The highest resolution cameras you can buy today: ultimate megapixel monsters

In this guide, we're counting off the highest resolution cameras you can buy right now. If you need pixels, pixels, pixels in order to produce images with an unmatched level of detail, these are the cameras to do it with.

Why would you want the highest-resolution cameras? They're mostly the province of professionals, often those working in fashion, architectural or product photography who need to produce images that can be printed very large. As such, these cameras are not cheap, and some of them are not practical for most forms of shooting. Though things are changing somewhat in this regard, with newer medium format cameras like the Fujifilm GFX 100 II being much more light on their feet than others.

My personal recommendations are the Hasselblad X2D 100C for pure photography, as it simply has the best color rendition and "3D pop" I've ever seen in a camera. I'll also point to the Canon EOS R5 (which I bought myself), firstly because it can shoot 400MP photos and secondly because it offers fantastic 8K video with killer autofocus and rock-solid image stabilization. But here's what else is on offer…

Pixel junkie

Pixel junkie

James Artaius

I've been obsessed with resolution ever since first handling a Hasselblad 500C in the film days. I'm in love with what Fujifilm and Hasselblad have been doing with the medium format GFX and X systems, respectively, not to mention what Sony, Sigma, Leica and Canon have been able to achieve with 35mm sensors.

The Quick List

The highest resolution cameras right now

Here's my list of the highest resolution cameras on the market, including both native resolution (as in, the number of pixels on a sensor) and resolution achieved via pixel shift multi-shot (whereby the camera micro-moves the image sensor and create an artificially larger sensor area – which is only suitable for static scenes with no movement).

This comprises some of the best medium format cameras as well as full frame mirrorless cameras, each of which has their own pros and cons. This guide is focused on resolution, so make sure to research each format to be sure which is right for you!

Best overall

As much as I loved the original Fujifilm GFX 100, the new mark II version beats it in every single respect – well, except for having a "conventional" camera body instead of the "pro" form factor, with integrated vertical grip, like its predecessor. Even so, it's still very chunky for a mirrorless camera!

Still, I can't get over how solid Fujifilm's image stabilization is on a medium format sensor (up to eight stops!) and its autofocus system is as nimble and responsive as any X-series camera – arguably, somehow, moreso.

Its stunning 102MP image files have the best blacks I've ever seen, which have a simply sumptuous amount of detail. The camera is also capable of 8K 30p video and, though it wouldn't be my first choice for filming (that would be the Canon EOS R5, listed below), it still does a great job even though the tilt-only screen can be limiting.

For all-purpose usage and maximum resolution, it doesn't get better than this.

If it's a little beyond your budget, you may also want to consider the Fujifilm GFX 100S II. While the GFX 100 II is the superior option, with faster burst shooting and 8K video, the GFX 100S II uses the same sensor, so you're still getting that 102MP quality with the option of 400MP pixel-shift. It does also offer a slightly smaller form factor, though truthfully that advantage is pretty well negated once you start attaching lenses.

Read our full Fujifilm GFX 100 II review

Best colors

Having the best resolution is all well and good, but when you've got all those pixels you also want them to have the best possible color rendition. And as good as Fujifilm colors are, Hasselblad has the best color science in the business. The best way I can describe its Natural Color Solution technology is "HDR for colors", or the difference between a 4K movie and a DVD.

Beyond that, the X2D packs a 100MP sensor that's a step behind Fujifilm's in our lab tests (being slightly noisier with less dynamic range as you climb the ISO range) but, in my experience, that hasn't been noticeable in real-world shooting. The photographs out of this camera are nothing short of magnificent.

The menu system is the sleekest, most intuitive and most efficient I've ever used, and this might also be the most comfortable camera I've ever held. Not only is it beautiful to behold, it's also a dream to hold and to use.

The fact that it has a built-in 1TB SSD means that you're covered if you forget a memory card, the image stabilization is rock-solid, and while it's obviously outclassed by Canon and Sony's bleeding-edge autofocus systems, the phase detect AF is still pretty dang good. Just be aware that it has no video functionality whatsoever.

Read my full Hasselblad X2D 100C review

Highest native resolution

The first time I used the Phase One, I was blown away not only by the raw resolution (a mind-boggling 151MP) but also the sheer scope of the images. That's because this camera features a "full frame medium format" sensor measuring 53.4 x 40mm, as opposed to the "cropped medium format" 43.9 x 32.9mm sensor used by Fujifilm GFX and Hasselblad X series cameras.

Not only does this create even shallower depth of field (and further shorten the effective focal length of lenses), it also means that the amount of detail in image files is truly unparalleled. I was genuinely amazed at the quality presented by megapixels that were so much larger and more numerous.

This raw power comes with provisos, though. Firstly, this hulking system is strictly for the studio – unlike the GFX 100 and X2D, this isn't ever going to be a street photography camera. Secondly, it's strictly for professional work, with a price tag starting at $50,000.

The XF 1Q4 system is so exclusive that you can't just go on Amazon and buy one – you have to go through Phase One's specialist dealer network. But if you need the ultimate in sheer imaging performance, you'll find no better.

Read our full Phase One XF IQ4 150MP review

Best 8K video

What's a 45MP full frame camera doing this far up the list, among the 100MP medium format monsters? I'll tell you what: beating them in the video stakes and the resolution stakes, thanks to its 400MP pixel shift photos!

If you want a high-resolution camera for video, the R5 is your answer. Its 8K 30p and 4K HQ video is crystal clear and utterly stunning, and is powered by Canon's Dual Pixel AF II autofocus system that (for my money) is the best in the game. Best of all, thanks to the frame grab function, you can shoot 8K video and extract a 35MP still, giving you the best of both worlds.

And yes, while its native resolution is "just" 45MP (still no slouch, let's be honest) it can capture 400MP photographs in its High Res Shot mode – something that's simply unheard of for a 35mm sensor, and is only offered by a few medium format bodies.

The R5 is a camera I personally own, and it's the best overall camera I've ever used. However, it's worth noting that there are recording limits for capturing 8K and 4K HQ video to ensure that the camera doesn't overheat – for pure 8K videography, the Canon EOS R5C might be a better bet.

Canon has also released a direct successor to this camera – the monster Canon EOS R5 Mark II, which features the latest generation of transformative intelligent features, from AI-powered image upscaling to Action Priority autofocus. So why hasn't it been added to this list? Well, the Mark II version eschews the 400MP pixel-shift resolution Hi Res Shot mode in favor of the aforementioned AI upscaling, which tops out at 180MP. So for our purposes in this guide, the original EOS R5 remains undefeated.

Best pixel shift

Like Phase One's cameras, and unlike Hasselblad's own X2D and CFV 100C, the H6D-400C uses a "full frame medium format" 53.4 x 40mm sensor (unlike the 43.9 x 32.9mm "cropped medium format" seen in the GFX and X System).

This "true" medium format gives inherently larger, more detailed files anyway – and that's before you take the 400MP multi-shot mode into account. But even at the native 100MP resolution, this camera outresolves everything on this list except its Phase One rivals.

Now, that multi-shot mode. Its headline feature is that it uses a 6-shot pixel-shift to output a 400MP 16-bit TIFF, clocking in at 2.4GB – obviously an amazing feat. However, arguably its coolest party trick is that it can also produce a 4-shot 100MP 16-bit image, coming in at 579MB, with GRBG real color data for supreme color rendition and zero moiré. So we're not just talking hyper-resolution, we're also talking hyper-accuracy.

Worth bearing in mind is that this camera is a DSLR, so you don't get any of the benefits of a mirrorless camera that you might be expecting. And again, like the Phase Ones, this is a professional camera through-and-through – and carries a price tag in the $30,000 - $40,000 range.

Best field camera

Phase One isn't keen on the XT being called a field camera, but I'm sorry – that's essentially what it is. It takes the power of the IQ4 digital backs and puts them in a form factor that's more compact and portable – to be used in the field, as it were.

Given that it's designed for elite landscape and architectural photography, it marries the IQ4 backs with an integrated lens-shift system that is used to compensate for perspective distortion. Basically it's a camera that makes every optic a shift lens, and the premium Rodenstock lenses each have a large image circle for the convergence correction to work.

Speaking to the nicheness of the system, there are only seven lenses available (though four of them also have a tilt function) and they all carry hefty price tags – on top of the $50,000+ investment in the XT itself.

Like the Phase One IQ4 system, this is the highest of the high end in imaging and isn't intended for 99% of the photographic public – but for those who need it, there's nothing better.

Read our Phase One XT review

Best modular camera

This is the Hasselblad X2D in a different, and utterly unique, form factor. The 907X is the camera / XCD lens mount, while the CFV 100C is the digital back that contains the brains of the system: the 100MP sensor, tilting screen, integrated SSD and so on.

In short, the X2D is a conventional an all-in-one mirrorless camera, but the 907X / 100C combo is a truly modular medium format camera, which gives it an astonishing amount of versatility. First of all, it's a glorious 500C-inspired box camera in its own right – and I absolutely loved using it in this configuration on a monopod.

However, if you want it to be more handholdable, you can attach a handgrip and viewfinder – and even a hotshoe for a flashgun, if you want to. But you can also remove everything else and use the digital back with other camera systems.

It fits Hasselblad's classic V System cameras perfectly, so you can attach this digital back to something like a 500C and instantly breathe new life into an old body. But you can also mount the back to a technical camera to imbue it with 100MP image quality and Hasselblad's brilliant color science. It's a thing of absolute beauty and a work of utter genius.

See our Hasselblad 907X review

Best full frame resolution

The highest resolution camera with a full-frame sensor, the A7R V is Sony's pixel-packing specialist with 61MP of power – something that can be muscled up to 240MP via the magic of pixel shift.

It's also an 8K-capable camera, though only in 24/25p with a 1.24x crop (4K 60p is also cropped, but 4K 30p is full readout). Like the GFX 100II I wouldn't pick this first for video, as the EOS R5 is far more capable, but it certainly captures tasty 8K footage and has a superb autofocus system powered by AI subject recognition algorithms.

This is, of course, also fantastic for photography, with Sony's AF being almost as good as Canon's for subjects such as wildlife – and with the respectable 10fps burst mode, this is a surprisingly capable camera for capturing fast action.

I'm a fan of the dual-pivot rear screen, which tilts without having to be flipped out while also offer full flippy functionality if you want it. I wish more cameras had this! The image files are packed with fantastic amounts of detail and dynamic range, though I'm not a fan of Sony's color science (or menu system, for that matter).

I do wish that Sony had opted for CFexpress Type B cards, but instead it has gone for the slower Type A kind – though this does at least enable the A7R V to feature hybrid card slots that also support standard SD memory, so you don't have to invest in new media.

See our full Sony A7R V review

Most compact

The first time I ever saw this camera, a photographer slipped it into the front pocket of his jeans. This is a truly tiny camera, even smaller than a number of Micro Four Thirds cameras! So if you want the most pixels in the smallest body, look no further.

Its 61MP full frame sensor trumps the base fp, but the Sigma fp L also boasts phase detect autofocus – making it a much more practical camera than its predecessor, whose focus sometimes verged on glacial. However, it is definitely not so good in video mode – which is curious, given that the fp L's modularity lends itself to being outfitted as a cinema camera.

Modularity really is the name of the game, here. The reason this camera is so small is because it eschews pretty much everything, including a viewfinder, to make it as compact as possible; anything you need, you're expected to add on to create your own custom shooting setup. So you can clip on an EVF, or an external monitor, or a handgrip or cage as suits your needs.

As such, it's kind of an incomplete camera on its own. And as cool as the small size is, the tiny body doesn't handle well with anything other than compact primes. Expect to have to kit this out a bit, and perhaps lose some of the size advantage in the process.

Read our full Sigma fp L review

Best L Mount

The L-Mount has stealthily become home to a disproportionate number of high-resolution cameras, between Sigma, Panasonic and Leica's individual efforts. And Leica has more 60MP cameras than any other manufacturer, between the Leica Q3, the Leica M11 and Leica SL3.

Though I love the Q3, I don't think someone looking for high-res imaging is best served by a fixed lens compact camera. Likewise, the M11 is phenomenal but rangefinder cameras aren't everybody's cup of tea.

The SL3, though, is a traditional mirrorless camera – even though it breaks with tradition in plenty of ways! While it boasts a 60.3MP full frame sensor, like the Q3 and M11 it offers multiple resolutions to suit your circumstances – so you can also shoot 36.4MP or 18.5MP stills if that better fits your workflow. It has an APS-C mode, too, should you want to benefit from the crop factor on your lenses.

That 60.3MP sensor captures lovely 8K 30p footage, too, though sadly the autofocus – despite being a newly incorporated phase detect system – isn't super reliable for video, or fast action for that matter. For static subjects, though, it's brilliant – I loved using it for portraiture and reportage, and the quality of the images so good that you'll think you're looking at medium format files.

The real downside for me is the battery life, rated at just 260 shots by CIPA and only achieving a dozen or so more than that in real-world use. Make sure you buy a spare or two!

See our full Leica SL3 review

How to choose a high-resolution camera

We have ordered these cameras roughly by the resolution they're capable of producing. Naturally, modes like pixel-shift high-resolution complicate matters, as do varying sensor sizes. However, if your only priority is getting the most pixels possible, you'll want to stay towards the top of this list.

It's worth thinking about the kind of shooting you want to do. If you're going to be in the studio exclusively, shooting subjects that won't move unless you tell them to, the Phase One XF IQ4 and its 150MP full-size medium format sensor are going to be your port of call.

However, modern medium format cameras like the Fujifilm GFX 100 II and the Hasselblad X2D 100C offer the latest advancements in autofocusing and burst-shooting technology, making them much more useable for different types of photography. This goes even more so for full-frame cameras like the Canon EOS R5, Sony A7R V and Sigma fp L – though you'll have to further compromise on resolution.

How we test cameras

We have a two-part testing process. First of all, I evaluate every camera by taking it into the field and shooting in real-world situations. For high-resolution cameras I'm paying particular attention to the level of detail and fidelity in the files – especially when it comes to cameras that feature pixel shift, as the hit-rate and success can vary wildly between manufacturers.

I also consider factors such as video recording and overheating limits, battery life, physical ergonomics and menu grammar, which may not affect performance directly but certainly have a huge impact on a camera's usability. Something I don't do, however, is assign any bias or expectation either way on high-priced cameras; yes, Hasselblads and Leicas and Phase Ones are expensive, but I can only judge how good they are at the job they do – my perception of value may be different to yours.

To complement this hands-on evaluation, my colleague Ben Andrews, our lab manager, performs dedicated lab tests on camera resolution, dynamic range, and noise under scientifically controlled conditions using two key testing tools: Imatest Master and DxO Analyzer:

1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.

2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.

3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.

Read more about how we test and review cameras at Digital Camera World.

FAQs

Is high resolution a good thing for cameras?

High resolutions, like every feature of a camera, have positives and negatives. High-resolution files provide enormous amounts of detail in images. This is great for printing in large formats, and also allows you to crop significantly into an image with no perceptible loss in detail.

However, to be used effectively, a high-resolution requires a comprehensive support system. You need to be using the sharpest lenses you can get hold of, as there's no point in having all those pixels if they're looking through inferior glass. Also, high-resolution files are very large, and will mercilessly gobble up megabytes and gigabytes on your cards and hard drives. This also means you need a pretty capable computer to even open them up in editing software, never mind actually work on them.

If you're equipped to make the most of them, high-resolution cameras will deliver images of simply peerless quality. If you're not, however, all those pixels can feel like a millstone around your neck.

You might also be interested in the best professional cameras and, if high-resolution video is your thing, the best 8K and 6K cameras.