm X-Pro3, and Olympus PEN-F.

There’s a character to the Nikon Z fc, with its physical dials and slightly awkward form factor. It makes you work, but in a good way. And because of that, the technical shortcomings don’t matter as much. This isn’t a camera for video, it’s not a camera for sports or wildlife photography. It’s a camera for everyday photography, travel photography, and street photography.

The fact that it captures beautiful quality images, makes you want to pick it up time and again, and is fun to use, is what really matters. I dearly hope a Nikon Z fc II is around the corner now that the Nikon Z50 II has been out for a while, but if you can find a good deal on a Nikon Z fc and don’t mind the older tech, it’s still a fantastic camera in 2026.

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Want to know what it's actually like shooting with the Nikon Z fc? 27 miles, two days, and one Nikon Zfc. I pushed this cheap retro camera to its limit on the streets of New York. If you like the Nikon Z fc, but would prefer a film camera, check out the Nikon Zf. And to stay up to date, here's the latest camera news.

Anyone hoping to get their hands on Panasonic’s new Lumix L10 is going to have to wait a little longer, as the company announced that it is suspending new orders in Japan from here on after receiving “far more preorders than anticipated.”

Panasonic first revealed that it was struggling to match preorder demand in Japan back in May, warning customers of potential delays. But on June 17, the company announced that it had suspended orders in Japan, freezing orders for the popular compact camera.

The new announcement didn’t make it clear when stocks will be replenished or whether it’s only in Japan that orders have been suspended. However, I’ve checked the Panasonic US and UK websites, and it looks like you now have to join a waiting list to order a Lumix L10 in these regions.

It’s no surprise that the latest Panasonic release has piqued the interest of many photographers.

The Lumix brand boasts some of the best compact cameras, and the L10 combines this solid reputation with a stylish retro design and a Leica DC Vario-Summilux 10.9-34mm (24-75mm equivalent) f/1.7-2.8 lens.

However, with demand now exceeding what Panasonic can handle, it looks like there may be a significant wait for shipping.

The Lumix L10 isn't alone in being in high demand, joining a long list of trendy compact cameras that come with wait times. Opting for a compact that's been around for more than a few weeks could potentially have a shorter wait list, however, depending on where you live.

The Fujifilm X100VI, with its whopping 40MP sensor, equally attractive retro style, film simulation modes, and solid 6K video recording, has been in high demand since its launch in 2024.

The X100VI's popularity can similarly make the compact camera hard to find in stock, but the limited availability is finally beginning to show potential signs of easing. London Camera Exchange in the UK estimates a 28-day wait, while Adorama in the US estimates availability in August.

The X100VI, however, lacks zoom – the L10's unusual mix of zoom and a Micro Four Thirds sensor that's larger than basic point-and-shoots is likely why the compact camera is seeing such high demand. It's also a little more expensive than the L10, priced at $1,799 / £1,599 / AU$2,899.

The Leica D-Lux 8 shares a similar sensor and lens combo, but comes in at a higher price, and even that camera, also launched in 2024, is out of stock at many retailers.

Panasonic has said that orders made before the cutoff time will be processed and that it’ll inform customers of new availability once it has a “stable supply outlook.”

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Here’s our expert pick of the best compact cameras. We’ve put all of these shooters through rigorous hands-on testing to give you the complete lowdown.

The Nikon Z6 II has been trending on Google, so I decided to take a little trip down memory lane and relive the launch of arguably the first full-frame mirrorless camera that Nikon got right (along with the Nikon Z7 II, of course). Clearly, people are still interested in this nearly six-year-old camera, but looking at prices online, my advice is to at least consider the Nikon Z5 II instead.

You see, the Nikon Z6 II is still available for purchase where it officially retails for $1,749.95 / £1,799, but can often be found well below $1,500 / £1,500. That’s a great price for a full-frame camera that’s more than capable of being a professional workhorse. But the Nikon Z5 II can be found for a similar price and, in some cases, cheaper.

When you compare the specs via the table below, it’s clear that, despite being Nikon’s entry point into its full-frame mirrorless system, the Nikon Z5 II is a superior camera to the Nikon Z6 II in more ways than not. Externally, they’re very similar, being roughly the same size and weight. The biggest differences are the presence of an LED information screen on the top plate of the Z6 II, the Z5 II having a fully articulating rear LCD, as opposed to the Z6 II’s tilting LCD, and the Z5 II’s mode dial positioned on the right and the Z6 II’s positioned on the left.

Nikon Z6 II vs Nikon Z5 II

Inside, both are built around a 24.5-MP back-side-illuminated CMOS sensor, but the Nikon Z5 II pulls away by housing Nikon’s latest Expeed processor. The result is a superior AF system and up to 30fps JPEG burst shooting. You also get up to 7.5-stops of image stabilization with the Nikon Z5 II, making it a significantly more powerful device.

When it comes to video specs, both cameras offer 4K / 60p (cropped) and full HD up to 120p. However, the Z5 II edges out the Nikon Z6 II by featuring in-body 12-bit RAW video output as well as internal 10-bit N-Log. The Nikon Z6 II can only capture RAW video and N-Log via a compatible external capture device, and the former requires a paid $199.95 upgrade whereby the camera has to be shipped to Nikon.

And finally, both cameras feature dual-card slots, but whereas the Z5 II features two SD card slots, the Nikon Z6 II has a more professional CFexpress / SD card setup. So, there you have it. However tempting the Nikon Z6 II might be, make sure you check out the Nikon Z5 II as well. If I were buying new, I’d definitely opt for the latter. The only way I’d buy a Nikon Z6 II now would be to source a mega used deal, and they are out there.

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I waited a long time for the Nikon Z6 III to come out. A long time. The full-frame hybrid mirrorless camera was heavily rumored prior to its June 2024 announcement – and I’m not sure there’s been a bigger buzz for a Nikon camera since. A full-frame mid-range camera is always going to court a lot of interest, but what made the Nikon Z6 III such an enticing prospect was its predecessor.

The Nikon Z6 II was a solid if not exceptional camera. It righted many of the original Z6’s shortcomings, but wasn’t a significant upgrade – more of a Z6 1.5, if you will.

Taking that into account, and the more advanced competition, it was obvious that the Big N was gearing up for a true successor in the Nikon Z6 III.

A tempting prospect: The "Baby Z9"

In May 2023 the Nikon Z8 launched as the spiritual successor to, in my opinion, the best DSLR camera ever made: the Nikon D850. But this wasn’t just a Nikon Z7 II in a more rugged body, it was a photo and video powerhouse that boasted a fully stacked 45.7MP sensor with no mechanical shutter. Its specs were largely identical to the flagship Nikon Z9, earning it the moniker "Baby Z9".

I was shooting on a D850, having stuck with the D8XXX series since the Nikon D800, and immediately the Nikon Z8 was my dream camera. But I questioned whether or not I really needed a camera as capable as the Nikon Z8. The D850 was everything I could ever want from a camera and I was totally in love with its incredible image files.

I was working on Digital Camera World's sister publication, N-Photo: The Nikon Magazine, and was fed up having to constantly borrow Z-Series cameras when testing new Nikon Z lenses and accessories. So, I decided I needed to get with the times. The problem was that, despite endless rumors, the Nikon Z6 III wasn’t available yet.

I didn’t want to purchase a Z6 II or Z7 II, because the whole point of moving away from my D850 was to have a cutting-edge camera. And while the Nikon Z8 was my dream body, I felt it was simply too much camera to justify.

I even took a secret look at the Sony A7 IV and Fujifilm X-T5, but the former had been out for a while and as much as I loved the X-T5 (I still want one) I’m a full-frame photographer at heart. So, I waited a little bit longer before I finally caved and bought a Nikon Z8. Two months later, Nikon launched the Nikon Z6 III…

Nikon Z6 III: Two months too late

I went to the launch event. I loved it. If the Nikon Z8 is a "Baby Z9" then the Nikon Z6 III is a "Baby Z8". It’s a fantastic photo and video hybrid with a partially stacked sensor, blistering burst speeds, whip-fast autofocus, jaw-dropping EVF and top-notch IBIS. There is no doubt in my mind that it’s the camera I should have purchased for three reasons: resolution, size and price.

I’ve talked extensively about how a high-resolution camera like the 45.7MP Nikon Z8 can affect image quality due to camera shake, meaning you often have to double or triple the reciprocal rule in order to capture critically sharp shots. When using a camera with a more modest 24.5MP sensor like the Nikon Z6 III, you can stick to the reciprocal rule more closely.

Obviously the Nikon Z8 is a lot smaller and lighter than the Z9, but it’s still a bit of a behemoth next to the smaller and lighter Nikon Z6 III. And while I relish having a large camera to balance a long telephoto lens, I don’t take my Z8 out nearly as much as I would a Nikon Z6 III, because it’s simply too big and heavy.

And finally, the most obvious difference between the two cameras is their price. Granted, by the time I bought it, the Nikon Z8 was regularly on sale for a chunk off the RRP, but the Nikon Z6 III’s launch price was $2,499 / £2,699 / AU$4,499.

The Nikon Z8 launched at $3,999 / £3,999 / AU$6,999 and the cheapest I’d seen it at the time was with a healthy 17.5% discount. Even then, it was more expensive than the Z6 III – I’m talking about the price of a decent zoom lens, which is a very important consideration.

Don’t buy what’s best, buy what’s best for YOU

And yet, the Nikon Z8 is still my dream camera. It’s technically the best camera I’ve ever owned and I’m not sure how it could ever be eclipsed (I certainly don’t need it to be). Had the Nikon Z6 III been announced a couple of months earlier, though, I’d almost certainly own one right now, instead.

Still, there’s value in this kind of discussion. If you’re looking for a new camera, don’t necessarily purchase at the end of your budget; really consider your use cases. To loosely quote Christopher Nolan’s The Dark Knight: An expensive high-resolution monster might be the camera you deserve, but not the one you need right now.

A bigger and more technically advanced camera isn’t necessarily the right choice for everyone. Don’t buy what’s best, buy what’s best for you.

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This one of the crazy camera rumors I've heard, but crazier things have happened: Viltrox is reportedly making a mirrorless camera that uses the Nikon Z mount.

If true, this might also explain the vigor with which Nikon has been legally pursuing the Chinese manufacturer.

On the surface, Nikon suing Viltrox over the Z mount seemed to be about the unlicensed production of third-party lenses. But if Viltrox is planning to use the Big N's mount wholesale, it becomes a much bigger issue.

Is Viltrox really making a Z-mount camera?

Viltrox has been rumored to be developing a mirrorless camera system since at least last August. When the brand joined the L-Mount Alliance in September, the dominoes seemed to line up for a Viltrox L-Mount camera.

Which may, indeed, still be the case. But Chinese social media has been rife with reports that Viltrox has – or, at least, had – its sights set on the Z mount.

Chinese social media, of course, is hardly the most robust source of information. However, when it comes to Chinese manufacturers, it has proven to be the most reliable insight into what companies in the region are up to.

It would be ballsy as all hell to make a completely unlicensed camera using someone's proprietary mount. Not unheard of, but certainly not from a brand as big as Viltrox.

As such, I'd personally take the biggest pinch of sale you can and file this one under "highly unlikely" – but that doesn't mean Viltrox wasn't developing something. Or, perhaps more offensively to Nikon, reverse-engineering something.

Why would Viltrox want to make cameras?

What would be the point in a third-party lens maker starting to produce cameras? It's a fair question. There is a mountain of R&D time and money involved in making a camera of any kind – let along a mirrorless camera that is going to compete with cutting-edge products from the likes of Nikon.

But you need only look at Sigma, which recently added the Sigma BF to the Sigma fp and fp L, as a lens maker who decided that the juice was worth the squeeze. Those cameras used the L Mount, with Sigma being a fellow (and indeed founding) member of the Alliance.

Then there's Yongnuo, another Chinese manufacturer, which launched a series of mirrorless cameras using the Micro Four Thirds mount – an open source standard, which would be a far less problematic route for camera development.

Still, it's a big expense and a big risk for minimal reward – Yongnuo's cameras were poorly received, and largely disappeared without trace, while Sigma's cameras are well regarded but hardly sell huge numbers.

However, Viltrox did say last year that, "Our commitment is to create a seamless and responsive ecosystem for creators," and this move would certainly serve that purpose.

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The Hasselblad X2D II 100C has unexpectedly surged back to No.1 in Japan's latest Yodobashi best-seller rankings – overtaking the Sony A7 V in a surprise shift at the top of the charts. The 100MP medium format flagship had previously fallen out of the ranking entirely.

The Sony A7 V had dominated the list since its launch in December 2025, holding the top position for months as one of Japan's most popular full-frame cameras. Its drop to second place marks the end of a long run at the top.

The latest Top 10 also shows a striking return in Japan's mid-range mirrorless market, with the Nikon Z50 II standard zoom kit re-entering the rankings after a nine-month absence.

Yodobashi's 10 top selling cameras (2nd half May 2026)

1. Hasselblad X2D II 100C Body
2. Sony A7 V Body
3. Fujifilm X-M5 + XC 15-45mm Lens Kit | Silver | Black
4. Fujifilm X-T30 III + XC 13-33mm Lens Kit | Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Sony A7C II Zoom Lens Kit | Silver | Black
8. Sony A7C II Body | Silver | Black
9. Nikon Z50 II + Z 16-50mm VR Lens Kit
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

Hasselblad vs. Sony

The X2D II 100C is an unusual camera to top a sales chart at this level. As a 100MP medium format flagship available for $7,399 / £6,400, it sits in a completely different price bracket to other cameras listed in Yodobashi's Top 10 – including the Sony A7 V (priced at $2,898 / £2,799) – yet it still managed to reclaim the top position in Japan.

It features 5-axis stabilization offering up to 10 stops, up to 15.3 stops of dynamic range, LiDAR-assisted AF (autofocus), and Hasselblad's signature color science, all designed for high-end stills performance.

By contrast, the Sony A7 V pushes forward with a 33MP partially stacked sensor and upgraded AI subject detection – making it a highly capable hybrid full-frame model – though its video performance is facing competition from rivals...

Fujifilm dominates Top 5

Fujifilm dominates the upper end of Japan's rankings, with two cameras in the Top 5. The X-M5 kit sits in third place, followed by the X-T30 III kit in fourth.

Both are retro cameras featuring a 26.1-megapixel APS-C X-Trans CMOS 4 sensor paired with the X-Processor 5 – an award-winning combination recognized for its strong image quality and performance.

The next Yodobashi update will reveal whether the Sony A7V can return to No.1, or if the Hasselblad X2D II 100X will hold onto its position at the top of Japan's best-seller chart. Also entering the mix is Sony's A7R VI, which arrived in June and could further shake up the rankings.

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For much of the last few years, the Canon EOS R10 has been one of the best-selling mirrorless cameras in Japan, consistently holding top position as a go-to option for beginners entering photography.

Now, the latest sales data from Japanese retailer BCN reveals that a video-first camera – without a viewfinder – has overtaken the long-time bestseller. The new leader is the Sony ZV-E10 II, a compact mirrorless interchangeable lens camera designed primarily for video creators, vloggers, and hybrid shooters.

On paper, the Canon EOS R10 and Sony ZV-E10 II compete in the same APS-C mirrorless category. However, they represent two very different shooting philosophies.

BCN+R best-selling cameras (May 26)

1. Sony ZV-E10 II Double Zoom Lens Kit | Black
2. Canon EOS R10 + RF-S 18-150 IS STM Lens Kit
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z50 + 16-50 VR Lens Kit
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | White
7. Sony A7 V
8. OM System Olympus Pen E-P7 EZ Double | Silver
9. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver
10. Sony ZV-E10 II Power Zoom Lens Kit | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

Canon EOS R10 vs. Sony ZV-E10 II

The Canon EOS R10 follows a more traditional camera design. It includes an electronic viewfinder, a deeper grip and handling that feels closer to DSLR-era photography.

The Sony ZV-E10 II, by contrast, is designed first and foremost for creators. It removes the viewfinder entirely, prioritising a compact body, lighter weight, and video-focused features.

While traditional photography tools still matter, a growing number of users appear to prioritize video creation, portability, and ease of use over classic still-first design.

Why no viewfinder can be better for video creators

The missing viewfinder – most photographers consider essential – plays a much smaller role in modern content creation workflows.

In video-first shooting, users are typically working at arm's length or with the camera mounted on a tripod or gimbal. As a result, flip-out screens, touch controls, selfie framing, and AF systems such as face and eye tracking become far more important than eye-level composition through a viewfinder.

Removing the viewfinder also has a practical design benefit. It allows manufacturers to reduce the overall size and weight of the camera body, contributing to the compact, lightweight form factor that many creator-focused cameras are designed around.

Whether the ZV-E10 II's rise is a sustained trend or a temporary spike remains to be seen – but its climb from fifth place last month to No.1 suggests a shift in buyer priorities.

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Sony's on a bit of a roll at the moment. It seems like just yesterday it was launching the A7V (it was actually late last year – how time flies), and it’s now followed that up with the sixth generation of A7R. The A7R has long been the go-to full-frame camera for anyone who prioritizes outright resolution, but by going north of 60 megapixels, recent A7Rs have been compromised in other areas. There's the obvious issue of huge image and video file sizes, but the drawbacks of such a high resolution come in other, more subtle forms.

Squeezing more and more pixels (they're actually photodiodes, but I'll use the word pixels for simplicity) onto a sensor of a fixed size - in this case, 35mm full-frame - means each individual pixel must be reduced in size. Shrinking a pixel means it captures less incoming light during a set shutter speed than a larger pixel. This in turn makes the pixel, and by extension, the sensor, more susceptible to generating image noise, and it can also reduce the amount of dynamic range that can be captured.

Sony knew all this when the A7R was in its formative generations, as in addition to the standard A7 lineage, it also produced the A7S line: cameras which intentionally sacrificed resolution in order to improve light sensitivity (hence the 'S' suffix), thereby reducing image noise and boosting low light image quality.

These days Sony seems to have abandoned the A7S line, but the regular A7, now in its fifth incarnation, still exists as an option for photographers who'd rather have the benefits of a more modest pixel count. But while there are image quality drawbacks from increasing resolution (assuming sensor size remains the same), are they still pronounced enough to make a camera like the A7R VI unsuitable of low light or high contrast environments?

I've lab tested every A7R generation (along with all the A7R VI's main rivals), testing resolving power, image noise levels, and dynamic range. As you'd expect, the A7R VI excels in our resolution benchmark, and it’s less impressive in our noise and dynamic range tests. However, the image quality drawbacks of its high pixel count really aren't as significant as you might expect.

Dynamic range (EV):

At lower sensitivities resolution doesn't really affect outright dynamic range. Both the 33MP A7V and the 66.8MP A7R VI perform pretty much identically, capturing 12.5 stops of dynamic range. You need to push past ISO800 for the A7R VI's resolution to start to restrict its dynamic range, whereupon the A7V pulls out a 1-stop advantage. Would you notice this in real-world shooting? Maybe, but remember that these results are obtained by disabling Sony's DRO dynamic range enhancement, so this is a worst-case scenario for the A7R VI. What's more, despite it having a significantly higher resolution than rival cameras such as the ~45MP Canon EOS R5 Mark II and Nikon Z8, the A7R VI outperforms them for dynamic range at all sensitivities.

Signal to noise ratio (decibels):

When it comes to image noise, both the A7R VI and V produce more noise than the A7V, but we'd expect that – the A7V has to have something to show for having half the A7R VI’s effective megapixel count. Where the A7R VI does impress is its ability to match (and at some sensitivities, slightly beat) the Nikon Z8's noise levels, despite the Sony having 32% more pixels. Granted, the Z8 is now a three-year-old camera, but even the far more modern EOS R5 Mark II barely produces less noise than the A7R VI at higher ISOs.

Resolution (line widths/picture height):

Obviously the A7R VI aces our resolution test, resolving far more fine detail than the A7V. It's here that you're most likely to see an image quality difference between the two cameras, assuming you're viewing photos at 100% image size.

With the A7R VI, Sony has demonstrated that you can have incredible resolving power without having to make noticeable image quality compromises elsewhere. Inevitably such an accomplished performance comes at a hefty financial cost, but if you’ve got the cash to splash, image quality from Sony’s latest A7R doesn’t disappoint.

If you're pondering the Canon EOS R6 V vs R6 Mark III, you're not alone. Canon has made the once-straightforward 6-series line quite complicated this generation, with complementary but confusing companion models.

Both cameras share near-identical core specs – the 32.5MP / 7K 60p sensor, 40fps burst shooting, 7K 30p open gate and so on – but there are key physical differences, from the ergonomics and strength of the IBIS to the presence or absence of mechanical shutter, EVF and active cooling, making the Canon EOS R6 V vs R6 Mark III decision quite a nuanced one.

Further complicating things is the fact that those core specs are also shared by the Canon EOS C50, which adds a further tier of difficulty. And on top of that, the R6 Mark II is still a current product (though its specs are completely different)…

If you want a comparison of all these bodies, I recommend my article Will the real Canon EOS R6 please stand up! Do you need the R6 II, R6 III, R6 V or C50? However, for a Canon EOS R6 V vs R6 Mark III tête-à-tête, read on…

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

The technical capabilities for stills are virtually identical except for one crucial difference: the R6 V lacks a mechanical shutter. Which isn't unique among mirrorless cameras; the Nikon Z8 and Z9 likewise only have a mechanical shutter.

So what's the issue? Unless the camera has a global shutter sensor (like the Sony A9 III), which reads the entire sensor at once, you are subject to experiencing "rolling shutter" when shooting fast-moving subjects and / or panning the camera with them.

This is because traditional sensors are scanned line by line, top to bottom, which can cause subjects or scenery to appear skewed as they have moved between each line being scanned.

In addition, electronic shutters are prone to banding and other artefacts when shooting under artificial light – but mechanical shutters are immune to rolling shutters and far less prone to banding issues. Which means you need to be mindful if you're going to shoot a lot of stills with the R6 V.

Aside from specs, though, there's also the physical attributes of the R6 V. It lacks an electronic viewfinder, which means you are limited to shooting from the rear screen – and you'll be doing it with a stop less of in-body image stabilization (IBIS).

On top of that, the R6 V's ergonomics and button placement – along with the design of the buttons themselves – are optimized for filming video, not for prolonged stills shooting.

By contrast, the R6 Mark III has been engineered as a stills-first camera. It has better ergonomics, better IBIS, a viewfinder and a mechanical shutter – and it also supports on-camera flash (Canon says that the R6 V will get flash support via firmware, but doesn't have it out of the box). All of which means that it's the superior camera for photography.

(Though if you only ever shoot on the rear screen and you have no intention of shooting indoors or fast subjects, the R6 V will absolutely do what you need it to.)

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

Okay, an argument could be made that the R6 V is just as good as the R6 Mark III for stills. However, there's no doubt that the R6 V trounces its sibling when it comes to recording video.

Again, the technical specs are virtually identical. But the R6 V has some massive physical and hardware advantages – namely in the form of an active cooling system. Where the R6 Mark III, with no fan to dispel heat, faces limited recording times when shooting high-resolution video, the R6 V can record for prolonged periods without overheating.

The R6 V is also geared for vertical shooting, with a second (vertical) tripod mount and a user interface that reorients 90° when you place the camera in a vertical position. It also has a tally light, so you and your subjects always know when it's recording.

As noted above, the controls on the V have also been completely redistributed for video-first operation – and their default assignments are to essential video features like zebras, peaking and live streaming.

One of the most important controls is the power zoom rocker switch, positioned in front of the record / shutter button. This enables you to perform smooth electronic pushes and pulls when using Power Zoom lenses like the Canon RF 20-50mm f/4L IS USM PZ.

The EVF-free design also makes the R6 V's rectangular body much more riggable and apt for cages. It doesn't support the XLR handle for the Canon EOS C50, but you can add Tascam's third-party XLR adapter for premium audio input.

Speaking of the C50, it's worth noting that neither the R6 V nor the Mark III offer things like shutter angle, timecode or anamorphic lens support, for which you'll need to opt for the cinema sibling.

Still, if you only need to shoot occasional video, the R6 Mark III is perfect for capturing complementary footage with your photographs. But if video is your main reason for picking up a camera, it's the R6 V all the way.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

It's quite a close call, but the EOS R6V comes in as the more affordable option both body-only and in a kit.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

Meanwhile the Canon EOS R6 Mark III comes in slightly higher, at $2,799 / £2,799 / AU$4,199, or in a kit with the Canon RF 24-105mm f/4L IS USM for $4,049 / £3,899.99 / AU$5,999.95 (in the US and UK it's also available in a kit with the Canon RF 24-105mm f/4-7.1 IS STM for $3,149 / £3,149.99).

Those kit options really tell the story of who these cameras are for, the Mark III being sold with an all-purpose photography optic while the R6 V is packaged with a video-first Power Zoom lens.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

Ultimately, at the risk of becoming a broken record, these two cameras are essentially identical in terms of their specs – they're two of the best hybrid cameras and do a brilliant job at both stills and video. However, they don't do an equally brilliant job at both.

Which means that it all comes down to what you shoot. If you're primarily a photographer, the Canon EOS R6 Mark III – with its mechanical shutter, EVF, ergonomics and better IBIS – is a far better stills camera.

If you're a video-first shooter, the Canon EOS R6 V – with its active cooling system, tally light, and vertical-friendly shooting and operation – is the better camera for creators, vloggers and videographers.

The Sony A7 V has dominated sales charts since the mirrorless camera’s launch in late 2025, but Sony may have already outdone itself. In the latest list of top trending mirrorless cameras at US retailer B&H, the newly launched Sony A7R VI has taken the top spot, pushing its lower resolution sibling, the A7 V, down to the second rung on the ladder.

The Sony A7 V has led several sales charts since its launch, including charts in both Japan and the US, a trend likely fueled by the full-frame camera’s balance between 33MP stills at up to 30fps and a mid-tier price point.

But in May, something major changed: Sony announced the long-awaited update to the high-resolution R series, the Sony A7R VI. The new mirrorless does what previous A7R cameras did not in that it offers both a high resolution 66.8MP mixed with 30fps burst speeds.

While the Sony A7R VI brings an impressive list of features, the camera had some mixed reactions – mainly because, along with the feature list, the list price sits higher than earlier generations.(And, like the A7 V, there’s no open gate video.)

However, if sales data from the major US camera retailer B&H is any indication, that price didn’t keep Sony fans away from pre-ordering the new mirrorless camera, which B&H estimates will begin shipping on June 4.

While the data hints at early success for the A7R VI, it’s not uncommon for a new camera to dominate trend lists but drop off in later months as the pre-orders from creators who have been waiting for the latest version taper off – so time will tell if the A7R VI becomes one of the most popular launches of 2026.

While the body-only Sony A7R VI is first and the A7 V second, the A7R VI with the new 100-400mm lens announced alongside the new camera follows close behind. The top ten trending mirrorless cameras at B&H in May are:

• Sony A7R VI
• Sony A7 V
• Sony A7R VI with 100-400mm f/4.5 kit
• Canon EOS R5 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 Mark II
• Sony A6700
• Canon EOS R7
• Canon EOS R6 V
• Nikon Z8

While Sony cameras take the top three, Canon has half of the top ten. Notably, however, the Canon EOS R6 V, which was announced on the same day as the A7R VI, isn’t coming in quite as hot at ninth place. The new V series model takes the sensor and processor of the popular Canon EOS R6 series – two of which are also on the top ten list – and reimagines the camera for video, sacrificing the viewfinder for an active cooling system.

With the Sony A7R VI and Canon EOS R6 V brand new launches that are still in pre-order status, it will be interesting to see where the models fall as all the pre-launch excitement tapers off – and whether or not the A7R VI’s dominance also holds true from other retailers and regions.

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Has Sony just kneecapped its best professional camera?

The company has a brilliant flagship, the Sony A1 II, which marries 30fps speed with 50MP resolution. However, with the launch of the Sony A7R VI – which offers 30fps and 66.7MP resolution – you have to ask whether the A1 II is still Sony's top dog. The alpha, if you will.

And that's exactly what we did on the latest episode of the DCW News Podcast, where I was joined by my colleague Hillary Grogonis who has extensively tested Sony's new pixel-packed powerhouse. You can watch the full episode embedded below.

ABOVE: Watch the Sony A7R VI discussion

James: I kind of wonder, first of all, is this Sony's best wildlife camera? And also, does it make the A1 kind of pointless now? Because it exceeds the A1 in terms of resolution, it's got a 30fps burst, so what does this do to the Sony product lineup? It feels like everything's a little bit out of kilter now."

Hillary: It definitely feels like Sony has really narrowed the gap between their different options. So, one of the biggest differences as far as wildlife and sports goes is [the A7R VI] is going to keep that 30fps for a lot longer. It's got a much bigger buffer on it. I believe the A1 II can shoot at 30fps second for up to 240 RAW frames, and the A7R VI is 150 frames. So, quite a difference there.

How about that 66.7MP resolution – it's not that many more pixels than the 61MP Sony A7R V. Does it really make that big a difference?

Hillary: I kind of thought that the 67MP was the least exciting thing about the camera, to be honest. That stacked sensor, that speed is not common with something with such a high resolution. So, I was really excited about that stacked sensor.

James: Here's a consideration. So, 67MP in general, that's going to give you some big image files. If you're going to shoot this even at 15fps, let alone 30fps, you're going to end up with a whole bunch of high-res files. What does this mean in terms of storage? You've shot enough wildlife with this thing to have an idea. How much did it make your hard drive hurt?

Hillary: I think my hard drive cried a little bit, to be honest. But, I also think Sony has a unique solution here; just because it shoots at 30fps doesn't mean you mean you need to shoot at 30fps the whole time. They added the option to customize one of the buttons, in order to trigger a temporary 30fps burst.
So when I was photographing a bird and it was just sitting there on a branch, not really moving a lot, I don't need 100 photos of it. I could shoot at like 5fps, 10fps. And then, you know, if something happened, all I had to do was one press of the button and it was shooting at full speed again.
I think that's a really clever workaround, the option to shoot fast when you need it and slower when you don't, cause storage is going to be a big problem with the cost of hard drives and memory cards.

We talk plenty more about the Sony A7R VI – the $4,500 price tag, autofocus performance, missing features like open gate video, whether Sony A7R V users should upgrade, how Canon and Nikon will respond – on the DCW News Podcast, so check out the full discussion!

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See how the A7R VI fares against the highest resolution cameras on the market, as well as the best Sony cameras across the entire range.

Despite newer flagship releases from Canon, Sony, and Nikon, one 2023 full-frame camera continues to outperform recent models in Japan's sales charts.

In Kitamura's latest monthly ranking, the Sony A7C II has taken the No.1 spot as the best-selling camera. This follows a trend seen at another major Japanese retailer, Yodobashi, where the same model recently overtook the Sony A7 V after it led sales for six consecutive rankings.

Together, the data from both retailers highlight a consistent pattern: despite the release of newer models, the A7C II – launched three years ago – continues to be a top choice among buyers.

Kitamura's 10 best-selling cameras, April 2026

1. Sony A7C II
2. Sony ZV-E10 II Power Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Nikon Z30 Double Zoom Kit
6. Fujifilm X-T5
7. Sony A7 V
8. Canon EOS R50 Double Zoom Kit
9. Fujifilm X-T30 III
10. Canon EOS R6 Mark II

Why the Sony A7C II continues to sell strongly

Launched in 2023, the A7C II remains one of Sony's most successful compact full-frame mirrorless cameras, offering a balance of performance, portability, and price.

Priced at $2,498 / £1,999, it delivers full-frame image quality in a compact body weighing just 514 grams (1 lb 2.2 oz) and is particularly appealing for travel and hybrid shooters.

Under the hood, it features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS) and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

A full-frame "sweet spot" camera

While newer full-frame cameras often lean heavily toward either high-resolution photography or advanced video production, the A7C II continues to stand out as a balanced all-rounder.

Its combination of compact design, strong AF (autofocus) performance and capable video specs means many users simply don't feel the need to invest in newer and more pricey models.

This 2023 model still delivers everything most photographers need – and while camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

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There was a lot to love about the Canon M6 Mark II, which was the flagship of the EOS M system. In case you don't know, that was the company's first foray into mirrorless cameras – but it was sadly discontinued in 2023.

While the Canon M6 Mark II had some killer specs – built around a high-resolution 32.5MP APS-C sensor, capable of 14fps bursts and 4K 60p video – there was one feature that was absolute genius: the optional, removable, electronic viewfinder (EVF).

This one accessory made the Canon M6 Mark II one of the most versatile cameras the company has ever made – and my dearest wish is that Canon resurrects it for the EOS R system.

Take a look at the common criticism leveled at cameras like the Canon EOS R50 V and EOS R6 V: they're brilliant cameras, and very compact, but most people wish that they had a viewfinder – or at least, the scope to add one – for proper stills shooting.

This isn't just a Canon thing; everything from the Nikon Z30 to the Sony ZV-E10 II has the same issue. Yes, they're designed primarily for video, and yes, this enables them to keep a smaller form factor by eschewing an EVF. But wouldn't it be nice if you could buy an EVF that mounts to the hot shoe, for those times you need it?

That's exactly what Canon used to offer, but the Canon M6 Mark II was the last camera to support the EVF‑DC2 add-on (which also worked with other select EOS M and PowerShot cameras).

It made the Canon M6 Mark II so much more useful; without the EVF, you could slip the camera into a large pocket or easily toss it in a fanny pack or small sling bag for everyday shooting. Then, for those occasions where you really needed to zero-in, you could click the EVF‑DC2 into the shoe.

Given the clever new Multi Function Shoe boasted by Canon's latest cameras, it could produce a brilliantly fast and high-resolution finder if it wanted to. Or even just update the EVF‑DC2 with the correct communication pins so that it can be used on the likes of the R50 V and PowerShot V1.

Come on, Canon – I know I'm not the only person who has asked for this, so please bring back the best thing about the Canon M6 Mark II! (Well, aside from the sensor that has now found its way into the EOS R7…)

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If you're an EOS M user, take a look at the best Canon EF-M lenses – and don't forget that you can easily adapt the best Canon lenses for DSLRs!

A Canadian wedding photographer and camera tinkerer has seemingly managed to install DOOM on his Nikon Zf. You heard that right, an Instagram video shows the 1993 first-person shooter video game running on the rear LCD screen of Nikon’s full-frame retro camera in what has to be my favorite unofficial camera enhancement of all time. In the video (below) Taylor Jackson can be seen using the camera’s d-pad to navigate the grisly sci-fi setting and using the playback button to fire ‘Doomguys’’ pistol.

Hilariously, Nikon USA has commented on the video stating: “We have questions 👀”. Now, I’m no hacker, but when I Googled the subject, the search page’s AI Overview seemed to think that loading third-party software onto a modern Nikon was very difficult given the locked-down architecture of the 'Big N's' cameras. The footage does look very convincing but whether it's a genuine port or camera trickery, the practice of loading DOOM onto unconventional devices most certainly does happen.

You see, there’s a bit of an internet tradition to try and get DOOM to run on weird tech. Tech nerds are intent on fighting the demon hordes via pretty much anything imaginable, office printers, calculators, heck, even a pregnancy test! It would seem that almost anything with a visual interface is fair game.

One of the most comprehensive accounts of porting DOOM to a camera can be watched below by YouTube gaming royalty LGR, which managed to get the game running on a Kodak DC260 digital camera and is most definitely real.

In the video below, it’s explained that the 1998 camera features an onboard computer, enabling users to download or even develop third-party apps. In the case of the Kodak DC260, a bespoke version of DOOM is downloaded onto a CompactFlash card, which is then inserted into the camera and run via the camera’s Applications menu. I’ve also seen a video from @knoptop, running the game on a keychain camera!

I’m sure the process was a little different for the Nikon Zf, but essentially, DOOM lends itself to being ported because the original code is now open-sourced and by today’s standards, this once-demanding computer game requires little processing power to run.

I hate to be a killjoy, but it is worth noting that installing third-party software onto a camera could end up voiding the warranty, so I’d be more inclined to mod a cheap used buy as opposed to a $2,000 / £2,000 modern mirrorless camera.

I do love the concept of a ‘90s video game classic running on a retro camera though. The Nikon Zf is based on the Nikon FM2, which was actually released in 1982, the same year that Pac-Man was released. Well, Taylor, if you’re reading this, you know what to port next!

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Ocassionally the worlds of photography and video games collide. Here are 14 of the best photography video games. If you're into the Nikon Zf, but would prefer a more affordable and portable option, check out the Nikon Zfc. For more vintage-looking delights, here are the best retro cameras.

The tiny but mighty Nikon Z30 is a camera that’s often overlooked in the West, but has proven incredibly popular in Japan, frequently making its way onto the BCN+ Ranking. And there’s one particular feature I don’t think is talked about enough: its imaging prowess.

Before I get into that, though, I want to talk about a few reasons why it hasn’t proven so successful in the US and UK.

The biggest sticking point is the viewfinder – or lack thereof. Now, the Big N would probably justify this due to the Nikon Z30’s vlogger-centric design.

However, while the Nikon Z30 did launch with decent enough video specs for the time, the lack of a headphone port was a major shortcoming for vloggers. And while no 4K 60p and IBIS (in-body image stabilization) were common within the Nikon Z30’s class, just one of those upgrades would have set it apart from the pack.

Add to that Nikon’s lack of solid video credentials in a pre-Red acquisition world and I can see why the camera has been a bit of a hard sell for Western vloggers. As for photographers, the Nikon Z30’s specs are almost identical to the original Nikon Z50, which does have a viewfinder.

No competition, right? Well, that depends on who you ask.

Shift back to the Japanese market and you have an imaging culture that holds small cameras in very high regard. The Nikon Z30 isn’t just small for an APS-C interchangeable-lens camera, it’s also extremely well-built. And not only is it rock-solid, but that deep grip means that it fits firmly in the hand.

The real magic happens when you start taking photos. Nikon is known for producing extremely high-quality RAW files and the Nikon Z30 is no exception. That APS-C 20.9MP sensor delivers the goods: files are richly detailed and pliable in post, and Nikon’s color science is top-notch.

And while it’s not a megapixel monster by today’s 40MP standards, that’s not actually a bad thing. Firstly, it means bigger photosites than a higher-resolution APS-C sensor – resulting in better low-light performance.

Secondly, it’s easier to avoid camera shake when using a 20MP sensor. Because once you’ve applied the 1.5x crop factor to the focal length in question, you can stick to the reciprocal rule rather than having to double or even triple it when using higher-resolution sensors.

Don’t forget that this is a proper Z-Series camera, meaning it’s compatible with the huge amount of Nikon Z lenses, which deliver supreme optical quality time and again.

To top it all off, the Nikon Z30 is an affordable camera. It launched with an RRP of $709.95 / £699 and nowadays you can find some absolute bargains on the used market. All that being said, I really think this camera deserves more respect here in the West!

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Interested in small interchangeable-lens cameras? Check out the Fujifilm X-E5. If you’re open to fixed-lens cameras, here are the best compact cameras. And if you like the Nikon Z30 but want something a little more advanced (and with a viewfinder), look no further than the Nikon Z50 II.

As great as mirrorless cameras are, one area where the good old DSLR still reigns supreme is battery life. For instance, the Nikon Z9 has a CIPA-rated battery life of 740 shots, whereas the D6 can manage an incredible 3580. In real-life shooting the Z9 will likely do much better, but the fact remains that using an LCD display for live-view shooting consumes precious battery life.

But a new rumor suggests Sony might be working on a possible solution. According to a source via Sony Alpha Rumors:

Sony is working on a new display technology for its Alpha cameras after 2026’Q3. This FSC-LCD unit will use 70% less energy and make the camera’s Live-View time much longer.

The FSC (Field Sequential Colour)-LCD, uses a high-transmittance grayscale liquid crystal display without R,G,B colour filters. It uses RGB Edge-Mini LED backlight, which means that the red, green, and blue light-emitting diodes can be switched on and off 720 times a second. This technique combines to produce a 240Hz refresh rate colour image on a grayscale 720Hz IPS LTPS LCD, delivering a flicker-free visual experience.

FSC-LCD technology is currently under development by Sony, TCL and Hisense. TCL is planning to promote FSC-LCD televisions featuring RGB-LED backlighting in the future, and a prototype TV has been exhibited in 2025.

Sony’s BRAVIA TV business will establish a joint venture with TCL in the 2027, with both parties operating the venture jointly.

It should be noted that a 70% energy saving in a camera's LCD display probably won't result in an equivalent percentage increase in shots captured per charge. This is due to the LCD screen being just one of many camera components that drain battery power. However, such a significant energy saving in the LCD should at least give a noticeable improvement in overall battery life. If this rumor is true, we may only have a few months to wait to see the new screen tech materialize.

Canon has done something very "Apple" with the R6 family: there are now four concurrent models in this extended lineup.

The centerpiece is obviously the Canon EOS R6 Mark III, but the older R6 Mark II is still on sale at least through the end of 2026 – and joining the base models are the EOS R6 V and the EOS C50, which share identical architecture and virtually the same specs as the Mark III.

So what's the difference between all these cameras – and which one do you actually need? Here's a quick Canon EOS R6 II vs R6 III vs R6 V vs C50 comparison to help you work out which is right for you.

Canon EOS R6 II vs R6 III vs R6 V vs C50: Specs

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for photo

Let's be clear: the base R6 models, the Mark II and Mark III, are built for photography – the R6 V and C50 are video-first bodies. So, even though the latter both possess the same specs as the Mark III, they lack things like a viewfinder, a mechanical shutter, the same level of stabilization and stills-oriented ergonomics.

Which means it's a toss-up between the Mark II and Mark III. On paper, there's no doubt that the newer camera is superior; it shoots higher-resolution stills (32.5MP rather than 24.4MP), has sturdier stabilization (up to 8.5 stops, up from 8) and has a deeper buffer (150 RAWs instead of 75) for rapid-fire shooting.

It also has slightly improved autofocus, which I particularly noticed when photographing wildlife and especially birds in flight.

However… all of those are "nice to haves" rather than essentials. Because I'll be honest, the Mark II's autofocus is still more than good enough (and still better than the AF on Sony and Nikon bodies). And while it's nice to have more megapixels, 24.4 is still plenty for most tasks. Ditto the stabilization.

For me, the real difference-maker is the buffer capacity. Being able to rattle off 40fps bursts for literally twice as long is important if you're shooting sports, wildlife or other fast action.

🏆: Canon EOS R6 Mark III

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for video

When it comes to video, while R6 III has virtually identical specs, the R6 V and C50 are both far and away superior devices for dedicated and prolonged recording.

This is due to one simple factor: active cooling. Both the R6 V and C50 have a fan, with this cooling system providing extended and even unlimited record times when recording high-resolution video – particularly useful when recording 7K 60p RAW or 7K 30p open gate.

Other than that, the differences between these two bodies put each camera firmly in one of two categories: the R6 V is a hybrid camera tailored for content creators and solo videographers, while the C50 lives up to its name as a pure cinema camera.

What does this mean, in real terms?

Well, the R6 V has weather sealing and in-body image stabilization, both of which are missing on the C50. It also boasts the same AF system as the R6 Mark III, which is to say it has superior subject detection and tracking (compared to the still-good but less-sophisticated EOS iTR AF X of the C50).

For true cinema purposes, the lack of IBIS on the C50 may actually be a boon (for hard-mounting the camera or using it with rigs). But it also boasts dual base ISO (at 800 and 6400) for cleaner video, along with support for things like anamorphic lenses, timecode, XC protocol and the XLR handle.

So the winner here, really, depends on whether you're creating content or shooting cinema.

🏆: Tie – Canon EOS R6 V / C50

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best value

This one is easy: the R6 Mark II, as a camera released in 2022, is by far the best value for money of the R6 family.

Currently priced $1,999 / £1,699 / AU$2,360, if you want to maximize your bang for buck then you don't need to look any further.

Next up on the pricing tier is the R6 V, which will run you a cool $2,499 / £2,399 / AU$3,599.

Then it's the R6 Mark III, at $2,799 / £2,799 / AU$4,199.

Finally, at top dollar it's the C50 with a reassuringly cinema-oriented price of $3,899 / £2,999 / AU$4,999.

🏆: Canon EOS R6 Mark II

Canon EOS R6 II vs R6 III vs R6 V vs C50: TLDR

So, after all that, which member of the extended R6 family is actually right for you?

It depends.

If budget is your first consideration, the R6 Mark II still offers excellent performance – 24.4MP stills, 40fps bursts, HQ 4K 60p, 8 stops of IBIS, weather sealing – for under 2,000 bucks in the US and UK.

If you want the best photographic experience, it's the R6 Mark III. With its 32.5MP stills, 40fps bursts with double the buffer of the Mark II, 8.5 stops of IBIS, weather sealing and slightly but noticeably improved autofocus, this is the one to go for. You also get 7K and open gate as a bonus, but record times will be limited by the lack of cooling system.

If you're a solo content creator then I would opt for the R6 V. It has all the stills capabilities of the Mark III (just without an EVF or mechanical shutter) but adds an active cooling system, vertical tripod mount and UI for social media shooting, support for things like shutter angle and zebras, and it's still weather sealed with 7.5 stops of IBIS.

And for the highest-end videography, the C50 is going to be the best choice. The lack of viewfinder, stabilization, weather sealing and mechanical shutter mean it isn't a choice for photography, casual or run-and-gun shooting. But features like the dual base ISO, support for anamorphic lenses and timecode, plus the bundled XLR handle will be uniquely useful for "proper video".

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One of Fujifilm's most popular mirrorless cameras is the Fujifilm X-M5 – so popular, in fact, that like the viral Fujifilm X100VI, it’s often hard to find in stock.

There’s a good reason for its popularity, with its affordable price and tiny design, but as a Fujifilm photographer it’s not the budget body that I would pick: I would choose the Fujifilm X-S20 instead.

There are two key reasons that the X-M5 is so trendy. First, it’s Fujifilm’s cheapest currently produced mirrorless, retailing for $999 in the US even when bundled with a lens.

But the X-M5 is also incredibly small, so I think part of its success is down to the fact that it makes an excellent alternative to a compact camera. At just 12.5 oz body only, the X-M5 is quite portable for a mirrorless body.

I’m not knocking the X-M5 – I think it’s a solid compact alternative and an entry-level option that still has a healthy dose of features, particularly for hybrid shooters. But, if I had to pick an affordable Fujifilm mirrorless right now, the X-S20 is the one that would win my attention.

The X-S20 has several things in common with the X-M5 – as well as the Fujifilm X-T30 III – including the same 26.1MP sensor, 20fps bursts and 6K video. But there are a couple of key reasons that I gravitate towards the X-S20 as a photographer.

The first reason that I’d save up a bit more for the X-S20 is that, unlike the X-M5, it still has a viewfinder. This does make the camera a bit larger in comparison, but it’s well worth it.

Viewfinders are much easier to see in bright sunlight and support a more ergonomic grip than framing the shot with the LCD screen. (The X-S20 also has a more comfortable grip than the X-M5.)

Image stabilization is the other big reason to consider the X-S20, as the X-M5 lacks stabilization in the body.

I hate hauling tripods around, and stabilization helps me take crisper images in low light without one, as well as being a big help when using longer lenses. Stabilization is one of those features that tends to come at a higher price point, yet it’s exceptionally helpful for beginners.

Stabilization is also the reason why I’d pick the X-S20 over the more affordable X-T30 III – which bridges the gap between the X-M5 and the X-S20 in Fujifilm’s lineup and also has a viewfinder.

But the reason that I’m tempted by the X-S20 right now is that B&H has it bundled with Fujifilm’s new pancake lens at a nice discount in the US.

The X-S20 is usually paired with the Fujifilm XC 15-45mm or the Fujifilm XF 16-50mm kit lenses, but the retailer has a bundle right now that includes the Fujifilm XF 23mm f/2.8 R WR.

This tiny pancake lens truly makes for a portable package, and the equivalent 34.5mm focal length with f/2.8 aperture is both versatile and a dream to shoot with!

Fujifilm has a handful of more budget-friendly options, but the viewfinder and in-body stabilization would make the X-S20 an easy decision for me.

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In a world of increasingly complex cameras, one minimalist full-frame mirrorless camera is standing out – and is winning awards for it.

The Sigma BF is a camera that strips things back to the essentials. Its design philosophy focuses on simplicity, encouraging photographers to concentrate on the act of taking a picture rather than navigating menus or features.

This approach has now been recognized at the Camera Grand Prix 2026, where the Sigma BF received the Editor's Choice R&D Award.

Editor's Choice R&D Award: Sigma BF

The Camera Grand Prix 2026 is one of Japan's most prestigious photography awards. The Sigma BF was praised for its radical simplicity and design-led philosophy.

"The Sigma BF is based on a design philosophy that returns to the essence of the act of 'taking a picture,' simplifying the control and display systems to the extreme. This creates a unique user interface that allows for deep concentration on the act of shooting itself. We highly valued this aspect.

"Furthermore, the unibody structure, machined from aluminum, combines high rigidity with craftsmanship, boldly expressing the material appeal of a camera as a product.

"Its innovativeness, which re-examines the raison d'être of the camera from an approach different from the conventional trend of increasing multi-functionality, and presents new value and direction, is particularly noteworthy."

Why simplicity matters in photography

Sigma CEO Kazuto Yamaki calls the BF "beautiful foolishness" – a phrase inspired by The Book of Tea, which celebrates the beauty of simplicity over excess.

It's less a product slogan than a philosophy: that stripping things back makes photography more intentional, not less powerful. That idea runs deep in Sigma's identity, a company founded in 1961 by Kazuto Yamaki's father and long known for its unique, design-led approach to camera making.

You can read more about this in our interview with Yamaki (where he says, among other things, that he thinks he can make Sigma "a nicer brand" than Canon and Nikon, even if he can't make it a bigger company).

By stripping the camera down to its essentials, the BF encourages a more considered way of shooting. It offers something no feature-heavy camera can offer in the same way: it teaches how to see.

Without distractions from menus or layered functions, attention naturally shifts to the fundamentals of photography – subject, light, composition, and timing.

In that sense, the camera is less about what it does for the photographer and more about how it gets out of the way. The Sigma BF is built for focus and intention, helping photographers concentrate on the essence of photography.

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If the camera sparked your interest, you can read our Sigma BF review. And see why Sigma's CEO says "I don’t believe I can make Sigma a bigger company than Sony or Canon, but I think I can make it a nicer brand”.

Fujifilm’s flagship X-H2 and X-H2S cameras offer not just the fastest speeds but the beefiest grips – but photographers may soon not be able to add an official grip to the pro mirrorless. Fujifilm has officially discontinued both the VG-XH and FT-XH vertical battery grips for the X-H2 bodies.

When some retailers removed the listings for the battery grips, the change began fueling rumors that the two accessories have been discontinued. But when I reached out to a representative at Fujifilm US, the company confirmed that both grips have been discontinued.

The demise of the FT-XH doesn’t come as a surprise – that’s the grip that enables the cameras to wirelessly upload images to Frame.io. When Fujifilm eventually rolled out a firmware update that enabled the feature to do this without the accessory, I imagine the FT-XH didn’t warrant the price jump over the VG-XH.

Discontinuing the VG-XH feels a bit more unusual, as the accessory offers longer battery life and vertical grip and controls for the flagship bodies. The grip, like the bodies themselves, is weather-resistant and adds two batteries to the camera. The grip also adds a vertical shutter release with front and rear dials and a handful of added buttons.

The X-H2 was the first Fujifilm body to feature the 40.2MP X-Trans sensor and X-Processor 5 before the sensor rolled out to other models like the X-T5, X-E5, X-T50 and the viral compact camera, the X100VI.

The lower resolution but speedy X-H2S was announced in May of 2022 and started shipping later that summer, while the X-H2 followed in the fall of that same year. That means the camera bodies are turning four years old this year, a fact that seems to be fueling wish lists and speculation over what’s next for the next generation of Fujifilm’s X series.

While Fujifilm has stopped producing both grips, a handful of retailers still seem to have stock left – but the change suggests that photographers who have been eyeing the grips may not want to wait. A handful of retailers still list the grip in stock, including Adorama in the US and London Camera Exchange in the UK. It's also available used at MPB.

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Established in 1984, the Camera Grand Prix is one of the photography industry's most prestigious awards, both in Japan and internationally. The 2026 winners have now been announced.

Organized by the Camera Journal Press Club, the awards recognize standout products released in Japan during the previous fiscal year, with seven prizes handed out this year. Alongside awards decided by editors and industry experts, the Readers' Awards highlight the camera gear that photographers themselves voted for.

The 2026 Readers' Award in the camera category went to the Canon EOS R6 Mark III, with users praising its performance, refined handling, and impressive price-to-performance ratio.

Readers' Award – Camera: Canon EOS R6 Mark III

The Camera Grand Prix 2026 published a selection of comments from voters explaining why the Canon EOS R6 Mark III earned the prestigious honor.

One theme quickly stood out: users across different genres and experience levels were impressed by the camera's balance of performance and value.

"This camera is just as good as the EOS R5 Mark II, but it's cheaper than the R5. Since it now uses CFexpress cards, I don't need anything more," wrote one user, while another added: "I was impressed by the overall high level of refinement, which is reminiscent of the DSLR, the EOS 5D Mark IV."

Another voter summed it up in one sentence: "This camera offers the best balance of image quality and price."

For some users, the R6 Mark III represents a philosophy that goes beyond specifications – one that "never betrays the photographer's intentions."

Canon EOS R6 Mark III: price & competition

The R6 Mark III also impressed us in our review. Available for $2,799 / £2,799, this powerful mirrorless packs so much performance that it feels close to a flagship model.

For context, the R6 Mark III launched in November 2025 at the same price as the R6 Mark II in 2022, though the older model is now available for $1,999 / £2,049.

While the R6 Mark III won't suit every budget, Canon says it features more than 50 upgrades over the Mark II. Here are six updates that could make the upgrade worthwhile for many photographers.

The R6 Mark III faces strong competition, with rivals including the Sony A7 V ($2,898 / £2,799), Nikon Z6 III ($1,996.95 / £1,599), and Panasonic Lumix S1 II ($2,897.99 / £2,599) – all excellent cameras in their own right.

Is this the best photo-first Canon on the market?

The R6 Mark III shares its core architecture with the Canon EOS C50, but targets photo-first hybrid shooters, while the C50 is designed primarily for video creators.

It also inherits one of Canon's best pro features: Registeres People Priority. This allows you to save up to ten faces in priority order, helping the camera focus on the right subject during group shots, weddings, events, and sports photography.

Still, advanced features matter little if AF (autofocus) can't keep up – and Canon's subject tracking stands out as one of the strongest in class, as our Canon expert and reviewer James Artaius highlighted.

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It's not fashionable with journalists and YouTubers, but the Canon EOS R100 is one of the most important cameras on the market.

While the industry focuses on the latest, greatest, cleverest and most advanced mirrorless cameras, the entry-level segment has almost completely disappeared. Except, that is, for the Canon EOS R100.

As photographers, we have lost all context of what "entry level" means – especially when it comes to price. You always see the Fujifilm X-M5 recommended as one of the best cameras for beginners, but that's $1,000 with a lens.

I don't know about you, but whenever a non-photographer asks me to recommend a beginner camera, the idea of a thousand bucks being "entry level" absolutely blows their minds.

But the Canon EOS R100 can routinely be had for under $500 with a lens – an affordable price point that is truly geared towards newcomers.

This is important because the industry needs new blood. It needs to be inclusive and accessible to everyone – especially in a world where prices are out of control.

There are no other cameras that offer what the Canon EOS R100 does – built specifically for the needs of beginners, eschewing extras they won't use to maintain a price they can afford.

And, thus, there are no other mirrorless manufacturers doing what Canon does, meaningfully supporting beginner photographers with affordable, entry-level cameras.

"Thank you for saying that," said Go Tokura, executive vice president and head of Imaging Group at Canon, when I had the opportunity to talk to him about the subject in Japan.

"I believe we are the only ones who are supporting [beginner photographers] with the R100 series."

I asked about the company's strategy not just for attracting new photographers, but especially encouraging young people to buy their first camera.

"It is our understanding that the cost is important, but the functions and performance is also important for the younger generation," replied Manabu Kato, executive officer, IMG Business Unit 1 and Imaging Business Operations.

"They also put importance on the joy of owning a camera, the joy of capturing the images."

I was discussing cameras with a fellow journalist recently, and he told me that while Canons "are clearly the best," they "aren't very fashionable". I don't think that's important. Gucci is fashionable, but it's hardly accessible to someone wanting to buy their first outfit.

Having a camera you can actually afford is far more important than having a fashion accessory hanging around your neck. And that's why the Canon EOS R100 isn't just one of the most important cameras on the market, it also sells huge volumes – despite what sniffy journalists might say.

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Take a look at the best lenses for the Canon EOS R100 along with the best Canon RF lenses across the range. If you've got a bit more budget, check out my Canon EOS R50 review as it offers more bang for your buck. See how they stack up in our Canon EOS R100 vs R50 comparison.

Since the launch late last year, the Sony A7 V has led a number of best-selling lists, but Sony’s newest Alpha is already showing similar signs of popularity. Despite only being announced last week, the Sony A7R VI – a 67MP full frame mirrorless camera that still shoots at 30 fps – is already popping up on best seller lists in the US at B&H and Amazon.

Best-seller lists hint at what gear is the trendiest among photographers, videographers, and content creators. The Sony A7 V has proved popular over the last few months, including leading best-seller lists in Japan.

But after Sony announced the A7R VI last week, the 67MP currently has the “top seller” badge at B&H and is already climbing the ranks at Amazon as well.

B&H doesn’t give numbered rankings, but browsing mirrorless bodies and sorting by best-sellers, and the A7R VI now sits at the top of that list. That’s followed by the more affordable Sony A7 V, the Canon EOS R6 Mark II, the Canon EOS R5 Mark II, the Canon R6 Mark III, the Canon EOS R7, and the Nikon Z6 III.

Amazon’s list of best-selling mirrorless cameras tends to be more budget-focused, with the entry-level Canon EOS R50 currently in the top spot. However, the A7R VI has already popped up on the list. The A7R VI is only in 22nd place on Amazon’s top seller list, but it’s the highest-ranked mirrorless camera with a price tag above US$3,000.

Considering the Sony A7R VI was only announced on May 13, the camera has climbed quickly to the top of best-seller lists in just under a week. It’s not uncommon for new cameras to sell well at first as photographers eager to replace aging gear replace pre-orders, so only time will tell if the A7R VI’s rapid rise to best-seller lists has staying power.

But, the camera’s early success hints that the mirrorless body has been readily received – and for good reason. I spent some time with the Sony A7R VI and did some bird photography with it. Sony’s R series isn’t the first body that comes to mind for wildlife photography, but the high-resolution camera now shoots at 30 fps – triple the previous generation.

Photographers have traditionally been forced to choose between resolution or speed, but the A7R VI hints that technology is reaching a place where photographers can have both – and the A7R VI isn’t even technically a flagship. The Sony A1 II still offers the best mix of high resolution and speed with a larger buffer than the A7R VI’s, but there’s a significant price gap between the two.

While the best-seller lists at B&H and Amazon hint at some early success for the Sony A7R VI, only time will tell if the pricier model can overtake the A7 V’s months-long lead. I’m curious to see how the next best-seller lists from Japan will shake out, seeing how rapidly the sales data has already changed in the US.

View the Sony A7R VI at B&H, or find out where to order in the US and UK.

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Browse the best Sony cameras or the best E-Mount lenses.

Leica has released firmware version 4.1.0 for the Leica Q3, Leica Q3 43, and Leica Q3 Monochrom, bringing a useful round of refinements to its fixed-lens full-frame camera family.

While this is not the kind of update that completely changes the character of the cameras, it does make the Q3 series feel more polished, more consistent, and, importantly, better suited to photographers working with DNG files in third-party editing software.

The most interesting part of this update is Leica’s improvement to the color matrixes stored in DNG files. In simple terms, this should improve color rendering when files are opened in third-party software that uses these matrixes for color presets. For Q3 and Q3 43 users, this could mean more pleasing and accurate color straight from the raw workflow, which is exactly the kind of quiet but meaningful improvement Leica shooters will appreciate.

Color has always been a huge part of the Leica look. While the Leica Q3 Monochrom naturally sits outside that conversation in the traditional sense, the wider Q3 family is built around files that carry a very particular tonal character. Leica's improvement in how those DNG files are interpreted away from the camera shows that this firmware is not just about fixing small bugs, but about refining the image-making experience beyond capture.

There are also several usability improvements. Images shot in portrait orientation will now display in full-screen view, the selected AF mode is shown with an additional icon in the upper status bar, and focus peaking can now be set to appear only when focusing manually via the MF focus ring. Leica has also improved AF tracking feedback, with the tracking frame now changing color depending on detection status, while green markers confirm focus.

Firmware 4.1.0 also removes the warning message shown when powering up the camera with a BP-SCL4 rechargeable battery, and fixes an issue where the camera could freeze when switching from a profile with Leica Fotos turned off to one with Leica Fotos turned on.

It may not be the flashiest firmware update Leica has ever released, but for Q3, Q3 43, and Q3 Monochrom owners, this is a welcome refinement that improves the shooting experience and, most notably, the color workflow.

The Nikon Z5 is one of the best full-frame deals on the market. Since the incredible Nikon Z5 II was released, its predecessor has dropped in price on both the new and used markets. Heck, right now it’s $1,146.95 over at B&H Photo and it’s £789 at Wex Photo Video. Think about that for a moment, the Nikon Z50 II retails for $1,009.95 / £849. Don’t get me wrong, the Z50 II is a superior camera in almost every aspect. But it’s not full-frame…

Full-frame: What’s the big deal?

I’ll admit, we tend to talk about full-frame like it’s some kind of higher calling over APS-C or Micro Four Thirds and the same can be said for medium format over full-frame. The fact is, full-frame isn’t inherently better than APS-C, but like any system, it has certain advantages and disadvantages.

The biggest advantage is that a larger sensor means bigger photo sites, which means more effective light gathering for better low-light performance and higher dynamic range. Another advantage is that wide-angle photography is more accessible on full-frame cameras, simply because you have access to wider focal lengths due to the absent crop factor.

And while you might think that full-frame sensors create a shallower depth of field, that’s actually a myth. Any perceived change in depth of field is down to inconsistencies in aperture, focal length or distance. But by and large, you’re getting better quality imagery with a full-frame camera at the expense of portability and, well, expense…

You see, full-frame cameras are traditionally more expensive than crop-sensor cameras, but with some APS-C cameras such as the Fujifilm X-E5 targeted more towards the premium end of the market and the presence of last-gen full-frame cameras such as the Nikon Z5 and Canon EOS RP going for much the same or even less, making the jump to full-frame in 2026 isn’t the outlay that it used to be.

Full-frame vs APS-C

So, that settles it, forget that Fujifilm X-E5 or Nikon Z50 II and go full-frame then!? Well, not necessarily… This is why the larger sensor debate isn’t as cut-and-dried as some photographers make out. It all depends on how you intend to use your camera. Both the Nikon Z5 and the Canon EOS RP are older models. They were released roughly six and seven years ago, respectively. As such, they’re a bit slow by today’s standards, although the Nikon Z5 has in-body image stabilization, which is a boon.

If you want a more future-proof camera, faster AF, a slicker processor, a smaller form factor, and can live with the slightly inferior low-light performance and lack of IBIS (in the Z5’s case, the RP doesn't have IBIS), then the Nikon Z50 II is the better option for you. And when it comes to a Fujifilm APS-C camera like the X-E5, you’ve got that gorgeous retro-cool body, Fujifilm’s much-loved Film Simulations and a form factor that’s truly compact.

If you’re a landscape and/or low-light photographer who doesn’t care about speed and is looking to spend roughly $1,000 / £800 on a camera that will deliver top-notch image quality, then the full-frame options are worth checking out. Ultimately, the Nikon Z5 is trending because it’s an absolute steal. But a full-frame camera isn't necessarily for everyone...

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Interested in Nikon? Check out the best Nikon cameras. Interested in Canon? Check out the best Canon cameras. And if you can resist the retro look, here are the best Fuijfilm cameras.

Even though compact cameras may be making a comeback, few models are as unusual as the Ricoh GR IV Monochrome – a premium APS-C compact camera that is missing something most photographers wouldn't want to lose: color. Instead, it exclusively shoots in black and white.

Now the specialist camera has added a fourth major accolade to its list of awards, taking home the Editor's Choice Technology Award at the Camera Grand Prix 2026 in Japan, organized by the Camera Journal Press Club.

The latest win follows a string of recent honors for the GR IV Monochrome, including the Good Design Award, the DGP Imaging Award in 2025, and the TIPA World Award for Best APS-C Compact Camera.

Editor's Choice Technology Award: Ricoh GR IV Monochrome

The Camera Grand Prix 2026 states: "The Ricoh GR IV Monochrome is the first monochrome-only compact camera equipped with an APS-C sensor. To perfect monochrome expression, it features a dedicated monochrome image sensor.

"Furthermore, by eliminating color filters and interpolation processing, it maximizes the superior optical performance of the GR lens, demonstrating its true value in monochrome photography with high resolution, rich tonality and low distortion.

"Additionally, the ND filter found in the GR IV has been replaced with a red filter built into the lens unit, enabling impressive photographic expression that resonates with photographers.

"As a model commemorating the 30th anniversary of the "RICOH GR" series, its unwavering commitment to pursuing the ultimate snap shooter was recognized by CJPC members as a truly outstanding and unparalleled product, and it was selected for Editor's Choice Technical Award for the Camera GP 2026."

Camera Grand Prix

The Camera Grand Prix, established in 1984, is organized by the Camera Journal Press Club – a group of technical editors representing leading Japanese photography magazines and websites.

The awards celebrate standout products released in Japan during the previous fiscal year, with seven prizes given out this year.

• Camera of the Year: Sony A7 V
• Lens of the Year: Sony FE 50-150mm f/2 G Master
• Readers Award Camera: Canon EOS R6 Mark III
• Readers Award Lens: Canon RF 45mm f/1.2 STM
• Editor's Choice Technology Award: Ricoh GR IV Monochrome
• Editor's Choice R&D Award: Sigma BF and Fujifilm X Half

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The brand-new Sony A7R VI has the brand’s highest-resolution full-frame sensor yet, and the fastest burst speeds ever for the R series. But one of the features that I’m actually most excited about is admittedly much smaller: light-up buttons.

The Sony A7R VI has a tiny button tucked at the top that turns on backlighting for a majority of the buttons on the back of the camera. The A7R VI isn't the first mirrorless with buttons that light up in the dark, but as far as I'm aware, it's the first Sony body with this feature.

Between astrophotography and dim wedding receptions, I spend a lot of time behind a camera in the dark. Nothing quite tests my memory of my camera’s controls like trying to find the buttons in near-darkness.

I took the new mirrorless out to photograph the stars and the moon, and the small change was a major help. I no longer had to pull out my phone and turn on the flashlight – ruining my night vision – in order to remember where the menu button is or to find the playback button so I can see if my stars are in focus.

Not every label on the back of the camera lights up – the shortcut labels around the menu wheel for ISO and burst mode, for example, do not – but the buttons on the back of the camera with physical labels right on the button are all backlit, so they are easy to find in the dark.

You can see the illuminated buttons in action in this video:

I loved the light-up buttons on my Nikon D850, and Nikon did bring the feature to mirrorless on the Z8 and Z9 as well. Canon also has some models with these features, like the EOS R1 and R3, and the first-generation Panasonic Lumix S1, S1H, and S1R had light-up buttons as well.

Perhaps it seems silly to be excited about something as simple as light-up buttons on a 67MP behemoth of a camera. But the illuminated buttons aren’t the only part of the A7R VI that’s designed to be used in the dark.

The lens mount has a tactile point to aid in attaching the lens. A telephoto lens was a bit too difficult to mount by feel, but I was able to use the small notch to twist on smaller lenses. The "Auto" on the mode dial is also raised, so photographers can adjust to auto mode by feel.

I also think the A7R VI has one of Sony’s better grips. I’ve griped about Sony grips in the past, but the redesigned grip on the A7R VI feels nice in my hands.

Using a 200-600mm lens, I needed to support the lens with my other hand, but the grip was still fairly comfortable for such a front-heavy setup.

Perhaps the only strange part of the new illuminated buttons is the choice of camera that Sony decided to bring them to first.

Yes the A7R VI is one of the more expensive models, so it should have more features, but photographers who shoot in the dark often tend to gravitate towards lower-resolution models because the larger pixels tend to create less noise.

Regardless, the small change to those buttons actually feels pretty big for photographers who shoot in the dark – and I think more cameras need this feature.

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Stop motion mixes the best of photography and videography – but the photo animation technique comes with its own unique set of challenges. A number of Canon cameras support specialized firmware geared for stop motion animation – and the new EOS R6 V sits among them.

Canon’s Stop Motion Animation Firmware adds a handful of dedicated features for the technique, but it is a paid firmware upgrade – not one of the free routine updates that the manufacturer launches.

The new Canon EOS R6 V is eligible for that paid upgrade, but in the US, Canon also offers a version of the new video-focused mirrorless camera with the firmware already pre-installed. The EOS R6 V with the stop motion firmware lists for $2,599 – a $100 increase over the body without the stop motion firmware. (Canon’s UK webpage for the stop motion firmware does not yet list the R6 V as a supported option, nor a body with the firmware pre-installed.)

The firmware introduces a handful of tools to aid stop motion creators, particularly when working with dedicated software like Dragonframe. The remote live view resolution is increased from 960x640 to 1920x1280.

Creators have more control over the focus position. The Focus Position memory Recall allows creators to save a focus position on native RF lenses and recall it later from a computer using Dragonframe. Creators can program the focus without external accessories like focus motors.

Similarly, the aperture can also be locked using Dragonframe, which controls the aperture via a computer and helps prevent unintentional flickering in the animation.

The camera also gets a dedicated Stop Motion mode inside the camera’s menu.

Much of these same features are already available through the Stop Motion Animation firmware that’s also available for the EOS R5, R6 Mark II and Mark III, R8, and R100. The EOS R and RP also have a similar firmware upgrade option, but lack HDMI-related features.

The stop-motion version of the Canon EOS R6 V launches alongside the original base model in the US and is expected to begin shipping in June.

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Buying your first camera is the most important photography decision you’ll ever make. Get it wrong, and it’ll make your photography life much harder and less enjoyable. You might end up having to buy another camera – or worse, you might give up photography altogether.

So let me impart a little wisdom, as somebody who’s used more than their fair share of imaging devices: make sure that your camera has this one physical feature. Well, I say one, I guess it’s technically two – a front and rear command dial.

That’s it. But believe me, a pair of knobbly little wheels in which to rest your thumb and forefinger will revolutionize your photography.

You see, as you get more into photography and begin to master the exposure triangle, you’ll find yourself turning to semi-manual or even fully manual shooting modes, and trust me, having two command dials will make altering these three variables infinitely easier.

On my Nikon camera, the front dial controls the aperture and the rear dial controls the shutter speed. I control my ISO by holding down the ISO button and scrolling the rear dial, while using the front command dial to toggle auto ISO on or off.

(If your camera doesn’t have a dedicated ISO button, you should be able to assign a custom button.)

Command dials get used for a wealth of other functions when holding different buttons, too. For example, when I hold my camera’s exposure bracketing button, the rear dial controls the number of bracketed shots, while the front dial controls the increment of stops between each shot.

These two physical controls enable you to perform a wealth of tasks without ever having to move your eye from the viewfinder.

My camera recommendations

So, which beginner cameras have dual command dials? Well, my top picks for Fujifilm would be the Fujifilm X-T30 III, the Fujifilm X-M5 and the Fujifilm X100VI.

Nikon fans can opt for the Nikon Zfc and the Nikon Z50 II. And If you're looking for an entry-level Micro Four Thirds camera, OM System has the Olympus OM-D E-M10 Mark IV and Panasonic has the Lumix G97.

Canon is a tricky one, because it has a habit of only including one command dial on its lower-end cameras. Both the Canon EOS R100 and Canon EOS R50 only have one dial.

However, the Canon EOS RP is still available, boasts two command dials, and is one of the cheapest full-frame mirrorless cameras on the market. The Canon EOS R10 is the cheapest APS-C offering to feature two dials.

Sony is in a similar situation, but if you can find the Sony A7 III for a good price then you’ll have a full-frame camera you can grow with. And as a bit of an outlier, the Ricoh GR IV is an excellent example of a true compact camera with dual command dials.

And as always, make sure you head to a brick-and-mortar store or a trade show so that you can physically try out the cameras you’re most drawn to. If you’re a beginner photographer, you don’t have to worry about being locked into a system, so make sure you try out every manufacturer to see which one clicks.

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Want more of my ramblings? Manual exposure won’t make you a better photographer – want to get off auto? Do this instead. DON’T buy a camera just because of its specs. You must physically hold it first! And if you're working with a tight budget, here are the best cheap cameras.

Since launching in late 2025, the Sony A7 V has become one of Japan's biggest camera success stories – and now it has another major award to add to its growing list of accolades.

The Camera Grand Prix 2026, organized by the Camera Journal Press Club, has named the Sony A7 V its Camera of the Year, praising it for "establishing a new standard for full-frame mirrorless cameras".

The award follows another recent win for Sony after the A7 V was named Best Full Frame Expert Camera at the Technical Image Press Association (TIPA) World Awards.

Camera of the Year: Sony A7 V

The Camera Grand Prix 2026 states: "The Sony A7 V achieves both advanced processing power and low power consumption thanks to its next-generation Bionz XR2 engine, which integrates an AI processing unit.

"Equipped with a partially stacked Exmor RS CMOS sensor, it boasts a wide dynamic range of up to approximately 16 stops and enables blackout-free continuous shooting at up to 30 frames per second in 14-bit RAW.

"The real-time Recognition AF, inherited from the flagship model, boasts further improved tracking accuracy and reliability.

"Features such as 4K 60p video recording with full-pixel readout and a highly versatile 4-axis multi-angle LCD monitor meet the diverse needs of creative professionals at a high level.

"The A7 V overturned the conventional concept of a 'basic model'. Its high level of perfection, which established a new standard for full-frame mirrorless cameras, received very high praise from the selection committee."

Camera Grand Prix

The Camera Grand Prix, established in 1984, is organized by the Camera Journal Press Club, a group of technical editors representing leading Japanese photography magazines and websites.

The awards celebrate standout products released in Japan during the previous fiscal year, with seven prizes given out this year:

• Camera of the Year: Sony A7 V
• Lens of the Year: Sony FE 50-150mm f/2 G Master
• Readers Award Camera: Canon EOS R6 Mark III
• Readers Award Lens: Canon RF 45mm f/1.2 STM
• Editor's Choice Technology Award: Ricoh GR IV Monochrome
• Editor's Choice R&D Award: Sigma BF and Fujifilm X Half

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We all know that retro cameras are all the rage. And while sifting through Nikon’s Medium Term Management Plan that was released alongside its latest financial results, my photography journalist brain zipped straight over to the following sentence faster than a fly to a horse’s hind:

“Strengthen proposals focused on enhanced core performance and emotional value, including heritage-inspired design.”

Heritage-inspired design, you say? Now, you could accuse me of simply looking for the answers I want to find, but I cannot help but interpret this to suggest that Nikon could be planning to further embrace the development of retro cameras in the near future.

And when you look at the current photography landscape, it would make an awful lot of sense.

Both the Nikon Zfc and Nikon Zf have proven extremely popular cameras for Nikon, and you need look no further than Fujifilm’s X Series for proof that an extensive range of vintage-style cameras can bring home the bacon.

And while I’m not suggesting that the Big N is planning on a move into the instant camera realm, Instax is another example of the potential for revisiting retro tech.

Don’t forget the film revolution, too. This hasn’t just encompassed a move back to analog cameras, but also the retro look of film imagery.

Everyone from photographers to filmmakers and even casual Gen Zers with their post-Y2K compact cameras have been digitally fabricating film grain, faking halation and embracing a bit of blur.

A new audience for Nikon

And this is where I think the real genius for Nikon lies. The Zfc and Nikon Zf aren’t just popular with Nikon stalwarts like myself. Perhaps more so than any other Z camera, they’ve attracted new Nikon fans and have done so at a time when Nikon was kind of seen as being a bit (dare I say) uncool.

Heck, even plenty of Fujifilm fans loved the Nikon Zf because it provided something they didn’t have: a full-frame camera with retro looks. Authentic retro looks.

A big part of the Nikon Zfc and Nikon Zf’s appeal is that they are modelled after the legendary Nikon FM2, which was released in 1982.

Just as the Fujifilm brand adds a stamp of authenticity to its Film Simulations, thanks to its coveted history as a film manufacturer, Nikon is able to add a layer of authenticity via a near 80-year history of making cameras.

And, boy, are there some gems I’d like to see inspire future mirrorless cameras.

My top Nikon picks due a retro-camera return

First and foremost, I’d like to see a fixed compact camera modelled on arguably the most important Nikon camera of all: the Nikon I.

The very first Nikon camera was released in 1948 and is still one of the best-looking cameras ever made, in my book. And with rumors of a fixed-lens full-frame compact Nikon doing the rounds, I’d be over the moon if the Big N took a leaf out of Leica’s book and harkened back to its rangefinder history.

Another undeniably important camera in Nikon’s history was the Nikon F, which was released in 1959 and launched the legendary Nikon F-mount. And while I would never say no to a mirrorless camera inspired by this retro beauty, the Nikon FM2 isn’t a world away in the looks department.

So, a more obvious departure from the norm would be the Nikon F3. This 1980 camera was the first Nikon camera designed by legendary automotive designer, Giorgetto Giugiaro, and was the first Nikon to carry the famed red stripe.

As such, I think it would make a wonderful blueprint for future retro mirrorless cameras – truly a Nikon style icon.

Jumping to 2010, my colleague Hillary Grigonis made the wonderful suggestion that the all-but-forgotten Nikon Coolpix P7000 should make a comeback. Not strictly a retro camera, but a camera with its own pseudo-retro rangefinder look. I could certainly see an APS-C version of this camera proving popular.

And on the subject of curveballs, Nikon could do something really off the wall: how about a retro camera with the option for a waist-level viewfinder attachment?

Going back to the Nikon F series, multiple models allowed you to attach a waist-level finder. I guess the only problem with that idea is that tilting screens are essentially waist-level viewfinders, but it would certainly be a neat gimmick.

And finally, in a world where creatives are shunning AI and longing for more authentic experiences, how about releasing a – wait for it – retro-cool DSLR? Maybe that’d be a step too far in 2026…

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If you're a Nikon fan, check out the best Nikon cameras and the best Nikon Z lenses. Plus, it doesn't get more authentically retro than this: I bought the only film camera I’ll ever need: the Nikon FM is an SLR in its purest form.

For years, cameras have fallen into one of two categories: high resolution or speed. But the Sony A7R VI threatens to change that or into an and with a camera that’s both 67MP and 30fps.

When I unboxed the new A7R VI, I knew exactly what genre I wanted to photograph with it: wildlife. Sony’s lower-resolution A7 series without the R, like the Sony A7 V, has long offered more speed than the high-resolution R series. Only flagships like the 50MP / 30fps Sony A1 II offered a balance between resolution and speed.

But that’s changing with the Sony A7R VI. With Sony’s highest-resolution fully-stacked sensor yet, the new R-series camera mixes 67MP with burst speeds at up to 30 fps. That's a massive improvement over the A7R V's 10 fps.

The A1 II still offers the faster readout speeds and the larger burst speed buffer (240 RAW files compared to 150), while the lower-resolution Sony A9 III still offers the fastest 120fps bursts. But with the sixth generation, the A7R series no longer seems slow by comparison.

The Sony A7R VI can bounce between genres far better than any of its predecessors. The R series has long been directed towards genres like landscapes, portraits and weddings. So when I heard that the newest camera would shoot at 30fps, I knew I needed to step outside those genres and try to capture wildlife.

The other well-known downside to high-resolution sensors is that they tend to introduce more noise – so I didn’t just photograph wildlife, I photographed wildlife just before sunset.

I prefer to hike with a camera rather than sit in a wildlife blind and wait, which means my biggest challenge is getting close enough – yes, even using the FE 200-600mm f/5.6-6.3 G OSS lens.

The 67MP resolution on the Sony A7R VI offers quite a bit of croppability. The original files are nearly 10,000 pixels wide; that leaves plenty of room to crop in closer and still get something that’s at least 4K.

Even cropping images in half, the A7R VI will still have more resolution than the Micro Four Thirds 2x crop format, which has peaked at 25MP (albeit at a lower price point than full frame).

An f/6.3 aperture isn’t the best to photograph wildlife just before sunset – my ISO ranged from 800 to 3200 during the entire hike.

At 100%, looking at those 67MP shots at ISO3200 does muddy the details a bit – I didn’t get that lovely texture on a bird’s features possible at lower resolutions.

The noise is going to be the biggest hesitation for photographers working in fast genres like sports and wildlife.

The wildlife photos that I shot on the 33MP Sony A7 V at ISO3200 were, naturally, a bit cleaner and retained more of that texture in the feathers.

But the trade-off for that noise is exceptional detail – and the ability to crop dramatically. In shots where I couldn’t get close enough, I still had plenty of room to crop in from that 67MP file.

And shooting more towards midday, the ISO100 images that I shot have excellent detail.

Perhaps one of the key challenges with using cameras that are both high-resolution and fast, particularly amid an AI-induced memory crisis, is the rapid pace at which such a camera will fill up a memory card.

The A7R VI has a clever customization option, however – I set the AF-ON button to a temporary 30fps burst. When photographing more slow-moving wildlife, I shot at a slow burst. But with a press of the button, I could switch easily to 30 fps.

Like its predecessor, the A7R VI includes subject detection autofocus. The animal eye detection did a decent job in most shots, though I don’t think it picked up birds that were tucked into a mess of tree branches or deer that had tall grass in front of their faces quite as well as some more wildlife-oriented cameras that I’ve used.

A few times, I had to focus on the trunk of the tree – which felt faster than using the AF limiter switch on the lens – to get the bird detection to pick up the subject after previously focusing on something at a much different distance.

One of the other key changes that I really appreciated for wildlife is a redesigned grip. With the 200-600mm on the front, I still needed a second hand underneath the lens. But I think this is one of the more comfortable grips that Sony has made.

The Sony A7R VI isn’t a camera geared specifically towards wildlife or sports. But the new body is far more capable of fast action than any of the earlier R-series models – which means it's a far better option for photographers who shoot across multiple genres.

The muddled details at higher ISOs aren't the only compromise – the mix of resolution and speed bumps up the price as the A7R VI sits at $4,499 / £4,399 / AU$6,999.95 and is expected to begin shipping in June.

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Sony’s A7R series has long been the brand’s high-resolution but slower burst speed mirrorless – but the new Sony A7R VI arrives with not only the highest resolution in the series, but massive 30fps burst speed capabilities.

Announced on May 13 alongside a new 100-400mm f/4.5 lens, the Sony A7R VI brings a fully-stacked 67MP full-frame sensor with up to 16 stops of dynamic range, paired with the Bionz ZR 2 processor.

While that’s just a 6MP bump over the previous generation, the maximum burst speed has tripled over the predecessor’s 10 fps.

The Sony A7R VI can shoot at 30 fps using the electronic shutter – and remains at 10 fps for the mechanical shutter. High-resolution cameras like the A7R series tend to be far slower than lower-resolution models, as those larger files need more processing power.

But the A7R VI shows that tech is advancing to the point where photographers can have both resolution and speed.

That 30 fps matches the 50MP Sony A1 II flagship for speed, but not in endurance – the A1 II can maintain that speed for 240 RAW files, where the A7R VI slows after 150. The A9 III remains the burst speed champ in Sony’s lineup with 120 fps bursts.

That increase in speed is made possible by the new Bionz XR2 – the same processor that powers the 33MP Sony A7 V (which curiously has only an 85 frame butter on its 30 fps RAW files). The processor has an integrated AI processing unit rather than a separate unit for AI calculations.

The mirrorless makes 60 autofocus calculations per second, and the AI subject recognition, Sony says, has been fine-tuned to work with smaller subjects, including eye detection when the subject is farther away.

Tracking is more stable and more accurate when the subject passes behind an object, temporarily disappearing from the camera’s view.

The A7R VI also calls on AI for its new illumination estimation technology to boost the accuracy of auto white balance. This tool uses both a visible light and an infrared sensor, working together with the AI that will recognize common scenes such as shooting in a forest.

Stabilization also sees a bump to 8.5 stops at the center. A new gyroscope unit also helps correct for roll better than the predecessor, Sony says.

The A7R VI’s resolution and speed come into play for video, where the new mirrorless can record 8K30p with a 1.2x crop and 4K at 120p or 60p with the full width of the sensor. In Super 35, the camera oversamples from 6K down to 4K. Sony notes that the camera’s heat sink allows for recording in a 77 degree F (25 degrees C) room at 4K 120p for 120 minutes.

A new Dual Gain mode reads the sensor twice while recording video for minimizing noise and retaining detail in the shadows – but as the tool reads the sensor twice, it isn’t meant for fast movement and is limited to 4K 30 fps.

The tech on the inside is mixed with a handful of ergonomic tweaks outside the body. The grip has been redesigned – when I tried the camera myself, I thought it was one of Sony’s more comfortable designs.

Photographers can temporarily boost the burst speed on the camera by customizing the camera's AF-On button in the menu – a potentially major feature for a high-resolution 30 fps camera amid the rising cost of digital storage.

The A7R VI also has a handful of light-up buttons for working in dark environments – some DSLRs and mirrorless cameras from other brands, including Nikon, have a similar feature, but this appears to be the first time Sony has brought the illuminated buttons to its mirrorless line. The notch on the lens mount is also raised so photographers can feel where the lens needs to mount when swapping lenses in the dark, and the Auto on the mode dial is also raised for feel.

That updated design is paired with a new electronic viewfinder that’s three times brighter than the earlier model. The .64-type viewfinder is a 9.44M dot, offers a 120fps refresh rate, and allows for blackout-free shooting at 30 fps. Like the predecessor, the A7R VI uses a touchscreen with a four-way tilt, but adds a vertical layout option.

The Sony A7R VI also gets a new battery – the first time Sony has updated its full-frame mirrorless battery since the original A9. Sony says the battery offers a 17 percent higher capacity while only being around five percent larger. A dual battery charger also launches with the camera.

That’s all wrapped up into a design that’s slightly lighter than the earlier model by about 20g / .7 oz. Like the predecessor, the A7R VI is weather-sealed and uses magnesium alloy across the top, front, rear cover, and internal frame.

The Sony A7R VI will retail for $4,499 / £4,399 / AU$6,999.95 and is expected to begin shipping in early June.

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Sony’s A7R series has always been about resolution first, and the A7R VI is still very much the high-resolution star in Sony’s full-frame Alpha lineup, but this time, Sony has cranked up the speed too.

The headline is the new 66.8MP stacked full-frame sensor, paired with Sony’s BIONZ XR2 processor with built-in AI processing.

That combination gives the A7R VI more resolution than the A7R V, but also much more speed with 30fps blackout-free shooting with autofocus and auto exposure measured around 60 times per second.

There is also 8K or 4K120 video, with reduced rolling shutter, and stronger subject tracking than the last generation.

This makes the A7R VI less of a specialist landscape, commercial, or studio camera, and more of a camera that can plausibly do almost everything.

That does, however, put the A7R VI in an interesting position. It is not just competing with quick high-resolution cameras from the likes of Canon EOS R5 Mark II, Nikon Z8, and Lumix S1 II, but also with Sony’s own A1 II, where the lines between the two have become increasingly hard to decipher.

Specifications

Price

At around $4,500 / £4,399 / AU$6,999, the Sony A7R VI is more expensive than any previous A7R camera. The A7R VI certainly has the specs to try and justify its price – a stacked 66.8MP sensor, a faster processor, 30fps 14-bit RAW shooting, 8K video, much stronger autofocus, better stabilization, a brighter EVF, dual USB-C ports, and a new higher-capacity battery.

However, the question of value comes down to if you will actually use all those features? For many working professionals shooting sports and wildlife who need the combination of detail and speed, the answer might well be yes.

But, if resolution is your top priority, and you don’t need top speeds, the A7R V already offers enormous resolution, excellent handling, and strong image quality – and can now be found for much less money.

Design & Handling

The Sony A7R VI will feel instantly familiar if you have used recent Sony Alpha cameras. Sony has not reinvented the body here, and I don’t think it needed to. I really like the way Sony’s cameras look – clean and serious. And with the exception of Fujifilm’s chic retro bodies, I think Sony makes the nicest camera bodies on the market.

Not just all about the looks, the A7R VI also feels very well built. There is a proper sense of solidity to it, with some reassuring heft in the hand without it becoming heavy or tiring to carry, and it has weather sealing to protect from the elements.

The camera follows Sony’s “next-generation design”, and while the overall shape is roughly the same as the last gen, a few key details have improved. First up, the grip has been updated to the same as that found on the recent A7 V. It is a little deeper, with a bit more of a lip for your top finger, and it’s comfortable, and secure, even with larger lenses. Sony’s camera bodies just keep growing, and the A7 VI has also become larger, so a bigger grip is partly a necessity, but the handling is all the better for it. With the 20-70mm lens mounted I spent most of my time testing with, the A7R VI felt very natural, even in just one hand.

I have praised Sony’s button and dial layout before, and with no sweeping changes this time around, the control scheme continues to be excellent. Sony gives you controls for basically everything, and there are several custom buttons for assigning your own functions.

The one major change you’ll find is Sony has now illuminated several of the key buttons on the back, which makes the A7R VI easier to use at night. It’s triggered by a little lightbulb-icon button on the top of the camera that sits between the shutter and exposure dial. Its sits very naturally under an index finger, and is really not difficult to find without looking at the camera, which is kind of essential in pitch black scenarios. It is a small addition, but I am sure on especially appreciated by event or wedding photographers, and, of course, astrophotographers.

The EVF has got a nice upgrade. It is now a 9.44-million-dot viewfinder that Sony says is three times brighter than the A7R V’s, with a wider color gamut and high dynamic range. In practice, it is clear, very easy to frame through, and has a good refresh rate.

The rear screen, in term of quality is unchanged, although I'm not overly fussed as the old screen was very good, and I'm not personally clamouring for anything more as I’d prefer not to take the hit to battery life for a larger or higher res screen.

It is still a 3.2-inch, 3:2, 2.1-million-dot monitor, but the screen does see a functional upgrade, joining recent Sony models in the 4-axis club. The screen now both folds out and rotates, so you can tilt the screen for waist-level shooting, or fully articulate it for video. The screen will also now automatically switch to a vertical display mode when shooting vertically – which will please social media creators.

For connectivity, the A7R VI now has two USB-C ports, one for charging and one for power or data transfer, with the top port offering USB 3.2 Gen 2 with 10Gbps transfer speeds for pro workflows. There is also a full sized HDMI port, as well as headphone and mic jacks. My only minor annoyance is that the ports are unmarked on the flaps.

The camera also ships with a new battery, which is perhaps the most interesting design change, as Sony cameras have used the same battery for eons. The new NP-SA100 battery has a 2,670mAh capacity, which is 17% higher than the previous 2,280mAh NP-FZ100, and Sony claims 600 shots with the LCD and 710 shots with the EVF. Sony also says the battery should charge faster.

In use, I found battery life actually a little better than quoted for stills, and noticeably better than before. The battery also performed exceptionally well for video, I easily got a four-five hours of 4K30p.

However, the new battery has one minor downside – if you are like me, and have a bag full of Sony batteries, it is time to start re-buying all those spare cells!

Performance

The A7R VI’s image quality is incredible. The 66.8MP stacked sensor captures a huge amount of detail, and it's the kind of resolution that actually changed the way I shoot. I was mostly shooting with a 20-70mm lens, but because there is so much resolution to play with, I could shoot at the end of my focal range and crop in later still with outstanding quality. It kind of feels like having a lens with twice the focal length.

But while resolution though has always been the hallmark of the A7R, it's the stacked sensor that takes it to another level over previous high-resolution bodies and really pushes the R cameras away from being just for static subjects.

The A7R VI can shoot blackout-free at 30fps with autofocus and auto exposure using the electronic shutter, and that is in 14-bit RAW. That is a massive step up from the A7R V, which topped out at 7fps in 12-bit RAW electronically. Mechanical shutter shooting remains 10fps, but that is now also 14-bit rather than 12-bit.

For most people, 30fps is overkill. The storage demands alone are enough to make me ever think twice about utilizing the full speed of the A7R VI. Even Sony knows this, and it encourages you to limit the shooting speed using a custom button to only boost up to 30 fps only when needed. But if you are a professional where speed and resolution both matter, then it is there when you need it. The A7R VI also adds pre-capture from 0.03 to 1 second, so you can start shooting at 30 fps before you even fully depress the shutter.

The buffer is improved too, with Sony quoting 215 JPEGs and 60-150 RAW files at 30 fps, depending on you’re chosen method of RAW compression, or more than 1,000 JPEGs and 130-535 RAW files at 10fps using the mechanical shutter using Sony's CFExpress Type A cards.

I have heaped plenty of praise on Sony’s autofocus in the past – it is fantastic, and one of the best autofocus systems of any brand. It is extremely fast, and Sony’s subject recognition remains some of the best in the business. The A7R VI has 759 phase detection AF points covering 94% of the sensor, with sensitivity down to -6.0 EV, plus the AF tracking speed and sensitivity is now more adjustable.

Sony has also added the latest version of it’s human pose estimation tech which tracks human subjects entire bodies through movements, while Sony says tracking has also been improved when subjects move in and our of cover, and better recognition of smaller objects. But, despite Sony’s claims, I did find the AF could still be tripped up by branches, leaves, or other objects obscuring the subject – not often, but enough to be notable.

The A7R VI also gains Sony's auto subject recognition mode, which means you don’t have to constantly dive into menus or switch subject types manually – although Sony states dedicated subject modes do remain more accurate. And, true to that, in auto subject mode I did find the camera struggled a little recognising the eye with some birds I was shooting, despite them being clear and large in the frame, so I had to toggle the camera into bird mode where I had more reliable success.

I am massively nitpicking here, but it is worth saying, this is outstanding autofocus, not infallible autofocus.

When it comes to stablization, Sony claims up to 8.5 stops at the center and 7.0 stops at the periphery. In real-world stills shooting, I found I could get steady photos when walking in good light or quickly snapping street shots. In low light, I could comfortably get night shots down to around 1/5 second.

RAW dynamic range is excellent, Sony says the A7R VI can deliver 16 stops of dynamic range, and Sony’s dynamic range optimizer – basically a dynamic range boost for JPEGs/HEIFs – now goes up to level 8, three levels more than before. The new dynamic range boost levels do a really good job, they can look a bit unnatural, but if you are shooting sports or an event where getting the shot matters more than absolute tonal accuracy, they it could be essential.

The auto white balance now powered by "AI " – its good, and it seemed pretty accurate most of the time, but I am not convinced it is significantly better than before. I had a few miscalculations during my time with the camera, where exactly the same scene and framing would have different white balance in consecutive images. It was never disastrous, but it's still a frustration.

Sony has simplified the RAW options, down from five to three, and added a new compressed HQ option. Close up, the new RAW HQ looks pretty clean to me with a similar level of dynamic range to the uncompressed version.

The camera also adds 270MP pixel shift shooting, which can be combined in Sony's Imaging Edge desktop software, where you can also find composite RAW shooting, and Sony’s AI tools for noise reduction or resolution enhancement – neat features, although Canon does give you a way to do some of this in-camera.

Sony also now includes a total of 12 Creative Looks, including the new Film Look 2 and Film Look 3, which look a little like film – but not really. However, they add some welcome in-camera flexibility for anyone who wants a more finished file straight out of camera, but they don’t compete with Fujifilm’s film simulations/recipes or Lumix's photo LUTs for breadth or control.

Video

Video quality is excellent. The A7R VI can shoot 8K30p, 25p and 24p, oversampled from 8.2K, though all 8K modes come with a 1.2x crop. In 8K the files are monstrous, but the footage is incredibly detailed and has huge cropping potential.

More practical for most people is 4K where you get 4K60p (oversampled from 5K) with no crop, and 4K120p (also oversampled from 5K) with a 1.1x crop. There is also a View Priority mode that removes the 4K120p crop but at the expense of noise reduction, but if you are shooting a well lit scene – then you can go a little wider.

There is still no open gate. I am not sure with a 66.8MP sensor, this should be the first Sony camera to get open gate, but still, after the disappointment of it’s absence in the A7 V – Sony do need to get with the times.

You can also shoot in Super 35 for extra reach, with 4K60p and 4K30p oversampled from 4.6K at a 1.5x crop from the full sensor, or 4K120p with further 1.4x crop from Super 35.

Sony has also added dual gain for video, but this is more a feature for serious videographers in specific scenarios rather than something a lot of people will actually use. There are a few caveats – it is only available in 4K up to 30fps, and turning it on slows readout speed, increases power consumption, and limits ISO to 400 (or 200-3200 in S-Log). That makes it less suitable for moving subjects, but it is very useful for controlled high-dynamic-range work.

The A7R VI adds LUT import, LUT monitoring, S-Log2, S-Log3, S-Cinetone, Auto Framing, a front tally lamp, improved internal microphones to reduce steady background noise, and better heat dissipation using graphite materials.

When it comes to video, Sony has improved Active Stabilization to move a little more smoothly side-to-side without fighting your movement. It does feels a little less erratic during panning shots, although there are still some micro-jitters as the sensor jumps to catch up.

The A7R VI also adds Dynamic Active stabilization, which is Sony’s most powerful digital image stablization. Is its very effective, especially for very heavy movement, but the crop is significant, and it still suffers from some of the same jittery issues where sometimes it feels like the sensor is playing catchup to my movements with a little too obvious little jumps.

If you want a stabilized result quickly, it is incredibly useful, but I would still choose to utilise the gyro data Sony’s handily provides with video files and stabilize later in Gyroflow or Sony’s own Catalyst Browse. It gives more control over the final crop while getting a similar result.

Sample Gallery

Lab results

We've pitched the A7R VI against its main rivals from Canon, Nikon and Sony for our lab data comparison: the EOS R5 Mark II, Z8, and S1R II. All are full-frame cameras with an emphasis on outright resolving power, and they boast professional video capabilities.

Resolution (line widths/picture height):

Though all four cameras prioritise stills resolution, the 66.8MP A7R VI prioritises it a little more: the result is it captures noticeably more fine detail than the ~45MP cameras can resolve.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

Dynamic range is excellent for such a pixel-packed sensor, narrowly beating the competition at lower sensitivities. Push past ISO 1600 and the S1R II starts to eke out a 0.5EV advantage, but the A7R VI still outperforms the Canon and Nikon cameras, capturing around 1EV more dynamic range.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

Only now do we see a small chink in the A7R VI's armor. Sony has crammed more pixels onto the A7R VI's full-frame sensor than Canon, Nikon and Panasonic have with their sensors. This means each pixel has to be smaller, which in turn compromises its sensitivity to incoming light. The end result is increased noise, and hence we see the A7R VI producing marginally noisier images than the Canon and Panasonic cameras. However, the difference is mostly minor, and the A7R VI manages to equal the Z8’s noise levels, despite its extra resolution theoretically putting it at a disadvantage here.

Verdict

The Sony A7R VI is a very impressive camera. It takes everything I expect from the A7R series, mainly huge resolution and excellent image quality, and adds the kind of speed, autofocus, and video capability that makes it feel much closer to the tippy-top all-round flagship.

The detail from the 66.8MP sensor is fantastic, and the flexibility it gives for cropping. Image stabilization, is excellent, autofocus is fast and reliable, and video options are much-improved. The handling is also very strong, with a comfortable grip, excellent controls, a superb EVF, a more flexible screen, and practical touches like illuminated buttons and dual USB-C. I am not sure what else I could really want from this camera.

But the price is hard to ignore. At around $4,500, the A7R VI is expensive. If you need high resolution and speed in one body, then it makes a very strong case for itself. However, if you mostly want resolution, I think the A7R V still offers better value. The A7R VI is a brilliant camera, but it is not an automatic upgrade for everyone.

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