Sigma has released free firmware updates for 13 Sony E-mount lenses, bringing compatibility improvements for photographers using the new Sony A7 V.

The rollout covers a range of Contemporary and Art primes, including six of the company's premium I Series lenses.

While the firmware versions vary between Version 3 and Version 7 depending on the lens, they all deliver the same fix: resolving a rare issue that could cause the camera's monitor to black out and freeze during shooting when paired with the Sony A7 V.

Firmware

Updates: 17mm, 20mm and 24mm

1. Sigma 17mm F4 DG DN | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

2. Sigma 17mm F4 DG | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

3. Sigma 20mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

4. Sigma 20mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

5. Sigma 24mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

6. Sigma 24mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Updates: 35mm, 45mm, 65 and 90mm

7. Sigma 35mm F1.4 DG DN | Art Sony E-mount – Ver.05
Download link for Windows and Mac OS

8. Sigma 45mm F2.8 DG DN | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

9. Sigma 45mm F2.8 DG | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

10. Sigma 65mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

11. Sigma 65mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

12. Sigma 90mm F2.8 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

13. Sigma 90mm F2.8 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Sony has officially unveiled the FX5, the latest in its line of compact full-frame Cinema Line cameras. And while it may look a lot like an FX3, Sony is very keen that you do not call it an FX3 II, with the FX5 designed to sit between the FX3 (which is staying in the lineup) and the FX6.

The Sony FX5 is being aimed at a more professional crowd than the more creator-friendly FX3, with the company suggesting that it will suit anyone looking for a compact B or C camera that can run more comfortably alongside models such as the Burano or Venice 2.

At the center of the FX5 is a newly developed 16.6MP full-frame Exmor RS back-illuminated fully stacked CMOS sensor, paired with Sony’s latest Bionz XR2 processor with its integrated AI unit (which we’ve seen in recent Alpha cameras including the Sony A7 V and A7R VI).

With this sensor-processor combo, Sony claims up to 15 stops of latitude, faster sensor readout, improved low-light autofocus and more advanced subject recognition, with the FX5 supporting all subjects including humans, animals, birds and vehicles.

However, the big headline feature is 5K 60p open gate video using the full 3:2 sensor area, and up to 120p via a future firmware update. 120p frame rate is monstrous and eclipses what has been seen before on cameras in its class. The Canon EOS C50 maxes out at 30p in open gate (although it is 7.1K), while the more consumer-focused Lumix S1II manages 60p in 5.1K open gate.

Open gate is a feature that not everyone needs, but for those who do it is invaluable – particularly useful for anamorphic shooting, vertical crops and reframing footage while maintaining more of the image area. Sony’s 5K resolution should offer a good balance between cropping flexibility and file sizes – although maybe not at 120p!

For super slow-motion. It can also record 16:9 4K with no crop up to 120p, or FHD 16:9 with no crop up to 240p. And with a future update, the FX5 will be able to shoot cropped (76.9%) 16:9 4K up to a whopping 240p.

The FX5 can also record 16-bit X-OCN RAW internally, something previously only possible with larger and more expensive Sony cinema cameras.

Alongside X-OCN LT, Sony has created more compressed C1 and C2 options intended to make RAW recording less punishing on storage (much appreciated, amid the current memory crisis), claiming that this doesn’t compromise footage and enables full grading flexibility.

However, there is a very important asterisk attached to some of these most exciting specifications: at launch, the FX5 will only record 5K open gate in X-OCN (RAW) at up to 60p. The promised headline features of 5K 120p open gate and cropped 4K 240p modes are due to arrive later, through a version 2 firmware update scheduled for August 2027.

This will also unlock open gate recording in XAVC up to 60p, although from what I have seen, there appears to be no open gate XAVC 120p in Sony’s plans.

Sony is hardly alone in selling cameras partly on future firmware, but it is still worth knowing which features will actually be inside the box on day one – and what the future holds. As well as whether it is worth waiting up to a year for promised functions. We will see a lot of rivals release new models between now and then.

In other specs, the FX5 offers three-base ISO (which, it is keen to clarify, is distinct from triple-base ISO) settings of 800, 4000 and 12800, as well as a dual-gain mode designed to reduce noise in darker areas. That dual-gain mode comes with several restrictions, though, including limits on resolution and frame rate.

Physically, the camera remains close to the FX3, weighing around 750g and measuring approximately 132.3 x 79 x 86.95mm. However, existing FX3 cages will not fit because the mounting points have moved, which accessory makers will no doubt consider excellent news.

There is also a larger 3.5-inch, 16:9, 4-axis display, Sony’s CineAlta-style interface with its renowned "Big 6" menu, and built-in monitoring tools including false color, waveform, vectorscope, focus map, histogram, zebras and peaking.

Dual CFexpress Type A slots also support SD cards, while the new NP-SA100 battery is rated for around 170 minutes of continuous 5K recording.

Sony is also launching a trio of new accessories, although completing the FX5 setup will not be cheap. The new XLR handle adds 96kHz, 32-bit float audio recording and costs £780 / €900 / AU$1,099 (international pricing to follow), while a removable, 90° tilting, 7.07-million-dot OLED viewfinder costs another £650 / €750 / AU$999.

Crucially, you will not be able to mount the XLR handle and viewfinder at the same time, due to their positioning on the top plate, although Sony suggests that a third-party solution might be coming at IBC.

There is also a £90 / €100 / AU$129 timecode cable for synchronizing the FX5 with other cameras on multicamera productions. Together they make the camera considerably more flexible, but anyone planning to buy the body, handle and EVF should prepare for the starting price to skyrocket remarkably quickly.

The Sony FX5 alone will cost £4,700 / €5,600 / AU$7,849 body-only, or £5,200 / €6,000 / AU$8,849 if bought with the new XLR handle. Preorders are open now, with in-store availability scheduled for August 2026.

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The Sony camera lineup will have a new member in just a matter of hours. Sony is launching its newest camera today, July 22, according to a teaser direct from the imaging giant.

Sony is preparing to announce a new camera at 7 AM PDT / 10 AM EST / 3 PM BST on July 22, according to a teaser shared via the brand’s email and social channels.

The teaser is fairly typical as teasers go, showing only the silhouette of the upcoming camera with few actual details. But there are a few key revelations in the teaser that reveal who the camera is for.

The teaser is clearly marked with “Cinema Line.” If that’s not enough of an indication, the vertical social teaser looks like a close-up of a camera, not a lens – though the horizontal YouTube teaser shows a view of that camera with a lens.

The silhouette clearly shows a top handle, a feature that also heavily hints towards the camera being built for video. That, with the hashtag #SonyCine, makes the teaser quite clear that what’s coming is part of Sony’s cinema series rather than the brand’s line of still cameras.

The teaser comes with the line “Lighting the way forward,” a line that could have many potential implications.

The silhouetted camera leaves much to the imagination. Along with the handle, the teaser does show red and green lights at the top of the camera. The back profile of the camera also appears to jut out a bit where the LCD screen would typically sit.

The comments on the newly posted teaser are already filling up with speculation over what’s next for the Sony Cinema series. Sony’s FX cinema series spans the more affordable Sony FX30 to the FX6, while the camera giant also has high-end options like the Sony Burano and Sony Venice 2 among its current cinema lineup.

A dedicated spot on YouTube invites camera fans to watch the announcement on July 22 at 7 AM PT / 10 AM EST / 15:00 BST.

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Japan has long been one of the world's biggest camera markets, making it a closely watched indicator of wider photography trends. Now data from Minna Camera Marketplace in Japan reveals that 70% of the 10 most-traded mirrorless cameras in the country during the first half of 2026 were APS-C models.

However, the overall winner is anything but typical. Canon's EOS R6 Mark II claimed the No.1 position despite being a full-frame camera in a market largely dominated by smaller, more affordable APS-C bodies. With its deeper grip and DSLR-style ergonomics, it also offers handling that's more familiar to photographers upgrading from DSLRs than many compact mirrorless rivals.

Minna Camera analyzed all mirrorless interchangeable-lens cameras traded between January 1 and June 30, 2026. While APS-C cameras accounted for seven places in the Top 10, the first and second positions were both secured by full-frame cameras: the Canon EOS R6 Mark II in first place, followed by the Sony A7 IV.

Top 10 most-traded mirrorless cameras at Minna Cameras (H1 2026)

Why APS-C cameras dominate the rankings

The three full-frame cameras in the ranking averaged around ¥190,000 (approx. $1,170 / £871), compared with roughly ¥90,000 (approx. $544 / £413) for the seven APS-C bodies – a price gab of around two times.

Half of the cameras in the Top 10 also averaged less than ¥100,000 approx. $616 / £458).

"Affordable APS-C bodies broadened the base of the ranking," states Minna Camera, highlighting how lower prices continue to drive demand in the used mirrorless camera market.

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Despite newer flagship releases from Canon, Sony, and Nikon, one full-frame camera launched in 2023 continues to outperform far newer models in Japan's sales charts. Part of Sony's compact full-frame line, which debuted with the "world's smallest and lightest 35mm full-frame mirrorless camera", the Sony A7C II brings that same philosophy and performance to a newer generation. With built-in electronic viewfinder, in-body image stabilization and 33MP sensor, it has become one of the industry's biggest long-term success stories.

Major Japanese camera retailer Kitamura has now published its June sales rankings, with the camera once again taking the No.1 spot.

Launched nearly three years ago, the Sony A7C II has earned a reputation as a full-frame "sweet spot" camera, striking an impressive balance between performance, portability and price. Available for $2,098 / £1,799, it continues to prove that photographers don't always need the latest release to get the camera they want.

Kitamura's 10 best-selling cameras, June 2026

1. Sony A7C II
2. Canon EOS R10 + RF S 18-150mm IS STM Lens Kit
3. Fujifilm X-M5 + XC15-45mm Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Canon EOS R50 Double Zoom Kit
6. Sony A7 V
7. Sony A7 IV Zoom Lens Kit
8. Sony ZV-E10 II Power Zoom Lens Kit
9. OM SYSTEM OM-5 Mark II + 12-45mm f/4 PRO Lens Kit
10. Nikon Z30 Double Zoom Kit

Lightweight design marvel

The Sony A7C II 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.

Even with its compact form, the A7C II retains a built-in electronic viewfinder – known as a must-have feature for many photographers.

Weighing just 514 g (1 lb 2.2 oz), it delivers full-frame image quality in a remarkably compact body that's particularly well-suited to travel photographers and hybrid creators. Despite its small size (124 x 71.1 x 63.4 mm), Sony has retained a built-in electronic viewfinder – a feature that many photographers still consider essential.

While some compact and creator-focused mirrorless cameras now rely solely on the rear LCD, the A7C II offers an eye-level shooting experience without significantly increasing its size.

Nearly three years after its launch, the A7C II still delivers everything most photographers want or need.

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.

The Sony RX10 V refreshes a nearly decade-old design with modern autofocus smarts, but the new super zoom also comes with another key change: it’s the priciest bridge camera that I’ve seen yet.

I tried the Sony RX10 V and loved the mix of wide-angle, telephoto and macro all in one camera instead of a bag full of gear. But considering the price change that comes with the new luxury super zoom, I had to ask: is there a mirrorless combination that has a similar reach for a lower price point?

Enter the Sony A6700 with an all-in-one superzoom, like the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD, which brings a 27-450mm equivalent focal length, or the Sigma 16-300mm f/3.5-6.7 DC OS | C with a 24-450mm equivalent range.

No, those all-in-one zooms don’t reach as far as the RX10 V’s 24-600mm equivalent lens, but the A6700’s larger sensor (APS-C versus 1-inch on the RX10 V) and higher resolution can help make up for that difference.

The Sony A6700 has a 23% boost in megapixels, 26MP versus 20.1MP. If you cropped in the A6700 by 23%, you’d end up with a view that looked more like 550mm – a much closer perspective to the RX10’s telephoto 600mm reach.

The Sigma 16-300mm f/3.5-6.7 DC OS | C still hits 24mm on the wide end and comes in at a similar weight of 615g / 1.4lb and price point to the Tamron.

The Sony RX10 V comes with a $2,299 / £2,200 / AU$3,499 price. That’s about $600 higher than the 2019 Sony RX10 IV in the US. While that seems steep, the number actually matches quite close to inflation.

According to inflation calculators, the $1,700 that the RX10 IV cost in 2019 would be about $2,160 today. (And in the US, the discontinued RX10 IV was going for even higher in mint condition.)

But while the price change isn’t too far removed from inflation, over the last several years there seems to be a growing trend for mirrorless optics that fall in the all-in-one / superzoom category.

The Tamron 18-300mm, introduced in 2021 for E-Mount, covers wide to telephoto and also shoots half macro, all without swapping lenses. Sigma's option is even newer, launched in 2025.

A superzoom won’t be smaller than the RX10 V, as the lens doesn’t collapse when powering the camera off, like with the bridge camera. But the two options do have a similar weight.

The RX10 comes in at 2.4 lbs / 1110g. Combining the weight of the A6700 (17.4 oz / 493.2 g) with the weight of the Tamron 18-300mm (21.86 oz / 620g) comes to 2.45 lbs / 1,113g. The sigma 16-300mm is about 5g less, putting it actually under the weight of the RX10 V with the A6700.

Of course, there are mirrorless lenses that can get that 600mm reach on the A6700 – like the Tamron 50-400mm f/4.5-6.3 Di III VC, which creates a 75-600mm 35mm equivalent on an APS-C body. But that lens doesn’t fall under the cost of the RX10 V unless paired with a more affordable body like the Sony A6400, which doesn’t have as robust an animal detection autofocus system.

The capabilities of the Sony A6700 aren’t a direct match with the RX10. On the one hand, the A6700 has the larger sensor and higher resolution, but the RX10 V wins in burst speed with 30fps over the mirrorless camera’s 11fps.

Am I glad that Sony revived its super zoom from the dead? Yes. Did I love shooting with the RX10 V? Also, yes. The RX10 V is a great camera for packing only one fixed lens camera and still hitting every genre from wide angle to telephoto to macro.

But, like with the compact camera trend, it’s worth pointing out that the RX10 V doesn’t necessarily save money over a mirrorless system.

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Technology tends to have a short lifespan, but the Canon EOS R6 series is so popular in Japan that both of the older models are in the top three for used camera sales.

The data comes from a popular Japanese camera buy-and-sell app, Minna Camera, which recently tallied the most popular cameras sold on the app for the month of June. The list is led by the Canon EOS R6 Mark II, followed by the Sony ZV-E10 and the original Canon EOS R6.

The Canon EOS R6 Mark II was replaced in November 2025 by the new R6 Mark III, a 32.5MP full-frame 7K open gate camera that has been listed among several new camera top ten lists since its launch. But the 24.1MP Mark II and original 20.1MP R6’s inclusion in Minna Camera’s list suggests solid used camera sales across the camera’s history.

However, the data also highlights how rapidly the used camera market can shift, with five of the cameras in the top ten list all cameras that hadn’t made the previous month’s list. The Ricoh GR IV, for example, was in 35th place the previous month but jumped up to 6th place – Ricoh’s announcement of a price increase coming in July – which has now also been implemented outside of Japan too – likely influenced the used sales for the relatively new compact camera.

Two of those five cameras that have popped into the top ten from the lower rankings are DSLRs, the Nikon D7500 and the D750, suggesting the larger interchangeable lens format remains well-traded among used camera marketplaces.

The top-traded cameras on Minna Camera for June include:

• Canon EOS R6 Mark II
• Sony ZV-E10
• Canon EOS R6
• Nikon D7500
• Nikon Z50 II
• Ricoh GR IV
• Canon EOS R10
• Nikon D750
• Sony A7C II
• Sony A7 IV

For lenses, shoppers seemed to have a healthy craving for telephoto glass. The workhorse Nikon 70-200mm f/2.8 VR S topped the June list. While Canon took two of the top three camera bodies, Z Mount glass is the most popular mount on the platform at 30 percent of sales. The Canon EF, Canon RF, and Sony E all trailed at 20 percent each – so combining Canon’s DSLR and mirrorless lenses would bring it to the top spot – with Fujifilm X capturing the other ten percent.

Zooms make up much of the top ten list, with just three prime lenses on the list, and many of those optics hit a focal length longer than 100mm.

The most popular lenses in June on Minna Camera were:

1. Nikon Z 70-200mm f/2.8 VR S
2. Canon RF 24-105mm f/4 L IS USM
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Canon EF 100mm Macro f/2.8 L IS USM
5. Nikon Z 24-120mm f/4 S
6. Fujifilm XF 35mm f/1.4 R
7. Nikon Z 180-600mm f/5.6-6.3 VR
8. Sony FE 24-105mm f/4 G OSS
9. Sony FE 200-600mm f/5.6-6.3 G OSS
10. Canon EF 50mm f/1.8 STM

Used trends don’t directly match the trendiest new cameras from Japan, and data from Japan doesn’t necessarily match other regions. But, with Japan the home to several major camera brands, the data offers an interesting look at what cameras are selling well in the home of major camera brands like Canon, Sony, Nikon, Fujifilm, Ricoh, and others.

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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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Sony shocked the videogame and consumer tech industries last week by announcing that physical disc production for new PlayStation games would end in January 2028. Cue an almighty furore from gamers and proponents of physical media alike – and an ominous note for camera users.

I joined the growing number of gamers cancelling their PS Plus Subscription in what I’m sure will amount to a vain attempt at telling the tech giant that a digital-only future isn’t appealing to everyone. And that train of thought brought me right back around to the camera industry.

Specifically, how the compact camera, which most manufacturers had all but abandoned, came back with a vengeance. Film, reduced to being the preserve of a few darkroom nerds, was thrust back into the fore. As well as instant cameras, camcorders and Y2K-style point-and-shoots, all brought back from the brink in surprising circumstances.

Don’t get me wrong, it’s important to remember that when we talk about these resurrections, they rarely compare with the popularity of the technology in question’s heyday.

I’m well aware that the way photography journos (like myself) bang on about film, if you lived under a rock, you’d be forgiven for assuming that every person and their dog was carrying around a film camera. Which just isn’t the case.

However, it is interesting to me that Sony is choosing to abandon discs at a time when physical media is enjoying something of a resurgence. For example, last year 4K Blu-Ray sales actually increased and vinyl sales exceeded $1 billion.

And we all know that the camera industry is seeing a similar appetite for aging tech, with retro-cool compacts regularly topping Japanese sales charts and the rise and rise of Fujifilm’s Instax, an instant camera brand.

Forging ahead and forgetting the past

As upset and angry as I am that the videogame industry may never be the same again, I’m well aware that however surprising the timing is, it’s not at all unlike Sony to commit to a big decision like this.

Sony isn’t what I’d call a retrospective company. It doesn’t tend to linger upon its past successes, choosing instead to forge ahead. Once again, its camera division is a great microcosm of that ethos.

Sony was the first camera manufacturer to release a full-frame compact camera in the Sony RX1. It was also the first to commit to full-frame mirrorless cameras, when it launched the Sony A7 and Sony A7R in 2013. It wasn’t until Canon and Nikon launched their respective full-frame offerings nearly five years later that the coveted Alpha series had any true competition.

The Sony A9 debuted the world’s first blackout-free shooting. The Sony A9 III was built around the world’s first full-frame consumer global shutter sensor. Sony also pioneered animal autofocus and of course, it’s a well-known fact that the tech giant manufactures the lion’s share of the world’s camera sensors.

And yet, it rarely looks back. You could argue that it doesn’t have the same imaging heritage to dip into as many of the other camera companies, but I still question whether it’d ever go the retro route anyway.

Historically, Sony hasn’t always got it right (remember Betamax or cameras that recorded onto floppy discs?) but it’s certainly not afraid to make big decisions. Even if this latest big decision involves axing a technology that it codeveloped. History suggests that Sony knows what it’s doing, but that doesn’t mean I have to like it.

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Check out the best Sony cameras. If you're a throwback type, here are the best film cameras and the best retro cameras that do a good cosplay of them. And for updates on what's happening in the industry, here's the latest camera news.

Sony has now brought back its popular super zoom bridge camera from the dead, reviving the discontinued series with the launch of the new Sony RX10 V. The super zoom has the same sensor and processor as the discontinued RX10 IV, but brings Alpha-series level autofocus smarts.

But the super zoom category is unusual in that it tends to find its way into the hands of photographers across every skill level – and across multiple generations. Inspired by the super zoom’s beginner-friendly design, I decided to do something I don’t normally do with a four-figure priced camera: I put it in auto mode and handed it to my eleven-year-old daughter.

The only instruction I offered (besides “please don’t drop this”) was what button to press to take a photo and how to use the toggle to zoom in and out. (She is a photographer's daughter with a hand-me-down DSLR, so she kept trying to twist the lens to zoom).

I walked the lake shore with my pre-teen as she photographed a loon, a dragonfly and a rabbit. Despite the camera being in auto mode, this is what she captured:

Did she also take some photos with motion blur and missed focus? Of course. But the camera’s auto mode simplicity speaks to the lower bar of entry for the bridge camera.

With the same sensor and processor as the previous version, the Sony RX10 V isn’t a major overhaul, but the upgrades enhance what I already love about this kind of camera: how easy they are to use. Sony has brought its Alpha series wizardry into the super zoom, which brings several subject detection autofocus modes. The camera is essentially smart enough to focus for you (most of the time).

Animal eye detection autofocus is one of my favorite wildlife photography tools, so to see Sony boost the feature in a camera made for multiple skill levels is refreshing. Those simpler autofocus capabilities are paired with a 30fps burst to help budding photographers increase the odds of getting a perfectly timed shot.

The super zoom category is one that is meant for a wide range of hands, in both skill levels and ages. I can’t in good conscience call the RX10 V a “compact” camera, but the camera is both far smaller and far simpler to use than a mirrorless camera with a 600mm lens.

I’ve recommended super zoom cameras to everyone from kids interested in wildlife photography to Baby Boomers who are more serious about birds than about photography. That’s why I’m particularly excited that the RX10 series that Sony previously discontinued has been brought back to life.

The RX10 V, of course, isn’t the only super zoom camera available – there’s the Nikon P1100 with its massive 125x zoom, for example.

But, the super zoom is a category that seems to be slowly diminishing at a time when, based on the compact camera trend, I feel like it should be doing the opposite. Give a camera a massive zoom range, and there aren’t a lot of types of photographs that it can’t capture.

The bridge camera is a casual and enthusiast camera that touches on multiple genres. Outside of wildlife photography, the RX10 V also has close focusing for macro, a wide 24mm for landscapes, and a bright f/2.8 aperture for portraits.

The same zoom and focus that boosts the camera for wildlife also means the RX10 V should be a good choice for photographing kids' sports games without the complexity of pro sports cameras.

The RX10 V isn’t made exclusively for beginners. There’s a full manual mode, and camera geeks will appreciate the larger 1-inch sensor and the f/2.8-4 aperture capabilities on the lens.

I was worried that the pocketable camera trend may kill the beloved super zoom that suits a wide range of genres and photographers – which is why I was so excited to see Sony announce the RX10 V.

But there is one feature that may discourage casual users and enthusiasts: the price. The RX10 V’s larger sensor and brighter aperture lens make it a premium bridge camera option with a price that reflects that. The camera is set to retail for $2,299 / £2,200 / AU$3,499.

That’s more than the list price of the earlier version. But it’s worth noting that, since Sony discontinued the RX10 IV, 'like-new' cameras from reputable used dealers have sat closer to the $3,000 mark.

Still, that price puts the camera at a similar cost to picking up a larger sensor Sony A6700 with a 70-350mm (105-525mm equivalent) or an 18-300mm (27mm-450mm equivalent) lens. The choice is yours, but I for one am glad that the choice exists.

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Looking for a more affordable kid camera? These are the best cameras for kids. Or for grown-ups looking for an uncomplicated camera, these are the best bridge cameras and the best cameras for beginners.

Tamron has released the latest firmware for its 35-150mm f/2-2.8 Di III VXD Sony E-mount lens, one month after the rollout was initially set to happen.

The company had originally promised firmware version 6 for Sony shooters by mid-June, but cited autofocus tracking and connectivity bugs on certain Sony camera bodies, such as the A9 III and A7 V, for the delays.

Firmware version 6 for the 35-150mm f/2-2.8 Di III VXD brings support for Tamron Lens Utility version 5.0 for both computer and smartphone devices.

Tamron Lens Utility is the accompanying app enabling you to control your lens settings and functionality from an external device. With the app, it's possible to program custom physical buttons on your lens, set A-B focus points, and adjust aperture using your smartphone or computer.

Released in February of this year, version 5.0 of the app enables you to do this wirelessly, as long as you have the Tamron Link Bluetooth adapter connected to the lens, while previous versions required a wired USB connection.

Tamron Firmware Version Download

Firmware updates for Tamron lenses are carried out through the Tamron Lens Utility app, which you can download here.

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Tamron to address them. Keep an eye on Digital Camera World, and we'll let you know about any problems.

Note: you cannot downgrade a Tamron lens to a previous firmware

Nikon shooters need not worry about this firmware update. The Z-mount version of the 35-150mm f/2-2.8 Di III VXD was already compatible with Tamron Lens Utility version 5.0, having gained support with firmware version 3 earlier this year.

That’s it for this Tamron firmware update. Although it brings just the one change for Sony users, it’s a seemingly impactful one, enabling easier control of your 35-150mm f/2-2.8 Di III VXD lens, especially for videographers.

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Here’s our pick of the best Sony lenses including our view on the best Tamron lens for your Alpha camera.

Sony’s RX lineup is all about packing serious imaging hardware into fixed-lens camera bodies. The RX1 line covers compact full-frame cameras, the RX100 series handles pocket-sized compacts, and the RX10 range has always been the all-purpose superzoom option. The Sony RX10 V continues that idea, arriving after a long wait from the RX10 IV, which launched back in 2017.

Sony’s tagline for this camera is “Reach Further, Carry Less,” and that sums up the RX10 V neatly. This is a camera for anyone who wants a huge zoom range without committing to an interchangeable-lens system. Wildlife, birding, travel, sports, train spotting, plane spotting, and general outdoor photography are all obvious targets. A 24-600mm equivalent f/2.4-4 lens in a single body is still the RX10’s main selling point, and there are very few cameras that can offer both that kind of reach with this level of speed, autofocus, and optical quality.

The RX10 V is not a complete ground-up rebuild. It keeps the same 20.1MP 1-inch Exmor RS sensor and the same Zeiss Vario 24-600mm lens as its predecessor. But Sony has updated the camera where it arguably matters most, with its BIONZ XR processor, a dedicated AI processing unit, improved subject recognition, a redesigned body, a better viewfinder, a higher-resolution screen, and a much more modern control layout.

For anyone browsing the best bridge cameras or best cameras for wildlife, the RX10 V immediately, on paper, looks like one of the most complete fixed-lens options around – but does it do enough to convince that one lens is all you need?

Specifications

Price

The Sony RX10 V will cost $ 2,299.99 at launch in the US, £2,200 in the UK, €2,500 in Europe, $2,899.99 in Canada and AU$3,499 in Australia, which is a fair old chunk of money more than the pre-discontinuation price of the RX10 IV, which cost just $1,699 / £1,500 / AU$1,699.

I'm sure the AI boom and various global conflicts affecting supply chains have had a hand in this increase, but considering the lens and sensor are the same as previously, a $600 premium for the processor and a facelift is quite a significant amount to pay. Although, admittedly, that processor unlocks a huge amount of new capability in terms of autofocus, speed, and video.

But to buy this, you really have to commit to the idea of a bridge camera. Personally, at this price, I couldn't just lock myself into one lens, and I think I would still rather go for an option like the APS-C Sony A6700 ($1,499 body only) with its full compatibility with all of Sony (and third-party) E-mount lenses. Paired with something like the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD ($599) or Tamron 50-400mm f/4.5-6.3 Di III VC VXD ($1,199) would give a kind of similar (with the 1.5x APS-C crop) focal range for around the same money, but would also allow me to grow and adapt my photography with more lenses if I chose.

While they are not in the same league in terms of quality and features, if you just want maximum reach, the Nikon Coolpix P1100 is currently under $1,150 and the Lumix FZ80D/FZ82D under $500.

Design & Handling

The RX10 V has been near totally redesigned, and I really like the new direction, even if I do think Sony has not gone quite far enough. There is a clear Alpha influence, particularly around the controls, but this still has the sloped top of a bridge camera alongside that girthy lens. It looks much more modern and appealing than the RX10 IV, but I think it still does not quite have the full cool appeal of Sony’s latest mirrorless bodies.

A 24-600mm f/2.4-4 zoom lens, a built-in EVF, a proper grip, a full control layout, and a larger battery are never going to disappear into something pocketable. This is still a bulky camera. But compared with many other bridge cameras, it looks a lot trendier, and the redesign is a substantial improvement over the previous generation.

The biggest practical improvement is the control layout. Sony has moved the mode dial to a more familiar position on the right of the viewfinder, alongside dual command wheels, which makes the RX10 V feel much closer to the company’s recent Alpha cameras. The trade-off is that the top information screen from the RX10 IV is gone. I know some people love them, but I do not really mind. I have never found top screens all that useful on cameras with a good tilting rear display when you can just use the main screen for a top-down settings view.

Photo, movie, and S&Q modes are now separated using the sub dial around the mode dial, just like on recent Alpha bodies. I like this approach, as it gives each shooting mode its own menu setup.

The rear layout is also much better. There is now a joystick for selecting the focus point, which is an extremely welcome addition on a camera that is likely to be used for pinpointing birds, wildlife, insects, and other small subjects. Sony has also added an AF-ON button, which will please anyone who uses back button focusing. Alongside that, you get the familiar control wheel and rear record button. The result is a camera that feels much more in line with Sony’s modern cameras and will feel at home to anyone used to Sony’s Alpha range.

The screen has also improved. It is now a 3-inch, 3:2, 1.62m-dot display, up from the older 4:3 layout. It is sharp and bright enough to see outdoors in harsh sunlight. Sony has kept the same basic screen mechanism as the previous model, so it flips up, but it does not flip out to the side like some of Sony’s more creator-focused Alpha bodies. I think that is fine for this camera. Sony might talk about the RX10 V as a hybrid camera, but I don't really see it as a serious creator camera.

The electronic viewfinder is another welcome upgrade. It is now a 0.5-type, 3.686m-dot EVF with 60fps or 120fps refresh options, and in use, it is bright with camera settings easy to read around the edges. The EVF does protrude from the rear of the body quite noticeably, to the point where I could hold the camera by it. It doesn't look bad, but it's just a minor design quirk I noticed here more than on Sony’s thicker Alpha bodies.

Elsewhere, the RX10 V is dust- and moisture-resistant, uses Sony’s Z battery, includes micro-HDMI and USB-C 3.2 Gen 2 10Gbps, and supports 4K30p live streaming.

There is no built-in flash, but external flashes can sync up to 1/2000 sec thanks to the leaf shutter. The SD card also sits in the battery compartment, which is not my favourite, but it's fine.

Because Sony has retained the same lens as the RX10 IV, the barrel’s length, diameter, and overall extension are effectively unchanged from the previous model. It is still a substantial piece of glass, and the camera takes up far more space in use than its body might suggest. That is the unavoidable trade-off for fitting a 24-600mm equivalent f/2.4-4 zoom into a single fixed-lens camera. At full zoom, the RX10 V looks and feels every bit as large as the bridge camera it is.

When off, the camera retracts the lens slightly to make the camera a little more travelable, and powering it up extends the lens a couple of centimeters to the 24mm starting position. The lens then extends a considerable distance from the body as you zoom toward 600mm, making the camera noticeably more front-heavy at the long end.

I found the zoom smooth and well controlled. You can control the zoom very precisely by turning the lens barrel, or there is a zoom rocker around the shutter button, which is a faster way to jump through the focal range. There is also a manual focus control on the lens barrel for precise focusing.

Performance

The RX10 V uses the same 20.1MP 1-inch stacked sensor as before, and the same Zeiss Vario 24-600mm f/2.4-4 lens. That might sound disappointing at first, especially after such a long gap between models, but I do not think either part desperately needed replacing. The sensor still performs well, and the lens engineering remains one of the main reasons this camera can exist.

Image quality is excellent. I was impressed by the amount of detail the RX10 V could pull out of close-ups, especially when photographing birds and insects. Fine feather detail was clearly visible, and in macro-style shots, I could see the tiny hairs on a bee. For 20MP and a 600mm equivalent zoom lens, it is a very strong performance.

Anyone worried about depth of field from a 1-inch sensor should not be too concerned either. At these kinds of focal lengths, compression does a lot. You can still get excellent subject isolation and pleasing background blur, particularly when shooting at the longer end of the zoom.

The lens isn't the longest superzoom out there (the Nikon Coolpix P1100 has a ridiculous 24-3000mm equivalent zoom range), but having 24-600mm in a single camera means you can move from wide travel scenes to tight compositions without ever changing lenses. Optical stabilization is built in, and for stills, it performed very well; at 600mm, my photos were sharp and shake-free.

If you need to go beyond the 600mm optical limit of the lens, Sony has a few solutions.

Sony’s Clear Image Zoom is surprisingly good. It extends reach to around 2x, and full-size images still look good. If you pixel peep, there is some loss of fine detail and clarity, and I would not want to crop those files much further, but the results are very usable.

Digital zoom extends to 4x, and while there is a clear loss of fine detail, I found it useful for getting the final framing right straight out of camera if you don’t need absolute image quality.

Finally, Zoom Assist lets you quickly zoom out to find a subject, then return to the zoomed-in range. Anyone who has tried to track a small bird or aircraft at 600mm will immediately understand why that might be useful. You can also change the zoom speed, which is helpful depending on whether you are shooting stills, video, or trying to follow a moving subject.

Close focusing is not always a strength of a superzoom lens, but not so here. The RX10 V can focus as close as 3cm at the wide end and 72cm at the telephoto end, with close to half-size macro magnification at the long end. You are not going to capture microscopic details, but it is particularly useful for insects. I could fill the frame more while still staying far enough away not to scare the subject off.

The biggest upgrade that comes from the new processor is autofocus. The BIONZ XR processor and AI processing unit bring the RX10 V more up to date with Sony’s current Alpha cameras. The RX10 V can shoot at up to 30fps blackout-free with AF/AE calculations 60 times per second, while the mechanical shutter tops out at 10fps. The camera also has Sony's continuous speed boost for jumping between faster and slower bursts only when needed.

Autofocus is excellent overall. Sony has increased the AF points from 315 to 575, with 70.6% frame coverage, and there are new focus spot sizes plus custom focus sizing. Combined with the new joystick and AF-ON button, the whole focusing experience is far better than before.

I do just love how good Sony's autofocus is. It is incredibly fast, and subject recognition can be outstanding. The camera now recognizes a broader range of subjects, and there is an Auto subject recognition mode.

However, in my experience, the Auto mode was not perfect. Auto failed to pick up more birds and insects than I consider ideal; however, when I manually selected the relevant subject type, the RX10 V did a much, much better job. If you know what subject you're hunting, I would just not leave it to AI guesswork.

People, faces, and eyes were handled almost flawlessly, but I don’t really see that as the main goal of this camera. The RX10 V is most interesting as a wildlife and birding camera, and I found the AF very good, but not infallible.

Video is stronger than I expected. The RX10 V can shoot 4K60p with no crop, 4K120p with a crop, and 4K is oversampled from 5.2K; there is also Full HD up to 240p. It also includes S-Log3, S-Cinetone, LUT support, in-camera time lapses, a tally lamp, and 4K30p live streaming.

For video, there is no IBIS, but Sony combines optical stabilization with its electronic SteadyShot, and I was genuinely surprised by how well it did. Even at 600mm, handheld footage of birds and insects was usable, with only some sway. Heavier movements are not handled as gracefully, and any major body movement introduced too much shake, but slow handheld pans came out okay.

I still do not think this is a true hybrid camera in the way Sony tends to describe most of its new cameras. The non-fully articulating screen, no IBIS, and the fixed superzoom lens make it feel more like a stills-first camera, but with the right expectations, it can capture excellent footage.

Video Review

Verdict

A fixed-lens bridge camera with a 1-inch sensor is not the trendiest concept in 2026, but if the bridge camera market is to be revived, then the Sony RX10 V is exactly the sort of camera to do that. With a 24-600mm f/2.4-4 lens with fast autofocus, strong stabilization, 30fps shooting, and improved 4K video, it remains a very compelling proposition.

Pricing though might well be the sticking point. This is an expensive camera to be locked into just using one lens. That lens is an incredibly good, and incredibly useful do-all superzoom, but if at any point you think you might just want to slap a f/1.8 fifty-fifty on the front, then this is not for you. I think I'd still rather go for the freedom of a mirrorless camera and superzoom lens, even if it was a bit bulkier or at the cost of worse handling. If focal range is your one priority, there are much, much cheaper bridge cameras that'll give you more of that.

However, there isn’t much else I can find to moan about. I would have loved something that looked more like an A7 V with a fixed superzoom attached, but still, Sony has produced the best-looking bridge camera yet. Auto mode autofocus is a little unreliable, but single subject recognition is outstanding. And while video is much better than expected, I also do not think the RX10 V is a serious hybrid creator camera. However, as a wildlife, travel, sports, aviation, and general outdoor camera, the RX10 V is the best bridge camera I have ever used.

Alternatives

Amid the compact camera craze, there’s one camera category that I’ve been hoping for a revival: the shoot-every-genre-with-one-lens bridge camera. Now, Sony has brought its larger sensor super zoom camera back from the dead. The Sony RX10 V brings back the same sensor and 24-600mm equivalent lens, but borrows the speed and autofocus smarts from the brand’s mirrorless cameras.

Announced on July 9, shortly after a teaser confirmed its existence, the Sony RX10 V is the first time the imaging giant has launched a super zoom since the RX10 IV in 2017. While Sony hasn’t touched its popular super zoom in nearly a decade, the RX10 V arrives with the same 20.1MP one-inch sensor and a 24-600mm equivalent, 25x zoom lens with a maximum f/2.8-4 aperture.

Instead, the new super zoom focuses on bringing the speed and autofocus capabilities that have arrived on Sony’s Alpha series, thanks in part to the new Bionz XR processor with an integrated AI processing unit.

The RX10 V can shoot burst speeds as fast as 30fps with a blackout-free viewfinder – matching the speed of cameras like the A7R VI. Like the A7R VI, the RX10 V also allows photographers to assign a shortcut button to temporarily boost the burst speed, easing the storage demands of such a fast burst speed.

The RX10 V also borrows another key feature that pairs well with the 600mm equivalent lens – subject recognition autofocus. I found the subject detection to work fairly well for birds and bugs – though birds already in flight were sometimes more misses than hits. That autofocus system performs 60 calculations per second, using 575 phase detection points across about 70.6 percent of the frame.

The updated processor also improves noise reduction and colors compared to the 2017 camera, Sony says. The battery life has also been boosted to the tune of about 50 percent at a 630 shot rating.

The bridge camera’s video capabilities also get a boost, as the RX10 V now uses the full width of the sensor to shoot 4K 60p, but can also shoot cropped 4K 120p. The camera also supports S-Cinetone, S-Log3, and LUT imports.

The super zoom camera is one that I reccomend often to birders who want to snap photos without the weight or complexity of a mirrorless camera and telephoto lens. But the RX10 V lens can also get in fairly close, falling just under half macro capabilities at .42x at 24mm and .49x at 600mm. That, paired with a lens stretching from 24-600mm, creates a fairly versatile camera, considering its unswappable lens.

Bridge cameras aren’t exactly compact, but the RX10 V’s 1,111g / 39oz weight is a far cry from a kit full of mirrorless lenses that includes 24mm, 600mm, and macro capabilities. That zoom lens retracts into the camera somewhat when off, leaving the RX10 with a depth of about 151.3mm / 5.95 inches.

The RX10’s design is completed with a more Sony Alpha-like grip and a multi-select joystick. The camera design also includes a tilting touchscreen, 3.686 million dot electronic viewfinder, a single UHS-I and UHS-II compatible SD card slot, and a multi-interface hot shoe. The RX10 V is weather-sealed.

Another key change, however, is the camera’s price point. At launch, the earlier RX IV sat at about $1,700 / £1,500 / CA$2,200 / AU$2,599, but after Sony discontinued the previous RX10 IV, the price from reputable used camera dealers approaches the $3K mark for like-new options.

The list price for the new Sony RX10 V sits somewhere between the RX10 IV’s original price and the older models' used price, sitting at $2,299 / CA$2,899. UK and Australia pricing have not yet been announced, but that converts to about £1,716 / AU$3,316. Shipping is expected to begin in early August.

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Browse the best bridge cameras, or the best Sony cameras.

With reports rife that the Sony FX5 will be launching later this month, boasting features like open gate video and triple-base ISO, you have to wonder: should Canon be worried?

After all, the biggest camera company in the world has just spent a fortune bringing three versions of its FX3 killer to market (the Canon EOS R6V, R6 Mark III and EOS C50). And no sooner have those cameras hit shelves than Sony looks like it has one-upped them – at least, if the latest camera rumors are accurate.

Sony Alpha Rumors, has "confirmed" that the Sony FX5 is will be announced on July 22 – and it's an upgrade on the FX3 (and perhaps Canon's latest bodies) in almost every way.

The headline features, and the ones that potential buyers will be most concerned with, are 5K open gate, triple-base ISO, false color and the same AI autofocus unit found in cameras like the Sony A7R VI.

In addition, the FX5 will boast "a body that is only barely bigger than the FX3" and will also be at least somewhat modular in nature, with an external removable electronic viewfinder unit.

Sony FX5 specifications (rumored)

• 16.6MP fully stacked sensor
• Bionz XR 2 with AI AF
• 5K open gate (3:2)
• Triple-base ISO
• False color
• Venice menu style
• Modular tilting EVF unit
• 3.5-inch articulating screen

Should Canon be concerned?

It took Canon (and Nikon, in fairness, with the Nikon ZR) years to provide an alternative to the monstrously successful Sony FX3. And it did so with the R6 V / R6 III / C50 trifecta that offers every possible kind of FX3 customer every possible kind of photo / video performance combination.

Launched in 2021, the FX3 lacked obvious features like false color and internal RAW – let alone more modern features like open gate video. So Canon loaded its trio of FX3 killers with monstrous specs like 7K open gate, algorithmic subject detection and a far more pixel-rich 32.5MP sensor.

If these leaks are true, however, the FX5 now returns fire with some even more impressive specs. Triple-base ISO was introduced by Canon a few years ago, in the high-end Canon EOS C400, but its latest bodies only feature dual-base ISO.

It now records RAW internally in X-OCN (extended tonal range Original Camera Negative), Sony's 16-bit linear encoding profile. And while its 16.6MP sensor has more modest resolution, its stacked design is much faster and its 5K capture might be preferable to many users simply in terms of storage and workflow.

And of course, while the C50 and R6 V famously eschewed any kind of electronic viewfinder, the FX5 is also promising a modular EVF option for those who need it.

The proof in the pudding is obviously in the eating. Sony Alpha Rumors' report notes that testers "say that while this camera is a bit… expensive, it is also a far superior cine camera compared to the FX3." So cost will be a crucial factor.

For now, however, it seems that Sony has played a very smart chess match with its FX3 successor. Let's see what happens on July 22.

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Check out our Canon EOS C50 vs Sony FX3 comparison to see how those bodies square up. And take a look at the best hybrid cameras along with the best cinema cameras to see what else is on the market.

The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

The top trending cameras at B&H for June 2026 include:

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

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Trends may be good indicators, but these are the best mirrorless cameras based on expert testing.

Japan has long been one of the world's biggest camera markets and is used as an indicator of wider photography trends. Now new data from Minna Camera suggests a more complex picture than the familiar "mirrorless takeover" narrative.

Between November 2025 and June 2026, the most-traded camera on the platform was the Ricoh GR IV – a 228g compact camera and the lightest and only model of its kind in the Top 20. Despite its 2025 release, it sits at No.1 in the rankings, a position supported by strong demand and frequent stock shortages.

At the other end of the scale, heavier DSLR models continue to appear in the rankings. The Nikon D500 still appears in the Top 20 at 760g, making it the heaviest camera in the rankings, alongside long-standing models such as the D750 and D7500.

The Top 20

Top 20 most-traded cameras at Minna Cameras (Nov 6, 2025 - Jun 13, 2026)*

*Camera type, sensor size and release date added by Digital Camera World

Used-market insights

Compact vs. mirrorless vs. DSLRs

Mirrorless cameras account for 80% of the Top 20, dominating the rankings with models from Canon, Nikon, and Sony.

The Ricoh GR IV is the exception. At just 228g, it is the only compact camera in the rankings (5% of entries), yet it is also the most-traded model overall.

DSLRs make up the remaining 15% of the Top 20. Nikon is the only manufacturer represented in this category, with the D500 (11th), D750 (17th) and D7500 (19th) all appearing in the rankings.

Lighter vs. heavier gear

The mirrorless era, now almost two decades old, brought photographers smaller and lighter camera systems.

This shift is visible in the data, with 15 of the Top 20 cameras (75%) weighting 600g or less. The remaining five models (25%) all exceed 600g.

Yet the persistence of heavier DSLRs suggests that weight alone is not the defining factor for photographers buying on the used market.

For many, the used market represents one of the last opportunities to get discontinued DSLR models – or to find a high-demand compact camera that can be diffivult to purchase new.

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Browse the best mirrorless cameras, the best DSLR cameras and the best compact cameras.

Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

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Browse the best standard zoom lenses, the best 70-200mm lenses, and the best telephoto lenses.

Summer is the time for sunglasses, which also happens to be the time of the year that I loathe viewfinder-free cameras even more than I normally do. That’s why a recent Sony rumor caught my attention. If the latest rumor circling the Sony community has any truth to it, then color me jealous.

According to reports from Sony Rumors, the hotly anticipated Sony FX5 mirrorless cinema camera will have an optional tilting electronic viewfinder, along with a new, larger LCD screen.

If the rumors are indeed true, a tilting EVF wouldn’t exactly be surprising, as Sony’s more entry-level FX series camera, the FX2, has a tilting viewfinder built in. But the rumors are calling for the FX5’s tilting viewfinder to be an optional add-on attached to the camera’s hot shoe.

Summer always reminds me of why I hate cameras that don’t have a viewfinder. Harsh glare from the sun renders the LCD screen hard to see. Add in sunglasses – a personal must if I want to avoid a squint-induced headache – and sometimes the LCD screen is almost completely useless.

There are plenty of mirrorless cameras that still have a viewfinder, the design of which shields the problematic sun glare. But a viewfinder that tilts is rare.

As much as I prefer the viewfinder, I’ll use a tilting LCD screen to get unusually low or high angles. A tilting viewfinder may not be quite as versatile – you can’t, for example, see it from a distance like an LCD screen or use it for selfies – but I would love a bit more flexibility to get low-angle shots without giving up my viewfinder.

Rumors also point to the cinema camera getting a larger 3.5-inch tilting LCD screen compared to earlier options, expanding on earlier reports of a 16MP full stacked sensor with Open Gate.

Sony has yet to release any sort of teaser or verify any of the speculation, leaving plenty of room for doubt over those speculated features.

As a photographer and not a videographer, I’d like to see a tilting EVF come to still cameras. Then again, such a design may increase the size of the camera in an era when the latest trends seem to suggest photographers want smaller, lighter gear – so a tilting viewfinder isn’t something I would expect to see anytime soon.

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Sony may not have confirmed any FX5 rumors, but the camera giant says that a new RX10 super zoom is coming! Or, take a look at the best Sony cameras.

Compact cameras are enjoying a huge resurgence, but the Canon PowerShot SX740 HS never really went away. Since launching in July 2018, Canon’s travel zoom has remained one of the brand’s most sought-after compact cameras, proving its popularity isn’t simply driven by today’s retro camera boom.

In 2024, Canon introduced the PowerShot SX740 HS Lite, a lightly updated version of the original camera. Despite changing just one small feature, the model has proven just as popular, recently claiming the No.1 spot in Yodobashi’s latest sales rankings in Japan.

While manufacturers often use refreshed models to introduce hardware upgrades, the PowerShot SX740 HS Lite remains almost identical to the original camera released seven years ago. That unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

Yodobashi's top selling compacts, 1st half June 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
4. Canon PowerShot G7 X Mark III | Black | Silver
5. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
6. Fujifilm X100VI | Silver | Black
7. Kodak Pixpro C1 | Brown | Black
8. Panasonic Lumix TZ99 / ZS99 | Black | White
9. Leica Q3 43
10. Sony RX100 VII

Why the PowerShot SX740 HS Lite is high in demand

Remarkable capable yet genuinely pocketable, the PowerShot SX740 HS Lite stays true to what compact travel cameras have always done best. It combines a 20.3MP 1/2.3-inch-type CMOS sensor with a body that’s small enough to slip into a jacket pocket.

Its standout feature remains the impressive 40x zoom lens, covering an equivalent focal range of 24-960mm – giving reach smartphones can’t match.

That reach is the camera’s defining strength, making it an excellent choice for travel, wildlife and everyday photography.

Lite vs original

Canon made just one notable change to the Lite edition: it removes USB charging.

The change comes after Europe introduced USB-C charging requirements for many electronic devices. Canon has not said whether the decision to remove USB charging was related to those rules.

There’s no larger sensor, longer zoom or new shooting modes – just the same travel-zoom formula that has remained popular for nearly a decade.

Panasonic's brief time at the top is over

Just a few weeks ago, Panasonic’s newly launched Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK) reached No.1 in Yodobashi’s rankings shortly after its release.

But the latest rankings see the PowerShot SX740 HS Lite reclaim the top spot, while Sony’s ZV-1 II creator camera also moved ahead of Panasonic’s travel zoom.

Interestingly, Panasonic’s premium L10 doesn’t appear anywhere in the current Top 10, despite attracting attention ahead of launch thanks to its larger sensor and stronger stills and video capabilities.

For now, photographers in Japan prioritize portability, long zoom ranges and proven models over newer premium alternatives.

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UPDATE: All has now been revealed - read our news story on the launch of the Sony RX10 V - and see our full review of the Sony RX10 V review which we have been using (under embargo) for the last couple of weeks.

Miracles do happen! We have just got the news that Sony is reviving is RX10 line of bridge cameras – known for their huge built-in zoom lenses.

And unlike other bridges currently left on the market, these use a sensibly-sized 1-inch sensor offering much better image quality than the 1/2.3-inch sensors of current models can possibly achieve. The 1-inch sensor is four times bigger than the 1/2.3in sensor.

Sony has just teased on social media the imminent arrival of the next version of the RX10. "The wait is over" we are told, with the news that we will get full details on July 09 at 10:00 ET / 15:00 BST (that's midnight AEST).

ABOVE: Watch the Instagram teaser for the next Sony RX10 bridge camera

The RX10 IV was discontinued in early 2025 after almost a decade in production – but even then it had been in desperately short supply. With many major manufacturers giving up on compact cameras, it was thought that was the end of the line. Panasonic likewise had tapped out with its FZ1000 range of 1-inch bridge cameras a couple of years earlier (its current Lumix FZ80D/FZ82D bridge camera uses a 1/2.3in sensor).

So is it safe that the new RX10 will be called the RX10 V? We can't know that for certain, as the teaser gives us no details. Similarly, we don't know what specifications – if any – will change from the Sony RX10 IV, which boasted a 20MP 1-inch sensor with a 25x optical zoom, giving an effective 24-2000mm range.

The original RX10 was launched back in 2013, and this Cyber-shot series became particularly popular with bird enthusiasts and wildlife watchers who wanted telephoto reach without the fuss or bulk of an interchangeable lens system – but who appreciated the extra detail offered by the Type1 1-inch sensor.

The RX10 Mark II followed in 2015, with the RX10 III and RX10 IV fast on its heels in 2016 and 2017 respectively.

You can read the incremental changes made in the series in our Sony RX10 vs RX10 II vs RX10 III vs RX10 IV guide.

We will bring you full news of this exciting launch as soon as the details are announced on July 09 – and will aim to have a full test as soon after that as we can.

Check out our guide to the best bridge cameras currently available

The latest version of the Sony Creator’s App has been released, with the newest update bolstering the options for transferring motion photos from your camera to your smartphone.

The Sony Creators' App is the mobile companion application for Sony cameras, designed to connect your body to your smartphone, tablet and Sony's Creators' Cloud platform. It replaced the older Imaging Edge App for most models from 2023 onwards.

Creators’ App Version 4.3 has now been released and enables users to transfer three-second “Motion Photo” clips. These clips are taken from high-quality video files recorded on your camera and can be transferred to your smartphone or tablet.

Motion Photo has been available to Creator’s App users since 2023, when Sony released the feature in version 2.3. However, until now, you could only capture 15, 30 and 60-second segments. While the new 3-second addition is seemingly minor, it is well-suited to social media creators who post ultra-short-form clips.

There are two ways to create Motion Photos. The first is to mark the sections of footage that will comprise the shot while recording with your camera by pressing the Shot Mark Button. The segment will then be auto-transferred to the app. The other option is to select the segment after shooting directly in the app, by loading the footage and pressing the Create Motion Photo button.

The new Motion Photo update only applies to the Sony Creator’s App. Anyone using the older Imaging Edge App doesn’t need to update as this app does not support the feature. You can check which cameras support the imaging Edge App and Creator’s App here.

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Here’s our take of the best Sony cameras, all of which we’ve put through rigorous testing. And here’s our review of the Sony A7 III – the camera I currently use.

Until now, Sony had a solid track record of implementing artificial intelligence (AI) into its cameras. Starting with Real-Time Eye Autofocus (AF) in the Sony A7R II, it laid the groundwork for modern AI subject recognition in its latest cameras such as the A7R VI.

However, the latest AI photo assistant feature that has been rolled out in the new Sony Xperia 1 VIII camera phone feels like another spoonful of unnecessary AI cough medicine being force-fed to us, just like every other tech company on Earth seems to be doing since the AI gold rush began a few years ago.

Essentially, the new Xperia 1 VIII AI assistant suggests four different shooting settings at moment you capture the shot, each offering a distinct creative aesthetic based on the scene or subject.

According to Sony, the assistant helps you “discover new ways of shooting” all while “expanding the joy of creating”. Jesus, I’m cringing.

ABOVE: the new Sony Xperia 1 VIII and its AI assistant explained

As you can expect, this hasn’t resonated well with photographers, who've made it clear in forum chatter and publications that this AI assistant is nothing but a waste of battery life dressed up as a creative outlet.

And I couldn’t agree more. What a load of baloney about it helping you to “discover new ways of shooting”. The AI assistant essentially adds post-production edits only during production, which hardly broadens your compositional horizons.

Having the AI analyze the scene before you press the shutter and suggest compositional changes would be impressive. I'd prefer to come to the conclusion myself without the help of AI but, admittedly, a feature like this could help you explore new angles.

But the Xperia 1 VIII AI assistant is far from this and, at best, its achievement has been compressing production and post-production into a single click of the shutter.

Was this necessary? Perhaps, if you’re in the game of saving time when taking photos. But for anyone who actually enjoys the traditional photographic process, it brings nothing to the table.

I’d like to think that Sony’s new AI assistant could help photographers develop their editorial eye by explaining what edits it actually made when coming up with its suggestions. However, as it simply creates these at the click of a button, you don’t even get the educational benefit.

To me, it’s simply creative outsourcing to a machine and the complete opposite of “expanding your range of expression” (another quote that came directly from the mouth of Sony).

As a longtime Sony shooter, I’m disappointed by this new AI assistant and can feel my gag reflex kicking in as I regurgitate the thought of this unnecessary feature.

I’m really hoping Sony doesn’t have the bright idea of bringing it to Alpha cameras, as I’m currently looking to upgrade from the A7 III to a newer model – and I have a slight suspicion that a future firmware update could see my next camera infected by this trash.

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Unlike the Xperia 1 VIII smartphone, I am a big fan of the company's cameras – and we have an expertly-curated list of the best Sony cameras here.

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.

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.

There's a hot new acronym in the world of camera sensors: LOFIC. Standing for ‘Lateral Overflow Integration Capacitor’, the tech is said to increase dynamic range by enabling a sensor to store extra charge from intense highlight saturation when a scene is being exposed. This can then be rendered in the captured image, where otherwise the data would have been clipped, thereby over-exposing the corresponding areas in the image. The result is what's being called ‘ultra-high dynamic range’, achieved without traditional multi-exposure techniques, which have the potential to introduce artefacts when shooting moving subjects.

Until now LOFIC has only been connected to Samsung image sensors, specifically the ISOCELL HP6, which has previously been rumored to appear in the forthcoming Galaxy S27 Ultra. But while that's still just a rumor, Sony has now revealed a new LOFIC-enabled sensor of its own: LYTIA L910. This is a 50 megapixel 1/1.28 stacked CMOS chip capable of high-quality video recording at 4K 60 fps, even when shooting in HDR.

In addition to its LOFIC ability, the L910 also employs Triple Conversion Gain-HDR (TCG-HDR) technology, which is said to read out the charge obtained from a single exposure at three different conversion gains. This further reduces highlight over exposure in bright areas of a scene, along with noise in shadows and mid-tones. Furthermore, Sony's Ultra High Conversion Gain (UHCG) circuits technology is claimed to reduce random noise by approximately 30% compared to Sony's more conventional LYTIA 828 image sensor.

With all these technologies combined, Sony states that the LYTIA 910 can achieve 100 dB high dynamic range images with a single exposure - that equates to 16.6 stops - and with it the ability to easily preview images in HDR quality on a phone screen. Power consumption is also said to be reduced thanks to a reduction in the time required for analog-to-digital signal conversion, which should result in lower battery consumption for phones.

Sony says the LYTIA L910 will be available to camera phone manufacturers in summer 2026, which presumably means its arrival must be imminent. However, we’ll likely have to wait several more months before those first phones actually materialize.

A compact camera so trendy that it's still hard to find in stock more than two years after its launch has returned to the top of sales charts in Japan. The Fujifilm X100VI was the best-selling camera overall from one Japanese retailer last month, with the number one for the last several months, the Sony A7 V, dropping to second.

The Sony A7 V is the only non-Fujifilm camera in the top five in the latest sales data from Japanese photo retailer Map Camera, which recently shared the top ten cameras for May. While trends don’t always translate across geographic borders, with many major camera brands located in Japan, the region is one to watch.

1) Fujifilm X100VI

The Fujifilm X100VI has gone so viral that finding one in stock is often a challenge – but limited stock is likely affecting where the retro compact camera falls in the sales charts. In the latest numbers from the retailer, the Fujifilm X100VI has returned to take the number one spot.

Map Camera notes that the supply of the X100VI remains unstable, more than two years since the camera launched – and went viral on social media – in February 2024. But while the retailer says that stock is still unstable, the fact that there was enough stock for the camera to return to number one is interesting. I wonder if perhaps the popular camera may be finally catching up with demand.

The X100VI’s popularity stems in part from its compact, retro design along with a 40MP sensor and bright 23mm (full frame equivalent) f/2.0 lens.

2) Sony A7 V

The Sony A7 V comes in second place, the first time the newly launched mirrorless camera has fallen from first place in Map Camera's month-to-month numbers since launching late in 2025. The A7 V boasts 30fps burst speeds and smarter autofocus without moving to the price of Sony’s higher-end models.

Interestingly, Map Camera reports that most of the Sony A7 V sales are for the body only. That has the retailer hypothesizing that a lot of the sales are coming from existing Sony users who already own some E-Mount lenses.

The newly announced Sony A7R VI may threaten to outdo its lower resolution sibling, but with shipping beginning in June, it's not part of Map Camera's May numbers.

3) Fujifilm X-T30 III

The success of the X100 series seems to have bled over into Fujifilm’s mirrorless cameras, particularly those that sit at a lower price point than the X100VI. The Fujifilm X-T30 III is fairly compact for a mirrorless camera, yet still has a viewfinder.

The more budget-friendly X-T30 III, however, has Fujifilm’s previous-generation sensor, shooting 26.1MP photos.

4) Fujifilm X-E5

The mirrorless camera most similar to the popular X100VI is arguably the Fujifilm X-E5, which shares the same sensor and retro rangefinder-inspired design, but has interchangeable lenses (though there are a few other notable differences).

The X-E5 also pairs with a 23mm f/2.8 kit lens that keeps the camera feeling more like a compact camera than a mirrorless camera. The mirrorless’ success could potentially stem from the still-long wait list for the X100VI – or perhaps from the flexibility of swappable lenses.

5) Fujifilm X-M5

Fujifilm’s most affordable mirrorless camera has also seen limited stock availability since its launch, but the compact vlogging mirrorless camera is still proving to be popular. The Fujifilm X-M5 has the same resolution as the X-T30 III, but axes the viewfinder for an even more compact design.

6) Canon PowerShot G7 X Mark III

Launched in 2019 but revived through social media trends, the Canon PowerShot G7 X Mark III continues to sell well, despite limited availability. Map Camera says that the new special edition G7 X Mark III was included in these numbers, helping to push the one-inch sensor compact camera with a zoom lens higher up the list.

7) Panasonic Lumix ZS300 / TS300

Panasonic’s compact super zoom, which is called the Lumix TX3 in Japan but the Lumix ZS300 in the US and the Lumix TZ300 in the UK, only launched at the end of May but has already made the top ten. The camera’s 1-inch sensor with a 24-360mm equivalent zoom is already proving to be quite popular, as the camera was number one on Japanese retailer Yodobashi’s list for the second half of May 2026.

It will be interesting to see how the camera’s ranking changes next month, as Panasonic recently launched the Lumix L10, which begins shipping in June. Panasonic Japan has already said orders have exceeded expectations, so it will be interesting to see where the compact camera that mixes a shorter zoom lens with a larger Micro Four Thirds sensor fits into the trends.

8) Sony A7C II

The Sony A7C II is the more compact travel-ready mirrorless for Sony shooters, and the camera’s mix of size and price has it regularly appearing among top ten lists, despite being launched in 2023.

9) Sony A6700

The Sony A6700 is a compact mirrorless camera housing an APS-C sensor, offering more speed and performance over the more affordable A6400. Map Camera notes that the majority of sales for the A6700 are for the bundle with an 18-135mm kit lens, hinting that many buyers are first-time Sony users or photographers who want something small with a do-it-all lens.

10) Ricoh GR IV

The Ricoh GR IV is another compact camera that’s hard to find, so limited supply may be affecting numbers. Regardless, Map Camera still managed to get enough of the tiny camera for it to slide in at the bottom of the top ten.

The GR IV series is known for cramming an APS-C into a camera that’s still only around the size of a basic point-and-shoot.

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Some people might not be aware that Tamron's largest shareholder is Sony. Which, in a very roundabout way, kinda means that Sony makes lenses for rivals like Canon and Nikon. However, that could be about to change thanks to "a massive capital upheaval, perhaps the largest since the company's founding".

For years Sony has owned the biggest share in Tamron, enjoying a 15.35% slice of the company as of December. But according to a report by Digital Camera Life, the second-largest shareholder – activist hedge fund investor Effissimo Capital Management – could might have muscled its way to a majority interest.

As of December, Effissimo owned 10.76% of Tamron. However, as of April, the group has increased its ownership stake to 17.38%. So unless the electronics giant likewise bought a bigger stake in Tamron, Effissimo now owns 29,691,800 shares compared to Sony's 25,038,000.

Who is Effissimo Capital Management?

Effissimo is a Singapore-based hedge fund investment firm that has made a name for itself by strategically buying into Japanese manufacturers such as Nissan and Toshiba, the latter leading to a buyout that privatized the company.

Described by the Financial Times as "a secretive fund run by Japanese managers," Effissimo is "known for its high-profile campaigns against some of the biggest names in corporate Japan".

Often acting in the background, Star Magnolia Capital notes that "Effissimo quietly built large, economically decisive stakes in target companies and then pushed for change through behind-the-scenes engagement".

All of which suggests that its controlling interest in Tamron is not a benign investment but may signal an intention to modify the direction of the company.

What does Effissimo's move mean for Tamron (and Sony)?

So what does this all mean? Digital Camera Life has some interesting insights.

The outlet clarifies that Tamron may not necessarily welcome Effissimo's aggressive purchasing of shares, but may be using its presence "as a legitimate 'justification' for management reform" following the 2023 scandal that saw former president and CEO, Shiro Ajisaka, depart Tamron over misappropriation of company funds.

"Does Tamron want to be free from Sony? The answer is 'no.' Sony will continue to be Tamron's most important 'guardian angel' and 'biggest business partner.' There is virtually no reason for Tamron to want to separate from Sony.

Sony's firm hold of 15.35% of the shares acts as a safety valve (a white knight-like role) that prevents the company from being taken over by another company."

It posits that Tamron's recent announcement that it plans to launch more than 10 lenses per year "might be a positive response (or defense) to the pressure from these funds (demands to increase corporate value instead of letting cash sit idle)."

As such, it could actually be a positive move for all concerned – specifically in terms of accelerating the push into the Canon RF lens ecosystem.

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For five months, Sony's new full-frame mirrorless was the No.1 camera in Japan at retailer Map Camera. But now, a two-year-old compact camera has reclaimed the top spot, beating the Sony A7 V.

Map Camera's new No.1 best-selling camera is the Fujifilm X100VI – an APS-C compact that we rated as the best retro compact camera on the market to date.

That might not sound surprising for one of the world's most sought-after cameras, except for one thing: the X100VI launched more than two years ago but remains notoriously difficult to buy. Whenever stock becomes available, demand appears strong enough to send Fujifilm's retro compact back into the Top 10 – and even to No.1.

Map Camera's top 10 best-selling cameras May

1. Fujifilm X100VI
2. Sony A7 V
3. Fujifilm X-T30 III
4. Fujifilm X-E5
5. Fujifilm X-M5
6. Canon PowerShot G7 X Mark III
7. Panasonic Lumix TX3 / ZS300 / TZ300
8. Sony A7C II
9. Sony A6700
10. Ricoh GR IV

Japan's new No.1: Fujifilm X100VI

When stock is available, photographers get a mix of classic rangefinder styling and modern APS-C performance, paired with a fixed 35mm-equivalent lens and Fuji's signature dial-based controls.

That blend of style, simplicity and image quality has helped the X100VI remain one of the most sought-after cameras on the market more than two years after its launch.

Four compacts in the Top 10

Compact cameras are very popular right now, offering a ready-to-shoot package in a pocketable form. Unlike camera phones, they give photographers a dedicated shooting experience with tactile controls.

The latest Map Camera chart reflects that trend. Alongside the Fujifilm X100VI, the Canon PowerShot G7 X Mark III ranks sixth, while the Ricoh GR IV comes tenth.

Interestingly, the newly launched Panasonic Lumix TX3 (ZS300 in the US, TZ300 in the UK) takes seventh place. While that might not sound spectacular, the compact has already shot straight to No.1 at Japanese retailer Yodobashi.

Launched in May 2025, the TX3 combines a 20.1MP 1-inch BSI CMOS sensor with a Leica-certified 25-360mm equivalent 15x zoom lens, delivering a focal range that few genuinely pocketable cameras can match.

That flexibility helps set it apart from rivals such as Canon's PowerShot G7 X Mark III.

Given its strong start elsewhere, it wouldn't be surprising to see the Lumix TX3 climbing further up Map Camera's chart in the coming month.

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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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Sony is building a medium format sensor that’s 2.2 times that of a full-frame E-Mount sensor – and fans now finally have a glimpse of the upcoming oversized sensor technology.

Last week, Sony announced that it is developing a 65mm-format sensor for its modular Venice cinema system that will allow filmmakers to swap out the sensor on the modular camera for an oversized sensor rivaling the likes of medium format cinema options like the Fujifilm GFX Eterna, Blackmagic Ursa Cinema 17K 65, and the Arri Alexa 65.

That oversized sensor will be capable of 9.7K video and measures about 53.75mm wide and 35.83mm tall (the 65mm comes from the 64.60mm diagonal measurement).

But, as a development announcement not expected to arrive until the first half of 2027, the announcement came without any official images of the actual sensor. Sony, however, previewed the technology at the CineGear 2026 expo – and now the first images and footage of Sony’s overzies sensor are trickling in.

Sony had the new sensor display tech on display in a few different ways, including mounting the sensor block directly to the Venice 2, mounting with a cable setup, and displaying the sensor block itself.

As only a development announcement, there’s much that filmmakers don’t yet know about the Rialto 65, including the type of shutter that will be paired with the sensor. But the announcement is exciting in that it pushes Sony into the medium format market, albeit for cinema and not stills.

Videos and photos coming from visitors to the CineGear Expo 2026 offer Sony fans a glimpse at just how much larger the sensor is than the full-frame currently available for the Venice 2 system.

In a Reddit post, one user claiming to be from Sony says that the company has noted increased demand for 65mm with an uptick in launches for lenses for the format. Meanwhile, Reddit users responded with a mix of reactions, from asking for a medium-format stills camera to hoping for a global shutter to come with the Rialto 65.

The upcoming sensor will likely be out of many creators’ budgets – the full-frame Venice 2 with its two different resolution sensor blocks ranges from $49,000 to $58,000 / £41,000-61,000 / AU$ 76,200-96,800 / CA$55,000-80,000. But the announcement offers a rare official glimpse into what tech Sony is working on behind the scenes.

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A US$4,599 medium-format lens isn't the kind of model you'd expect to see competing with mainstream full-frame best-sellers. Yet the Hasselblad XCD 35-100E has been doing exactly that in Japan, consistently ranking among the country's most popular lenses and now claiming the No.1 spot in Yodobashi's latest sales chart for the second half of May.

The world's fastest medium-format zoom is Hasselblad's second "trinity" lens for the X-System and is versatile enough to replace up to seven premium prime lenses worth over US$20,000.

That winning formula has helped it outperform some of photography's biggest pro workhorse lenses, including Sony's flagship Sony FE 70-200mm f/2.8 GM OSS II and Nikon's new Nikon Z 70-200mm f/2.8 VR S II.

Yodobashi's 10 best-selling lenses (2nd half May)

1. Hasselblad XCD 35-100E
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Sony FE 24-70mm f/2.8 GM II
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Nikon Z 70-200mm f/2.8 VR S II
7. Fujifilm XF 16-55mmf /2.8 R LM WR II
8. Sigma 28-70mm f/2.8 DG DN | Contemporary (E-mount)
9. Nikon Z 24-70mm f/2.8 S II
10. Canon RF 100-500mm f/4.5-7.1 L IS USM

Why is the XCD 35-100E so popular?

In real-world use, the XCD 35-100E can handle a wide range of genres.

From street photography and architecture to portrait, it replaces multiple prime lenses while maintaining the image quality expected from Hasselblad's high-resolution system.

That versatility is one of the reasons it has become such a strong seller in Japan.

The fastest (and best) zoom lens for medium format cameras

With the Hasselblad XCD 35-100E, the brand has delivered one of its most capable lenses to date.

And the competition is strong: Sony's 70-200mmm is a key lens in the company's pro lineup, while Nikon's latest Z 70-200mm successor arrived to huge acclaim after the original was described as "probably the best 70-200mm zoom in the world," in our review.

While the XCD 35-100E is not a constant f/2.8 throughout its entire range, its ability to reach f/2.8 at the wide end still makes it the fastest autofocus (AF) medium-format zoom currently available.

Combined with Hasselblad's latest AF system in the X2D II 100C, it delivers a level of responsiveness that brings medium-format shooting closer to the speed and flexibility traditionally associated with full-frame systems.

Lower demand for 70-200mm in Japan

The second half of May shows a modest shift in the ranking. Canon's RF 70-200mm f/2.8 L IS USM Z is absent from the top 10 this time, with the popular 70-200mm category represented by one fewer lens overall.

At the same time, the rankings continue to favour versatile zoom ranges. Standard 24-70mm lenses remain a staple, while extended-range options such as 24-105mm, 28-200mm, and 100-400mm optics continue to appear regularly across the top 10.

The next best-seller chart could see further changes following the arrival of Sony's FE 100-400mm f/4.5 GM OSS.

High-profile launches have historically performed strongly in Japan's rankings, with Nikon's Z 70-200mm f/2.8 VR S II, for example, quickly climbing to the No.1 spot after release before settling into the chart.

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

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

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

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

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

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

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

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

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

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

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When I was young, Konica and Minolta were two, separate, long established photographic titans. My mother owned a Minolta film SLR, which for many years was the most ‘proper’ camera in our household, and, in the early 2000s, Konica manufactured and released some of the coolest, well-reviewed digital compacts as part of its Digital Revio line-up. In parallel, Minolta also had its own inventively named ‘DiMAGE’ digital camera series.

But for a couple of decades, both brands disappeared. At least until the Minolta brand recently and mysteriously re-appeared for compacts licensed for sale in the States. So, what happened?

For camera manufacturers, the landscape of the early 2000s was something like the Gold Rush, as digital caught the public imagination, photographers ditched their film cameras to invest in a whole new system, and digicam sales went through the roof. Faced with stiff competition, as not just traditional camera companies but electronics giants and even computer manufacturers – remember HP cameras anyone? – wanted their slice of the ‘action’, it was inevitable some brands would get trampled underfoot.

Faced with an existential threat, Konica and Minolta merged in 2003. Despite some great products in their respective Digital Revio and ‘DiMAGE’ ranges, there were larger industry rivals in Canon, Nikon, Ricoh et al they needed to see off. Minolta was also reportedly carrying major debt, having failed to halt the erosion of its traditional film technology business and replace any loss with a digital equivalent. In essence, the merger allowed for cost cutting.

However, unfortunately it was to prove a short-term solution. Konica Minolta exited the photography industry completely at the start of 2006, seeking instead to pivot towards office equipment and healthcare instruments. It proved something of a noble and bittersweet demise for one of photography’s most recognisable brands, however, as Sony acquired Konica Minolta’s camera division and piggybacked on its proven tech to launch its own successful line of Alpha branded DSLRs the same year. 

I watched as the loss of one established brand enabled Sony to quickly gain share of a market it wasn’t already part of. The go-faster boost it gave the electronics giant also enabled Sony’s subsequent mirrorless camera development and dominance.

So, if you’re a Sony user today, I reckon you owe a degree of gratitude to the engineers of the vanquished Konica Minolta.

When writing this article, I pondered to myself whether we’d yet see the Konica Minolta brand resurface somewhere. 

After all, the Kodak, Polaroid and Yashica camera brands have been licensed out to third party manufacturers and are selling again in 2026. Experience has taught us there is value in heritage brands. 

While I very much doubted Sony would want to license out the name, a fellow DCW scribe alerted me to the fact that compacts and camcorders bearing the ‘Minolta’ name had recently appeared in the USA, sold by retailers including the venerable B&H Photo.

Due to the quirks of trademark law, a California-based company, JMM Lee Properties, had claimed the formerly abandoned name and was now licensing it out.

So, while Konica Minolta is very much retired, we can now buy cameras that appear to indicate a relationship with one half of the partnership, but which are, in fact, nothing to do with the original Minolta.

It’s an intriguing twist in a long-running tale.

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.

Sony is building a 65mm format sensor. On June 3, the imaging giant announced that it is developing a 65mm sensor for its Venice 2 cinema camera system, dubbed the Rialto 65.

The 65mm format is technically part of the medium format family, which covers sensors that are larger than 36mm but smaller than 100x130mm large format film. But, the Sony Rialto 65mm sensor is a 3:2 sensor built for cinema, making it wider but shorter than many typical stills-oriented 4:3 medium format cameras that tend to sit around 53.4x40mm.

Sony says the upcoming Rialto 65 will be one of the largest commercially available cinema sensors – it measures 64.60mm diagonally and comes with a 3:2 aspect ratio, making the sensor about 53.75mm wide and 35.83mm tall.

If everything goes according to plan, the Rialto 65 is currently expected to arrive sometime in the first half of 2027.

But, rather than launching a new camera to go with the larger sensor, Sony is building a sensor block that can be used to modify the Sony Venice 2 bodies, allowing filmmakers to swap out the current camera’s full-frame sensor for a larger one. The modular design, Sony says, will help filmmakers adapt quickly.

The 65mm format has around 2.2 times the area of the full-frame sensor on the existing Venice 2 bodies. That helps the camera both gather more light and create an even shallower depth of field. That larger size will power the ability to shoot 9.6K open gate recording, which uses the full 3:2 sensor for greater cropping flexibility in post.

But, the larger image sensor requires larger lenses – Sony says the upcoming sensor block will be compatible with “various 65mm format lenses.” The company says that multiple readout modes will help the sensor support compatibility with more lenses.

The upcoming sensor joins a limited but growing list of medium format shooters designed specifically for cinema, alongside options like the Fujifilm GFX Eterna, the Blackmagic Ursa Cine 17K 65, and the Arri Alexa 65.

While medium format cinema cameras sit at a price accessible only to studios with large production budgets, Sony is one of the largest manufacturers of camera sensors, so the shift is an interesting move even for creators who will never get to hold such a large sensor.

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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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The Ringed Kingfisher can perch up to 30 feet above the water before plunging headfirst toward its prey – creating a split-second burst of motion that is notoriously difficult to photograph.

But photographer Felipe Esteban Toledo Alarcó captured the moment perfectly.

His dramatic image of a Ringed Kingfisher explosively rising from the water, frozen at 1/3200 sec, has now won the Grand Prize in the Chile and Colombia competition at the Audubon Photography Awards.

Chile and Colombia: Grand Prize Winner

Image info
Species: Ringed Kingfisher
Image Location: Valdivia, Los Ríos, Chile

Shot info
Gear: Sony A7 IV + Sony FE 200-600mm f/5.6-6.3 G OSS
Exposure: 1/3200 secs, f/6.3, ISO 2500

The story behind the shot

Toledo Alarcón explains, "While looking to photograph frogs' mating rituals at a lagoon in Parque Saval, my friend and I noticed a pair of Ringed Kingfishers hunting fish, completely submerging themselves in the water.

"No one can ignore such a scene. While the female was far away, the male dove unsuccessfully time and time again—and with each try, he moved closer to us.

"Even though the sun was not in the perfect position, I set up my camera in burst mode with a high shutter speed, moderate ISO, and “zone” focus.

"I was ready.

"After the bird made six dives, I got the image that I’d been chasing: a kingfisher explosively rising out of the water, displaying its beauty, elegance, and power."

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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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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.

As a Sony photographer, the new Sony 100-400mm G Master OSS looks like an incredible piece of kit. The constant f/4.5 aperture is an attractive spec, and one that would serve me particularly well as an adventure photographer who loves juxtaposing hikers against towering natural features like mountains and waterfalls.

However, nipping any idea of trading in the predecessor model — the Sony FE 100-400mm f/4.5-5.6 G Master OSS, a lens which I currently own and use regularly — for the new model is the eye-watering price tag of $4,298 / £4,399 / AU$7,399.95.

The new lens is the first full-frame telephoto lens covering the 400mm focal length to feature a constant aperture, which is what had me considering a cheeky, yet bank-account-destroying purchase in the first place.

But does one extra stop of aperture at the telephoto end truly enable shots that aren’t possible at f/5.6 with a little bit of background blur added in Lightroom? The purist in me screams, “yes, of course, you need to get it right in camera!” but the pragmatist says, “absolutely not,” and it’s my pragmatic side that’s winning the debate.

The Sony FE 100-400mm f/4.5-5.6 G Master OSS is a solid piece of kit. From shooting in my backyard of the South Wales Valleys to peaks of 5,000m-tall Andean mountains, it’s never let me down.

Yes, the autofocus sometimes needs a second to get itself in gear and it weighs a lot more than, say, Canon’s equivalent Canon RF 100-400mm F5.6-8 IS USM, but as far as telephoto lenses covering this focal-length range go, it’s relatively lightweight and on the faster end.

Of course, the 2017 model won’t stand a chance against the new version in an autofocus race, as Sony says the latest release features four XD linear motors and a floating focus design, leading to autofocus that’s up to three times faster than the older rig. Admittedly, I'd benefit massively from this, especially when trying to quickly snap an unexpected, adrenaline-filled scene in the mountains.

That's another big reason that I'm able to withstand the temptation to pick up the new lens: size. The new lens, with its internal zoom design, is significantly heavier and longer than its predecessor, and I’m looking for backpack-ready gear that won’t stop me from summiting peaks, not heavy, albeit state-of-the-art equipment that weighs almost as much as it costs.

If anyone wants to make a considerable donation to the “buy Alan a new Sony 100-400mm constant aperture f/4.5” fund, then perhaps I’ll consider raising the rest by selling my 100-400mm f/4.5-5.6. Until then, there’s no way I’ll be burning a hole in my pocket for what is mostly an extra stop of aperture when I can get similar results with the older, slower model.

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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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Photographers across a variety of genres, from wildlife and portraiture to events and action, have long gravitated towards 70-200mm lenses.

In March 2026, the successor to what we described in our review as "probably the best 70-200mm zoom in the world" entered the market – and it has already begun making waves in Japan's latest sales rankings.

Yodobashi's latest best-seller charts for the second half of April 2025 place the Nikon Z 70-200mm f/2.8 VR S II in the top slot. The result highlights continued demand for high-end professional telephoto lenses, with Nikon's latest flagship outperforming competing optics.

The rankings span a broad field, covering zoom lenses from 24mm wide-angle options to 400mm super-telephoto designs. Despite this competition, Nikon's updated 70-200mm has secured the top position.

Yodobashi's 10 best-selling lenses (2nd half Apr)

1. Nikon Z 70-200mm f/2.8 VR S II
2. Hasselblad XCD 2.8-4/35-100E
3. Sony FE 24-70mm f/2.8 GM II
4. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
5. Sony FE 70-200mm f/2.8 GM OSS II
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Canon RF 70-200mm f/2.8 L IS USM Z White | Black
8. Nikon Z 24-120mm f/4 S
9. Tamron 35-100mm f/2.8 Di III VXD (E-mount)
10. Canon RF 24-70mm f/2.8 L IS USM

Nikon's success story

In our review of the Nikon Z 70-200mm f/2.8 VR S II, we noted that it was "hard to believe Nikon could improve upon an already winning formula this much."

The lens is lighter than the original Nikon Z 70-200mm f/2.8, offers improved optical performance and introduces usability upgrades – including a removable tripod collar, closer focusing distance and enhanced control features for video users.

Combined with faster AF (autofocus) and improved handling, it refines what was already regarded as one of the best 70-200mm zoom lenses ever made.

The rest of the top 10 lenses

Unsurprisingly, three 70-200mm lenses appear in the top 10 best-seller list.

Alongside the Nikon Z 70-200mm f/2.8 VR S II in first place, Sony's FE 70-200mm f/2.8 GM OSS II sits in fifth, while Canon's RF 70-200mm f/2.8 L IS USM Z ranks seventh – all established workhorse optics commonly found in professional photographers' kitbags.

There is also strong representation from the 24-70mm f/2.8 category, with Sony's FE 24-70mm f/2.8 GM II in third place, Nikon's Z 24-70mm f/2.8 S II in eighth and Canon's RF 24-70mm f/2.8 L IS USM Z in tenth.

Once again, Yodobashi's sales rankings highlight a trend: flexibility continues to outweigh prime lens performance. Zoom lenses remain the preferred choice thanks to their versatility and all-around usability, offering photographers more creative range in a single investment.

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Sony has released firmware version 2.0 for the Sony A7 V, introducing a suite of new features – most notably support for 32-bit float audio recording and expanded filmmaking tools, further positioning the camera as a professional hybrid production rig.

The update adds 32-bit float and 96kHz audio recording support when the camera is paired with Sony’s XLR-A4 audio adapter.

If you're unfamiliar, 32-bit float is widely used in professional filmmaking as it enables significantly greater dynamic audio range and reduces the risk of clipped recordings – especially when filming in unpredictable environments such as live events or while running and gunning.

Firmware version 2.0 highlights Sony’s increasing focus on hybrid creators demanding advanced stills, video and audio capabilities in a single camera.

Competition in the mirrorless market has shifted towards creator-oriented features, with manufacturers increasingly focusing on improving professional video capabilities without requiring users to buy a dedicated cinema camera.

Sony has also expanded “Preset Focus” functionality to support zoom lenses without power zoom capability. The feature enables users to save and instantly recall focus positions, making repeatable cinematic focus transitions and interview setups easier when using standard zoom lenses.

Additional changes include decimal-point focal length display for more precise framing, as well as a fix for a recording issue affecting the Sony ECM-M1 microphone. Sony also said that the update includes broader operational stability improvements but, as usual, didn’t expand on what this line means.

Firmware version 2.0 doesn’t fundamentally affect the A7 V’s hardware capabilities. It does, however, bolster Sony’s broader strategy of turning its Alpha lineup into ever-more capable hybrid production tools for creators wanting compact alternatives to larger and more expensive cinema-focused cameras.

The firmware update is available to download directly from Sony.

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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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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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Photographers are often tempted to have the latest gear in their bags, but data from a used camera and lens marketplace in Japan hints that photographers aren’t dissuaded from a lens by age alone.

Minna Camera is a Japanese app that allows users to sell and buy camera gear, and the company just compiled an interesting list of data from transactions: The most popular prime lenses. With Japan being home to several major camera brands, the region is often viewed as a key indicator of trends in the industry.

The list of the most sold prime lenses over the last six months has an unusual leader in a 14-year-old prime lens: The Fujifilm XF 35mm f/1.4 R. Minna Camera says that the lens had more than 3.5 times the sales of the second-place Sony 50mm f/1.4 GM, indicating that the two weren’t even close.

The camera resale app proposed a few different theories for why a 14-year-old lens is topping sales, including the lens’ legendary soft bokeh, film-like colors, and the versatile focal length – which is about 53mm in full frame equivalent.

The XF 33mm f/1.4 LM WR – which tops DCW’s list of the best Fujifilm lenses – is largely considered to be a modern alternative to the 35mm f/1.4, though when the 33mm launched in 2022, Fujifilm said the two lenses would co-exist. The newer 33mm has updated autofocus and a more sophisticated lens design made for modern sharpness.

But I think there’s likely another key reason why the older lens is selling so well. Fujifilm is known for its retro look and film simulations, and softer lenses tend to look more film-like – so if that’s the look that you’re after, an older, softer lens may make more sense. Of course, as a 14-year-old lens that hasn’t been discontinued, there’s also likely plenty of stock available for a used camera marketplace app, so that could be another factor.

The most popular prime lens are overwhelmingly nifty fifties

The first place isn’t the only lens that’s a nifty fifty on the list – in fact, lenses that are equivalent to 50mm, give or take a few mm, are the most popular type of prime on the Japanese camera app over the last six months.

The Sony FE 50mm f/1.4 GM slides into second place, followed by the Nikon Z 50mm f/1.8 S. Canon’s 35mm f/1.8 Macro IS STM slightly outsold its DSLR 50mm, which slotted in fifth place for the EF 50mm f/1.8 STM. Canon’s RF 50mm f/1.8 STM doesn’t pop onto the list until 12th place.

The nifty fifty is one of the lenses most often recommended for photographers moving beyond a kit lens. The 50mm focal length is long enough to be flattering for portraits, but not so long that it can’t dabble in other genres like street photography and landscapes too.

Nifty fiftys also tend to be budget-friendly – or at least the f/1.8 options tend to be, while brighter f/1.2 and f/1.4 options tend to sit at a more pro-grade price level.

Sony is the most popular mount on Minna Camera

Minna Camera also tallied the results by mount. Sony E-Mount leads in the total number of lenses in the top 30 with 12, twice the second-place Nikon Z mount. Fujifilm X follows with four, then Canon RF, Canon EF. The L-Mount, Nikon F and Micro Four Thirds each had one lens make the top 30 list.

The full list of best-selling prime lenses between November 6, 2025, to May 11 2026 from Minna Camera includes:

1. Fujifilm XF 35mm f/1.4 R
2. Sony FE 50mm f/1.4 GM
3. Nikon Z 50mm f/1.8 S
4. Canon RF 35mm f/1.8 Macro IS STM
5. Canon EF 50mm f/1.8 STM
6. Sony FE 20mm f/1.8 G
7. Sony FE 90mm f/2.8 Macro G OSS
8. Fujifilm XF 27mm f/2.8 R WR
9. Sony 85mm f/1.8
10. Nikon Z DX 24mm f/1.7
11. Nikon Z MC 105mm f/2.8 VR S
12. Canon EF 100mm f/2.8 L Macro IS USM
13. Canon RF 50mm f/1.8 STM
14. Sony T FE 55mm f/1.8 ZA
15. Nikon Z 40mm f/2 SE
16. Sony E 20mm f/2.8
17. Fujifilm XF 33mm f/1.4 R LM WR
18. Sony E 11mm f/1.8
19. Panasonic Lumix S 50mm f/1.8
20. Nikon Z 50mm f/1.2 S
21. Sony FE 35mm f/1.8
22. Panasonic Lumix G 20mm f/1.7 II ASPH
23. Nikon AF-S 35mm f/1.8G
24. Canon RF 50mm f/1.2 L USM
25. Sony FE 24mm f/1.4 GM
26. Nikon Z 20mm f/1.8 S
27. Tamron 90mm f/2.8 Di III Macro VXD for Sony E-Mount
28. Sony FE 40mm f/2.5 G
29. Fujifilm XF 18mm f/2 R
30. Sony FE 50mm f/1.2 GM

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