I've always admired Leica for its willingness to do things differently, and perhaps one of the best examples of that philosophy is its S-series of medium format cameras. While the Leica M-series has become synonymous with rangefinder photography, and the Q and SL systems have established themselves as incredibly capable modern cameras, the S-series has quietly faded into the background.

Its most recent model, the Leica S3, arrived back in 2020, and for years there have been rumors suggesting that a successor, widely referred to as the Leica S4, was in development. However, more recent reports suggest Leica has significantly reduced its medium format development activities, with engineers previously working on the S-series reportedly reassigned to the company's SL and M divisions.

For me, that raises an interesting question: as much as I would love to see another Leica medium format camera, does the world really need an S4, and more importantly, does Leica?

To understand why this is such a difficult decision, you first have to appreciate what made the Leica S-series special. Originally introduced with the Leica S2 in 2008, the system was Leica's answer to professional medium format photography, combining the image quality and larger sensors traditionally associated with studio cameras with the familiar handling of a DSLR.

The latest Leica S3 took that philosophy further, introducing a 64MP medium format sensor measuring 45 x 30mm, an optical viewfinder, and Leica's exceptional S-mount lenses. It was a beautiful camera capable of producing extraordinary images, but it was also a rather chunky piece of equipment, particularly when compared with today's increasingly compact mirrorless systems. And therein lies one of the biggest problems facing any potential successor. The photography industry has moved on considerably in the six years since the S3 arrived, and I struggle to see how Leica could simply update the existing formula and expect it to compete with the likes of Fujifilm and Hasselblad.

The rumored Leica S4 has been an interesting story to follow. Previous reports suggested Leica was working on an entirely new mirrorless medium format system, potentially featuring a new lens mount and accompanying optics. In May 2025, Leica chairman Dr. Andreas Kaufmann was reported to have acknowledged that the camera was still being developed. Yet, by May 2026, Leica Rumors was reporting that the dedicated medium format development structure had effectively been dissolved, with personnel moving to other projects.

Interestingly, Leica's vice president of global marketing and communications, Andrea Pacella, subsequently told Digital Camera World in August that the company had not abandoned medium format, but had paused development of its next-generation S camera while waiting for advances in sensor and processing technology. So, while the S4 may not be completely dead, its future certainly appears uncertain.

I think one of Leica's biggest headaches would be deciding exactly what a modern S4 should look like. Today, we have cameras such as the Fujifilm GFX100S II delivering 102MP resolution in relatively compact bodies, while Hasselblad has established itself as another major player in the 100MP medium format market. For Leica to launch a new S4 with the S3's existing 64MP resolution would undoubtedly raise eyebrows, even though I personally believe 64MP is more than enough for almost any photographic application.

However, moving to a 100MP sensor introduces another question: what happens to all those wonderful Leica S lenses? While increasing resolution doesn't automatically mean existing lenses need replacing, it would certainly put their optical performance, autofocus capabilities, and compatibility with a modern system under greater scrutiny. Would Leica have to redesign some of its glass to deliver the performance photographers expect from a new flagship? And if so, how much would that add to the already considerable cost of developing a new camera system?

Then there is the physical design of the camera itself. The Leica S-series has always followed a traditional DSLR-style design, complete with a mirror box and a substantial body, which made sense when the system was first introduced. But I cannot imagine Leica releasing a new medium format DSLR in today's market.

A mirrorless S4 would almost certainly be the direction to take, allowing for a slimmer camera body, an electronic viewfinder, improved autofocus, and potentially in-body image stabilization. However, making that transition properly could mean developing an entirely new lens mount, something previous rumors had already suggested. Leica could potentially retain compatibility with existing S-mount lenses through adapters, but that still leaves the prospect of developing a new generation of native lenses designed specifically for the shorter flange distance and more compact proportions of a mirrorless system.

Suddenly, what initially sounds like a relatively straightforward upgrade from 64MP to 100MP becomes the development of an entirely new camera ecosystem. And knowing Leica's commitment to optical quality, I cannot imagine the company wanting to cut corners.

What makes the situation even more complicated is Leica's current position in the photography market. The Q3 and Q3 43 have helped make the Q-series one of the most compelling premium compact camera systems available, while the SL-series continues to develop into a serious professional alternative to Canon, Nikon, and Sony.

Then, of course, there is the M-series, which remains at the very heart of Leica's identity and offers something genuinely different from almost anything else on the market. These are camera systems with established audiences, recognizable identities, and extensive ecosystems that Leica can continue refining. Developing a new medium format system would require enormous investment in research, development, manufacturing, and marketing, all to compete in a relatively small segment already served incredibly well by Fujifilm and Hasselblad.

When I look at it that way, the reports of Leica redirecting resources toward its SL and M systems make perfect business sense, particularly when those resources could help develop the next generation of cameras and lenses that existing Leica customers are already invested in.

Of course, the photographer in me would still love to see Leica surprise us with an S4. There is something undeniably appealing about a beautifully engineered Leica medium format camera, particularly one that could combine the company's outstanding lens design with a modern 100MP sensor and a more compact mirrorless body.

But the realist in me thinks Leica has a much bigger decision to make than simply whether to release another camera. To bring back the S-series successfully, Leica would need to create something that feels genuinely different from what Fujifilm and Hasselblad are already offering, rather than simply attaching a red dot to another high-resolution medium format system. And that would be no small undertaking. I would much rather see Leica continue pushing the boundaries of its hugely capable Q, SL, and M cameras than spend years and significant resources resurrecting a system that might struggle to find its place in today's market.

The Leica S-series deserves to be remembered as something special, but perhaps, just perhaps, its greatest legacy is what it has already given us, rather than what Leica might attempt to create next.

I must confess to not originally being aware of the film-era Olympus Pen, launched way back in 1959. At least not until the digital version, 2009’s Olympus PEN E-P1, landed a cool 50 years later, complete with a press trip to a cinema in Berlin, where the usherettes were dressed in 1960s garb.

Nevertheless, the retro styling of the PEN E-P1 had the effect of making me feel nostalgic for something I’d never experienced. Which is a neat trick to pull off, in terms of marketing.

I’ve owned one of the digital PEN’s compact mirrorless successors, the E-PL7, for a decade now and it’s the camera I return to the most, for a very simple reason: its balance of portability and quality hits the sweet spot for me.

I don’t need a full-frame sensor or anything bigger than what the Micro Four Thirds system offers as my photographs are used almost exclusively online these days and I’m never asked for prints, let alone billboard sized ones.

When Olympus’s former camera division became the newly formed OM Digital Solutions shortly after the Covid pandemic, it seemed, briefly, that the PEN range had been put out to pasture. So, I was pleased to see it resurrected and hopefully re-invigorated as, simply, the OM System PEN. It wasn’t the PEN F Mark II continuation some were expecting, but a case of dialling it right back to the beginning again, like rebooting a movie franchise.

Resembling a modern classic from the get-go, the 2026 PEN more expectedly features various under-the-bonnet tweaks to bring it in line with more recent OM System releases, including a Computational Photography button plus, this time around, phase detection auto focus with 121 AF points.

OK, if I’m being picky, I would have preferred a metal chassis to the plastic / polycarbonate body we’ve been given, but then that would have impacted both lightweight build and price. While I approve of its weather-sealed construction, I also like the fact that, in the age of the influencer, its maker has kept this very much a ‘photography first’ camera. In an age where competitors have sought to primarily seduce videographers as the most ‘sticky’ form of content creation, that almost feels like a rebellious stance.

Now all I need to work out is how I can blag one from the former Olympus to update my ageing E-PL7 workhorse.

Digital cameras with an old-school look have been rising in trend for a few years now, but some of the latest retro camera launches take inspiration from a film format popular in the 1970s and 1980s: The boxy, compact 110 camera.

The 110 film format was first introduced by Kodak in 1972, but the format became particularly popular in the 1980s and 1990s because of its simplicity. Unlike a roll of 35mm film, 110 film didn’t have to be carefully unfurled into the sprockets of the camera – the full cartridge just popped into the back.

Now, digital lookalikes have started to emerge. The Camp Snap 110D takes the boxy, pocketable look of a 110 film camera and gives it digital guts as a screen-free digital camera. The newly announced Camp Snap 110 is so popular that its first batch of pre-orders sold out quickly.

The Camp Snap 110 isn’t the only rectangular compact camera that’s getting a refresh in 2026. The Yashica Y16 launched in 1959 before Kodak created the 110 format, but the old-school camera took 16mm film that loaded into a custom cartridge. While not a 110 camera, the Yashica Y16 has the boxy look – and the Y16 is also getting a digital version.

It’s not just digital dupes of the 110 format that have gotten new camera launches in 2026. This year, quirky film brand Lomography has released refreshed designs of the Lomomatic 110, bringing a brass cheetah pattern and red dot design to the 110 film camera that originally launched in 2024.

According to data from Google Trends, searches for “110 cameras” reached a ten-year high in 2026, suggesting a renewed interest in the camera format.

While that suggests a surging trend for 110 cameras, that data doesn’t exactly pinpoint why a film format that debuted in 1972 is seeing renewed interest in 2026. But, retro 1980s-inspired photos have been trending on social media –so it only makes sense that cameras inspired by the same decade may be seeing renewed interest.

The 110 camera also fits neatly into the trends for compact cameras and the trend for retro cameras. 110 film cameras were small, pocketable, and simple to use – and the lower cost for 110 film didn’t hurt either.

I can remember popping a pack of 110 film into a camera myself as a kid in the 1990s. The format was small, simple – and is likely behind a good majority of my childhood photos.

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The simple cartridge makes 110 cameras a good entry into film photography for beginners. Read the Lomography Lomomatic 110 review or browse the best film cameras.

Yes, DSLR shipments may have fallen 30% year-on-year while fixed lens compact shipments have risen by the same amount. But DSLRs didn’t stop being good overnight simply because the market shifted to smaller alternatives.

There’s also been a recent twist. Pentax has teased a whole new concept for the DSLR format, while simultaneously ceasing production of every one of its current models. By doing so it’s generated confusion and excitement in equal measure.

The message is clear: photographers shouldn’t consign the DSLR to history just yet.

Plus, if we frame DSLR as a ‘classic’ format, while outlining the reason why it deserves to stick around, not instead of, but as well as competing options, including mirrorless cameras, maybe that will be enough to placate the DSLR’s haters.

Sure, we’ve long been conditioned to believe ‘mirrorless = good / DSLR = bad’. But the sensible response is that they’re both simply different paths photographers take to arrive at the same destination.

So, to cut to the chase, why is it still worth considering purchasing and still using a DSLR in 2026?

For those on a budget, a DSLR is often the very definition of a best buy. Though Canon products tend to depreciate the least, a declining market for DSLRs means that there are used bargains to be had; not just regarding the camera bodies but all the accessories that go with them.

It’s inarguable that you can now kit out a full-frame DSLR for far less than what the latest mirrorless system costs, making DSLRs the perfect back-up body option.

Then there are also operational considerations – and bonuses.

One thing I really appreciate about still using a DSLR is the large and bright optical viewfinder, as opposed to an EVF or LCD screen, the latter of which reflects and is tricky to view in strong sunlight.

Plus, because an EVF or LCD is not constantly draining my camera’s juice, I can shoot all day on a DSLR without fretting that dreaded low battery warning. So, using an optical viewfinder doesn’t boil down to personal preference or nostalgia.

Next, there is the DSLR’s typically deep and chunky handgrip that provides a nice counterbalance to whichever lens is currently in use. It just feels right. Likewise, in the DSLR’s favor is a durable build quality that, unlike most mirrorless bodies, doesn’t compromise on ergonomics to hit a certain size and weight.

Yes, I fully understand that sometimes a camera that is lighter and more compact, including my go-to Olympus PEN Lite E-PL7, is more appealing as an everyday device to stash in the glovebox, while features of contemporary mirrorless cameras such as AI-enhanced subject tracking and 4K/6K/8K video recording also add a degree of future-proofing. I get it.

But equally, for those who don’t feel the need to constantly have the latest and greatest – valuing more a setup that reliably does the job and does it well – a DSLR that is reassuringly rugged and more professional-feeling still holds major appeal.

And as I’ve noted before, just because DSLR and mirrorless systems both exist, I don’t feel the need to take sides and use one exclusively over the other. Despite all the money put behind manufacturers’ marketing push.

So, the message is shoot smart… and not just with whatever is currently on trend.

Check out the best DSLRs that you can still buy today

Filming any form of wildlife, whether it's a rare mammal in the rainforest or a common bird in your garden, can be maddeningly difficult. It's not just that animals are generally wary of humans and like to stay out of our way. When you point a camera at them, they instinctively sense they're being hunted and are even less likely to show up in the way you're hoping for.

A trail camera – a camera left in place that fires automatically when an animal passes – can help get around that issue. Yet with certain animals, you're still crossing all your fingers and thumbs that they'll turn up at all. And the giant armadillo very much fits into that category.

Native to much of South America, it's well known for staying out of sight. It lives alone, spends the day in its burrows, and mostly comes out after dark to look for food. Babies are especially rare to see, because giant armadillos breed so slowly: females give birth only about once every three years.

All of which makes this new footage all the more remarkable: a camera trap in the Peruvian Amazon has filmed a baby giant armadillo in the wild

Conservation group Amazon Research International set up the camera in the Loreto region of Peru. The short clip, which you can see below, shows the young armadillo scurrying through the forest.

“Giant armadillos are amongst the most difficult animals to see on a camera trap,” Rosa Vásquez Espinoza, the group’s founder, told Wild Lives, the BBC Wildlife podcast. “People can spend over a year [with] hundreds of cameras to try to get a single clip.”

She put her team’s success down to working with Indigenous colleagues and added: “Seeing a baby giant armadillo is not something we ever dreamed of. It’s so hopeful for us, seeing all this wildlife.”

Filmed with purpose

It’s a fun clip, but there’s a serious point to it. The giant armadillo is listed as vulnerable by the International Union for Conservation of Nature (IUCN), and its numbers are falling due to habitat loss caused by deforestation, cattle ranching and farming, as well as hunting.

Now Amazon Research Internacional plans to use its footage as evidence to push for a new local law in Loreto to protect the giant armadillo and other large mammals. Part of this area is already protected because of Espinoza’s work with stingless bees.

You can hear the full interview on the Wild Lives podcast from BBC Wildlife.

In second place to Canon only, in terms of total sales and shipment numbers, yet arguably in pole position for its sensor technology with more than 50% market share, Sony is without question a massive presence in the photographic world.

But it’s rarely a brand that I get excited about, or by. You may feel the same. Why?

As part of my attempt at an answer I’ll acknowledge there is something very competent about Sony. Impressive even, given the consistent quality of its products. Pioneering too, in that it was the first company to bring a full-frame mirrorless camera to market back in 2013, when the Alpha series A7 and A7R were unveiled, following on from the previous year’s fixed-lens Cyber-shot RX1.

13 years on, however, and Canon and Nikon also have comprehensive full-frame interchangeable-lens mirrorless ranges. So that period of Sony feeling in any way special to photographers was short lived. But is that on its own why I don’t feel much love or loyalty to the brand?

Probably not.

Turning the clock back further, Sony notably purchased Konica Minolta’s imaging expertise to fast track the launch of its own Alpha DSLR series in 2006. Again, at that time this felt like a real statement of intent and display of manufacturing might. But am I subconsciously still unable to shake a feeling that Sony hasn’t quite paid its dues, by not starting from scratch itself? Brand heritage must be earnt, not just bought, surely.

Or maybe it is something more superficial. Something about the angular, utilitarian and almost at times brutalist and perfunctory design of Sony’s cameras that doesn’t give me that pang of nostalgia that say, an OM System PEN or Leica rangefinder camera does? With its consumer electronics background, Sony does appear to focus on function rather than form, and care about capability rather than craft.

And what about the output of Sony’s cameras themselves? Is there something clinical and sterile about the appearance of its images that lacks the inherent warmth of competing brands? Or is that all in my head?

It may just be it’s a combination of the above, that, when compared with legacy players, Sony feels more like a brand to admire and less like a brand to love. Recent releases including the Alpha 7R VI and the upcoming FX5 have done little to shake that feeling.

So, what now? Should Sony embrace what the others have got right? Should a usually future-facing electronics brand instead go enthusiastically retro?

OM System’s most affordable stabilized, weather-sealed compact mirrorless camera is so popular in Japan that its launch date has now been pushed back a full month – and that's just for customers who placed pre-orders on the first day.

OM System Japan issued an apology stating that the demand for the PEN has been so high that the first pre-orders will now start shipping in the region on November 28, nearly a full month after the camera was originally expected to roll out.

That’s not the first time that OM System Japan has apologized for delays, but while earlier announcements suggested a “November or later” delay, OM System Japan has now shared a new release date for the camera in the region on November 28.

Postponing the official launch date will allow everyone who ordered before September 10 to get their camera on the launch date. The camera was announced on September 09, so the pre-orders from the very first day have been delayed by a full month.

The announcement doesn’t indicate when later pre-orders will begin shipping.

The OM System PEN has a staggered rollout scheduled for different regions. The camera is already shipping in the US on schedule for the promised “late October” rollout. In Europe, the camera was expected to begin shipping in late September, but several photo retailers still have the camera listed as a pre-order.

Those delays hint at how popular OM System’s latest camera is. The PEN has long been a popular line for the company, mixing a retro style with simple controls.

But the OM System PEN may be drawing more than just the photographers who have been waiting for an update to the beloved series. The mirrorless camera uses a compact retro design that OM System says is built for everyday carry. The PEN also feels like a compact camera alternative to pricey fixed-lens cameras like the Panasonic Lumix L10 and Fujifilm X100VI.

Priced at $999 / £849 / AU$1,499, the PEN is one of the cheapest mirrorless cameras that has both stabilization and weather-sealing. The IPX1 rating isn’t as robust as higher-end models, but finding both stabilization and a bit of rain resistance on a mirrorless is difficult to do at this price point.

The PEN’s popularity is likely more widespread than in Japan. All four variants of the PEN – the two colorways, with and without a kit lens – sit among US retailer B&H’s top trending cameras for September, hinting at a healthy number of pre-orders.

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Smart bird feeders that allow you to capture images and video of the visitors to your garden have been highly popular for the last couple of years. But many of these high-tech devices that are controlled via your smartphone have been relatively expensive. Birdbuddy is doing something about this with the release of the Birdbuddy Nook – which will retail from $99 when it starts shipping in November.

This five-megapixel bird camera was first shown at CES at the beginning of the year - when it was being touted as the Birdbuddy 2 Mini. Now renamed the Nook, the camera can capture Full HD video and 5MP stills and offers a 135° field of view.

A neat feature here is that you get to choose between vertical or horizontal capture modes - to suit how you are going to use and share your best clips.

The built-in 3900mAh rechargeable battery can power the device for up to a month, and it topped up using a USB-C connector.

Using wifi to connect to your home network, the free app will not only send notifications about new sightings to your phone - it will also warn you if a cat is on the prowl in your backyard, or if a bird looks sick. It will also identify the names of birds that you have visiting, from a database of 11,000 species.

The Nook ships with a hook for suspending the feeder and a universal mount for attaching it to a pole. A wall mount is available as an optional extra.

Well worth the extra investment, is the optional solar panel - which can be bought at purchase as the Nook Solar for $159.

Sigma has always done things a little differently when it comes to cameras, and while most manufacturers seem happy to follow a familiar formula, Sigma has been responsible for some of the more interesting and unusual designs of recent years. The Sigma BF is perhaps the most obvious example of this, but the original Sigma fp was another camera that challenged what a mirrorless camera needed to look like.

The Sigma FP2 continues the original fp's philosophy of packing as much photographic and filmmaking capability as possible into the smallest body Sigma can manage. This latest generation brings a new 24.5MP partially stacked full-frame sensor, improved autofocus, a tilting screen, more internal storage, and substantially upgraded video capabilities, including 6K open-gate recording.

The FP2 is an L-Mount camera, which means it has access to lenses from Sigma, Panasonic, Leica, and other members of the L-Mount Alliance. It also shares some of its core appeal with the Panasonic Lumix S9 and Sony ZV-E1, two other relatively compact full-frame cameras that aim to appeal to photographers and video creators who would rather not carry around a bulky camera body.

However, I think the closest alternative in terms of capabilities is actually the Panasonic Lumix S1 IIE, which offers a similar set of specs but in a much more traditional mirrorless camera body.

The FP2 is a particularly interesting option for anyone looking for one of the best cameras for filmmaking, especially where weight and size matter, although Sigma is also positioning this as a capable hybrid camera for stills photography.

The question is whether all those impressive specifications can make up for the compromises required to fit everything into such a small package.

Specifications

Price

The Sigma FP2 will be available from November 11, 2026, with prices starting at $2,199 / £1,899 for the body only. There are also two bundle options, with the FP2 and the optional EVF-21 viewfinder costing $2,699 / £2,399, while a kit with Sigma's 50mm f/2 DG Contemporary lens costs $2,749 / £2,419.

Pricing puts the FP2 in an interesting position, as there aren't many cameras that offer exactly the same combination of size, features, and expandability.

The Panasonic Lumix S9 is substantially cheaper and has many of the features that I would want in an everyday full-frame camera, including excellent image stabilization, although it lacks some of the FP2's more advanced video options.

Meanwhile, the Lumix S1 IIE is closer in price, especially when discounts are considered, but offers a more substantial camera body, a built-in electronic viewfinder, a fully articulating screen, and IBIS.

I think the FP2 offers good value if your priority is having the smallest possible camera with a respectable full-frame sensor and serious video capabilities. However, you're paying a premium for that miniaturization, and if size isn't one of your main priorities, there are arguably more practical cameras for the money.

Design & Handling

The first thing that struck me about the Sigma FP2 is obviously just how small it is. I already thought the Panasonic Lumix S9 and Sony ZV-E1 were impressively compact full-frame cameras, but the FP2 manages to be smaller than both, although it is a little deeper and boxier in shape.

Sigma has stuck to the same fundamental design as the original fp, with a simple rectangular body that looks more like a tiny cinema camera than a conventional mirrorless camera. There's very little in the way of unnecessary styling, and the overall design is almost aggressively minimalist.

I think it's a very, very cool-looking camera. However, looking good and being comfortable to use are two very different things.

There is essentially no grip on the front of the FP2, with Sigma instead opting for a completely flat surface. Around the back, there's a tiny rubber thumb rest, but it's not especially substantial, and there isn't much else in the way of molding to help you get a secure hold of the camera.

I own a Panasonic Lumix S9, and one of the first things I did after buying it was get a grip extension. I think I'd have to do exactly the same with the FP2, although that somewhat diminishes the appeal of having such an impressively small camera in the first place.

With a small prime lens attached, the FP2 is a great street and travel setup. I paired it with a compact Lumix 40mm prime, and the combination was incredibly easy to slip into a small sling bag, although it's not quite pocketable.

Unfortunately, larger lenses are another matter. I tried using the FP2 with my Lumix 24-60mm f/2.8, but it shifts the balance to make the camera very front-heavy, and more uncomfortable to hold. I found myself needing two hands on the camera at pretty much all times.

There is no builtin viewfinder, so the optional EVF-21 is – in my opinion – an essential accessory for photographers. This attaches to the side of the FP2 using USB-C and provides a 5.76-million-dot OLED viewfinder that can tilt upwards by 90 degrees.

I had a brief opportunity to try this viewfinder at the FP2 launch event, and I was impressed with its image quality. It's also smaller than the viewfinder offered with the previous generation, although it still adds quite a substantial amount of bulk to the camera.

So with no built-in EVF, you'll likely be relying much more on the screen. Sigma has made one of the biggest improvements over the original fp by introducing a tilting screen. The 3.15-inch display can tilt upwards by 90 degrees and downwards by 45 degrees, making it much easier to shoot from high and low angles.

It's a welcome addition, but I wish Sigma had gone a little further. The screen doesn't flip forward for filming yourself or taking self-portraits, and while a full vari-angle screen would make the tiny camera larger, I would have loved something like the tilting mechanism on the Fujifilm X-E5, which can fold all the way up and over the top of the camera.

Screen quality is otherwise excellent, with a sharp and clear picture that makes composing and reviewing images a pleasure. Unfortunately, I found the maximum brightness a little limiting in direct sunlight, and on particularly bright days in Lisbon where I was testing the camera, I struggled to see the screen clearly. As I didn't have the EVF at the time of testing, that made shooting less precise – and less enjoyable.

The camera's controls are relatively straightforward. On the top are two control dials, a two-stage shutter button, a dedicated video recording button, and a switch for moving between still and cine modes. I really like the tactile feedback from the dials, which have a reassuring click and feel robust.

Around the back, there's another control wheel, an AEL button, and a row of function buttons underneath the screen. The focus point can be moved using the rear controls, although this is not as intuitive as cameras with a joystick, and I ended up mostly tapping the screen to change focus. Some buttons can be customized, including the AEL button, although the customization options are obvious in the menus.

Sigma's OS is really nice. The menus are clean, modern, and without the endless pages of settings that can make some other camera systems feel unnecessarily complicated; however, this simplicity was a double-edged sword, as it is less obvious where I need to go to change certain settings. Sony's menus are a lot, but the page separation and icons do make it faster to navigate.

I also wish Sigma made better use of the touchscreen for menu navigation. While touch functionality is available for certain operations, I found myself wanting to swipe and tap my way through settings.

For connections, there are two USB-C ports, including a 10Gbps USB 3.2 connection for data transfers and external recording, along with a full-size HDMI port. The HDMI connection sits behind a protective cover, although the USB-C ports are left exposed, which gives me some reservations about dust and moisture getting in them. However, according to Sigma, the body has a dust- and splash-resistant construction.

Sigma has also incorporated a ribbed rear section to help dissipate heat, although there is no built-in cooling fan. This passive approach helps keep the camera small, but it's another reminder that Sigma is trying to fit some substantial filmmaking capabilities into an unusually compact body.

The FP2 uses the same 2,200mAh battery as Lumix cameras. Sigma rates it for approximately 370 still images or 130 minutes of video recording, although I was getting a fair bit more than that out of it, getting around twice the shots its rated for.

One final design feature I absolutely love is the inclusion of 70GB of internal storage, alongside the SD card slot. Every camera should have some form of built-in memory as a backup for those occasions when you inevitably forget a memory card.

Performance

The FP2 features a 24.5MP partially stacked full-frame CMOS sensor. For photography, I would usually prefer a few more megapixels from a camera at this price, particularly when there are now plenty of higher-resolution full-frame alternatives, but 24MP is still decent enough for most photography.

Image quality is excellent, with a good amount of fine detail, true-to-life colors, and plenty of flexibility when editing RAW files, which use the DNG format. I spent most of my time testing the FP2 with Sigma's 50mm f/2 and a compact Lumix 40mm prime, and both combinations produced great images from the FP2.

The main limitation comes when you want to crop your images substantially. I enjoy using prime lenses and digital crops, my main walkabout camera is the Fujifilm X100VI, where the higher-resolution sensor gives me plenty of flexibility, but the FP2's 24.5MP sensor doesn't offer quite as much room to play with.

I did notice that the camera's exposure metering had a tendency to produce slightly darker images than I wanted. I found myself regularly adding between +0.3 and +1 EV of exposure compensation to get the brightness I was looking for. But I must mention that I was testing a pre-production camera, so this behavior may change with the final firmware. However, it's something I would keep an eye on, especially if you prefer to shoot JPEGs straight out of camera.

Sigma has also included 13 built-in color modes, including Standard, Calm, Powder Blue, Warm Gold, Teal and Orange, and several more stylized options. These are easily accessible using a dedicated Color button and provide a quick way of changing the appearance of your images without having to edit them afterward.

Personally, I found some of these presets a little too heavy-handed for my tastes. There's something about the more subtle film simulations from Fujifilm that I find particularly appealing, whereas several of Sigma's modes feel more like digital filters.

That's obviously a matter of personal preference, and I'm sure plenty of people will enjoy having these creative options built into the camera, but I generally found myself returning to Standard.

The Standard profile produces nicely balanced colors that feel relatively true to life, with a sensible amount of contrast and saturation and it's a versatile starting point for most photography.

Unfortunately, Sigma doesn't offer the same flexibility as Panasonic's Real Time LUT system, which allows you to load your own color profiles directly onto newer Lumix cameras.

Autofocus has received a substantial upgrade over the previous generation, with the FP2 combining phase and contrast detection and offering subject recognition for people, dogs, cats, and birds.

The AF is good, its very quick, and the face detection works really well, although I had to use single spot autofocus more than I'd like as with wider focus, the FP2 just wasn't as good at picking out subject I was aiming for.

Sigma claims improvements in tracking speed and accuracy, including in low light, and the partially stacked sensor also enables burst shooting at up to 20fps, with Sigma quoting a maximum of 200 JPEG frames or 180 DNG RAW frames at that speed. Although I suspect relatively few buyers will be choosing the FP2 as their primary camera for wildlife or sports photography when there are more ergonomic alternatives with built-in viewfinders and image stabilization.

The biggest photographic compromise is undoubtedly the lack of IBIS. In a world where even some of the smallest full-frame cameras offer effective stabilization, its absence on the FP2 is difficult to ignore.

You can use optical stabilization when it's included in a compatible lens, but this limits the choice of lenses if you want to shoot handheld at slower shutter speeds. It's particularly disappointing given how well the FP2 pairs with compact prime lenses, many of which don't include optical stabilization.

Video performance

While Sigma is positioning the FP2 as a hybrid camera, I think it's pretty clear that filmmaking is where the FP2 is strongest.

The headline feature is 6K open-gate recording, which captures the full 3:2 area of the sensor rather than restricting footage to the usual widescreen aspect ratio.

I'm a big fan of open-gate recording, and I wish it were a standard feature on every camera. Having all that extra image area to work with makes it much easier to reframe footage for different platforms, particularly when you want to create both horizontal videos for YouTube and vertical clips for Instagram or TikTok from the same recording.

The FP2 can record 6K footage at up to 59.94fps using supported compressed formats, while ProRes RAW recording is available at up to 6K 29.97fps. There is also 4K recording at up to 60fps using the full-frame sensor, with higher frame rates of up to approximately 120fps available in crop mode.

Sigma offers a strong selection of recording formats, including H.264, H.265, L-Log, and ProRes RAW, providing plenty of options for filmmakers who want more control over their footage in post-production. And for more demanding workflows, the FP2 can output ProRes RAW to an external SSD connected via USB.

Sigma also claims up to 14.1 stops of dynamic range when shooting in L-Log. I particularly like that Sigma has opted for L-Log, as it gives me less of a headache when grading footage as not all Logs are created equal, and I already have LUTs designed to work with the format.

However, I do wish Sigma had also got in on Panasonic's MP4 Lite format as well. The 3.6K open-gate MP4 Lite files offers an excellent compromise between image quality, file size, and ease of editing, particularly for creators making content for social media. The FP2 has more advanced recording options available, but I would still appreciate a similarly straightforward format for occasions when I don't need the highest possible resolution or bitrate.

For substantial filmmaking, the FP2 also includes a Director's Viewfinder function, support for anamorphic de-squeeze, and professional monitoring tools such as waveforms, zebras, and false color. There is also support for 32-bit float audio recording when using compatible accessories.

However, the lack of IBIS is once again a significant consideration. The FP2 does offer electronic stabilization for video, but this introduces a 1.25x crop, and it cannot be used with 6K recording. However, Sigma has also included the ability to record gyro data alongside footage, allowing you to stabilize clips afterward using software such as Gyroflow.

It's not a perfect solution for anyone who needs the most stable footage immediately, as it introduces an additional step into the editing process, but at least its an option, and I don't really understand why all cameras don't offer it.

If you intend to mount the FP2 on a gimbal, where the FP2's unusually small body becomes a major advantage, particularly when you need to keep the weight of a camera rig down then the lack of IBIS becomes much less of a concern.

Sample Gallery

Early Verdict

I think the Sigma FP2 is one of those cameras that you have to really want, because the things that make it so appealing are also responsible for many of its biggest drawbacks.

Its tiny size is genuinely impressive, and when paired with a compact prime lens, it makes a fantastic little camera for traveling, street photography, or simply carrying around when you don't want to take a bigger camera. Image quality is excellent, the minimalist design is beautiful, and I really appreciate the improvements Sigma has made over the original fp.

However, there's no getting around the lack of IBIS, and I found the absence of a built-in viewfinder particularly frustrating when shooting photographs outdoors. Add a larger lens, and the small body quickly becomes less comfortable to hold, while fitting an optional grip and viewfinder starts to undermine the advantage of having such a compact camera.

The video capabilities are another story. I love the addition of 6K open-gate recording, and the flexibility offered by ProRes RAW, L-Log, external recording, and gyro data makes this a very tempting little camera for filmmakers. I think that's ultimately where the FP2 makes the most sense, particularly for anyone building a compact video rig or looking for a small full-frame camera to use on a gimbal.

The FP2 is a camera I really want to love, and in many ways, I do. However, it's also a camera that asks you to make quite a few compromises in pursuit of something that few other cameras offer.

Alternatives

After six years, Sigma’s super-small minimalist has returned – and the new Sigma FP2 fits 6K open gate, a tilt screen, and a larger-capacity battery inside an even slimmer body.

Announced on October 23, the Sigma FP2 takes the same unusual utilitarian design and hybrid focus as the original FP, but overhauls everything from the sensor to the autofocus. The new sensor has nearly identical still photo resolution at 24.5MP, but upgrades video from 4K to 6K open gate.

The FP2’s sensor also shifts to a partially stacked design. That only gives the burst speed a slight bump from 18 fps to 20 fps – but the buffer moves from a poor 12 shots to a more respectable 200, shifting the ability to maintain that speed from less than a full second to about ten seconds of continuous shooting.

Beyond the speed boost, the updated sensor also improves dynamic range, now up to 14.1 stops.

The original FP’s contrast detection autofocus system felt a bit outdated even in 2020, but the second generation overhauls this too, switching to a hybrid phase detection and contrast detection system. Sigma says that the move improves accuracy and speed, as well as performance in low light.

Like the first generation, the Sigma FP2 is a hybrid that leans a bit heavily towards the video side, with a switch to shift from cinema to still photo modes. Beyond the 6K open gate, the second generation also adds 32-bit float audio. In addition to shooting 12-bit ProRes, the FP2 can also shoot in Leica’s L-Log.

Unchanged from the FP is the camera’s image stabilization, which remains only electronic. That EIS isn’t available at the full 6K resolution, but comes into play for 4K and lower resolutions.

The body design of the Sigma FP2 remains very much in the same spirit of utilitarian, minimalist design – but there are a few key changes. Chief among them is the addition of a tilting LCD screen, which can tilt up to 90 degrees and down to 45 degrees to aid in shooting low and high angles.

The width and height of the camera remain the same, but the depth is a few millimeters smaller, allowing Sigma to once again bestow titles like the world’s smallest full-frame interchangeable lens camera.

While the design is slightly slimmer, the FP2 is heavier than the FP at 460g / 16.2 oz with the battery and memory card installed. The tilting screen and an updated battery with 30 percent more capacity are the likely culprits behind the slight weight increase.

The FP2 has a single SD card slot, but also has 70GB of built-in storage.

In the spirit of the original Sigma FP, the FP2 strips away several features but adds them back in using accessories, creating a compact system meant to be customized. The new EVF-21 external viewfinder, like the new screen, is tilt-capable, sporting 5.76 million dots across the .5-inch OLED.

The LVF-21 mounts over the camera’s built-in screen, helping to cut out glare while magnifying the monitor up to 2.5 times. A new baseplate attaches to that LCD viewfinder accessory and supports video accessories mounted to its 3/8-inch screw posts.

The hot shoe slot, battery charger, and a connector for running AC power are also add-on accessories.

The Sigma FP2 is expected to begin shipping on November 11, retailing for $2,199 / £1899 body only. The camera will also be available in a $2,699 / £2,399 kit with the add-on viewfinder, as well as with a 50mm f/2 DG Contemporary lens for $2,749 / £2,419.

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Compact cameras are the ideal companion for everyday shooting, travel adventures and capturing family moments. Best-selling lists in Japan, the US and the UK offer a snapshot of current trends – but some of the same point-and-shoot models keep appearing across different markets and retailers, even years after their launch, in top positions.

Right now, the No.1 best-selling compact camera on Amazon Japan and Amazon US is the Kodak PixPro FZ55. In the UK, it sits third in Amazon's compact camera Top 10. Close behind in Japan is the Kodak Charmera, a keychain camera that's popular due to its retro charm and collectible appeal.

The FZ55 launched in April 2023 and is available for only $139.99 / £129. Two years later, it was named Japan's best-selling compact camera in 2025 – and it continues to hold its own against newer models. So, what explains the FZ55's success?

Why the Kodak Pixpro FZ55 beats them all

Kodak's Pixpro series is known for its straightforward operation and affordable prices. That combination has helped the range find an audience worldwide.

The FZ55 is the standout model, with its predecessor, the FZ45, also proving popular and reaching No.3 in Amazon US's compact camera chart.

The FZ55 is a straightforward point-and-shoot camera with a 16MP sensor, 5x optical zoom and fully automatic operation. It has no headline-grabbing video specifications, elaborate app ecosystem, or attempt to compete on paper with premium compacts.

It focuses on the basics.

The compact camera comeback in recent years has helped fuel interest in models such as the FZ55. Social media trends and growing smartphone fatigue have also played a part, with more people looking for a dedicated camera.

Kodak has been particularly well positioned to benefit from this shift.

While much of the industry has focused on advanced features and hybrid shooting tools, Kodak has leaned into ease of use, portability and affordability.

The FZ55 is a standout example, but the brand's Pixpro C1 has also proved successful since launching in June 2025.

Their popularity reflects the strength of Kodak's strategy: offering accessible cameras that appeal to people who want to take pictures without getting caught up in complicated settings or expensive equipment.

Although compact cameras have evolved considerably, with more options now available for different users and budgets, simplicity and affordability remain powerful selling points.

The FZ55 is a prime example of why a camera launched in 2023 can still outsell newer models.

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The Nikon Z9 may be the most expensive body from the popular brand, but the camera that I recommend for pros is actually the less expensive Nikon Z8. That full-frame mirrorless has just dropped to its lowest-ever price – but it’s not the only Nikon sitting at a record low price right now, including the Z6 III, the Z5 II, and Nikon’s latest workhorse zooms.

Most tend to assume that the most expensive body is the best pro camera, but the Nikon Z8 packs most of what the Z9 offers into a smaller, more affordable body. The Z8 really feels like the mirrorless twin of my favorite DSLR, the Nikon D850, with its 45.7MP full-frame sensor, but with mirrorless speed, stabilization, and glass.

Right now, the body-only Nikon Z8 has dropped to its lowest price on record, according to Amazon price trackers, hitting $3,296, a 23 percent discount from the list price. That $1,000 price drop is available through several Nikon-authorized sellers, including Amazon, Adorama, and B&H.

Nikon Z6 III

While the Z8 is the best Nikon for serious professionals, a handful of full-frame Nikon gear has now dropped to its lowest price. The Z8’s lower-resolution sibling, the Nikon Z6 III, also sits at its lowest price on record, returning to its previous all-time low of $1,996.95, which is $700 off the list price.

The Z6 III brings a partially stacked 24.5MP sensor that delivers full-resolution bursts at an impressive 60 fps with the electronic sensor, and a still impressive 14 fps RAW burst with the mechanical shutter.

That balance of performance and quality earned the Z6 III the title of the best Nikon for most people in Digital Camera World’s rankings. “It’s a stunning camera for shooting stills, and the new vari-angle screen with its front-facing facility makes the Z6 III equally adept for vlogging and other videography,” Matthew Richards wrote in the review. “The speed, accuracy, and consistency of the autofocus system, with its subject recognition and tracking abilities, is superb, even in near-darkness, and the bottom line is that image quality simply stellar.”

Nikon Z5 II

Even Nikon’s entry-level full-frame Z5 II has returned to its lowest-ever price in the US, returning to $1,596 body only. The Z5 II isn’t as fast as the Z6 III or as high-resolution as the Z8, but it packs an excellent low-light autofocus system into a relatively compact full-frame camera.

That autofocus already had the Z5 II feeling far from basic, but the Z5 II still houses in-body stabilization ranked for 7.5 stops. That, mixed with its -10EV autofocus performance, makes it an incredible performer in limited light.

Top deals on Nikon Z lenses

A number of Nikon lenses have also dropped in price, including both of Nikon’s second-generation, five-star-rated 24-70mm and 70-200mm f/2.8 zooms. Both the Nikon Z 24-70mm f/2.8 S II and the Z 70-200mm f/2.8 S II lenses, announced last year, are each $200 off. That’s a record low for both optics, according to Amazon price trackers.

Additional notable lens discounts from among the ranks of DCW's best Nikon Z lens list include the Z 17-28mm f/2.8, the Z MC 105mm f/2.8 VR S Macro, and the nifty fifty favorite, the Z 50mm f/1.4.

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Following the release of the new Canon EOS R6 III, we expected to see some great deals on the older, but still very capable, EOS R6 II. But the price has crept up again in recent months - so it is pleasing to see a genuinely great deal on this full-frame mirrorless camera again. You can now buy the R6 II body at Clifton Cameras for just £1,499.

Sure, there are some real improvements in the Mark III - as you can find out in our Canon EOS R6 II vs R6 III comparison – but many of these will be superfluous to the needs to many users. And particularly so, that at the moment the newer version works out £1,000 more expensive.

The EOS R6 II has a 24.2MP sensor, is capable of shooting at 40fps, features new AF tracking modes and captures video as oversampled 6K – this camera was announced in November 2022 as a replacement for the first-generation EOS R6, offering Canon fans a more powerful full-frame mirrorless option with plenty of bells and whistles. It's an excellent option for anyone looking to upgrade from the now-aging EOS RP and EOS R or for someone wanting to get their hands on one of the best hybrid mirrorless cameras on the market today.

The sensor-based electronic shutter can rattle off continuous shooting at up to 40fps. There's even a RAW Burst Mode that can capture raw images at 30fps with a 0.5 second pre-shooting buffer, making this ideal for sport shooters.

To complement the high frame rates, Canon has improved the AF performance here. In addition to the existing body, eye, face, head, and animal recognition (now expanded to horses and zebras – yes, you read that right), the R6 II can recognize cars, motorcycles, aircraft, and trains too.

In terms of video capture, the R6 II now shoots 4K/60p using the full width of the sensor (the Mark I R6 has a 1.07x crop). It can also output 6K ProRes RAW to select Atomos external recorders.

Read more:

Best lenses for the Canon R6 Mark II
Canon EOS R6 Mark II vs EOS R5
Best full-frame mirrorless cameras
Best Canon cameras

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $500 at Adorama.

The Panasonic Lumix S5 IIX is now just $1797.99 – this new low price lets you save $400 from its original $2,197.99 price tag.

The Sony A7 IV Bundle is now just $1,998 – you save $500 off the bundle's RRP of $2,498. (The body alone is also $1,998...)

The Nikon Z5 Bundle is now just $996.95 – you save $450 off its previous $1,446.95 price. (The body alone is also $996.95...)

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

If you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX as for the Sony and Nikon lineups, but there are plenty of third-party options from the likes of Sigma (a founding member of the L-Mount).

And if you want to keep using your older glass, adapters (such as Canon EF to L-mount) are available.

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF detection and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR and, thanks to the FTZ adapter, you can continue using your trusted Nikon F-mount lenses seamlessly.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Adorama – many of which offer great savings too.

Comparison

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Looking for that classic DSLR mirror flip? With these two top full-frame DSLR deals, you save up to $699.01 and get free accessories!

The Nikon D850 Bundle is now just $1,996.95 at Adorama – you save $600 off its original $2,596.95 price. On top, you get eight free items.

The Nikon D850 camera body by itself is priced the same as the full bundle...

The Canon EOS 5D Mark IV is now just $1,999 at Adorama – you save $500 off its original $2,499. price.

Nikon D850

Best for megapixels

The Nikon D850 was a flagship DSLR for a reason. In 2025, it still impresses with its incredible 45.7MP resolution, weather-sealed durability, and class-leading image quality.

While its live view autofocus is outpaced by newer mirrorless rivals, for traditional stills shooting, it remains one of the finest tools around. Its uncropped 4K video and robust build make it a reliable all-rounder for pros.

Now available at a significantly lower price than at launch (approx. $3,296.95), the D850 offers elite-level performance without a premium price tag.

Canon EOS 5D Mark IV

Best all-rounder

With a 30.4MP full-frame CMOS sensor, 61-point AF system, and Dual Pixel CMOS AF for precise live view and video focusing, the Canon EOS 5D Mark IV remains a versatile tool for professionals.

Its 7fps burst rate, ISO 100-32,000 range (expandable to 102,400), and weather-sealed magnesium alloy body make it well-suited for demanding shoots.

While the 1.64x 4K crop and UHS-I SD slot feel a bit outdated, the 5D Mark IV delivers excellent dynamic range, color depth, and reliability – especially for stills-focused workflows.

Once a DSLR costing around $3,499, the EOS 5D Mark IV is now a far more affordable way to access full-frame photography.

Browse the best DSLRs, the best full-frame DSLRs, and the best DSLRs for video. You might also be interested in the best Nikon lenses for DSLRs and the best Canon lenses for DSLRs.

Leica has never been shy about producing special-edition cameras, but its latest collaboration might just be one of its most exciting yet. The German camera manufacturer has teamed up with Formula 1 to bring a little motorsport magic to its hugely popular Q-series, unveiling the new Leica Q3 43 Formula 1 Edition.

Combining the precision of German engineering with the unmistakable design language of the world's most prestigious motorsport championship, this rather beautiful camera comes dressed in carbon fiber, racing-inspired details, and an exclusive new photographic look. However, with a price tag of $9,950 / £7,300 / AU$14,100, owning a piece of this partnership certainly won't come cheap.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens. However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. It also features a textured black Microvelour covering inspired by Formula 1 steering wheels, with subtle red accents, exclusive F1 branding, and a specially designed rope strap to complete the motorsport-inspired look.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack. Available exclusively for this edition through the Leica Fotos app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

At its heart, this is still the same excellent Leica Q3 43 that photographers have come to love, featuring a 60MP full-frame BSI CMOS sensor and the stunning fixed APO-Summicron 43mm f/2 ASPH. lens.

However, it's the exterior that really sets this special edition apart. Leica has introduced genuine carbon fiber components across the wireless charging handgrip, thumb rest, and soft-release shutter button, all manufactured and tested in Germany. There's also a textured black Microvelour covering inspired by the steering wheels found inside Formula 1 cars, while subtle red accents, exclusive F1 branding, and a specially designed rope strap complete the motorsport-inspired appearance.

Personally, I think Leica has done a fantastic job of bringing these two worlds together without making the camera look like an oversized piece of Formula 1 merchandise. The carbon fiber detailing feels entirely appropriate for a camera built around precision engineering, while the red accents are a lovely nod to the colorful controls found on modern racing steering wheels. And although a fixed 43mm lens wouldn't necessarily be my first choice for photographing cars flying around a racetrack, it makes perfect sense for capturing the personalities, atmosphere, and behind-the-scenes moments that make motorsport photography so compelling.

Leica hasn't stopped at the exterior, either. The company has also developed an exclusive new 'Formula 1' Leica Look, which introduces higher contrast and richer saturation to help recreate the atmosphere of the paddock and racetrack.

Available exclusively for this edition through the Leica FOTOS app, the look can be applied in-camera directly, allowing photographers to preview the finished aesthetic through the electronic viewfinder before pressing the shutter. It's a small but rather thoughtful addition that gives this special edition something beyond its striking appearance.

The collaboration was officially showcased at the Leica Store and Gallery in Los Angeles, with former Formula 1 world champion Jenson Button joining presenter Ariana Bravo to introduce the partnership. Guests were also treated to an exhibition featuring 26 motorsport photographs captured by Italian photographer Callo Albanese, highlighting the relationship between photography and the split-second moments that define Formula 1. It's a fitting celebration of two industries where precision, timing, and craftsmanship really do make all the difference.

The Leica Q3 43 Formula 1 Edition will be available from October 21, 2026, through Leica stores, the official online store, and selected specialist retailers, priced at $9,950 at Leica Store / £7,300 at LCE. It's also compatible with the existing range of Leica Q3 and Q3 43 accessories.

There's no escaping the fact that this is an incredibly expensive fixed-lens camera, but then again, Leica has never really been about offering the cheapest way into photography. For enthusiasts who happen to love both Leica and Formula 1, this might just be the ultimate combination of two passions.

Trends have revived the point-and-shoot from the dead – and compact mirrorless designs seem to be riding the same wave. But amid the rise of the compact camera and the launch of a one-inch sensor mirrorless camera from GoPro, I can’t help but remember another compact mirrorless from another decade: The Nikon 1 series.

The Nikon 1 series was a line of tiny mirrorless bodies built around a one-inch sensor. The series launched in 2011 with the Nikon 1 J1 and the more advanced V1. At the time, Nikon said the 1 J1 was the world’s smallest and lightest mirrorless camera. The smallest models looked almost like point-and-shoots – though adding a lens made the camera far less pocketable.

Just a year after the series launched, higher-resolution options arrived with the Nikon 1 J2 and 1 V2.

Nikon discontinued the 1 series in 2018 as part of the shift towards the Z system – and that was absolutely the right move for creating more pro mirrorless cameras. But fast forward to 2026, and compact cameras have gotten so trendy that the most popular models are hard to find in stock.

That point-and-shoot trend has bled into mirrorless, as many mirrorless alternatives to popular compact cameras have also made regular appearances on best-seller lists, from the full-frame Sony A7C II to the new Micro Four Thirds OM System PEN. Nikon’s latest launch, the Nikon Z5IIC, takes on this trend and outfits the Z5 II’s sensor into a smaller body without a viewfinder.

It’s not just the point-and-shoot trend that has me fondly remembering the Nikon 1 series, however. GoPro has revived the one-inch sensor mirrorless with the launch of the Mission 1 Pro ILS – though it’s a camera built more for filmmakers than still photographers.

While the Nikon 1 series isn't around anymore, the one-inch sensor launched with the original models is still very much around. That one-inch format is highly popular among point-and-shoot cameras, and now the Mission 1 ILS has brought the format back to mirrorless.

Some of the Nikon 1 features that were unusual at the time, like a 60 fps burst mode using an electronic shutter, are now easy to find among modern, larger sensor mirrorless cameras. But some of the series most unique features are still in the past.

The Nikon 1 AW1 was the first waterproof mirrorless camera. There are plenty of modern splashproof cameras, but the AW1 remains unique in its ability to go underwater without extra housing. Even GoPro's first mirrorless camera is only splashproof if it's paired with a sealed lens, not submersible.

With the viral success of point-and-shoot cameras, I have to wonder – would the Nikon 1 series have been more successful if it launched in 2026 instead of 2011? The series was more popular among casual users than serious photographers who still preferred the larger sensors found in Nikon’s DSLRs.

But the revival of the point-and-shoot trend is driven in part by that same group. A growing number of casual users want to separate taking photos from their smartphones. A number of the most popular point-and-shoot models are options with zoom, which the 1 series lenses offered with swappable (though not usually pocketable) optics.

The rising popularity of compact camera designs is being accompanied by a growing trend of picking up early digicams – and there’s a decent selection of Nikon 1 cameras and lenses available from used camera retailers, sometimes for less than a new point-and-shoot.

That’s the real reason that I can’t envision a modern Nikon 1 series camera – because those old models hit on both the compact and retro trends in one.

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Nikon has begun to discontinue the Nikon Z5. That’s according to Japanese news outlet Asobinet, which has reported that camera retailers have listed the full-frame mirrorless camera as discontinued. As it stands, US, UK and Australian markets have not been affected, with the camera still available for purchase and in stock across corresponding Nikon stores.

What would appear to be the beginning of the end for the Nikon Z5 comes just a year and a half after the announcement of the technically superior Nikon Z5II. The Nikon Z5 launched back in July 2020, and although this first-generation Z-Series camera lacks the processing power, whip-fast AF system, and video capabilities of later offerings, its often heavily discounted pricing has made it far and away the cheapest entry point in Nikon’s full-frame mirrorless system.

It’s perhaps no coincidence, then, that Nikon waited until the release of the Nikon Z5IIC, announced just last month, to begin winding down the Nikon Z5. The Nikon Z5IIC retails for just $1399.95 / £1,349 / AU$2,399. Once the Nikon Z5 is gone for good, the Z5IIC will be Nikon’s cheapest full-frame mirrorless offering.

Is the Nikon Z5 still worth it?

If you’re minded to clean up any remaining stock or perhaps even take advantage of a very good used deal, the Nikon Z5 is still a camera that I highly recommend for the right person. If you’re a stills-first photographer who doesn’t need blistering burst speeds, whip-fast AI, and a high-resolution sensor, but wants to get your foot in the full-frame door, it’s still a great camera.

All of Nikon’s Z-Series cameras produce top-quality JPEG and RAW files, and the Nikon Z5 is no different. It also gives you access to the coveted Z system via Nikon’s huge collection of Z series lenses. With all that said, I wouldn’t personally buy the Nikon Z5 at full price. I’d be minded to look for a good deal or used model.

At full price, it’s not all that far off the Nikon Z5IIC. And while the lack of an EVF will be a dealbreaker for some, this latest addition to Nikon’s lineup boasts far better specs. Another alternative, if you’re not married to full-frame, would be the Nikon Z50 II. It has a smaller APS-C sensor, but with a far superior spec sheet.

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A compact, creator-friendly full-frame mirrorless camera sounds like an ideal choice for photographers and videographers who want powerful features without carrying bulky gear.

The Panasonic Lumix S9 fits that brief, combining a 24.2MP full-frame sensor with creative tools in a body that Panasonic describes as the "smallest and lightest Lumix S Series camera." It has also earned industry recognition, including the "Best Content Creator Camera" award at TIPA.

But while the camera is currently available at a discounted price in some markets, including the UK, US buyers may face a longer wait to get their hands on one – with expected availability in early 2027.

Lumix S9 discounted, but US buyers face a long wait

UK buyers can currently take advantage of an offer at Wex. The Lumix S9 is available for £799 inc. £200 cashback, with £700 savings off its original £1,499 price.

In the US, B&H lists the Lumix S9 at $1,097.99, reduced from $1,497.99. However, the retailer marks the camera as temporarily out of stock, with expected availability listed for January 18, 2027.

Although some kit versions may still be available, buyers looking for the camera body may have to wait until next year. And this isn't the first time photographers have voiced frustration over getting their hands on a Lumix S9.

Photographer voice frustration over delays

Months ago, photographers were discussing their frustrations with the Lumix S9's availability and shipping process in a Reddit thread.

Some described getting hold of the S9 and L10 as feeling like a "lottery," suggesting that customers had little control over when their orders would arrive.

One photographer who had preordered the Black Titanium edition also questions the point of preordering after experiencing a delay.

"Can we talk about how Panasonic still hasn’t shipped preordered S9 titanium blacks but has restocked and is selling them again in the shop," the user wrote. "There was no point in the preorder and most likely was just used for measuring market interest for future batch manufacturing."

These comments reflect individual customers' experiences and highlight the frustration that can arise when delivery takes longer than expected. The reason for any delays has not been confirmed, and availability may vary by model and retailer, possibly due to electronic component and RAM shortages.

The award-winning mirrorless camera

Since its launch in 2024, the Lumix S9 has repeatedly appeared in Japan's Top 10 camera rankings at various retailers and received several industry awards. It was named the "Best Content Creator Camera" at TIPA, received an iF Design Award, as well as the Red Dot Design Award in 2025.

With its compact body, full-frame sensor and flexible creative controls, the S9 is a great option for content creators who want a portable camera without giving up the benefits of a full-frame sensor.

TIPA highlights, "Social media creators can save up to 39 preferred LUTs (look-up-table), offering a range of stunning looks and styles right in the camera.

"You can even customize with the LUMIX Lab app and download personal style options to make your content truly one-of-a-kind!"

For some buyers in the US, however, getting one may require patience.

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There’s something rather sad about seeing a camera manufacturer that dared to do things differently potentially disappear from the industry, especially when it was one of the few companies genuinely trying to challenge the traditional camera market.

Unfortunately, that appears to be the situation facing French camera manufacturer Pixii, which has entered judicial liquidation, casting serious doubt over the future of its innovative digital rangefinders and its ambitions to compete with Leica.

According to Leica Rumors and official French business records, Pixii initially entered court-supervised restructuring on December 10, 2025, before the Commercial Court of Besançon converted those proceedings into judicial liquidation on July 22, 2026.

The court permitted business operations to continue until July 31, but the company now faces a deeply uncertain future. In simple terms, judicial liquidation means that a business is no longer considered financially capable of continuing under its current circumstances, with a court-appointed liquidator overseeing the process of selling assets and settling debts. It doesn't necessarily mean Pixii is gone forever, but without a buyer, fresh investment, or someone willing to take over its technology, the prospect of another Pixii camera reaching the market looks increasingly unlikely.

What makes this news particularly disappointing is that Pixii wasn't simply another manufacturer producing a familiar mirrorless camera with a slightly different badge. Its APS-C Pixii+ and full-frame Pixii Max offered a genuinely alternative approach to digital photography, combining traditional Leica M-mount rangefinder shooting with modern computing technology. The absence of a rear LCD, built-in storage instead of memory cards, smartphone integration, and software-driven updates certainly divided opinion, but there was also some seriously impressive technology beneath those minimalist designs.

Perhaps the most interesting was Pixii's monochrome RAW technology, which used clever processing to reconstruct monochrome information from a conventional color sensor, producing up to 16-bit black-and-white DNG files while retaining the ability to shoot in color. As someone who spends much of his time shooting black-and-white photography, I always thought this was one of the company's most exciting achievements, and something I would have loved to see developed further.

However, while some of Pixii's technology was genuinely impressive, I can't help feeling that the company struggled with the balance between innovation, practicality, and price. Removing a camera's rear screen might appeal to photographers who want a more traditional shooting experience, but removing the memory card slot and relying heavily on smartphone connectivity was always going to be a harder sell.

Then there was the price. With the Pixii Max originally reaching $4,999, it was hardly an affordable alternative to Leica, particularly when photographers were being asked to invest in a relatively unfamiliar system from a small manufacturer. That doesn't mean these decisions caused Pixii's financial difficulties, but it demonstrates just how challenging it can be to turn an interesting photographic concept into a commercially sustainable product.

For the wider camera industry, I think this is where the real disappointment lies. We have reached a point where major manufacturers such as Canon, Nikon, Sony and Fujifilm dominate much of the market, while Leica continues to occupy its own established position in the premium rangefinder world. Independent manufacturers like Pixii are important because they challenge the established formula, experiment with ideas that larger companies might consider too risky, and remind us that not every camera needs to follow the same design philosophy.

Pixii was never going to threaten Leica's dominance overnight, but it offered something different in a category where genuine alternatives remain surprisingly limited. Losing that competition, along with the potential for its technology to influence future products, would be a shame for photographers and the industry alike.

There are also immediate questions for existing Pixii owners, particularly concerning warranty support, repairs, replacement parts, and future software updates. These are important considerations for anyone thinking of purchasing remaining stock, and at present the long-term support arrangements remain unclear.

There is still a possibility that another manufacturer or investor could acquire Pixii's intellectual property and continue developing its technology, particularly as the company had reportedly been searching for partners to help bring a next-generation rangefinder to market. I sincerely hope that happens, because although Pixii didn't get everything right, it was a manufacturer willing to take risks and rethink what a modern camera could be. And in an industry that sometimes feels increasingly predictable, that's exactly the kind of thinking we need more of.

Check out the best rangefinder cameras you can buy today

It’s quite staggering that, broadly speaking, a good two-thirds of Fujifilm camera sales are of Polaroid-style Instax instant print cameras alone.

This takes some getting my head around because, when thinking of Fuji, I typically visualize one of its sleek, metal-bodied APS-C sensor incorporating ‘X’ series mirrorless cameras. Or even its ambitious medium-format GFX lineup, via which it has built a solid reputation among enthusiasts and pros. As a member of the photo press, those large-sensor digital cameras are the ones I most typically experience – and value.

But as for Fuji itself, does it still value the ‘X’ series in the same way? Especially when it been almost exactly a year since the previous ‘X’ camera launch in the X-T30 III, which was preceded by the slightly gimmicky X-half.

Sure, competing manufacturers have had a very quiet 2026 too, but that’s not quite true of Fujifilm.

While there have been no new ‘X’ models this year, at the time of writing there have been four new Instax cameras in the Instax Mini Evo Cinema, the Instax Mini 13. the Instax Square 2 and the Instax Pal 2. Alongside these, there have been two Instax standalone portable printers launched this year in the Mini Link+ and the Link Wide 2, aimed at smartphone photographers.

It’s therefore not such a stretch to assume Instax is now the priority for Fujifilm and its X and GFX cameras for enthusiasts and professionals are, by contrast, on the back burner. It would come as no surprise to learn the typical Fuji customer is now a young female, not the middle-aged male typically found at photo shows.

If so, is there anything wrong with that? It makes sound business sense to go where the money is. Instax sales have boomed in recent years and there’s little apparent slowdown. All Fuji is doing is feeding the beast; that ‘beast’ being someone who likes cutesy, shiny things.

However, does that mean its traditional photographer audience is feeling slightly neglected right now, or worse still, alienated?

Not quite yet, I’d argue. Us photo enthusiasts are used to ever-lengthening gaps between new camera iterations – and, in the specialist photography market, a wait of one, two, three or even five years between models isn’t unheard of. Especially when the wider industry is beset by chip shortages and production delays.

However, no new Fujifilm ‘X’ cameras at all in the space of a year still feels unusual.

It’s too early to tell if this is a blip or the new normal, but, given the evidence above, I’d wager that it may well be the latter.

Check out the best Fujifilm cameras you can buy right now

The wait is almost over! After opening for preorder last month, the rather gorgeous Ricoh GR IV 30th Anniversary Edition has finally reached its October release window, giving photographers another chance to get their hands on a very special version of one of the most iconic compact cameras around.

The limited-edition kit is now listed for sale at Adorama, or B&H for $1,799.95 in the US, while UK photographers can find it at Park Cameras for £1,499 or Wex for £1,499.

However, with just 6,000 units being produced worldwide, I suspect this particular GR IV won't be hanging around for very long once stock arrives.

I've always had a soft spot for cameras that celebrate their history, and Ricoh has done a particularly lovely job with this one. Created to mark 30 years since the original Ricoh GR1 film camera arrived in 1996, the GR IV 30th Anniversary Edition manages to capture some of that original charm without losing the understated design that has made the GR series such a favorite among street and documentary photographers.

Rather than simply adding an anniversary logo and calling it a day, Ricoh has given the camera a few thoughtful touches. The shutter release and rear buttons feature a beautiful dark silver finish inspired by the original GR1, while a special diamond-cut GN-3 (30th) ring cap adds a subtle premium look. There's also a dedicated 30th anniversary power-off screen, which is a small detail, but exactly the sort of thing I love seeing on these commemorative cameras.

The special edition also comes with a rather impressive selection of exclusive accessories, including a commemorative metal hot shoe cover, a genuine leather finger strap and a collection of 16 GR-series pin badges celebrating the cameras that have helped shape Ricoh's photographic legacy over the past three decades. It's a lovely little package, especially for anyone who has followed the GR series since its film days.

Of course, underneath all those anniversary details, this is still the Ricoh GR IV, and that's certainly no bad thing. You get the same 25.74MP APS-C CMOS sensor, a redesigned 18.3mm f/2.8 lens offering a 28mm full-frame equivalent field of view, hybrid autofocus, and 5-axis image stabilization. It's a seriously capable little camera that manages to squeeze excellent image quality into a genuinely pocketable body, making it an incredibly appealing option for street photography, travel, and everyday documentary work.

For me, that's always been the magic of the Ricoh GR series. It's a camera that doesn't demand a dedicated bag or an entire collection of lenses. You simply put it in your pocket, head out the door, and start photographing whatever catches your eye. There is something wonderfully refreshing about that approach, especially when so many modern cameras seem determined to become bigger and more complicated.

At $1,799.95 in the US and £1,499 in the UK, the GR IV 30th Anniversary Edition certainly isn't cheap, particularly when you consider that the standard model offers essentially identical photographic performance. But this camera isn't really about getting more megapixels or better autofocus for your money. It's about owning a small piece of photographic history, and with only 6,000 examples being produced worldwide, I can certainly see why dedicated GR enthusiasts and collectors might find this one difficult to resist.

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Flashback’s first screen-free digital camera went viral for looking – and feeling – like a disposable film camera. But the company’s newest screen-free camera has an entirely different inspiration: Half-frame film. The Flashback One75 is a screen-free camera built with brass accents, eight film-inspired presets, and even the option to shoot double exposures.

The Flashback One75 has a small OLED screen at the top that allows photographers to choose from one of eight film-inspired presets and adjust settings like turning the flash on and off. But the camera is "screen-free" in that there’s no way to view the photos on the camera itself, bringing some of the wait of film.

That same mini OLED also powers access to a new feature that allows the camera to shoot double exposures, layering two shots together into one.

The One75 is inspired by half-frame film cameras from the 1970s. The sensor and viewfinder are oriented vertically rather than horizontally, as half-frame cameras fit two frames in the space a 35mm camera would fit one. The One75 shoots 13MP images – though the company did not share specifications like sensor size – and uses a built-in Xenon flash.

Where the FlashBack One35 V2 is meant to feel like a disposable film camera, the One75 uses an aluminum top plate and brass accents for a more high-end feel. The camera also has a tripod mount and a 25mm thread on the front of the lens to add accessories like filters and add-on lenses.

The One75’s mini OLED makes it possible to adjust settings without the app, but “developing” the photos is all done through the Flashback One app. Like with the earlier camera, the One75 shoots “rolls” of 27 photos. Then, those photos are “developed” in the Flashback app.

Users can use a 24-hour “developing” wait before seeing those photos, or photographers can use the digicam mode to access photos without the wait. The camera can also be plugged into a computer to transfer RAW files, rather than the JPEGs transferred through the mobile app.

An update to the app will also allow photographers to create their own presets with adjustable sliders for halation, chromatic aberration, saturation, and exposure. The earlier One35 V2 camera will also be able to access custom presets with the beta version of the app. The app update will also allow users to “redevelop” an exsisting roll in another film preset.

The One75 is meant to sit alongside the earlier One35 V2 – it’s not a replacement for the earlier camera, which also has a 13MP resolution.

The Flashback One75 is available for pre-order directly from Flashback, retailing for $179 / £139.95 / AU$249.95 / CA$254.95. The company says that pre-orders will arrive before Christmas.

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If you thought the compact camera revival couldn’t get any more exciting, Camp Snap has just given us another reason to embrace retro photography. The first batch of its wonderfully nostalgic Camp Snap 110D has officially sold out, but if you missed your chance to grab one, there’s some good news.

A second batch is now available to preorder directly from Camp Snap for $74.99 in the US, or just £57 in the UK, with shipping expected to begin in November. Given how quickly the first allocation disappeared, I wouldn’t be surprised if this second run proves just as popular, so now might be the time to get that preorder back in!

The Camp Snap 110D takes its inspiration from the tiny 110 film cameras that became hugely popular during the 1970s, right down to that unmistakably long and slim body. Rather than loading a cartridge of film, however, everything inside is digital. You get an 8MP Sony sensor paired with a fixed 26mm-equivalent lens, while images are saved as straightforward JPEG files to a pre-installed 4GB microSD card that can hold around 2,000 photographs. It is essentially the point-and-shoot simplicity of an old pocket film camera without having to buy or process a single roll of film.

Perhaps more importantly, there is still no rear screen. That has always been one of the biggest attractions of Camp Snap cameras, because you take the photograph and move on rather than immediately checking whether you captured the perfect shot. It brings back a little of that anticipation that made disposable and film cameras so enjoyable, while still giving you the convenience of transferring everything digitally afterward. A USB-C connection handles both charging and image transfer to a smartphone, tablet, or computer, with Camp Snap rating the rechargeable battery for around 500 photographs per charge.

Camp Snap has also built five different looks directly into the 110D, including Standard, Vintage 1, Vintage 2, Analog, and Black & White, which can be selected on the camera without reaching for an app. There is even support for creating your own filters, while the built-in dual-tone flash can provide either a cooler 6,500K or warmer 3,000K light. For something designed to be incredibly simple, there is actually a surprising amount of creative control hiding underneath that retro exterior.

Another important improvement is speed. Camp Snap says this is its fastest shutter-button design yet, with a near-instant response intended to make the 110D feel much snappier than some of its previous screen-free cameras. Its QuickDraw battery-saving system also allows the camera to automatically fall asleep when it isn't being used, but pressing the shutter wakes it ready to shoot without having to fiddle with a power button. That makes far more sense for a camera like this, which will probably spend most of its life sitting in a pocket until something worth photographing suddenly appears.

And that, I suspect, is exactly why the Camp Snap 110D has already become such a hit. It isn't trying to compete with the latest mirrorless camera or even your smartphone on outright image quality; instead, it takes photography back to being uncomplicated, spontaneous, and fun. The fact that the first batch has already sold out suggests there are plenty of photographers who feel exactly the same way, and I can certainly understand the appeal.

The 110-inspired body gives it bags of nostalgic charm, the screen-free experience makes every photograph slightly more exciting, and at $74.99 in the US or £57 in the UK, it remains inexpensive enough to be the sort of camera you actually take everywhere. With the second batch now open for preorders and November shipping on the horizon, this is another opportunity to get your hands on one of the most charming little cameras of the year. If the first batch is anything to go by, though, I wouldn't leave it too long!

While I wouldn’t first and foremost describe myself as a Canon user, I have tried and tested almost every new camera it’s released over the past 25 years. I even have a Canon DSLR as a backup to my mirrorless setup.

I think we can all agree it’s a solid, reliable brand, no matter your skill set. And on initial glance, its latest mirrorless offering in the entry-level full-frame Canon EOS R8 Mark II feels like it continues that consistency of excellence. It’s a good bet for fledgling photographers seeking to throw their weight behind a system.

However, I could say the exact same thing about Nikon’s equally new Z5IIc, likewise a full-frame mirrorless aimed at beginners, or suggest its marginally older Z5II, if having an eye-level viewfinder in the case of the latter is a deal-breaker.

While Canon has always enjoyed better support in terms of the volume and variety of directly compatible lenses and accessories, with its equally long and distinguished heritage, Nikon is no slouch when it comes to own-brand and third-party support either.

Moreover, for those seeking to make the step up from an APS-C sensor camera, fixed lens compact or even smartphone, a further alternative is Sony, now Canon’s closest competitor for sales. Worth considering here is its own lightweight full-frame mirrorless A7C II camera with a handy, fully articulating touchscreen, or the even older but still available and more keenly priced A7 III.

Sticking with electronics manufacturers, the Panasonic Lumix S9 is a further viable full-frame option, particularly suited to those getting into content creation. Or, circling back to Canon, how about the manufacturer’s own step-up model in the EOS R6 Mark II, which, despite the lower numerical identifier, boasts more of a workhorse construction, a weather-sealed body and two card slots.

While the R6 Mark II may win for robustness, both it and the EOS R8 Mark II share the same 24.2MP full-frame CMOS sensor and DIGIC X processor. So, it depends whether your photography will benefit from the R6 II’s extra heft and slightly better spec, including in-body image stabilisation, or not.

In short, yes, there are better options than the latest EOS R8 Mark II out there. However, that doesn’t negate the fact that, at this point in time, it may well still be the best option for you.

I’ve got a love-hate relationship with pre-made presets and filters. On the one hand, they can prevent photographers from finding a unique editing style, and on the other, they’re an incredible force for good. Let’s get the negative bit out of the way first.

Everything looks the same

My biggest problem with pre-made presets and filters is that they can make people’s work look tonally very similar and also allow photographers to avoid learning how to edit their images altogether. Now, I’m not saying you absolutely have to edit your images, but I do think editing brings about an extra layer of creative agency. If you learn to edit, you suddenly have another avenue of creativity to go down if you so wish.

As for tonally similar images, I guess the same could be said for film. Beyond a little darkroom trickery, Kodak Portra 400 looks like Portra 400. And of course, there is much more to an image than just tones. So, what about the benefits?

Presets can be proactive

Perhaps the biggest benefit of using ready-made presets is that they allow you to spend less time sitting at a computer and more time out and about with your camera. They can also remove what I think of as a kind of editing anxiety – the need to create the ‘perfect’ edit every time. This can lead to overediting, which in turn results in even more time spent at a computer and less time out and about with a camera.

Becoming proficient at editing can also cause you to become a little lazy when taking photos, relying on the edit to manage the exposure, sharpening softness or heavily crop compositions. This is especially true when shooting with pliable RAW files. Presets and filters are applied to JPEGs, so they’re also a great lesson in exposure discipline, because if you get it wrong, you’ve got limited wiggle room in post in which to save the image.

Presets and filters can also boost your confidence. This is especially useful in the era of the EVF. You can see exactly what the scene in front of you will look like with a filter applied, and this can be a real confidence booster, because the images you are capturing in real time give you instant feedback and they look good. Another upshot of this is the ability to take images straight from your camera and upload them to online galleries or social media.

The recipe middle ground

Thankfully, there’s a middle ground. Most camera manufacturers such as Fujifilm, OM System and Nikon now allow you to edit filters to create what the industry calls recipes. This means you can start with a base filter and tweak various tonal qualities such as contrast and saturation to meet your own requirements.

This means you don’t need to spend hours in an editing suite, but can cultivate your very own look that you can apply to every photograph you take. Often, photographers think that they have to shoot RAW. And while I think it’s a great idea to shoot RAW+JPEG, so you have the backup files should you ever get into bespoke editing, recipes are a great middle ground that can boost your confidence and, more importantly, keep you taking photos.

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A photographer has shared on Reddit how he was able to “reverse engineer” the firmware on his Sony A7 IV to add a shutter angle feature to the mirrorless hybrid stills-and-video camera.

Reddit user Mr_BananaPants shared the feat of software engineering in a thread, although he didn’t go into the specifics of how exactly he achieved it. “I found a path traversal bug allowing me to get the fully decrypted firmware of the A7 IV, which nobody had managed to do before,” the videographer said.

Shutter angle is a way of measuring exposure time relative to your video’s frame rate. Measured in degrees, it determines how much motion blur appears in each frame of footage.

While photographers measure exposure in absolute time – such as 1/250 second – cinematographers prefer shutter angle because it automatically scales when you change your frame rate, enabling consistent motion blur without having to do any mental math.

Although the A7 IV would be perfectly capable of calculating shutter angle, Sony restricts the feature to dedicated FX cinema-line models, which include similarly priced models such as the FX30, as well as higher-end rigs such as the FX6.

After the initial hacking success, Mr_BananaPants then tried to enable 8K video recording on the A7 IV, despite the self-professed “major risk of bricking the camera.”

Failing to heed his own warning, the videographer’s next update in the Reddit thread was simply: “camera is bricked and stuck in a bootloop.” That’s to say, the camera had become unresponsive, rendering it useless and requiring a professional service.

Luckily, as Mr_BananaPants kept the details of the firmware bug under wraps, other users in the thread weren’t able to copy him. “Thank you for not publishing full details before you proved the hack – you probably saved dozens of people from bricking their cameras too,” said another Reddit commenter, HeavyDuty_Ken.

It’s not only the risk of bricking your camera that makes fiddling around with its firmware super risky, either.

Sony Alpha Rumors also covered this story, and someone left a comment on its article claiming to have even been contacted by a law firm representing Sony after publicly sharing that they’d used a similar firmware hack to enable 30fps shooting when using a Sigma 300-600mm f/4 lens on an A1 Mark II body.

“Be very cautious. I got a serious cease and desist legal letter served and several threatening phone calls,” said ScottOphoto.

I think it’s safe to say that, between potentially bricking your camera and facing legal action, it’s probably not a good idea to try to reverse engineer firmware. I know I won’t be attempting it anytime soon.

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Of all the mirrorless cameras introduced in 2026 so far, the GoPro Mission 1 Pro ILS is arguably the most unusual. The camera is not much larger than GoPro’s usual action camera, but it mixes a one-inch sensor with a Micro Four Thirds sensor and 8K an entry-level price point. Now, the ILS has been named one of TIME’s Best Inventions of 2026.

The TIME Best Inventions of 2026 is made up of 300 products, from bidets to folding coolers, based on originality, efficacy, ambition, and impact. The Mission 1 Pro ILS isn’t the only camera on the list – Nikon’s ZR also got a nod, while the unusual Instax Mini Evo Cinema also earned recognition.

Time wrote that while action cameras aren’t known for Hollywood-level footage, the ILS “shatters that silver ceiling.”

GoPro’s first mirrorless camera is both unlike any other GoPro before it – and unlike any other mirrorless camera. The ILS uses the same one-inch sensor as the new fixed-lens Mission 1 and Mission 1 Pro, enabling videos up to 8K. But the ILS pairs that with a larger Micro Four Thirds lens mount.

The ILS, however, doesn’t have electronic contacts in the mount, making the mirrorless a manual-focus-only camera that doesn’t support focus-by-wire lenses. The ILS’s build, which is almost identical in shape and size to the fixed-lens camera, makes it the smallest 8K camera yet, but that also means the ILS needs an external support system when working with heavier lenses.

The swappable lenses also mean that, unlike a traditional GoPro, the ILS isn’t waterproof – though it can be splash-resistant with a sealed lens mounted on the front.

But as unusual as the ILS is, GoPro is going after a small niche of creators looking for high-quality 8K in a portable and affordable package. The camera retails for $699 / £599 / AU$1099 / CA$949.

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

The Mission 1 Pro ILS does feel like more of a niche, highly specialized camera, as there are several limitations. But for as limiting as the manual focus and one-inch sensor are, the charm of the ILS lies in its small, affordable design that still reaches 8K.

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I’ve always thought of the Ricoh GR camera lineup as appealing to a rather select crowd of photographers. Namely those prepared to pay a premium for an advanced, yet portable fixed-lens compact, who at the same time value image quality way above a trendy design.

It never struck me as something that would find favor with the masses.

Yet now, with compact cameras all the rage, the latest GR camera variants are making multiple appearances in Japan’s top ten camera sales placings. Plus, to reference recent Nikkei Industry Map data from Japan, Ricoh is currently overtaking OM System sales overall. In fact, Ricoh has tripled its volume of camera sales to give it a 2.1% share of the digital camera market.

While despite the sturdy magnesium alloy body I wasn’t initially a fan of Ricoh compacts’ rather sensible, frill-free design, I’ve come round to its less-is-more appearance. Especially when we’re otherwise constantly over-stimulated by the increasingly digital aspects of daily life – much more so than we were when the GR Digital first appeared in 2005, successor to the late 90s GR1 film camera.

The most recently announced GR IVx, due to arrive toward the end of this year, looks to be continuing a golden lineage, squeezing a 25.74-megapixel APS-C sensor into its chassis and pairing it with another high-quality fixed lens; this time a 40mm f/2.8. Protecting against possible camera shake is five-axis image stabilisation, an improvement on paper over its GR IIIx predecessor’s three-axis IS.

Just prior to this model hitting the shelves, we have the tease of the limited edition (of 6,000 units) Ricoh GR IV 30th anniversary kit, boasting the same sensor with a wideangle 28mm f/2.8 lens, plus a pin badge, finger strap, and metal hotshoe cover to satiate the collectors.

With its cameras not only being steady sellers but also witnessing markedly increased sales, it begs the question as to why rival manufacturers haven’t wanted a slice of Ricoh’s big sensor / small camera market segment?

My guess is that, like me, until now they’ve considered the audience for Ricoh GR cameras to be too niche and too specialised to come up with their own competitive offerings.

Alternatives can be found in Fujifilm’s chunky fixed-lens, APS-C sensor X100VI of course, but it’s not quite the same thing. Ditto the luxury likes of Leica’s Q compact series, which similarly offers street and travel photography possibilities. However, it likewise doesn’t feel like a direct competitor to me.

It’s clear that when it comes to Ricoh’s GR series, it continues to plough its own singular furrow.

And for rivals looking on, it is very much the case that if you can’t beat ‘em, don’t bother joining ‘em.

Writing about a toothbrush on Digital Camera World wasn’t exactly on my bingo card for 2026, yet here I am – not just detailing how the Dyson CameraJet incorporates a camera into its design, but praising it. Or rather, Time Magazine has praised it by including it in its list of the best inventions of 2026.

The list, which also includes the Nikon ZR and HoverAir Aqua, features 300 of the year’s best inventions, and while a toothbrush might not sound like the most exciting addition, kudos to Dyson for coming up with what is arguably the biggest toothbrush innovation since it went electric.

Time Magazine praised Dyson for combining an electric toothbrush and water-jet flosser, of which the CameraJet is the result. And of course, the article highlighted the minuscule camera that the tech company has managed to insert into brush heads. This camera uses what’s called Gap Optical Targeting to precisely jet liquid between gaps in teeth, which is illustrated in the header image. And yes, you can live-feed the inside of your mouth, too (see above image).

When I wrote about the CameraJet last month, I was naturally interested in its camera specs. It turns out that it’s built around a 100,000-pixel camera and sports a teeny-tiny macro lens, which captures and analyzes 28 images each second. And yes, before you come up with any bright ideas, a resourceful photographer has already hit the streets with a CameraJet to take some unconventional, 'conventional' photos.

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Want more from Digital Camera World? “World’s first browser photo editor with pro-grade tools,” can be accessed for free. Dispute with camera repair shop goes viral over handling of heirloom Rolleiflex that belonged to late grandmother. Plus, here's the latest camera news.

A rising awareness of screen overuse has given way to a screen-free camera trend. But one upcoming camera that wants to fit in this low-tech category technically has a screen – it just uses it for game-like animations instead. The Dinooh is a “digital film” camera with a retro advance lever and a tiny screen to gamify photography.

Rather than being screen-free, the Dinooh is a “playback-free” compact camera. The small screen can’t be used for previewing or reviewing photos. Instead, the screen is built for retro, gamified animations ranging from cute dachshunds to a girl with bubble gum.

Created by a California-based startup, the Dinooh feels built for the digital minimalist movement. The camera shoots photos with one of four built-in filters. A “film” advance lever needs to be pulled after every shot. And there’s no mobile app at all, just a USB-C port to transfer images.

That advance lever is built with resistance and springs to feel like an old film camera, but the company says its purpose is simply a reminder to slow down.

The creators behind the camera say that the Dinooh is designed to be “a camera that you can just pick up, play with, and carry around without thinking too much about the perfect shot.”

Built by a designer from the Harvard Graduate School of Design, the compact form, lever, and built-in filters were inspired by “the playful spirit of ‘90s electronics,” including that Game Boy-like screen. The front includes a small drawing with the words, “time to be a dinosaur.”

The Dinooh is listed on Kickstarter as “coming soon” – and at this early stage, details like technical specifications and price haven’t yet been shared. While the campaign for the compact camera hasn’t yet opened to backers, a sign-up list is open for a launch-day notification.

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For more low-tech photography, take a look at the best screen-free cameras.

The compact camera’s viral success has brought a revival of the once-decimated category – but it’s not just the oversized sensors that can outperform a smartphone that have seen a resurgence in sales. The best-selling cameras in Japan across several major retailers, including Amazon, are dominated by budget point-and-shoot cameras.

The data comes from BCN+R, a Japanese research firm that tracks sales across more than 2,300 stores, which recently shared the best-selling compact cameras for September 2026.

The list is dominated by budget point-and-shoots. Four out of 10 carry the Kodak name, but are built by JK Imaging and license the Kodak name.

None of the cameras on the list carry a sensor larger than 1/2.3-inch.

BCN+R’s best-selling compact cameras for September 2026

1. Kodak PixPro ZF55 (black)
2. Kodak PixPro C1 (black)
3. Kodak PixPro C1 (brown)
4. Fujifilm Instax Mini Evo (Brown)
5. Kodak PixPro WPZ2
6. Canon PowerShot SX740 HS
7. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (silver)
8. Panasonic Lumix TZ99
9. Kenko Tokina KC-AF11
10. Canon IXY 650 M / PowerShot ELPH 360 / IXUS 280 (black)

While none of the cameras on the list use a larger sensor, BCN+R’s rankings differ from those of dedicated photo retailers in Japan like Yodobashi, who regularly include larger-sensor compacts like the Canon PowerShot G7 X Mark III, Ricoh GR IV, Fujifilm X100VI, and Sony RX10 V.

That makes sense considering the sources – serious photographers may be more likely to use a dedicated photography shop, while someone looking for a compact camera to spend less time on a smartphone may be more likely to visit larger retailers like Amazon and big box stores.

The list dominated by cheap point-and-shoots points to a broader trend – and that’s that photographers aren’t the only ones buying cameras. Before the smartphone, families owned a camera to capture memories, even among those not serious about photography as a hobby. The rise of the smartphone put a major hit on that camera market, but now the point-and-shoot is returning, even among buyers who prioritize price over sensor size. Digital minimalists are looking for a camera without the distractions of smartphones, sparking a rise in screen-free compact cameras.

BCN+R also ranks weekly sales, and looking at that narrower time frame hints at which cameras may be rising up those ranks. In addition to the cameras that are already on the monthly list, the short-term list includes the waterproof OM System Tough TG-7 and the vlog-focused Sony ZV-1F.

One newly launched compact camera has risen up on the weekly rankings as well: The Instax Pal 2. The Pal 2 is a tiny 3 oz / 87g digicam with retro dials and a tiny screen placed at the top. The Pal 2 has been particularly popular in the US, where it ranks at the top of B&H’s top trending cameras.

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Explore the top-ranked point-and-shoot cameras, or take a look at the best cheap cameras.

Yashica is bringing a 1959 compact film camera into the digital era – and it comes with a retro dial to unlock different looks. The Yashica Y16 Pocket Camera is a compact digital camera built to mix the retro camera trend with a budget point-and-shoot.

The new Yashica Y16 Pocket takes its design inspiration from a 1959 camera by the same name (minus the Pocket). While the Yashica name has changed hands since then, the upcoming compact camera mimics that retro camera’s shape and dials.

Yashica previously teased the new Y16 last month, but that teaser left out a few key details, including the price. Now, Yashica has unveiled more details, including a price of $114.42 / £86.48 / AU$163.98 / CA$162.63.

There’s still one key detail missing from the Y16's list of features, however: Yashica hasn’t shared what size the sensor is. The Y16 has a 12MP default resolution, as well as a low-fi 5MP option, and the built-in lens is 27mm (full-frame equivalent).

Based on the price and pocketable design, that sensor is likely to use a smaller design, perhaps similar to the 12MP 1/3.06 from the new Yashica Crew. While there are no official details on the sensor size, Yashica has shared a set of sample photos that suggest the camera is built for low-fi nostalgia over serious image quality.

While the Y16 is a budget point-and-shoot, the camera does include a few controls. The dial at the top allows creators to choose from eight different built-in digital filters.

The Xenon flash also has three adjustable levels, allowing users to adjust to the lighting conditions – or perhaps the level of retro, direct flash look. The flash also has an auto mode in addition to those three manual levels.

The Y16 shoots videos as well as photos, with the highest resolution being 4K at 22 fps. For a more traditional 30p video, resolution drops to 2K.

The Y16 includes both an optical viewfinder and a small 1.45-inch LCD screen. An eye sensor will automatically turn off the LCD when the camera is brought up to the eye for more traditional viewfinder shots.

Those features are wrapped up in a retro body that weighs 93g / 3.28 ounces. The camera is 9.1cm / 3.5 inches on the longest side and just 2.9 cm / 1.14 inches deep.

Yashica says that the new Y16 is scheduled to begin shipping the week of November 30.

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For an idea of what to expect, take a look at the Yashica Tank review or the Yashica City 100 review. Or, browse the best retro cameras.

Sony has been making cameras and lenses for over 40 years, and its gear has found a place in the bags of beginners, enthusiasts and professional photographers alike.

Now, Wex is offering savings of up to £603 on some of the brand's most popular models, from capable mirrorless cameras to zoom lenses.

Mirrorless cameras

Lenses

Camera + lens

Browse the best Sony cameras, the best Sony lenses, the best Sony wide-angle lenses and the best Sony telephoto lenses.

The Japanese market research firm BCN+R has released its monthly roundup of the top 10 best-selling interchangeable-lens cameras for September, and this month’s ranking features an unlikely Micro Four Thirds (MFT) shooter: the Olympus PEN E-P7.

The 20MP, lightweight, entry-level MFT model placed fifth for last month – albeit as part of a double-zoom lens kit including a 14-42mm EZ and 40-150mm lens – climbing three spots from eighth position in August.

While rankings from other market analyst firms, such as Kitamura and Yodobashi, pull data from specialty photo retailers, BCN+R tracks point-of-sale data from over 2,300 brick-and-mortar and online retailers across Japan, meaning more budget-model cameras, sold at places like Amazon, are typically included.

BCN+R's top 10 best-selling camera models are typically determined from around 120 different camera bodies and respective lens bundle combinations, of which only an estimated 15% are MFT cameras.

And in a world dominated by super-spec full-frame mirrorless and legacy DSLR cameras, the E-P7 has held the fort down for the MFT system in this ranking.

Since being released in 2021 (Europe/Japan only) – the first Olympus model produced by OM System after it acquired the imaging division of Olympus – the E-P7 has featured in BCN+R’s monthly top-10 roundup at least once in each of the last three years, as well as in its release year.

BCN+R top 10 best-selling interchangeable-lens cameras September 2026

• Sony ZV-E10 II Double Zoom Lens Kit (Black)
• Canon EOS R10 RF-S18-150 IS STM Lens Kit
• Canon EOS R50 Double Zoom Kit (Black)
• Canon EOS R50 Double Zoom Kit (White)
• Olympus PEN E-P7 EZ Double Zoom Kit (Silver)
• Sony A7 V Body
• Fujifilm X-M5 XC15-45mm Lens Kit (Silver)
• Sony A6700 High-Magnification Zoom Lens Kit
• Sony A6400 Double Zoom Lens Kit (Black)
• Sony ZV-E10 Double Zoom Lens Kit (Black)

The remainder of this month’s ranking was mostly a showdown between Sony and Canon, with a sprinkling of Fujifilm. The Sony ZV-E10 II took the top spot, followed by the Canon EOS R10 and two lens-combination variations of the EOS R50.

The latter half of the rankings was made up of the Sony A7 V, Fujifilm X-M5, Sony A6700 and A6400, as well as the Sony ZV-E10. Aside from the A7 V, all the other camera models came as part of a lens bundle.

Looking at the full list and how it's packed with rigs boasting full-frame and APS-C sensors, it's even more surprising to see an MFT model like the E-P7 make the top 10.

However, last month, OM System unveiled the new PEN, which carries a retro compact design but has weather-sealing and in-body stabilization. It doesn't start shipping in Japan until the end of October, but it will be interesting to see if the E-P7 is swapped out for the new PEN in future rankings.

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Here’s our pick of the best Micro Four Thirds cameras from Olympus, OM System, and Panasonic.

The Sony A7 IV remains one of my favourite all-round full-frame mirrorless cameras, offering an excellent balance between high-resolution photography and professional video performance.

Right now, it's even more tempting, with B&H dropping the price to just $1,998, down from $2,498, saving you a fantastic $500 on an incredibly capable camera.

At its heart is a 33MP full-frame back-illuminated sensor, delivering excellent image quality, impressive dynamic range and plenty of detail for everything from portraits and landscapes to commercial and editorial photography. Sony's outstanding autofocus system is another major selling point, with Real-time Eye AF for humans, animals and birds making it incredibly reliable when tracking moving subjects.

It's equally impressive when it comes to video, offering beautifully detailed 4K recording, 10-bit 4:2:2 internal recording and professional picture profiles including S-Log3 and S-Cinetone. Add in excellent ergonomics, dual card slots, and dependable battery life, and you have a camera that is just as comfortable shooting stills as it is producing professional video.

For $1,998, I think the Sony A7 IV represents excellent value for money, particularly for photographers looking to make the jump to full-frame or existing Sony users wanting a serious upgrade. With $500 off, this is a deal that's certainly worth giving very serious consideration to at a minimum.

The top three mirrorless cameras at major Japanese retailer Yodobashi all come from the same brand. Topping the chart is a full-frame camera that made headlines before its launch in December 2025 and has since won multiple industry awards.

The No.1 mirrorless camera in Yodobashi's ranking for the second half of September is the Sony A7 V, followed by the ever-popular Sony A7C II with a zoom lens kit. In third place is the same full-frame camera in its body-only version.

Sony dominated previous Yodobashi rankings, with its camera accounting for 50% of the Top 10. Now, the manufacturer remains in the lead, but its presence has fallen to four models. Canon follows with three cameras: the EOS R50 (No.4), EOS R6 Mark III (No.8) and EOS R10 (No.9).

Yodobashi's Top 10 mirrorless cameras, 2nds Half Sep 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Sony A7C II | Silver | Black
4. Canon EOS R50 Double Zoom Kit | Black | White
5. Fujifilm X-T30 III XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Fujifilm X-M5 XC15-45mm Lens Kit | Silver | Black
7. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
8. Canon EOS R6 Mark III
9. Canon EOS R10 RF-S18-150 IS STM Lens Kit
10. Nikon Z50 II Double Zoom Kit

Japan's No.1: the "Camera of the Year"

The Sony A7 V is a camera many photographers have been waiting for.

Since its launch, the full-frame mirrorless has won several awards, including Best Full Frame Expert Camera at the TIPA World Awards, Camera of the Year at the Camera Grand Prix 2026, and Camera of the Year 2026-2027from EISA.

The Camera Grand Prix 2026 praised the camera's processing power and efficiency, noting that its next-generation Bion XR2 engine integrates an AI processing unit.

It also highlighted the partially stacked Exmor RS CMOS sensor, which offers a dynamic range of up to approx. 16 stops and blackout-free continuous shooting at up to 30 frames per second (fps) in 14-bit RAW.

Designed as a true hybrid all-rounder, the Sony A7 V combines high-speed performance and advanced autofocus (AF) in a more affordable body.

Since launch, the A7 V has regularly topped sales charts across major retailers in Japan. It features a couple of headline-grabbing improvements we haven't yet seen debuted in other Sony cameras, as DCW's Reviews Editor Gareth Bevan highlights. He calls the full-frame a "more affordable jack-of-all-trades body."

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Browse the best mirrorless cameras, the best Sony cameras and the best Sony lenses.

If you've been considering making the switch to Sony, stepping into the world of full-frame photography, or simply looking for a capable mirrorless camera without spending a small fortune, this might be the deal you've been waiting for.

The incredibly popular Sony A7 III has just received a massive $500 price reduction, bringing it down to just $1,498 at Adorama.

Now, I know what you're thinking. The Sony A7 III was launched back in 2018, which makes it something of a veteran in the rapidly evolving world of mirrorless cameras. But here's the thing: just because a camera is getting older doesn't mean it suddenly stops being good. In fact, I would argue that the A7 III remains an incredibly capable camera for a huge number of photographers, and while newer models might offer more sophisticated autofocus systems, higher resolutions, and improved video capabilities, there's still an awful lot to love about this full-frame workhorse.

At its heart is a 24.2MP full-frame sensor capable of producing beautifully detailed images with excellent dynamic range, while its 14-bit RAW files offer plenty of flexibility when it comes to editing. You also get Sony's 693-point phase-detection and 425-point contrast-detection autofocus system, which, although no longer at the cutting edge of camera technology, is still more than capable of delivering excellent results across everything from portraits and landscapes to travel and everyday photography. Throw in 10fps continuous shooting, dual memory card slots, and uncropped 4K video at 24p, and you're looking at a camera that still has plenty to offer.

Of course, there are compromises compared with Sony's latest mirrorless cameras, particularly when it comes to subject recognition, autofocus tracking, and video features. But I think it's important to remember that not everyone needs the latest technology, and for many photographers, the A7 III offers everything they could realistically want from a full-frame camera. Photography hasn't fundamentally changed since 2018, and a camera that was capable of producing exceptional images eight years ago is still capable of producing exceptional images today.

And that's what makes this deal so appealing. At just $1,498, with a substantial $500 saving, the Sony A7 III represents a fantastic opportunity to get into Sony's extensive full-frame ecosystem without paying the premium associated with its latest models. Whether you're upgrading from an APS-C camera, buying your first full-frame body, or simply looking for a dependable second camera, this is a deal I certainly wouldn't overlook.

Make sure to check out the best lenses for the Sony A7 III. You might also like to check out more of the best Sony cameras, including the newer Sony A7 IV.

With the comeback of compact cameras, cult favorite models released years ago have been having a real moment. Now, according to the latest sales figures from major retailer Yodobashi, the Canon PowerShot G7 X Mark III – released in July 2019 – is Japan's new No.1 compact camera.

The Top 10 best-selling compact cameras in the second half of September are led by two point-and-shoots that have been popular since their release, comfortably outselling newer models. While new releases occasionally storm to the top thanks to anticipation and hype, Canon's PowerShot compacts regularly feature near the top of sales charts across Japan.

Close behind the PowerShot G7 X Mark III is the Canon PowerShot SX740 HS / Lite. First released in July 2018, the compact received an updated version in 2024, although it remains the same underlying camera technology as the original. Rounding out the top three is the ever-popular and hard-to-find Fujifilm X100VI, released in February 2024.

Yodobashi's Top 10 best-selling compact cameras, 2nd Half Sep 2026

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

Canon's PowerShot champions

Canon first introduced the PowerShot compact camera line in 1996, with the PowerShot 600 among its earliest models.

Originally designed to bridge the gap between film and digital photography, the PowerShot line has evolved to include everything from straightforward point-and-shoots to models offering more advanced controls.

Staying true to this philosopy, both the PowerShot G7 X Mark III and PowerShot SX740 HS / Lite remained popular choices since their launches.

While the PowerShot G7 X Mark III features a 4.2x optical zoom lens (24–100mm equivalent, f/1.8–2.8) and a 20.1MP 1-in stacked CMOS sensor, the PowerShot SX740 HS / Lite comes with a 40x optical zoom lens (24-960mm equivalent in 35mm terms) and a 20.3MP1/2.3-inch-type CMOS sensor paired with a DIGIC 8 image processor.

The PowerShot G7 X Mark III offers strong video capabilities aimed at a new generation of bloggers and vloggers, while the PowerShot SX740 HS / Lite stands out for its superzoom range, making it a versatile travel and everyday camera.

Social media helped fuel the point-and-shoot revival, and the renewed interest in compact cameras drives the second-hand prices often higher than their original retail price.

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Browse the best compact cameras, the best APS-C compact cameras, and the best point-and-shoot cameras.

If you've been waiting for the right opportunity to invest in one of Canon's most impressive mirrorless cameras, this might be the deal you've been looking for. The Canon EOS R5 Mark II is now available for just $4,099, down from its previous price of $4,399, saving you a rather welcome $300 on a camera that is already packed with some of Canon's very best technology.

I've always thought the EOS R5 Mark II represents something of a sweet spot in Canon's professional mirrorless lineup. It combines the resolution you would expect from a high-end camera designed for commercial, landscape, and portrait photography with the kind of speed that makes it equally at home shooting sports, wildlife, and fast-moving action. At its heart is a fantastic 45MP full-frame stacked CMOS sensor, capable of capturing incredible detail while delivering continuous shooting speeds of up to 30fps.

And then there's the autofocus system, which is arguably one of the biggest reasons to consider this camera. Canon's Dual Pixel Intelligent AF technology offers advanced subject recognition and tracking, while the clever Eye Control AF system allows you to select your focus point simply by looking at your subject through the viewfinder. For photographers working in unpredictable environments, particularly those shooting sports or wildlife, that's a seriously useful feature to have at your disposal.

The video capabilities are equally impressive. With internal 8K 60p RAW recording, excellent 4K options, and professional-level recording features, the EOS R5 Mark II is just as capable of producing beautiful cinematic footage as it is of capturing stunning stills. It's this versatility that makes it such an attractive option for photographers who increasingly find themselves working across both photography and video.

Of course, at just over $4,000, this is still a serious investment, and I wouldn't pretend otherwise. But professional camera equipment rarely comes cheap, particularly when you're getting this level of performance in a single body. A $300 saving might not sound enormous in isolation, but it's still money back in your pocket that could go toward a memory card, spare batteries, or even your next lens.

For anyone already invested in Canon's RF system, or photographers considering making the jump to a genuinely professional hybrid camera, the EOS R5 Mark II is a brilliant option. And with $300 knocked off the asking price, there's now an even better reason to consider adding one to your camera bag.

A camera that helped shape the future of photography has just sold for an extraordinary US$4.9 million (£3.7 million / AU$7 million / €4.25 million) at Wetzlar Camera Auctions in Germany, proving once again that when it comes to Leica, some pieces of photographic history are almost priceless. The Leica 0-Series, dating back to 1923, went under the hammer on October 10, 2026, becoming one of the most expensive cameras ever sold at auction.

You can watch the moment the camera sells in the Wetzlar Camera Auctions Instagram video.

The camera, serial number 103, was offered as Lot 3 with a pre-sale estimate of between €1.5 million and €2 million, but it quickly became clear that collectors were prepared to go considerably further. Following a reported 20-minute bidding battle between telephone bidders, the final price reached an incredible €4.25 million, more than double its upper estimate. And while that figure might seem difficult to comprehend for a camera more than a century old, its importance to the history of photography is almost impossible to overstate.

Produced in 1923, two years before Leica officially introduced its first commercially available 35mm camera, the 0-Series was an experimental run of just 22 to 25 cameras designed to test a completely new approach to photography. Of those original examples, only 16 are believed to survive today, making them among the rarest and most desirable cameras ever produced. These weren't simply early examples of a famous camera, either. They were the machines that helped establish the foundations of the Leica system we know today.

Developed from the pioneering work of Oskar Barnack at Ernst Leitz, the 0-Series cameras were created to evaluate the practicality of using 35mm film in a compact, portable camera. At a time when photography was still dominated by considerably larger and less convenient equipment, the idea of putting a capable camera into something that could comfortably be carried almost anywhere was revolutionary. The success of these experimental models ultimately helped convince Ernst Leitz II to approve production, leading to the introduction of the Leica I in 1925 and changing photography forever.

What makes this particular example even more remarkable is its provenance. Serial number 103 was the third camera produced in the experimental series and had reportedly remained in a private American collection for more than 50 years. For collectors, that combination of historical significance, extraordinary rarity and originality is precisely what makes these early Leica cameras so valuable. This isn't simply a camera that happens to be old; it is a surviving piece of the very beginning of modern 35mm photography.

Of course, this isn't the first time an early Leica has commanded an astonishing figure at auction. In 2022, another 0-Series camera, serial number 105, sold for a record-breaking €14.4 million, demonstrating just how fiercely collectors compete for these incredibly rare prototypes. The latest $4.9 million (€4.25 million) sale might not have broken that record, but it is another reminder of the remarkable value attached to Leica's earliest creations.

As someone who has used Leica cameras for years, both film and digital, I find the historical significance of these early models fascinating. There is something quite extraordinary about looking at a camera made over 100 years ago and recognizing the beginnings of a philosophy that still influences Leica's designs today. The simplicity, compactness, and emphasis on the photographic experience are all ideas that can be traced back to these pioneering cameras.

While $4.9 million (€4.25 million) is a staggering amount of money to spend on a camera, I would argue that what the successful bidder has purchased is far more significant than the camera itself. They have acquired a tangible piece of photographic history, one that helped change the way we see and document the world.

Check out the best Leica cameras you can buy new today

A camera that helped shape the future of photography has just sold for an extraordinary US$4.9 million (£3.7 million / AU$7 million / €4.25 million) at Wetzlar Camera Auctions in Germany, proving once again that when it comes to Leica, some pieces of photographic history are almost priceless. The Leica 0-Series, dating back to 1923, went under the hammer on October 10, 2026, becoming one of the most expensive cameras ever sold at auction.

You can watch the moment the camera sells in the Wetzlar Camera Auctions Instagram video.

The camera, serial number 103, was offered as Lot 3 with a pre-sale estimate of between €1.5 million and €2 million, but it quickly became clear that collectors were prepared to go considerably further. Following a reported 20-minute bidding battle between telephone bidders, the final price reached an incredible €4.25 million, more than double its upper estimate. And while that figure might seem difficult to comprehend for a camera more than a century old, its importance to the history of photography is almost impossible to overstate.

Produced in 1923, two years before Leica officially introduced its first commercially available 35mm camera, the 0-Series was an experimental run of just 22 to 25 cameras designed to test a completely new approach to photography. Of those original examples, only 16 are believed to survive today, making them among the rarest and most desirable cameras ever produced. These weren't simply early examples of a famous camera, either. They were the machines that helped establish the foundations of the Leica system we know today.

Developed from the pioneering work of Oskar Barnack at Ernst Leitz, the 0-Series cameras were created to evaluate the practicality of using 35mm film in a compact, portable camera. At a time when photography was still dominated by considerably larger and less convenient equipment, the idea of putting a capable camera into something that could comfortably be carried almost anywhere was revolutionary. The success of these experimental models ultimately helped convince Ernst Leitz II to approve production, leading to the introduction of the Leica I in 1925 and changing photography forever.

What makes this particular example even more remarkable is its provenance. Serial number 103 was the third camera produced in the experimental series and had reportedly remained in a private American collection for more than 50 years. For collectors, that combination of historical significance, extraordinary rarity and originality is precisely what makes these early Leica cameras so valuable. This isn't simply a camera that happens to be old; it is a surviving piece of the very beginning of modern 35mm photography.

Of course, this isn't the first time an early Leica has commanded an astonishing figure at auction. In 2022, another 0-Series camera, serial number 105, sold for a record-breaking €14.4 million, demonstrating just how fiercely collectors compete for these incredibly rare prototypes. The latest $4.9 million (€4.25 million) sale might not have broken that record, but it is another reminder of the remarkable value attached to Leica's earliest creations.

As someone who has used Leica cameras for years, both film and digital, I find the historical significance of these early models fascinating. There is something quite extraordinary about looking at a camera made over 100 years ago and recognizing the beginnings of a philosophy that still influences Leica's designs today. The simplicity, compactness, and emphasis on the photographic experience are all ideas that can be traced back to these pioneering cameras.

While $4.9 million (€4.25 million) is a staggering amount of money to spend on a camera, I would argue that what the successful bidder has purchased is far more significant than the camera itself. They have acquired a tangible piece of photographic history, one that helped change the way we see and document the world.

Check out the best Leica cameras you can buy new today

Not only are more young people eschewing their smartphones and getting into traditional photography – with, I believe, the greatest enthusiasm since digital photography exploded in the mid 2000s – but now’s also the ideal time to be a fledgling snapper.

Why? Well, for starters, look at the sheer volume and diversity of available tools.

If you’ve only pocket money to spend, or are asking to be gifted a device, then there are standalone digital cameras available from Kodak, Camp Snap, Chuzhao, Yashica and more, plus plentiful ‘no brand’ options currently flooding Amazon.

Is anyone looking to make high art with this low tech? No, but that’s exactly the point.

To this selection, we can add equally accessible entry-level instant print cameras from Polaroid, Fujifilm Instax and Lomography, some of which, in the case of certain Instax models, allow for digital camera as well as print output. And that’s even before exploring what can be found second-hand via photo specialist retailers or the worldwide marketplace that is eBay. Added to this, every day there seems to be a new Kickstarter campaign to fund weird and wonderful new image capture alternatives to curb our smartphone obsession.

Of additional benefit to beginner photographers exploring their options, there are plenty of ‘proper’ cameras offering greater accessibility and reliability with it, providing the benefit of AI-enhanced subject-recognising autofocus.

The only issue for anyone starting out is that cameras from the traditional photo brands are a bit more expensive. Or more than a bit. In fact, there’s a sizeable price gap between the pocket money offerings listed above and, say, a compact point-and-shoot from Canon or Panasonic. For example, the PowerShot G7 X Mark III or Lumix TZ300, aka ZS300, respectively.

The same is true of Ricoh’s equally popular GRIV series, another excellent learning tool for anyone new to the hobby that doesn’t yet want to have to deal with interchangeable lenses.

OK, so I ideally wouldn’t recommend starting out your photographic journey with one of the key fob-sized toy cameras currently doing the rounds, as the novelty will soon wear off.

But the best thing about the present photographic landscape is that there is the widest choice available in a good 20 years. Even the output from a cheap low-tech camera will help its user’s images to stand out against a sea of glossily unreal AI slop, making such snapshots much in demand.

It will be fascinating to see where the beginners of today drive the medium tomorrow. But, naturally, it’s not just about the tools. They need to first decide on what their vision is and then how best to communicate it.

These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $501.70 at B&H. Two bundles include accessories at no extra cost, since the price matches the camera body alone, making the extras essentially free.

The Canon EOS R8 is now available for just $1,399 at B&H – a $250 discount from its original $1,649 price tag.

The Nikon Z6 II is now available in a basic bundle for just $1,296.95 at B&H – a $450 discount from the original $1,746.95 price tag, including a shoulder bag and 128GB memory card.

The Sony A7 III is now available in a basic bundle for just $1,498 at B&H– a $501.70 discount from the original price of $1,999.70. This deal includes a shoulder bag and 128GB memory card.

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

The Canon EOS R8 offers an affordable entry into full-frame territory. It keeps the familiar Canon interface, supports your DSLR lenses via an adapter, and packs modern features into a lightweight, compact body.

The only notable limitation is the lack of IBIS, which might be a deal-breaker if you do a lot of handheld shooting with long lenses or video. In that case, the EOS R6 II is worth considering, though it comes with a much higher price tag.

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

If you're moving from a Nikon DSLR like the D750 or D780, the Nikon Z6 II is hands-down a smooth upgrade. It features a similar body design, intuitive Nikon menus, and excellent ergonomics.

While Nikon's Z-mount lens selection isn't as extensive as Sony's or Canon's, you can make use of your existing DSLR lenses via an adapter.

Sony A7 III

Ideal for system switchers and DSLR upgraders

The Sony A7 III remains one of the most versatile full-frame cameras in its price range and packs pro-level features.

It gives you maximum mirrorless flexibility as the Sony E-mount ecosystem is the most mature on the market, boasting a huge range of native lenses and third-party support from brands like Tamron and Sigma.

Comparison

If I were to pick a mirrorless full-frame camera today, I'd lean toward the Sony A7 III.

Its unmatched lens options and flexibility make it a standout choice, especially if you're open to switching systems entirely.

That said, if you want to stick with your current brand and already own a lot of DSLR lenses, staying within the same ecosystem is a smart and budget-friendly way to jump into mirrorless photography.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

It’s all too easy to get caught up in negativity online, particularly when it centres around Nikon’s first camera in nearly a year. And especially when said camera arrives and appears to be, mostly, a downgraded version of what was already available.

So, when specifications for the Nikon Z5IIC were published, my initial reaction was a shrug of indifference, followed by outright irritation. Nikon has removed the eye-level viewfinder… what the hell, Nikon?!

While my response was a personal one, I was acutely aware that my opinion didn’t really matter this time around, because the camera isn’t made for me.

Its target audience is closer to that of my teenage niece studying photography, someone who has grown up with parents and siblings shooting exclusively on a smartphone. She doesn’t care about an eye-level viewfinder to shut out distractions as a frame is composed. She’s never used one.

Of course, with familiarity, a viewfinder, may well in time become an appreciated creative asset. Taking and reviewing pictures in strong sunlight using only a screen can be tricky, but yes, we do manage to do just that with our phones.

As for me, well, if truly I like the cut of this camera’s gib, I can opt for the earlier Nikon Z5II from a year-and-a-half ago. That did include an eyelevel viewfinder. And two SD card slots, whereas this newer model makes do with one. So, there are options. There are always options.

While I can understand that, after a year-long release drought, Nikon announcing a ‘new’ camera that appears to simply be a lower spec version of what’s already available has left it open to accusations of sheer laziness, to the uninitiated it’s still the most budget-friendly full frame Nikon mirrorless out there.

We’ll leave aside the fact that it seems odd to expand your full frame range, when that specific market segment, along with Nikon itself, is experiencing a dip in sales.

So it remains to be seen whether the Nikon Z5IIc will play its part in turning things around for the wider photo industry and Nikon itself. But more options is always a good thing, right? And if something isn’t for us, then no worries, the next thing to come along might well be – and blow our minds.

I’m not an Olympus / OM System photographer, but I’ve always liked the PEN range, mostly because of the gorgeous-looking PEN-F. So when the OM System PEN launched last month, I was actually quite excited about it. Don’t get me wrong, I didn’t think I was going to buy one, and although I’ve surprised myself by considering it, I still don’t think it's quite the right camera for me. But for a lot of photographers out there, I think it absolutely is.

And yet, I’ve also seen criticism of the OM System PEN for not having better specs and essentially reusing old tech. Something that, to be fair, OM System has a habit of doing. If we were talking about an OM System OM-1 Mark III, I’d get it. Flagship cameras should be all about breaking new ground, but we’re not talking about a flagship camera; we’re talking about a small, stills-focused mirrorless camera that costs $999 / £849 / AU$1,499 body only.

Whether that’s affordable or not is by the by; it still sits at the lower end of the market alongside cameras such as the Fujifilm X-T30 III, Nikon Z50 II and Canon EOS R10. And while you can argue that its video features are lacking and a 25-MP sensor would have been nice, along with an image-processor update, you also get premium features in IBIS and weather sealing. IBIS in particular is unheard of in this class of cameras.

The thing is, not everybody wants top-notch video or action features. This is a camera that’s obviously aimed at photographers first, be it newcomers, casual snappers, or those looking for an everyday carry. Personally, I don’t see why every single camera release has to be a specs monster with an inflated price. If you want more from a camera with this form factor, you can pick up a Fujifilm X-E5 and pay for the privilege.

Don’t get me wrong, I love the X-E5, but does the world only need premium $1,000 / £1,000-plus cameras in 2026? I mean, cheap compact and mirrorless cameras do the numbers in sales charts, and we’re always moaning that consumer tech prices are climbing ever higher. So long as the price is right, I’m really not opposed to manufacturers recycling old tech.

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If I’m out and about on my daily business and unexpectedly see a great photo opportunity, I’ll automatically reach for my smartphone, it being the camera I always have with me. But when I’m heading somewhere, or to meet someone, that I know will end up making for a great photograph, I’ll make sure I pack my interchangeable lens camera – even if said camera is a Canon EOS 550D / Rebel T2i DSLR, also known as the Kiss X4 in Japan.

Outdated for video and action photography and improved upon since it may be, but this 16-year-old DSLR is still my go-to as a very capable 18-megapixel APS-C sensor camera that consistently produces excellent results, even when ‘just’ equipped with the standard 18-55mm f/3.5- 5.6 lens it came with. Relatively compact and lightweight too at 530g with battery and SD card, it may not meet the craze for low-resolution plastic-y fixed lens snapshots, but at the time of writing this DSLR can be picked up second-hand for essentially the same as what a very basic point-and-shoot will cost me new.

I believe this makes it an excellent choice for anyone seeking to learn the art of photography who wants a fully featured camera with enough functionality that I’m able to see the effects of manually changing settings in real time as I thumb buttons and spin the top-plate command dial. My nieces have both borrowed it when learning photography as students.

I also love the way that the DSLR’s eyelevel viewfinder removes peripheral distractions – and, when compared with an Internet-connected phone, additionally removes a whole load of other distractions with it. Yes, I could call using the DSLR a ‘purer’ form of photography compared to using an iPhone if I wanted to sound fancy. And while results from the DSLR may look a little flatter in comparison, having not already undergone heavy in-phone processing, I’m quite happy adjusting contrast and retrieving shadow detail myself, thank you.

And here we get down to the crux of the matter as to why a DSLR, even an old one, will still be better for ‘proper’ photography than a smartphone. Yes, my DSLR has a physically bigger sensor than my phone, allowing it to collect more light, plus utilises high-quality optical glass – that’s a given.

But this combination also produces a result that feels more authentic – something we’re all striving for in the current age of digital images not always being as they seem – without the need to rely on digital guesswork or AI to fill in any gaps, or the artificiality of digital smoothing to produce an acceptable result in low light.

OK, so maybe we need to know a bit about what we’re doing to get the best results from a DSLR… compared with just needing to point and shoot with our iPhone and achieve acceptable ones.

But that’s an integral part of the real enjoyment of photography, right?

Nikkei Shimbun has interviewed big wigs from Canon, Sony, Fujifilm and Nikon, providing some very interesting insights into the industry’s collective views on AI. But as Digital Camera World’s resident Nikon nerd, it’s the Japanese business publication’s interview with the ‘Big N’ that really caught my attention. The conversation was summarized by Nikon Rumors, and although it sounds a little complicated, I think Nikon will essentially be doubling down on its current strategy.

The summary talks of a modular design where technology is essentially bolted onto the image processor, with Nikon Rumors stating: “This approach might allow them [Nikon] to manufacture a wider variety of digital cameras more efficiently and in a shorter timeframe.”

But this seems rather familiar to me. The second generation of Nikon’s mirrorless cameras started with the Nikon Z9 and, bar the odd innovation here and there, every camera since has essentially received hand-me-down Z9 tech. A trickle-down model, if you will.

It’s why I’ve not been overly surprised that Nikon hasn’t been prolific with its camera releases of late. If rumors of a Nikon Z9II delay are true, it makes sense to me that any plans for a third-gen lineup would grind to a halt, because the flagship needs to come first to set the technological precedent.

It’s why I’ve been a little surprised that we haven’t received a Nikon Zfc II yet, because if it were to follow in the Nikon Zfc’s footsteps, it would be a reskinned Nikon Z50 II. By applying that line of thinking, the Nikon Z5IIC suddenly makes a lot of sense.

I can only assume that, since it’s essentially a Nikon Z5II without a viewfinder, it required comparatively little development. It also brings very little new to the table, so it doesn’t rely on next-generation tech. It’s a safe camera release that doesn’t rock the technological boat, so to speak.

Another quote from Nikon Rumors states: “Nikon believes that state-of-the-art technology needs to be embedded in products because that is what customers expect.” I can certainly understand this; we’re seeing some very advanced tech such as open-gate video, subject-detection, fast burst speeds and more at the lower end of the market with cameras such as the Fujifilm X-M5, Panasonic Lumix L10 and OM System PEN.

My only concern is what I’ve talked about time and again, and that’s Nikon’s reluctance to release an entry-level camera. I still stand by my assessment that photographers are extremely brand loyal and that all brands need a viable entry point into their ecosystem to ensure that they attract future generations of customers.

With that in mind, I’m not sure if this modular, trickle-down model that’s being talked about is a help or a hindrance. Sticking an Expeed 7 or maybe a potential future Expeed 8 in an entry-level camera would definitely be overkill, and perhaps not even cost-effective, but I still think that a true entry-level camera in the form of a Nikon D3500 would fill a giant hole in Nikon’s lineup. And even if it's a loss leader, I still think it would be a huge boon for the imaging division's future.

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I’ve just been looking back at BCN+R’s top 10 mirrorless cameras chart for the first half of 2026, and I spotted something I’d missed. Usually, I’m hyper-focused on the top end of the ranking, but right at the bottom, slipping into the #10 spot is the Nikon Z50. That’s right, a seven-year-old last-generation APS-C mirrorless camera that’s long been succeeded by the far superior Nikon Z50II. So, what gives?

Well, first off, the Nikon Z50II ranks higher in the list at #6. And secondly, the Japanese domestic market isn’t necessarily ruled by what’s new and what has the latest specs. Frequently, BCN+R provides evidence that consumers are not opposed to buying up smaller or older cameras, and while the Nikon Z50 has been discontinued, new stock is still relatively easy to get hold of and for some very good prices, too.

BCN's Top 10 best-selling mirrorless cameras (first half of 2026)

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

Now, it’s easy to dismiss the Nikon Z50. It’s got last-gen AF that wasn’t exactly ground-breaking at the time, can only hit 11-fps bursts, and maxes out at 4K / 30p. But not everyone wants to photograph challenging subjects, and not everyone wants to shoot high-quality video.

In fact, the Nikon Zfc shares almost the exact same specs as the Nikon Z50 and is still in Nikon’s current lineup. At the end of the day, all of Nikon’s mirrorless cameras share the same two advantages: access to an incredible range of Z-mount lenses and supreme image quality.

If all you want is an everyday carry to take on holidays, day trips and family events, this is still a fine little mirrorless camera. And the fact it’s still selling well is proof that Nikon absolutely needs to make a true entry-level camera.

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A video of the original Doom running on a Hasselblad X2D 100C has appeared on Reddit by rrRadium and has been published on YouTube by Andrea Pizzini. I guess all Doom players aspire to go medium-format eventually.

Having reviewed the Hasselblad footage, I was initially suspicious due to a visible cable connection, not to mention Hasselblad's locked operating system. However, rrRadium has published a link to a variety of assets on GitHub strongly indicating that this is a legitimate project. Pretty neat!

As always, though, it's important to remember that any unofficial firmware update or any attempt to change the architecture of your camera's operating system could brick the camera and potentially void any existing warranty.

Remarkably, this isn’t the first time somebody has come up with the idea of porting the classic 1993 PC game to a camera. Earlier this year, I reported on footage of the game purportedly running on a Nikon Zf, but there was some doubt as to whether or not it was possible to run the game on Nikon’s locked software, presenting the possibility that the video could be camera trickery.

Later in the year, Digital Camera World reported on the very real possibility of playing the legendary first-person shooter on a Canon EOS 550D, via custom firmware called Magic Lantern.

But why do this in the first place, and why Doom? Well, the code for Doom is open source; it’s ancient in software terms, so it can run on almost anything with a computer in it, and it’s one of the most famous video games of all time. As such, there’s a bit of an internet subculture of getting Doom to run on anything and everything. And I mean anything: from calculators to pregnancy tests.

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Here's the Digital Camera World review of the Nikon Zf and the Hasselblad X2D 100C II. Plus, check out the latest camera news.