While the broader smart-nature market has spent the last few years focusing on chunky bird feeder cameras that record outdoor garden visits, a distinct branch of wildlife tech remains dedicated to the nesting season. When I was starting out in wildlife photography, capturing the moments inside an enclosed habitat like a nest box meant running physical cables to a monitor or recorder. Today, the best bird box cameras include high-definition, wireless nest boxes you can view remotely.

I was keen to review the Green Feathers WiFi Bird Box Camera (3rd Gen), as I've watched the brand from afar for many years as a nature nerd. Green Feathers is UK-based and has spent over a decade creating dedicated habitat surveillance options. This tiny bird box camera is specifically designed to capture bird habitats and looks nothing like the recycled indoor security cams you get in some bird feeders. It’s an upgrade to the 2nd Gen model and now links to the free Green Feathers mobile app.

In the past, I’ve struggled with oversized cameras that crowd out nesting spaces. The camera itself is a 44 x 44 x 33 mm metal cube that mounts to the ceiling of a bird box, leaving plenty of room for the feathered subjects inside. On-paper specs don’t always explain much, but here they include 1080p (Full HD) resolution, a wide-angle 2.8mm lens with a 103-degree field of view, and a built-in microphone. There are also four invisible infrared LEDs for night vision without disrupting the birds' sleep.

As mentioned, the camera is designed to be used in combination with the official Green Feathers app to send you real-time motion detection alerts, taking it a step closer to the AI-powered options from the likes of Birdfy. Are most nature-lovers really better served by an all-in-onesetup like the Birdfy Nest Duo, or does this tiny camera provide greater versatility and value? Sadly, I’ve missed the thick of spring – and UK nesting season – but I'll still be testing the camera thoroughly over several weeks to bring you the verdict.

Green Feathers WiFi bird box camera: Specifications

Green Feathers WiFi bird box camera: Price

The Green Feathers WiFi HD camera comes in at the more premium price point end of the nesting market, at around £149 (approx. $195) on its own and currently £184 (approx. $240) for a starter pack that includes Green Feathers’ well-built nesting box, ten-meter power extension cable, and a daytime LED lamp to boost the light on dark days. This is the bundle I'll be using and reviewing.

Unlike cheap and cheerful generic indoor smart cams that users try to retrofit outdoors, this camera is a specialized option. It’s ultra-compact, and its IP54-rated housing is designed to survive tight, humid nesting environments without overheating. There aren’t any ongoing subscription fees either, which I love, keeping the long-term running costs at zero.

If I compare this WiFi HD camera bundle to its closest competitors – the dual-camera Birdfy Nest Duo springs to mind – this device strikes an interesting balance. It trades off advanced features like AI species recognition for a stripped-back focus on reliability.

What you get is a great 1080p digital stream, and I think it's a very fairly priced intermediate option for wildlife enthusiasts who want modern phone integration but still want a more traditional-looking setup.

Green Feathers WiFi bird box camera: Design & Handling

The foundation of the system is the Green Feathers Wi-Fi camera, a delightfully small (green) 44 x 44 x 33mm cube. While I tested this as part of the Starter Pack, it's worth making clear that the camera is sold as a standalone unit that you can easily retrofit into an existing wooden nest box or a hedgehog house – Green Feathers sell these too – if you already have one set up in your garden or designated wildlife area.

Despite its pinch-sized footprint, the camera’s physical details are cleverly thought through for life inside an animal habitat. Underneath the body is a microSD slot, which Green Feathers helps you to protect with the inclusion of a thick, heavy-duty sticker cover. It’s a simple way to keep bird debris and feathers from mucking up your storage over time.

The centrally-positioned camera lens on the front comes with a protective rubber cap for transit and installation, which easily pops off and stows away once you're ready to set up. Attached to either side of the camera is a robust metal bracket that arches forward and back on a smooth rotating mechanism. This has one central screw hole, so mounting it into any wooden structure requires just one easy fixing point. It looks almost identical to Green Feathers' TV connection bird box camera, but with a green square around the lens instead of blue.

On top of the camera you’ll find a top-mounted Wi-Fi antenna (which to me does feel a little flimsy but is unlikely to be disturbed inside the box) and a thick power cable. Because this is a mains-powered setup, you'll need to route the trailing lead out of your box. Green Feathers includes a 10-meter power extension cable in the starter pack, giving you plenty of slack to reach a shed or even an indoor plug socket, but this is very different to the Nest Duo that runs off a rechargeable battery and can be topped up with solar.

Buying the camera solo is one option, but opting for the WiFi Bird Box HD Camera Starter Pack only adds around 20% to the cost, and I think it’s worth it as you get a purpose-built, complete housing right out of the box. The bundled bird box is a super sturdy piece of woodwork. With a solid timber thickness of over 2cm and a generous height of 47cm, it feels substantial and provides ample head height between the top-mounted lens and the nest floor.

To look at, I actually prefer it to the sleeker, molded look of the bamboo Birdfy Nest Duo. Although heavier, its traditional construction feels more naturalistic when mounted against a tree trunk or garden shed. The only minor trade-off is the entrance hole. It comes as a standard 32mm opening, meaning you don't get the interchangeable size plates that bird boxes like the Nest Duo include to target specific species.

Getting the camera installed inside the Starter Pack box is fairly straightforward, though it requires minor DIY. I started by removing the top two front panels with a standard screwdriver to open up the space. Inside, at the top-back, there’s a pre-drilled central hole; I simply needed to align the camera bracket and push the included screw through the exterior wood to lock the unit in place.

The cavernous interior layout makes it easy to get your hands inside to tilt and fine-tune the downward camera angle toward the nest floor. My advice is to make sure you're totally happy with your framing before reattaching the wooden front panels. You’ll also need to thread the trailing power lead out through the specially designed air ventilation slots positioned just under the roofline, but the fit is neat – something another nestbox might not have.

Before closing everything up, it’s best to pair the camera with your smartphone while you still have clear sight of the printed QR code label on the power cable. This code triggers a step-by-step walkthrough of instructions in the free Green Feathers app to pair the camera to your Wi-Fi network. I’d guess that from unboxing and hunting down screwdrivers to reading the manual (which is laid out brilliantly and simply) and getting the unit fully wired up, the whole assembly process took me around 45 minutes.

When it comes to mounting the completed bird box kit to a wall or tree, Green Feathers has supplied two long metal fixing plates and screws. Compared to the heavy-duty wall plate included with the Birdfy Nest Duo, these brackets feel a little less substantial – especially considering the weight of the thick timber box. But while they lack chunkiness, they seem more versatile, and can be configured in three different orientations, giving you plenty of flexibility to secure the box regardless of your chosen tree or wall layout.

Once you’re mounted, day-to-day operation is handled by the basic (in a good way) Green Feathers app. I found it refreshingly clear and straightforward to navigate, with the device shown on the home screen, and one tap needed to bring up the live feed. This is also clean, with highly responsive ‘buttons’ for instantly grabbing a snapshot, triggering a manual video recording, or changing settings like motion and sound detection. Pushed notifications stack on your phone if allowed, making the live feed feel practical and stress-free to monitor throughout the day.

Green Feathers WiFi bird box camera: Performance

Above: Sample clips from the Green Feathers HD bird box camera
Note: As I'm testing this system outside of the UK's bird nesting window, the clips and images demonstrate the perspective, focal depth, and image clarity inside the timber nest box. Sadly, there were no live subjects.

I’ve had the Green Feathers WiFi Bird Box HD Camera Starter Pack set up in my garden for several weeks now. Sadly, testing this out of nesting season means I’m still waiting for my first feathered residents to move in, but putting the hardware through its paces has still given me a clear picture of how this system would perform in terms of image quality and everyday usability.

One quick win for me is the responsiveness of the Wi-Fi connection and live feed. With some smart wildlife cameras I’ve tested, opening a live view often feels like a test of patience as you stare at a buffering wheel and wait for the screen to load. Here, tapping into the Green Feathers app brought up the stream almost instantly, making it quick and painless to check in on the box throughout the day.

I positioned the box at the end of my garden too, and found little drop in Wi-Fi signal (something you can monitor as a percentage on the feed itself). While you can zoom in considerably to the live feed from the app by pinching the screen, images are only saved at the wide view.

The camera has a 1080p HD resolution; not massive by modern standards. But the image quality inside the box has impressed me more than I was expecting, particularly when it comes to fine detail. The camera’s fixed focus is dialed in well for the tight interior dimensions of the box, and when I look closely at the test footage, I can see the ridges of the wood grain, saw marks, and specks of dust on the nursery floor are resolved crisply.

If I imagine the box filled with baby birds and nest material, I think the feathers would be equally finely resolved. However, it's worth pointing out that the feed quality peaks and drops depending on your WiFi signal, and there's an indication of the KB/s in the corner of the live feed.

The depth of field covers nearly the entire cavity, keeping a sharp focus from the mid-ground floor right up to the back panel, which bodes well for keeping both adult birds and tiny hatchlings sharply in focus wherever they settle. I wasn't able to fully analyse how good the 15fps video rate was for capturing the motion of birds in and out of the nest.

I think that the color rendering is another high point. Unlike the heavily processed, neon-green bias common in outdoor trail cameras or cheap webcams that have been adapted for bird feeders, the white balance here feels neutral and true to life. The natural pine grain presents rich, warm amber tones without looking artificially cooked or oversaturated.

One downside is the dynamic range when bright daylight streams into the box. There’s a strong contrast between the dark interior and the light piercing through the entrance hole, and ventilation seams cause some highlight clipping, blowing out those small entry points into bright white patches. However, I think the camera still balances interior shadows well, preserving detail in the upper corners without letting them collapse into digital noise.

The wide-angle lens does have some visible barrel distortion – giving the square interior a slight tunnel perspective – but for a tight nest-box environment, this wide field of view is a necessary choice to ensure you don't miss action that’s happening near the walls.

When the light levels drop, at night or on dull days, the camera automatically switches to its invisible infrared night vision mode, and I found that the built-in IR LEDs cast a soft, even flood of light. Based on my sample images, if a parent bird or nesting chick were to sit directly beneath the lens, I reckon their feathers would keep their contrast rather than blowing out heavily.

With the monochrome infrared footage, I noticed that the fine wood-grain details on the walls softened slightly into a smooth, speckled grey. But the camera's fixed-focus kept the central floor crisp. As the IR LEDs operate completely invisibly without emitting a red glow, you can keep a close eye on nocturnal birdy activity without startling or disturbing the birds in the dark.

Because this is a mains-powered setup, with a long power extension lead rather than a battery-and-solar hybrid, there’s no anxiety of a camera running out of battery mid-brood. I enjoyed not having to worry about disturbing a nest to retrieve a battery pack or hoping for enough sunny days to keep a solar reservoir topped up. Once the camera is plugged in, power is a non-issue for the season.

Of course, there’s no AI species recognition or nesting-phase categorisation found on high-end competitors like the Birdfy Nest Duo. The Green Feathers system focuses on getting the core essentials right, and will send notifications for movement and noise promptly on your phone.

The notifications came too often when nothing was entering or leaving the box, but as mentioned in the handling section, the stream was always smooth and reliable. The Green Feathers app just works. And if you're happy to forego smart AI fluff in favor of sharp, naturalistic 1080p footage, I’d say it delivers a brilliantly clear view into the hidden world of a nest box.

Green Feathers WiFi bird box camera: Verdict

After testing the Green Feathers WiFi Bird Box HD Camera Starter Pack and mentally comparing it to what I see as its main (AI-heavy) competitor, the Birdfy Nest Duo, I have to say that I personally found it far more fun to use overall.

As a lapsed wildlife photographer by training, I'm used to manually ID-ing birds and constructing funky contraptions to photograph flighty wildlife. By doing without smart species recognition and automated nesting timelines, the Green Feathers system gives you a less cluttered bird box experience, and one that I think traditionalists – folks with a bit more basic bird knowledge – might enjoy more.

There were still a few downsides of the kit, and the one that did annoy me was how often alerts triggered, when the wind rustled the entrance hole or created dappled light inside of it. I couldn't find a way to dial in the sensitivity settings to avoid nuisance triggers, but you can turn them off entirely from the app.

Rather than using battery packs and solar power, the HD camera has a trailing mains power lead that you need to work out what to do with. While routing a cable to an outdoor (or indoor, if your setup allows) socket might annoy some users, I didn't mind it, especially as it means you don't have to check on the battery again.

You can buy optional cloud storage from the Green Feathers app, but I reckon a microSD will suit most users. The company quotes that a 64GB microSD card gives you around 32 hours of local recording, and you can set the card to overwrite once it's full, seeing as it's not easy to get inside the box once birds are nesting.

Ultimately, this Green Feathers setup is going to give you a fuss-free but reliable video stream that you can easily download and then share with others. For me, it strikes a great balance between modern connectivity and common-sense usability. Whether you use Green Feathers' own bird box or your own, the small-sized kit is a superb, stress-free bird box camera.

Alternatives

Check out our guides to the best bird feeder cameras, and to the best bird box cameras

Designed as a true hybrid all-rounder, the Sony A7 V delivers flagship-inspired speed and autofocus (AF) in a more affordable body – and these deals at B&H let you save $184.75 on camera only and lens bundles!

The Sony A7 V + Essentials+ Kit is now $3,198.99 – Save $184.75 off the original $3,383.74 price.

The Sony A7 V + 28-70mm f/3.5-5.6 OSS II and Essentials+ Kit is now $3,398.99 – save $184.75 off the original $3,583.74 price.

The Sony A7 V + 50mm f/2.5 G and Essentials+ Kit is now $3,896.99 – save $184.75 off the original $4,081.74 price.

The Sony A7 V + 24-105mm f/4 G OSS and Essentials+ Kit is now $4,596.99 – save $184.75 off the original $4,781.74 price.

Deals

Top choice: Sony A7 V

The Sony A7 V is Sony's latest full-frame all-rounder, combining fast performance with some of the smartest AF technology the brand has produced to date.

It features a new sensor and AI-powered subject detection system, delivering faster burst shooting and more reliable tracking for everything from portraits to wildlife.

In our review, we praised its major AF upgrades, blackout-free 30fps shooting, and refined handling.

While rival cameras offer stronger video specs, the A7 V remains one of the most capable hybrid cameras for photographers who want a single body that can do almost everything.

Browse the best lenses for the Sony A7 V

Designed as a true hybrid all-rounder, the Sony A7 V delivers flagship-inspired speed and autofocus (AF) in a more affordable body – and these deals at Park Cameras let you save up to £1,448.90 on camera only and lens bundles!

The Sony A7 V body is now £2,519.10 – save £279.90 off the original £2,799 price.

The Sony A7 V + 24-105mm f/4 G OSS is now £2,699.10 – save £1,028.90 off the original £3,728 price.

The Sony A7 V + 24-70mm f/2.8 GM II is now £3,419.10 – save £1,278.81 off the original £4,698 price.

The Sony A7 V + 70-200mm f/2.8 GM II is now £3,869.10 – save £1,328.90 off the original £5,198 price.

The Sony A7 V + 50-150mm f/2 GM is now £4,769.10 – save £1,448.90 off the original £6,218 price.

To claim 10% off, apply the voucher code SONY-10. More promotions and offers are available too, like a £200 bonus when trading in your 'old' gear.

Deals

Promotions & Offers

• Voucher code: Get 10% off with voucher code SONY-10
• Sony lens offer: Save 5% on Sony FE lenses when bought with selected cameras. Add lens to the basket for discount
• Eligible for £200 Trade in Bonus : Trade in any Interchangeable Lens Camera and get a £200 bonus. Click here to get your quote
• Sony GM II lens offer: Save £200 on select Sony GM II lens when bought with this camera. Add both Camera & Lens to basket to view discount
• Free 2 year warranty: 1 year extended warranty + standard 12 months warranty when you register with Sony

Top choice: Sony A7 V

The Sony A7 V is Sony's latest full-frame all-rounder, combining fast performance with some of the smartest AF technology the brand has produced to date.

It features a new sensor and AI-powered subject detection system, delivering faster burst shooting and more reliable tracking for everything from portraits to wildlife.

In our review, we praised its major AF upgrades, blackout-free 30fps shooting, and refined handling.

While rival cameras offer stronger video specs, the A7 V remains one of the most capable hybrid cameras for photographers who want a single body that can do almost everything.

Browse the best lenses for the Sony A7 V

Riding on the coattails of its successful miniature TLR-style digital camera, Chinese camera brand Chuzhao is back with the Chuzhao M3, a fixed-lens compact camera that would appear to take a few design cues from the, you guessed it, Leica M3. News of this rather striking little camera came by way of Photorumors.

Under the hood there isn’t much to shout about, what with a 1/4-inch 12-MP CMOS sensor and full HD video, and fully automatic controls. But like the Chuzhao Digital Camera, the Chuzhao M3 isn’t designed to rub shoulders with the premium compact cameras of this world. I’ve yet to see the camera myself, but it’s evidently intended to be a fun and affordable departure from a camera phone, while delivering a trendy lo-fi digital camera aesthetic.

A vision in pastel

Perhaps the most striking aspect of this cheap camera is its design and color schemes. As mentioned, the name and style appear to take a leaf out of Leica’s book, with a boxy rangefinder-shaped body and small lens. On Amazon, you can opt for Gray or Pastel Purple & Mint Blue color schemes. The former is a two-toned gray with blue accents, while the latter features striking purple accents against pastel pink and mint green.

The camera comes with a detachable fill light that looks a bit like an old Graflex flash. However, it appears to be a mini LED light panel with three brightness settings. The camera also comes with a USB-A to USB-C lead, what looks like a wrist strap and an unbranded 16GB SD card, although it can take up to a 64GB. As always, it’s my recommendation to immediately replace any unbranded memory card that comes with a cheap camera.

Lens details are thin on the ground. It’s fixed, the camera is capable of AF and it’s wide, with an aperture of around f/2.8. There’s no viewfinder, which is a shame given the retro aesthetic, but there is a 1.54-inch rear LCD. The camera is said to weigh just 115g, measures roughly 89.5 x 52 x 42.5mm, and features a built-in rechargeable Li-ion battery.

The Chuzhao M3 is priced at $69.99 / £69.97 and available at Amazon.

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“Best-looking Instax camera” gets retro silver glow-up; instant cameras have never looked so cool! I REALLY want one of these hand-painted film cameras inspired by the Gundam anime; they’re affordable, too! Got a modern mirrorless camera? You’re probably thinking about ISO all wrong.

With an expert blend of resolution and speed, the Canon EOS R5 series of mirrorless cameras quickly became a favorite among pros. The problem with most pro cameras, of course, is the price – but with a $700 discount in the US, the original Canon EOS R5 has dropped back down to its lowest price yet

The Canon EOS R5 is no longer the newest model in the series, now ousted by the EOS R5 Mark II. But pro-level cameras tend to have a longer lifespan than beginner cameras, and picking up an older pro model is my favorite hack for getting a pro-level camera with a more palatable price point.

The Canon EOS R5, at $1,200 less than the R5 Mark II right now, is the perfect example of this. The 2020 full-frame mirrorless body may be a few years old, but the camera has aged well, with the 45MP still photos at 20fps and 8K 30p video still more than enough performance for many pro photographers.

Digital Camera World Editor-in-Chief James Artius, in fact, still owns and shoots with the Canon EOS R5, even after trying out the Mark II version.

The Canon EOS R5 has dropped back down to its lowest-ever price in the US, with a $700 discount bringing the pro full-frame camera to $2,599 body only.

Canon EOS R5 sample images

The newer R5 Mark II is discounted by $500 right now, but that still puts the original R5 at a $1,200 savings from the newest model. The newer version bumps the burst to 30 fps, the video to 8K 60p, the stabilization to 8.5 stops, and enhances the autofocus, but both cameras have 45MP full-frame performance.

The original R5, as an older model, may not hang around for long – earlier this year, Canon Hong Kong listed the R5 as discontinued. The camera remains available in some regions, but the age is a sign that the camera may not be a budget pro option forever.

US retailers indicate that the $700 discount on the R5 ends on July 26 at just before midnight EST.

Need help deciding?

Take a look at the best Canon cameras to narrow down the options, or browse the best pro cameras as tested by expert photographers.

Fujifilm's X-M5 is a great alternative to buying a premium compact camera with a fixed lens. Unlike the super-popular X100V with which it shares the same 26MP sensor, the X-M5 allows you to swap lenses. In the deal we have just spotted, you also get a zoom lens thrown in for £849 – and Wex is sweetening the deal by also giving you a 64GB memory card and a Joby mini tripod (extra gifts worth £88).

The Fujifilm X-M5’s imaging capabilities are impressive, featuring the same 26.1 MP X-Trans 4 CMOS sensor used in Fujiiflm X100V and powered by the advanced X-Processor 5. With a sensor over 16 times larger than that found in an average smartphone, the X-M5 offers an expanded dynamic range, resulting in richer colors, deeper subject separation, and beautifully blurred backgrounds.

On the video and audio front, the X-M5 goes beyond the basics with 6K video capabilities and enhanced sound capture. Equipped with three microphones and four specialized sound modes, including Surround, Front Priority, Back Priority, and Front & Back Priority, the X-M5 allows creators to adjust the audio to suit specific filming environments. Fujifilm’s has added voice enhancement and noise reduction algorithms, along with a 3.5mm microphone socket, which gives creators greater control over audio quality. This focus on sound, combined with the cinematic 6K video resolution, positions the X-M5 as a robust tool for versatile content creation

Crafted to be the lightest and smallest body in the X-series lineup, the X-M5 weighs in at just 12.5 ounces and measures 4.4 inches wide. Fujifilm’s classic rangefinder-inspired design, complete with top dials for adjusting mode and film simulation settings, gives the X-M5 both functionality and timeless appeal. The camera is equipped with a 3-inch articulating LCD touchscreen and right-side connector ports, preventing any interference from cables while shooting.

With support for the full range of Fujifilm’s X-mount lenses, the X-M5 gives creators an array of lens choices, allowing for a highly adaptable shooting experience. The addition of 20 classic film simulation recipes and AI-powered autofocus technology makes this model a compelling choice for those ready to elevate their content.

Check out the best lenses for the Fujifilm X-M5

The retro tech craze has brought back cheap digicams – and some of the most iconic names in photography. A key example? Nearly half of the top ten best-selling cameras on Amazon Japan and Amazon US are Kodak-branded cameras right now.

While Eastman Kodak is alive and well and still producing film, digital cameras that carry the Kodak name come from a variety of manufacturers that license the Kodak name and not the New York-based brand that first created the point-and-shoot with the phrase “You push the button, we do the rest.”

The nostalgic tech and compact camera craze has proven to work particularly well for cameras carrying the Kodak name. The 1.6 MP Kodak Charmera went so viral at launch that stock was severely limited, while cameras like the Kodak PixPro FZ55 have continued to hit best-seller lists for mixing an affordable price point with a compact design and 5x optical zoom.

While Kodak is arguably one of the most well-known camera brands originating from the US, Kodak digicams have also done particularly well in Japan. The region housing key brands like Canon, Sony, Nikon, Fujifilm, and Ricoh is particularly fond of Kodak compact cameras based on Amazon’s best-seller lists.

According to Amazon Japan, the top ten best-selling cameras right now include the Kodak Pixpro FZ55 – which is on the list twice, once alone and once in a kit with a case and memory card – the Kodak PixPro C1 and the Kodak Charmera.

Other brands don’t come in until after the top four, but compact cameras like the OM System Tough TG-7, Canon IXY 650 (which is the PowerShot ELPh 360 HS and IXUS 285 in other regions), Canon PowerShot SX740, and Ricoh WG-80 also make the top ten.

The Kodak FZ55, Kodak Charmera, and Canon PowerShot ELPH 360 HS A also make the top ten on Amazon’s US best-seller list, but the Kodak FZ45 sits in the number one spot, and the retro PixPro C1 doesn’t come in until number 15.

Amazon’s best-seller lists tend to lean more towards affordable consumer cameras, where photography speciality stores tend to have more pro-level gear and mirrorless cameras on their best-seller charts. But the data from the world’s largest online retailer makes it clear – Kodak digicams are in high demand.

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We've tested the best point-and-shoot cameras to find out which one is worth the cash. Or, read what Kodak has coming next – a retro camera with a film simulation dial!

The DSLR market has lost another of its remaining beginner-friendly options. The Pentax KF is now listed as "Discontinued" by major US camera retailer B&H, following earlier reports that Japanese retailers had also marked the camera as discontinued.

The latest development does not come with an official announcement from Ricoh Imaging, but the retailer listing states that the Pentax KF reached the end of its availability.

Launched in November 2022, the Pentax KF was one of the few modern entry-level DSLRs still available to buy new. While most camera manufacturers have moved almost entirely to mirrorless systems, Ricoh remains the last major company continuing to support the DSLR format, making the KF one of the most accessible ways for beginners and enthusiasts to enter the Pentax system.

Pentax availability continues to decline

The latest B&H listing follows earlier warning signs from Japan, where retailers including Map Camera classified the Pentax KF as a discontinued product.

At the time, availability across other markets had already become inconsistent, with some stores showing limited stock, backorders or removed listings.

Retailer changes often provide early clues about a camera's lifecycle before a manufacturer makes an official announcement. That follows several other signs for Pentax users in recent months.

In January 2026, production of the Pentax K-3 Mark III ended, while retailers also listed the Pentax K-3 Mark III Monochrome as discontinued in February. More recently, signs emerged that the Pentax K-1 Mark II could be nearing the end of its lifecycle after one of its kit bundles disappeared from retailers.

Why photographers like the Pentax KF

For beginners and enthusiasts, the Pentax KF offered something increasingly rare in the modern camera market: a rugged, affordable DSLR designed for real-world photography.

The camera features a 24.2MP APS-C sensor, 4.5-stop in-body stabilization, a vari-angle LCD screen, built-in flash, and weather sealing.

It is also designed to operate in cold conditions down to 14°F (-10°C), making it particularly appealing for outdoor photographers.

In DCW's guide to the best Pentax cameras, we ranked the KF as the best Pentax DSLR for beginners thanks to its balance of price, durability and enthusiast-friendly features.

Although it does not compete directly with the latest mirrorless cameras for autofocus speed or video technology, the KF offers a shooting experience many photographers still value: an optical viewfinder, excellent handling, dependable construction and the tactile controls that DSLRs are known for.

Pentax KF availability

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The compact camera revival came as the number of manufacturers still making pocketable cameras had whittled down to just a few – but thanks to a handful of new compact launches, the most popular compact cameras in 2026 so far are a list dotted with both long-standing favorites and newcomers.

More than halfway through 2026, US photo retailer B&H’s list of the top point-and-shoots for the year is an eclectic mix that houses both cheap keychain cameras and pro APS-C compact cameras. But a number of 2026 launches have climbed the ranks, including the Ricoh GR IV Monochrome and the Panasonic Lumix L10, and a super zoom that launched only a handful of days ago, the Sony RX10 V.

And, if the retailer’s list of July trending point-and-shoots is any indication, the list could be about to get even weirder – as the trends list for July includes both a screen-free compact camera and a camera that’s nearly all viewfinder, the “weirdest ever camera” Godox C100.

The top point-and-shoots of 2026 so far

According to B&H, these are the top point-and-shoots of 2026 so far:

• Kodak Charmera
• Ricoh GR IV Monochrome
• Fujifilm X100VI (Silver)
• Panasonic Lumix L10 (Black)
• Fujifilm X100VI (Black)
• Canon PowerShot G7 X Mark III (Black)
• Fujifilm Instax Mini Evo Cinema
• Canon PowerShot ELPH 360 HS A
• Sony RX10 V
• Canon PowerShot G7 X Mark III (Silver)

There are a few surprises on the list, mixed in with a few models that I would have been surprised if they had not made the list. The Kodak Charmera has led several of B&H’s monthly trends list, so it’s unsurprising to see the cheap keychain camera sitting in the top spot.

The viral Fujifilm X100VI is also a predictable name to see on the list – but Panasonic’s recent zoom launch has risen so far up the ranks that it sits between the two different X100VI color options, despite only launching in June.

The Panasonic Lumix L10 mixes a Micro Four Thirds sensor with something most APS-C compact cameras don’t have: optical zoom. Like the X100VI still is more than two years after launch, however, the stock for the L10 is limited, so photographers should expect a wait for the popular camera.

Canon’s viral PowerShot cameras that are hard to find in stock still make the list, including the G7 X Mark III and the more affordable PowerShot ELPH HS A.

There’s a second zoom camera that has only existed for a few days yet has already risen up the ranks: The Sony RX10 V. The July 09 launch brings back the previously discontinued bridge zoom camera from the dead, giving the camera an updated processor and autofocus while leaving the sensor and lens unchanged.

The RX10 V’s price has drawn some criticism, but the fact that the bridge camera has already made the top trending point-and-shoot list for 2026 is a good sign for Sony.

The top trending point-and-shoots in July…so far

But B&H has also created a list of the point-and-shoots that are trending in July so far, and the list hints at some unusual suspects climbing the trends list. The newly launched Sony RX10 V unsurprisingly leads the list – it would nearly have to to hit the year’s top trends in just a matter of weeks.

The list also includes a screen-free camera, followed by a camera that’s nearly all viewfinder: The Camp Snap CS-Pro and the Godox C100 mini camera.

The Camp Snap CS-Pro is a more grown-up version of the Camp Snap, a screen-free digital camera that looks a bit like a disposable film camera but hides digital guts. The CS-Pro has twice the resolution at 16MP and offers a dial with four built-in filters, yet still sits at a price low enough to be considered a cheap compact camera.

The Godox C100 is a camera that’s nearly all viewfinder – in fact, the C100 looks almost like holding up an instant film frame to frame shots with. The C100, the first camera from well-known lighting brand Godox, has a low-fi resolution similar to the Charmera, but the “screen-free” design of the Camp Snap, so it’s easy to see why the weird $45 camera is trending. It even doubles as a light meter.

July’s top trending point-and-shoot cameras at B&H so far include:

• Sony RX10 V
• Camp Snap CS-Pro
• Godox C100 mini camera
• OM System Tough TG-7
• Sony RX100 VII
• Canon PowerShot SX740 HS
• Fujifilm X100VI (Silver)
• Canon PowerShot ELPH 360 HS A
• Camp Snap CS-V105

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Canon's mirrorless line offers two of the best beginner options around. Right now, you can save on both the Canon R100 and Canon R50 lens kits – and which one is best depends on what kind of creator you are.

The Canon EOS R100 + 18-45mm f/4.5-6.3 lens bundle is now available for £489 at London Camera Exchange – with this deal, you save £180 off its original price of £669.

The Canon EOS R50 + 18-45mm f/4.5-6.3 +75-300mm f/4-5.6 lens bundle is now available for £819 at London Camera Exchange – with this deal, you save £180 off its original price of £999.

Better still, the Canon EOS R50 bundle that includes only the 18-45mm lens currently costs £839 at London Camera Exchange– making this bundle exceptional value. For £20 less, you get the 750300mm telephoto lens included at no extra cost.

Which camera is the best to start your journey?

Both cameras are beginner-friendly, use the same Canon RF-S lens mount, and have a 24MP sensor. And both kits come with the 18-45mm f/4.5-6.3 IS STM lens, a versatile zoom optic that will get you started and beyond. But which camera is the best to start your journey?

Canon EOS R100

Best for beginners who want to learn photography step-by-step

The Canon R100 is focused on photography, and we rated it as the best beginner-friendly camera.

It's straightforward, lightweight, and has guided menus that help explain each mode.

It doesn't have a touchscreen or a flip-out screen, and 4K video is cropped with slower AF (autofocus). But for stills, it performs beautifully and keeps things simple.

Canon EOS R50

Best for beginners who want to shoot hybrid (photo+video)

The Canon R50 is better if you want to shoot video or vlog. It has a flip screen, touchscreen controls, and records sharp, full-width 4K video.

It also shoots faster and feels more like a hybrid content creation tool. It's still easy to use, but it gives you more room to grow.

Verdict: R100 vs. R50

So if you want to learn photography without extra complexity, the Canon EOS R100 bundle is a fantastic choice at just £489.

But if you want to do more video, social content, vlogging, or want a true workhorse lens that covers multiple photo genres, the Canon R50 bundle is absolutely worth the upgrade at £819.

Both cameras give you a strong start with Canon's mirrorless system, and with these London Camera Exchange deals, it's a great time to begin your creative journey.

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

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

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

What’s a hybrid viewfinder?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The compact camera trendsetters have been particularly fond of affordable Kodak PixPro cameras, but new photos suggest that a new retro Kodak with zoom and even a film simulation dial is launching this fall, alongside a new waterproof compact.

The news comes from GT Company, a France-based distributor that sells cameras like the Kodak PixPro FZ55, the Kodak PixPro C1, as well as AgfaFoto products. The brand is set to display the newest releases at the IFA show September 4-8 in Berlin – and tucked among the new launches are two new compact cameras, the Kodak PixPro P1, a waterproof compact camera, and the Kodak PixPro C10, a camera with a 10x zoom lens.

GT Company hasn’t yet shared full details about the cameras (which are made by Kodak licensee JK Imaging), but there are a few hints that can be gleaned from the photos of the upcoming cameras – including what appears to be a film simulation dial at the top of the PixPro C10.

Kodak PixPro C10

Zoom is often a headlining feature on many compact cameras – and photos suggest the Kodak PixPro will have a 10x zoom lens with an f/3.6-6/7 aperture, equivalent to a 25-250mm reach on a full-frame camera.

But one of the reasons that Kodak has surged among trends is for the nostalgia – and what’s pictured on top of the camera could be even more enticing than the zoom. Images of the top of the Pixpro C10 show what looks like a film simulation dial.

The dial has a spot for S, N, and B&W – likely for standard, neutral, and black-and-white profiles. But there are also icons that look like a roll of film with the abbreviations “Ech,” “Kch,” and “Kco” – I suspect these could be digital filters that are designed to mimic some popular Kodak film types.

Film simulations are digital color profiles that are applied in-camera – sort of like applying an Instagram filter before taking the shot.

Mimicking Kodak film types would be a smart move. Analog and simpler tech is resurging in trends, and if the new Kodak comes with retro filters built in as well as an iconic black-and-silver look on the outside, I’m predicting such a camera could be a major hit. A recent list of best-sellers in Japan is made up of 40 percent cheap Kodak-branded cameras, so there’s definitely a high demand for these compact cameras.

Without full details ahead of the September show, it’s unclear just what tech the Kodak PixPro C10 is packing inside. The company’s Kodak-branded compact cameras tend to fall under the “cheap compact camera” umbrella, so I would expect the PixPro C10 to follow suit with a more basic sensor and set of specs.

Kodak PixPro P1

A waterproof compact camera will also be unveiled at the IFA show this fall. There are a number of Kodak PixPros that already have waterproofing, but the PixPro P1 is unusual in that it looks like it has a retro design and a tilting screen similar to the Kodak PixPro C1, a popular retro compact camera.

Making a tilting screen durable and waterproof is far more challenging than working with a fixed screen, so a tilt screen on a waterproof compact camera isn’t common (though the 2014 Olympus Tough TG-860 had one, for example).

The images of the upcoming PixPro P1 offer a few more hints that can be gleaned without a spec sheet. The camera appears to be waterproof to 5m or 16 feet. The lens doesn’t list a zoom range, though there is a zoom toggle on the back (which could be for digital zoom if the P1 doesn’t have optical zoom).

Photos hint that the Kodak PixPro P1 will come in at least two color options – a black with a more retro feel and a blue and white option.

As September launches, details like the price and spec sheets are missing for both cameras. But, based on the popularity of current PixPro cameras and the teaser images, the upcoming Kodaks could have some hit features.

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The Canon PowerShot name has gone so viral that sales have increased nearly seven times in half as many years. Yet, despite the success, Canon hasn’t released any PowerShots outside of the video-focused V-series since 2019. But the latest rumors are calling for that to change before the end of 2026.

Newly circulating rumors hint that a new Canon PowerShot could be coming in September. The speculation further hints that the upcoming model isn’t a V-series video-focused model like the 2023 PowerShot V10 and the 2025 PowerShot V1.

Canon hasn’t verified these rumors – but with the growth of compact cameras, it would be strange for the PowerShot brand that so regularly dominates best-seller lists to ignore the trend. According to NPR, sales for Canon’s PowerShot series have grown nearly seven times amid the resurgence of the compact camera between 2022 and 2025.

The last time that Canon launched stills-focused PowerShots was in 2019 with the G7 X Mark III and the G5 X Mark II. The PowerShot G7 X Mark III in particular has seen newfound viral fame, making the compact camera difficult to find in stock and driving the camera manufacturer to increase production on multiple occasions.

Earlier this year, Canon did launch a new look for the G7 X Mark III as part of the 30th anniversary of PowerShot, but the camera retains the same tech on the inside.

Of course, I could play devil’s advocate here and point out that retro compact cameras are also part of the trend, with older lo-fi models seeing new growth amid the modern sharpness (and AI infiltration) of the typical smartphone camera. And if retro cameras are trending, then there’s not much reason to upgrade the tech inside a camera that’s already selling so well I can’t find it in stock anywhere.

The PowerShot G7 X Mark III isn’t one of those lo-fi cameras, however. The reason that the camera has surged in trends is likely more due to the fact that the camera mixes a one-inch sensor with a zoom lens. Zoom tends to be more flattering for portraits, as well as the real camera flash that had influencers recommending the G7 X Mark II in droves.

So far, the rumors around a new PowerShot coming in the fall are short on details, if not believability. But looking at the latest trends and sales numbers, launching a new stills PowerShot in 2026 would be a smart move for Canon.

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If you've been thinking about upgrading to a full-frame mirrorless camera or switching systems, now's a great time to make the leap. Featuring one of the highest-resolution sensors, the Sony A7R IVA is now available for just £1,999 at Wex.

With this offer, you save £250 on the 61-megapixel Alpha's regular price tag of £2,249.

If you're after a true powerhouse, the A7R IVA delivers incredible resolution for both stunning photos and cinematic video – without the bulk or high price of a medium format system, making this deal even more tempting.

At the heart of the A7R IVA is a 61MP back-illuminated full-frame sensor that captures razor-sharp detail and performs beautifully even in low-light conditions. This next-gen sensor technology will make your images stand out with clarity and richness.

Want to push the detail even further? With Pixel Shift Multi Shooting, you can create jaw-dropping 240.8MP composite images – this means you get imagery with 19,008 x 12,672 pixels (!)

If you shoot fast genres like action or wildlife, the real-time Eye AF with 567 phase-detection points has your back. It tracks humans and animals across 74% of the frame, so you never miss a moment – whether you're creating photographic or videographic work.

So, if you've ever had your eye on this camera and want to create visuals that rival medium format quality, now's the time to grab the Sony A7R IVA.

Check out our rundown of the highest-resolution cameras available today.

The Canon EOS M50 Mark II was a firm favorite among vloggers, creators, casual and travel photographers. However, after half a decade of service (including the original M50), it and the entire EOS M system was discontinued in 2023. 

Not only was it Old Yellered, but the Canon EOS M50 Mark II was replaced wholesale by its EOS R system equivalent, the Canon EOS R50 – a more advanced camera using more advanced Canon RF lenses.

All of which means that the Canon EOS M50 Mark II is dead and buried, right? Actually, I disagree with the 'buried' part. In fact, I disagree with the 'dead' part, too. This camera may have been discontinued, but I think there's plenty of life left in it.

Obviously there's no doubt that the EOS M system is finished, but only as far as Canon is concerned. While the manufacturer hasn't made any lenses for it in years, you still see third-party companies releasing the occasional new optic for the EF-M mount.

But I don't think the mount even needs any new lenses. There are plenty of fantastic EF-M lenses already on the market, and the mount can easily adapt EF and EF-S glass from DSLRs – so there are literally hundreds of other optics you can use on the Canon EOS M50 Mark II. 

On top of that, I'll absolutely grant that the best Canon RF lenses are generally superior to the best Canon EF-M lenses, with one crucial exception: size.

The RF mount is physically much bigger than the EF-M mount, which means that even the most compact EOS R glass is never going to be as small and light as the EOS M lenses can be. 

This is a massive win for the Canon EOS M50 Mark II, whose primary selling point is its tiny size. Yes, the R50 is technically a better camera – newer sensor, more advanced AF, uncropped 4K – but it's not a better camera if you want the smallest and lightest setup possible.

For those of us who want a small body and lenses to throw in a sling bag or handbag while going out on a walk, or to keep in the glove compartment on a road trip, or want the lightest possible load around their neck on vacation, the M50 Mark II is a more suitable solution that its RF sibling.

As you can see from the above shots, this is a perfect carry-everywhere camera for spontaneous shooting with fantastic image quality. It's such a good companion for those outings where you wouldn't want to lug around your full-frame kit, but you always want to be able to take a great picture.

And an upside of it being discontinued is that you can get the Canon EOS M50 Mark II super cheap from the likes of MPB and KEH. It's a camera that I still happily take out for shoots precisely because of its smaller footprint, but it still delivers photo quality that's indistinguishable from the R50. 

So, it's not a fashionable take, but yes – the Canon EOS M50 Mark II still has plenty going for it. Don't mistake "discontinued" for "dead" or "no new lenses" for "no more use". After all, people still buy old film cameras – and they haven't made new lenses for those in decades!

You might be interested in our Canon EOS R50 vs M50 Mark II head to head, as well as our round-up of the best travel cameras and best cameras for beginners. 

As the headquarters for several of the biggest camera brands, Japan is often the first region photographers look to for key trends – but the latest list of best-selling compact cameras doesn’t include any of the usual viral suspects like the Fujifilm X100VI or Ricoh GR IV. Instead, the list starts with the retro Kodak PixPro C1 and reads like a who's-who list of cheap compact cameras.

The data comes from BCN+R, a market research company that compiles data from about 40 percent of retail sales from major electronic store chains across Japan. The company recently shared a list of the top-selling compact cameras for the first half of 2026.

Kodak dominates the list with four models – more than any other manufacturer – building on another BCN+R trend where Kodak was the leading brand in sales for compact cameras in 2025. The four Kodaks on the list come from JK Imaging, a company that licenses the Kodak name.

According to BCN+R, these are the most popular compact cameras in Japan for January through June 2026:

1. Kodak PixPro C1
2. Kodak PixPro FZ55
3. Fujifilm Instax Mini Evo
4. Canon PowerShot SX740 HS
5. Canon IXY 650m / PowerShot ELPH 360 HS / IXSUS 285 HS
6. OM System TOUGH TG-7
7. Panasonic Lumix TZ99
8. Kenko Tokina KC-AF11
9. Kodak PixPro FZ45
10. Kodak PixPro WPZ2

As a photography industry expert, the first thing that struck me about the list is that it lacks some of the most viral advanced compact cameras with larger sensors, like the Fujifilm X100VI and Ricoh GR IV. But, both of these options are so popular that they are difficult to find in stock, which could be playing a key role in those cameras’ absence.

But there could be another factor at play: Price. The list is heavily dominated by budget cameras. Only three of the options on the top ten list retail for more than US$500: The Canon PowerShot SX740 HS, the waterproof OM System Tough TG-7, and the zoomy Panasonic Lumix TZ99.

The push for less time spent on smartphones and more classic retro images has sparked a resurgence among cheap compact cameras. The cheap compact category had been all but decimated by the smartphone, but as compact cameras make a return in trends, so too do the most affordable models.

The cheap point-and-shoot isn’t making a comeback for image quality. In tests, for example, we found most smartphones will outperform the Kodak PixPro C1. But, part of the comeback is the nostalgia for less perfect images – lo-fi resolution, softer lenses, and even those orange time/date stamps in the corner can all be found without spending a lot of money.

Perhaps because the cheap point-and-shoot trend isn’t about modern image technology, several of the models on the list are a few years old, like the Instax Mini Evo, a digital-instant film hybrid packed with retro special effects launched in 2021, and the 2017 Kodak PixPro FZ55.

Importantly, the BCN+R list only includes around 40 percent of electronics sales in Japan and includes major electronics retailers that may cater more towards general consumers than serious photographers. While some models like the Canon PowerShot SX740, Kodak PixPro C1 and OM System Tough TG-7 are also popular at some photo specialty stores, looking at large photo stores like Map Camera tends to create a list that leans more towards pricier, larger sensor compact cameras.

Regardless, the BCN+R rankings indicate that even the cheap compact camera has returned from the dead – it’s not just the large sensor compacts and models with more zoom than the typical smartphone that have made a comeback.

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While shipments across all camera categories reveal a slight dip in the latest May figures from Japan-based industry watcher CIPA, until now fixed lens compacts have been growing 30% year on year, outperforming all other camera formats.

However, for a long while now – at least two or three years – the popularity of said snapshots (a figure that doesn’t even include Kodak, Yashica or other licensed brand models that aren't made in Japan) has been dismissed as a short-lived trend by major manufacturers, including notably Canon.

But is it now time to declare that a steady, ever-growing rise in sales over that sort of extended period is no longer an anomaly? I think so.

So why haven’t the likes of Canon, Nikon, Sony, OM Digital Solutions and Panasonic responded with more affordable, pocket-sized compact offerings of their own? Especially when it increasingly does feel like they’re missing a trick?

I believe there’s a number of reasons for their continued abstinence.

For one, larger, more corporate organisations take much longer to pivot their operations to take advantage of whatever is hot property right now. Look how long Canon and Nikon stubbornly resisted switching production from DSLR to full-frame mirrorless, letting Sony steal their thunder and market share. Or how the once mighty Kodak failed to respond decisively to the digital camera boom and instead faced insolvency.

On the rare occasion that a major manufacturer has responded to the current fixed lens compact camera resurgence, it has felt a little half-hearted and ‘will this do?’. For example, re-issuing a special edition of the existing Canon PowerShot G7 X Mark III, to take one example.

All the while cheap and cheerful Kodak PixPro Travel Zoom, Astro Zooms and Friendly Zoom series point-and-shoots are shipping by the bucketload and showing up higher in sales charts than the bigger boys.

Yes, Canon, Nikon, Sony et al originally abandoned production of basic point-and-shoot cameras because they felt competition from smartphones rendered such standalone snappers redundant. But additionally, in recent years their focus has almost exclusively been on ‘video first’ content-creator targeted cameras, AI-enhanced autofocus and tweaks to specification and performance, via which they can justify ever-increasing price tags.

In other words, the focus has distinctly not been on low-end, basic snapshots; the type that are currently appealing to Gen Z.

This resurgence has happened while the traditional, well-established camera manufacturers were looking elsewhere. And, having already missed the boat, the impression I get is they feel there is little point chasing after it now.

Especially if, as they originally suspected it might, the current fixed lens compact trend wanes… just as they are belatedly joining the party.

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

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

Nikon Z6: Specs

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

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

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

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

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

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

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

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Another Nikon DSLR lens bites the dust… last stocks ever of Nikkor AF‑P DX 10‑20mm f/4.5‑5.6G VR are almost sold out. Retro Nikon Zf mirrorless camera tops used sales charts for the first time in over a year, beating out trendy Fujifilm. I’m a landscape photographer and the last-gen, full-frame Nikon Z7 II is still a tour de force camera. Why pay more?

If the traditional trail camera market is about reliability and value, then the best cellular trail cameras are a race of remote tech and convenience. Over the past couple of seasons, wireless scouting seems to have become more commonplace and less of a luxury novelty. And I’ll admit, while I love the dopamine hit of a new animal sighting coming through my phone, I’m not a fan of paying for the subscription costs that come with most cellular options.

The Browning Defender Pro Scout Solar is a flagship product in Browning’s 2026 cellular lineup, replacing the Pro Scout Max series and including a plug-in solar-charging option. With 46MP images, full HD 1080p videos with sound, and a 100-foot image detection range, the camera most closely rivals premium cell-cams like the Spypoint Flex-M Solar and Tactacam Reveal series.

To me, it exists to solve the two common trail cam headaches: burning through lots of AA batteries and wasting hours making field trips to check the camera and its storage (something I’ve done a lot of while testing the best trail cameras without cellular capabilities).

Unlike units with a solar panel fixed rigidly to the top of the camera housing (which is streamlined but forces you to choose between hiding your camera in thick shade or placing it in direct, obvious sunlight), the Defender’s plug-in solar panel can be mounted separately. The Pro Scout Solar also has an auto-detecting dual-carrier network that flips between AT&T and Verizon towers natively, depending on your location. I’m in the UK and can confirm the cellular option works internationally, outside of the US.

With this trail cam, Browning is pitching a true set-and-forget tool. I’m taking this into the woods to see if its design, performance and wireless on-demand video streaming deliver, or if I get fed up with the ongoing monthly app subscription tax and app faffing.

Browning Defender Pro Scout Solar: Specifications

Browning Defender Pro Scout Solar: Price

The Browning Defender Pro Scout Max sits in the mid-priced area of the cellular trail camera market, and I’d say it has a few advanced features traditionally reserved for the most expensive models. At around $150/£170, it comes with a solar panel battery pack, fully invisible infrared LEDs, and 46-megapixel still images.

The downside for me is the ongoing subscription prices you need to pay to transmit your media – really, this is the whole point of getting a cellular camera in the first place. Browning’s data plans range from basic tracking packages that start at roughly $5/£4 a month, which allow basic thumbnail downloads.

If you want to access and download video clips, you’ll need The International Unlimited Plan at €14.99 (approx. $16.50) monthly, but it only allows 12 video downloads per month. The name unlimited suggests otherwise to me. On the plus side, you can start and stop subscriptions when you want if your usage changes.

Compared to entry-level cell cams like the Spypoint Link-Micro – which is cheaper upfront but only transmits low-resolution photos – the Defender can deliver on-demand HD photo and video uploads straight to your smartphone. However, I’m still not sure that the service feels streamlined enough to justify its monthly network fees.

Browning Defender Pro Scout Solar: Design & Handling

The Browning Defender Pro Scout Solar is noticeably bigger than non-cellular options like the Strike Force Pro X 1080. It might feel more chunky and substantial in your hand, but given that you don’t often carry a trail camera around, bar mounting or maintenance, it isn’t an issue. Browning calls the camera weatherproof, though there’s no specific waterproof rating. All of the important buttons and storage are hidden behind a very secure flap, and the only real point of moisture entry is the solar panel cable.

Screwing onto the very top of the unit is the high-gain 4G cellular antenna. Unlike some antennas that pivot or swing on an adjustable knuckle, this plastic one is fixed straight up. It screws in tightly and feels secure, so I wasn’t worried about passing wildlife or falling branches knocking it loose.

As its name suggests, the Pro Scout Solar comes with a micro-solar panel battery pack, and getting the full system rigged up in the woods requires a tiny bit more coordination than a standard trail cam. Both parts of the unit have their own dedicated, strong nylon straps that tie around the back of the hardware.

Although I first thought this setup was going to be more fiddly than having a fully integrated panel, the advantage here over fixed, all-in-one solar cameras is placement versatility. The solar panel plugs directly into the bottom of the main camera via a flexible power cable, meaning you could potentially position the camo camera lower down in the brush and run the lead higher up a trunk to strap the solar array in sunlight.

The woodland spot I chose had regular spells of dappled sunlight through the day, so I chose to mount it underneath the main camera. What’s especially helpful is a button on the solar panel that allows you to test whether the panel is working. Once I’d picked my tree and wound the tough straps around both parts, I found that they would easily hold the weight against the bark without sagging or drooping.

The camera sadly doesn’t have a built-in plate to angle the camera down, which means you have to get your angle just right by other means. I wedged a small twig between the camera and the tree trunk at the back so it was pointing down more effectively toward the woodland path.

Speaking of getting the composition right, this is harder to do on the Pro Scout Solar because it doesn’t have a color LCD screen – or indeed, a screen that will show you the scene at all. Because this is a cellular unit meant to be managed remotely, Browning gives you a small, text-based LCD configuration screen paired with a set of responsive buttons that light up when touched – a massive help if you’re trying to check settings in the dark or low light.

The on-board menu layout is very simple to navigate, but you can go without touching it at all if you’d rather use Browning’s phone app. You can download the Strike Force Wireless app on an iPhone or Android, scan the QR code inside the camera door, and it will automatically connect to the strongest available network. I had the cellular link active and syncing to my phone in about five minutes, once I’d figured out what I needed to do. If you’re less averse to reading the included paper manual than I am, you might set up even faster.

Being a cellular-solar hybrid does bring a couple of handling quirks you'll need to watch out for. The bottom-plugging power cable requires careful routing; it’s a good idea to make sure the cord hangs with a neat drip-loop so rainwater runs away from the connection point rather than pooling around the seal.

Generally speaking, though, I found the Browning Defender Pro Scout Solar solidly made, easy to use (partly because there are few settings to choose from), and easy to handle. Some may prefer an in-built solar panel to avoid having to trail a cable, but I prefer the versatility of being able to position the panel where it’s likely to get the strongest light.

Browning Defender Pro Scout Solar: Performance

Above: Sample clips from the Browning Defender Pro Scout Max Solar

I had the Browning Defender Pro Scout Max Solar deployed in the woods for a few weeks before writing this review, which gave me enough time to test its cellular connectivity and solar battery. And to capture a whole array of classic British woodland creatures. For me, a trail camera's worth is entirely won or lost on its field reliability, and testing this hybrid system has highlighted exactly where its high-tech scouting excels and where it hits a few classic trade-offs.

The specs sheet for the Browning Defender Pro Scout Solar lists a 0.25-second photo-trigger speed and a 0.35-second recovery time. In the past, I’ve found that by the time a camera wakes up and triggers, fast-moving animals have already cleared the frame, leaving you either with a collection of blank field shots or tails.

The Pro Scout Solar mostly delivers on its speed promises. In image mode, I’d set the camera to take three shots once motion had been detected. The detection circuit was fast enough to capture hares moving across the scene, usually caught halfway across rather than at the start of their motion, with the last shots sometimes empty.

It seems that when a target breaches the detection zone, the camera can trigger fast enough to capture moving wildlife dead-center. The rapid recovery time then allowed the camera to reset and snap a follow-up image in a fraction of a second. I enjoyed getting a frame-by-frame of how a deer or badger was moving through the woodland, rather than a single, isolated image.

During the day, the camera captures images using a quoted 46MP resolution setting, though there’s definitely some digital interpolation to reach this number. When you look closely at the fine details of a frame – like the background foliage or the forest floor – individual leaf edges and fine textures are blended into a slightly soft, painterly texture rather than showing true, tack-sharp, high-megapixel resolution. That said, the camera does a practical job on the wildlife. In one shot of a roe deer wandering past, you can see the texture of its coat and the shape of its small antlers clearly.

The shutter speed is mostly fast enough to freeze movement in adequate light, but some motion blur occurred on overcast spells or very early mornings. I’m not sold on the white balance, however, which leans into a noticeably yellowish-green cast. In bright light, the woodland foliage looked a bit cooked compared to what you’d see with the naked eye under a natural canopy. I also noticed some sharpening halos and compression noise in the deep, dark background shadows. But I’m being a picky reviewer here, and I don’t think the average user would notice or mind. After all, you’re not likely to be printing these images.

When darkness falls, both image and video modes switch over to the camera’s 6 no-glow LED lights. Here, the background branches and forest floor dissolved heavily into a uniform, speckled gray texture. But the camera does better with exposure control and handling overexposure. With my captures of a roaming badger, the bright white facial stripes of the badger were distinct and not blown out at all. The badger's stocky body was also frozen fairly well by the night shutter, with only a tiny hint of softness on its moving legs.

The LED light (nearly invisible to humans and animals) is concentrated heavily across the center of the frame, meaning the illumination falls off sharply at the corners. This means anything skirting the perimeter of the frame will likely be lost to the shadows. There is also a subtle layer of digital noise across the mid-tone grays, which I think is, again, quite par for the course when a sensor boosts its gain to see in the dark.

Because this is a cellular unit, it’s also important to review the Strike Force Wireless app. I went to check the camera much more than a standard user would because I was testing it, and the time from my walking past the camera to getting a notification about a sighting or video motion capture on my phone was just three to four minutes every time. That’s some speedy syncing between the cellular connection and the app.

The app layout is user-friendly, grouping your media neatly by day so you can scroll through and download or delete files at will. You can also control the camera, tweak the main settings, clear the SD card, or set it to overwrite older files when storage runs out. The only minor sting for me is that, with the subscription tier I chose, I was only able to download low-resolution images remotely. Upgrading to full-res or HD video downloads costs several times more, but the low-res previews were at least quick and easy to fetch.

And how about the solar power element? The real peace of mind with a solar-cellular unit is knowing you can leave the area undisturbed without a battery dying mid-season. The external plug-in solar panel kept the internal reservoir topped up throughout my testing, dropping to 95% power in two weeks with about 5 sightings a day and full-resolution captures (that’s around 40 weeks of power in total).

Because it relies on the sun, you do have to manage your settings sensibly if you want to leave the unit unmanned for longer. The camera records and transmits 1080p HD video with (surprisingly clear) audio on demand, but if you set the Strike Force Wireless app to constantly fetch heavy video clips during a stretch of overcast weather, the battery drainage could outpace the solar panel's ability to recover. If you take the time to position the solar panel cleanly and set your transmission intervals sensibly, though, there’s so much convenience and simplicity in getting wireless updates without setting foot near your location for months.

Browning Defender Pro Scout Solar: Verdict

I’ve spent two weeks using the Browning Defender Pro Scout Solar in my local woodland, and I was amazed at what I found there. It’s a top-marks hardware package, but it has a service plan that’s hard to score. The design of the trail cam means I wouldn’t worry about battery drain if I left it in the wild for several seasons, even with the camera firing off multiple daily captures. The rugged camouflage casing feels pretty indestructible, and I’m sure that the heavy-duty latch clips would keep out even heavy rain.

Performance-wise, my experience is that the camera delivers on its trigger speeds but stumbles on resolution. It’s incredibly useful to see wildlife caught centrally in the frame rather than as a collection of empty background shots, and the night exposure control on high-contrast subjects like badgers is great. It’s still frustrating to have a quoted 46MP sensor that clearly relies on heavy digital interpolation. Without a color LCD screen, it’s hard to check your framing in the field, but I guess that’s where the Browning app comes in.

I’d recommend the Defender Pro Scout Solar if you’re managing a remote property, want the instant gratification of getting near-instant notification alerts on your phone, and don’t mind paying a premium to download footage from the SD card. In the Browning Wireless app, the media gallery is clean, the remote settings changes work quickly, and the cabled solar panel is basic but effective.

If you want a tool that doesn’t lock its best features behind a paywall, the ongoing subscription is a bit much. Calling a plan unlimited when it restricts you to just 12 video downloads a month, for example, feels mean for a mid-priced camera.

If you’re on a budget or plan on checking your camera frequently anyway, you might be better served by saving your cash and opting for a traditional local-storage unit like the Browning Strike Force HD Pro X1080, or looking at a Spypoint Flex-M Solar, which offers a free basic photo transmission tier. Overall, I think the Browning Defender Pro Scout Solar is a fast, rugged, and reliable cellular hybrid that’s mainly held back by the price of its data plans.

Alternatives

Check out our full guides to the best trail cameras, and also the best cellular trail cameras

Right now, I’d argue the Nikon Z6 III is the best performance-to-value mirrorless camera on the market, and this new $700 discount is exactly why.

With the body now sitting at $1,996.95 at B&H, down from its original launch pricing, Nikon’s full-frame hybrid suddenly feels far more aggressive than it did at launch—and honestly, far more dangerous to its rivals.

This was already one of the most complete cameras in its class, but once it drops below the $2,000 line, it stops being a good deal and starts looking like a no-brainer.

What makes the Z6 III so compelling is that it doesn’t feel like a compromise camera. Nikon gave it a 24.5MP full-frame partially stacked CMOS sensor, the Expeed 7 processor, advanced subject-detection autofocus for nine subject types, and 6K/60p internal RAW video, specs that push it well beyond what many photographers would expect at this price. This is not some watered-down entry into full-frame mirrorless. It is a fast, serious, modern camera that delivers the kind of all-around performance that usually costs noticeably more.

That performance shows up most clearly in the way the Z6 III handles speed. It can shoot up to 20fps in RAW, 60fps in JPEG, and even 120fps in a cropped mode, while its autofocus can work down to an impressive -10EV in low light. For anyone shooting events, weddings, sports, documentary work, wildlife, or simply unpredictable real life, that matters. You are getting a camera that can react quickly, lock on with confidence, and keep up when the pace changes. In practical terms, it gives you a lot of the excitement and responsiveness people normally associate with cameras much further up the food chain.

But the reason I think it wins on value is that it is not just fast, it is versatile. The Z6 III is one of those rare cameras that feel equally at home shooting stills and video, which is exactly what so many creators need now. Nikon has built this camera for the hybrid era, and it shows in everything from the 6K video spec to the bright, detailed EVF and the overall handling. If you are buying one camera to do almost everything well, this is precisely the kind of body that makes financial sense because it saves you from needing to step up again too soon.

There is also something important about this deal in the broader Nikon conversation: it finally puts the Z6 III where many people felt it should have been from the beginning. At launch, some buyers hesitated because the camera was excellent but priced a little too close to more ambitious options.

With $700 off, that argument largely disappears. Suddenly, the Z6 III feels like the sweet spot in Nikon’s mirrorless range - a camera with flagship flavor, pro-grade speed, and real hybrid muscle, without forcing buyers into flagship-level spending.

So yes, this is more than just another camera deal. This is the kind of price drop that changes the conversation around a camera entirely. The Nikon Z6 III was already one of the most capable all-rounders in full-frame mirrorless, but at this discounted price, it becomes something even stronger: one of the smartest buys in the entire market. If you have been waiting for a sign to jump into a serious full-frame system without feeling like you are overspending, this might be it.

Over the past few years, I’ve noticed the wildlife surveillance market splitting – between more expensive app-driven cellular models and cheaper, unbranded basic ones. As some trail camera users push back against monthly data plans or just don’t need them, there’s still room for the best trail cameras without cellular coverage and ongoing fees.

The Browning Strike Force HD Pro X1080 lands here: an unplugged, reliable option for users who either want to position close to home or don’t mind hiking out to pull their SD card and review footage. Of course, the on-board storage approach works best if you’ve got smaller patches of land to survey, more time to fetch the camera, or a smaller budget.

Browning is a brand with a long reputation for making rugged and reliable trail cameras – in fact, it was one of the first brands I used a decade ago. The Strike Force HD Pro X1080 isn't a completely new design, but an evolutionary replacement for the older Strike Force HD Pro X. This line bridges the gap between their entry-level text-only cameras and bigger, higher-resolution units. It has 1080P Full HD video with sound, a 24MP sensor, low-glow night illumination, a built-in color screen for reviewing footage, and one of the fastest trigger speeds on the market.

I was eager to take this game and motion-activated camera out into the woods to see if its blazing 0.18-second trigger speed lives up to the hype for capturing wildlife, or if you're better off saving your money and sticking with an older, simpler model.

Browning Strike Force HD Pro X1080: Specifications

Browning Strike Force HD Pro X1080: Price

With an RRP of $149/£159, the Browning Strike Force HD Pro X1080 is at the higher end of traditional, non-cellular trail cameras. The market is flooded with far more entry-level Amazon game cameras under $50/£45 now, but this is a model that I feel confidently offers a better design and build quality to justify the extra investment.

The rugged construction has some tropical-grade weatherproof seals designed to lock out moisture from rain and deep-wood exposure, and the internal hardware is meant to be very efficient on batteries, quoted at squeezing up to a year of field life from a single set of six AA batteries (I haven’t tested it that long to say for sure). Being a trail camera that relies on SD card storage, there are zero subscription costs here.

If I compare the price with mid-to-high-tier rivals like the Bushnell Core series or Spypoint's non-cellular range, the Browning has a good price-to-performance advantage thanks to its industry-leading 0.18-second photo trigger speed. If you’re a land manager or wildlife photographer, I’d say the Strike Force HD Pro X1080 is a cost-effective and reliable tool for tracking.

Browning Strike Force HD Pro X1080: Design & Handling

The Browning Strike Force Pro X 1080 comes packaged in a pretty compact, neatly organised box. In fact, the first thing I noticed was just how small but sturdy it felt in my hand. One of the most important things in a trail cam is to blend in – a hard task given the varied landscapes you could deploy one in – and this product is especially well suited to woodland. The chassis is covered in a busy, textured camouflage pattern that does a brilliant job of vanishing against tree bark.

Given that you’ll be leaving a trail camera outside for weeks or months, hardiness against the weather is also vital. Browning doesn’t publish an official IP waterproofing rating for the Strike Force Pro X 1080, suggesting that maybe it just hasn’t been officially tested. But the exterior has reassuring rubber seals, with a primary side clip that snaps shut with a deeply satisfying mechanical click. For some reason, I had total confidence that it could survive a torrential downpour and a misty morning without fogging up the lens internals or damaging the SD card.

With the front unclipped, the camera has a few simple features and buttons. The forward-facing 1.5-inch color LCD screen – while not large or detailed enough to view your footage closely – is just about passable for setting up a composition or reviewing clips without removing the SD card.

As far as controls go, you’ll find an on-off toggle, an M button to bring up the menu, a 4-way navigation keypad and a button to eject the battery cassette, which pops out at the bottom of the unit. I found these buttons responsive, and I like that they light up when touched, making it easy to navigate if you set up or review the unit after dark. The menu itself is simple to toggle through on-screen, too. I was able to set up the camera to my liking in just a few minutes without needing to look at the paper manual in the box.

I’d decided to trudge to my local woodland to mount the camera, hoping to review it regularly for wildlife sightings while walking my dog. The camera and strap were easy to carry in a small shoulder bag, and I found mounting the camera very straightforward. The included nylon tree strap is incredibly long – so long that I found myself wrapping it around a narrower trunk multiple times – but the webbing is so strong that it kept the camera locked rigidly in position. After a few nights of unseasonably strong winds overnight, when I returned to the camera a few days later, it was still solidly in place.

The Browning Strike Force Pro X 1080 comes packaged in a pretty compact, neatly organised box. In fact, the first thing I noticed was just how small but sturdy it felt in my hand. One of the most important things in a trail cam is to blend in – a hard task given the varied landscapes you could deploy one in – and this product is especially well suited to woodland. The chassis is covered in a busy, textured camouflage pattern that does a brilliant job of vanishing against tree bark.

Given that you’ll be leaving a trail camera outside for weeks or months, hardiness against the weather is also vital. Browning doesn’t publish an official IP waterproofing rating for the Strike Force Pro X 1080, suggesting that maybe it just hasn’t been officially tested.

But the exterior has reassuring rubber seals, with a primary side clip that snaps shut with a deeply satisfying mechanical click. For some reason, I had total confidence that it could survive a torrential downpour and a misty morning without fogging up the lens internals or damaging the SD card.

With the front unclipped, the camera has a few simple features and buttons. The forward-facing 1.5-inch color LCD screen – while not large or detailed enough to view your footage closely – is just about passable for setting up a composition or reviewing clips without removing the SD card. As far as controls go, you’ll find an on-off toggle, an M button to bring up the menu, a 4-way navigation keypad and a button to eject the battery cassette, which pops out at the bottom of the unit.

I found these buttons responsive, and I like that they light up when touched, making it easy to navigate if you set up or review the unit after dark. The menu itself is simple to toggle through on-screen, too. I was able to set up the camera to my liking in just a few minutes without needing to look at the paper manual in the box.

I’d decided to trudge to my local woodland to mount the camera, hoping to review it regularly for wildlife sightings while walking my dog. The camera and strap were easy to carry in a small shoulder bag, and I found mounting the camera very straightforward.

The included nylon tree strap is incredibly long – so long that I found myself wrapping it around a narrower trunk multiple times – but the webbing is so strong that it kept the camera locked rigidly in position. After a few nights of unseasonably strong overnight winds, when I returned to the camera a few days later, it was still solidly in place.

What’s thoughtful in the design is that Browning has incorporated an adjustable steel tree bracket into the back of the case. With traditional trail cameras, I’ve been used to playing a frustrating game of balance, sometimes forcing bits of twig and stick behind the housing to angle the lens in just the right way down towards a footpath or trail.

This solid steel pivot gives you about 30 degrees of leeway, so you can adjust the downward tilt to frame the exact area of ground you want before walking away and leaving the camera to do its monitoring.

One design element does let down the seamless experience, and that’s the battery compartment. Browning claims this to be an exceptionally efficient camera (I say claims because I haven’t got to the performance section yet!), running on six AA batteries rather than the eight standard cells demanded by its competitors. But I found popping them in and swapping them out to be very fiddly.

Pressing the recessed eject button releases the internal drawer, but it doesn't bring the batteries out enough to change them, so you really have to yank them. I used this unit in the height of a hot British summer, but I think if you were trying to service the camera on a cold winter’s day with numb fingers, you’d have to apply some effort to pry the batteries loose. It's a minor complaint in an otherwise highly rugged tracking tool that seems to favor quick, hassle-free field deployment over unnecessary buttons.

Browning Strike Force HD Pro X1080: Performance

Above: Sample clips from the Browning Strike Force HD Pro X1080

I strapped the Browning Strike Force HD Pro X1080 to a tree in my local English woodland for two weeks. Being a non-cellular option, I reviewed the captured media every few days, as the location was near home, and I swapped between stills and video clips regularly. I set both media types to their highest quality setting, so I could fully assess where this traditional model wins and whether any areas are affected by its reasonable price.

At a quoted 0.18-second photo trigger speed, the Strike Force HD Pro X1080 sits among the fastest trigger speeds available on the current trail camera market. Looking closely at the captured images, these specs do seem to translate to real-world performance. In one of my favourite daylight frames, a hare was captured mid-bound, frozen in the air quite neatly. But that was in bright sunlight, and on darker days or at dawn, you get more ghostly motion blur when a fast animal speeds across the lens. The rapid response of the camera is critical for tracking fast-moving wildlife; I’ve tested older, slower cameras that often capture an empty frame or the trailing edge of a tail.

The camera captures 24MP stills, though this resolution is achieved via digital software interpolation rather than a native high-megapixel sensor. It’s worth noting, though, that I couldn’t see half the detail or quality compared to test images from one of Browning’s 48MP models.

In most of my test shots, the subject was easily identifiable, even though the background of a busy woodland meant sometimes having to look more closely. In one clip of an owl landing, for example, I had to watch the clip on a laptop screen to be able to make out the species from the leaves behind. The camera also struggles significantly with harsh, high-contrast lighting.

On sunny afternoons, any spots where direct sunlight pierced through were almost blown out. The overall white balance was okay, as far as trail cams go, with a noticeably warm, yellow-green cast that might be signature to Browning cams. The summer woods did look more artificially vibrant than they appeared to me when walking through.

When the Strike Force Pro X 1080 transitions to night mode, it delivers pretty good videos and has a longer flash and detection range compared to its predecessor. My after-dark captures of a bumbling badger – a subject easy to overexpose because of its white-black markings – had a balanced look. The camera's auto-exposure prevented the badger's lighter fur from blowing out and kept its stocky shape recognisable with some softness around the shuffling legs. In another night capture where a badger was foraging along the far edge of the frame, the animal was almost lost to the deep shadows due to the sharp light fall-off at the perimeter.

You have the option to print image info onto your images and clips. While helpful for monitoring the time and temperature of sightings, my experience is that the temperature gauge was often a few degrees out. In other words, don’t rely on the bottom data strip if you're trying to track highly precise patterns, but for pure wildlife identification, the hardware remains effective.

Browning Strike Force HD Pro X1080: Verdict

After a month overall in the field, the Browning Strike Force HD Pro X1080 proves that you don't need a cellular subscription or a solar setup to get serious wildlife tracking done. It is a straightforward, exceptionally quick camera that prioritises catching fast-moving targets over expensive tech. Its six-battery efficiency means you can still leave it out for months without worrying about a dead unit, but of course, you won’t be able to review footage until you go and manually pick up your SD card.

Performance-wise, the Strike won't win awards for its image quality. The tendency to blow out highlights in direct sunlight and the soft background interpolation mean it has some clear technical limitations. But this isn’t unique to the Strike Force HD Pro X1080, and if anything, it works exceptionally well as a general record of sightings. As a pure scouting tool, its ability to capture animals of varying speeds, shapes, and colors is still impressive.

If you want a rugged, reliable trail cam that works instantly out of the box and you don’t need the convenience of a remote cellular connection, the Strike Force HD Pro X1080 offers a good balance of value and performance for both beginner and advanced users.

Alternatives

Check out our full guides to the best bird feeder cameras and the bird box cameras.

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

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

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

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

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

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

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

Except that is not what has happened.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That does not mean I have no complaints, though.

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

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

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

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

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

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

No, it has not.

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

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

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

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

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

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

Whatever it is, the M EV1 still has it.

Shop the Leica M EV1

The Yashica Tank is one of the more intriguing affordable compact cameras to arrive this year, combining playful retro styling with the simple shooting experience that has helped make small digital cameras fashionable again.

This point-and-shoot camera is not designed to compete with advanced mirrorless systems or premium fixed-lens compacts, but instead offers an accessible way to capture everyday photographs, vacations, nights out, selfies and social media content.

Priced at just $99.99, the Yashica Tank sits firmly at the budget end of the compact market. That makes it an appealing option for younger photographers, beginners or anyone who wants a dedicated camera without spending several hundred dollars.

Its colorful appearance also helps it stand apart from the many plain black cameras already available, with finishes including black, brown, sky blue and pink marshmallow.

Where to buy the Yashica Tank?

• B&H: $99.99

For shoppers wondering where to buy the Yashica Tank, the answer is currently very simple: B&H Photo is the only confirmed American retailer listing the camera.

At the time of writing, the Yashica Tank does not appear to be available from Adorama, Walmart or Best Buy, making B&H the only place in the United States where customers can currently place an order.

B&H has listed the Yashica Tank for $99.99 in several color options, although availability may initially be limited while stock arrives. As one of the largest specialist photography stores in the US, B&H is a reassuring place to order, particularly for customers who value customer service, clear returns info and support from a recognized camera retailer.

Adorama would normally be another obvious place to check for a new release, but it does not currently appear to have a confirmed listing for the Yashica Tank. The retailer frequently carries newly launched cameras and accessories, so this could change as Yashica expands distribution across the US. For now, however, customers hoping to secure the camera should look to B&H instead.

The same applies to Walmart and Best Buy. Both retailers sell a wide range of compacts, instant cameras, action cameras and beginner-friendly photography products, but neither currently appears to offer the Yashica Tank.

Listings may begin appearing as availability improves, although buyers should be careful with any future Walmart marketplace listings and confirm whether the camera is being sold directly by Walmart or through a third-party seller.

The Yashica Tank features a 12MP CMOS sensor paired with a fixed f/1.8 lens, along with an 8x digital zoom and a built-in flash for shooting in darker conditions. It has a 3-inch display that flips up 180°, making it particularly useful for selfies, videos and group photos where you want to check the composition before taking the shot.

Video can be recorded at up to 4K 30p, while USB-C charging makes the camera easy to power using the same chargers many people already carry for their phones and tablets. There are also 11 built-in creative filters for giving photos and videos a more distinctive appearance without needing post-production. Files are stored on a microSD card, with capacities of up to 256GB supported.

It is worth remembering that the Yashica Tank is primarily intended to be an inexpensive and enjoyable camera rather than a serious professional tool. Its digital zoom will not deliver the same quality as a true optical zoom lens, while its small sensor is unlikely to match the results produced by larger and more expensive cameras. However, that simplicity is also an important part of its appeal.

The Yashica Tank is compact, colorful, easy to operate and affordable enough to carry around without constantly worrying about damaging an expensive piece of equipment. It could be particularly appealing as a vacation camera, a first camera for a younger photographer or a fun alternative for anyone who wants to take fewer photographs on a phone.

For the moment, B&H is not simply the most straightforward place to buy the Yashica Tank in the United States; it is the only confirmed US retailer carrying it. Adorama, Walmart, and Best Buy may add the camera in the future, but anyone hoping to order one now will need to head to B&H.

With its $99.99 price, colorful styling, flip-up screen, 4K video and uncomplicated approach to photography, the Yashica Tank has plenty of personality. It may not be the most technically advanced compact camera available, but it promises an enjoyable shooting experience at a price that makes it easy to pick up and have some fun.

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Take a look at the best compact cameras across all categories, including the best APS-C compact cameras and the best full-frame compact cameras. For more affordable options, check out the best Kodak cameras and the best point-and-shoot cameras.

Since the point at which most manufacturers conspired to get us to re-buy all our interchangeable lens camera equipment in more compact mirrorless form, DSLRs have been portrayed as bulky, lumpen and very much yesterday’s news.

That perception persists, underscored by the fact that former DSLR stalwarts Canon and Nikon have stopped releasing anything new with a mirror box. Along with everyone else, except possibly Pentax.

While I’ve shared prior opinions on why I feel that’s short-sighted and a shame, any connection of mine to DSLRs isn’t nostalgic, emotion-based or a kneejerk reaction to manufactured hype.

There are tangible, practical reasons for choosing a DSLR in 2026. Yes, still. And, if choosing a DSLR, for choosing a Canon DSLR above all others.

Why? Well, for starters, the golden rule of buying an interchangeable lens camera still holds – namely, I shouldn’t just consider the specific body I have my eye on, but the whole system that surrounds it, including all lenses and accessories.

Even before DSLRs were no longer cool, Canon still enjoyed the most far-reaching and comprehensive support out of any camera brand.

And still, if buying a Canon DSLR today, users not only have access to lenses produced since the first digital EOS, but also film-era lenses stretching back decades (if, in some cases requiring an adaptor).

Buying a Canon DSLR therefore becomes the most cost-effective, value-added solution, as I explore the wealth of compatible Canon EF and EF-S lenses for DSLRs – numbering over 200 since 1987 – available on both the new and second-hand market.

Last year Canon claimed it had manufactured 170 million EF and EF-S lenses in total. So, tracking down a perfect match for both intended subject and DSLR in use won’t be an issue.

Couple this with over 110 million Canon EOS cameras produced – with the caveat that this figure does include some mirrorless – and it shouldn’t be a stretch to find either a mint unboxed DSLR or a good quality used option.

At the time of writing, I can still buy a flagship EOS-1D X Mark III or EOS 5D Mark IV camera body direct from Canon’s online store. Or, at the other end of the price scale, snap up an EOS 2000D DSLR plus standard zoom for less than is currently being asked for most compact travel zooms.

So yes, as well as a DSLR’s imaging performance, functionality, battery life, optical viewfinder and durable build, sheer stock numbers work in Canon’s favor. As they do for anyone considering one of its DSLRs in 2026.

DSLRs might not be the cool kids anymore, but sometimes sensible is the smarter option.

Check out our full guide to the best DSLRs you can still buy today. If you want to follow in Gav's footsteps with one of the best Canon cameras, check out the best Canon lenses for DSLRs to go with them.

Leica’s latest Metal Gray cameras have officially arrived in the US, with preorders now open for both the Leica Q3 and the compact D-Lux 8. The Leica Q3 in Metal Gray is priced at $7,350, while the smaller and considerably more affordable Leica D-Lux 8 comes in at $1,915. Both cameras are currently available to preorder through B&H Photo, with listings also live at Adorama.

The Leica M11-P is also avaible to proroder from Adorama, B&H also have it on offer, but it has a delay between 2-4 weeks once purchasing.

Where to pre-order

These are not completely new cameras underneath, but rather stylish new versions of two existing Leica favorites. The Leica Q3 combines its metallic-gray body with contrasting black controls, while the distance and aperture scales on its fixed lens are engraved in red. The D-Lux 8 receives a similar treatment, with both the body and its FN buttons finished in metallic gray while the remaining controls stand out against a darker background.

The Leica Q3 remains one of the most desirable full-frame compact cameras currently available. It features a 60MP full-frame BSI sensor with selectable 60MP, 36MP and 18MP resolutions, paired with a fixed Summilux 28mm f/1.7 ASPH. lens. It also offers a hybrid autofocus system, optical image stabilization, a tilting display, a 5.76-million-dot OLED viewfinder, and video recording at up to 8K resolution.

In other words, this is still the same wonderfully capable Q3 that photographers already know, only now wearing what may be its smartest outfit yet. The metallic finish gives the camera a slightly more contemporary look without taking away from that unmistakable Leica identity, and the red lens engravings add just enough color to stop the design from becoming too understated.

The Leica D-Lux 8 is the more accessible option, although “accessible” remains a relative term when discussing a $1,915 compact camera. It uses a 17MP Four Thirds sensor alongside a Leica DC Vario-Summilux 10.9-34mm f/1.7-2.8 ASPH. Zoom lens, providing a versatile full-frame-equivalent range of 24-75mm. It also supports DNG raw files, 4K video recording, a 2.36-million-dot OLED electronic viewfinder and connectivity through the Leica FOTOS app.

B&H currently lists the Metal Gray Q3 as a new item coming soon, without providing a firm shipping date. The Metal Gray D-Lux 8 is also available to preorder, with the retailer estimating availability in mid-August 2026. Leica originally announced worldwide availability beginning July 16, although exact delivery dates will naturally depend on the retailer and the size of its initial allocation.

Neither camera offers anything dramatically different from its standard black counterpart when it comes to image quality or performance, but that is not really the point. Leica has always understood that a camera can be both a photographic tool and a beautifully designed object, and the new Metal Gray Q3 and D-Lux 8 may be among the best-looking examples of that philosophy yet.

These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £552.

The Canon EOS R8 is now available for just £1,229 at London Camera Exchange – a £400 discount from its original £1,629 price tag.

The Nikon Z6 II is now available for just £1,249 at London Camera Exchange – a £550 discount from the original £1,799 price tag.

The Sony A7 III is now available for just £947 at Amazon – a £552 discount from the RRP of £1,499.

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.

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

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

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

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

Why APS-C cameras dominate the rankings

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

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

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

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Browse the best mirrorless cameras, the best full-frame cameras, and the best Canon APS-C cameras.

These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $350 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 $1,299 at B&H – a $350 discount from its original $1,649 price tag.

The Nikon Z6 II is now available in a basic bundle for just $1,546.95 at B&H – a $200 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 $1,698 at B&H– a $300 discount from the original price of $1,998. 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.

The Sony A7R V is one of the best deals around at the moment for serious photographers. This 61-megapixel full-frame Alpha mirrorless is not available for just $3,248 at Adorama including a $50 cashback from Sony - and unlike other retailers is throwing in some useful accessories into the deal, on top of the discount.

For photographers who have been waiting for the right moment to invest in Sony’s ultra-high-resolution powerhouse, this is a serious opportunity to save big on one of the most capable mirrorless cameras on the market.

Even better, Adorama isn’t stopping at the price cut. The retailer is also bundling in a collection of genuinely useful accessories that make this deal even more compelling. Buyers will receive a free an extra battery, a backpack and a 128GB SD

The Sony A7R V remains one of the most advanced high-resolution cameras available today. Remarkably, the 61-megapixel full-frame sensor delivers extraordinary levels of detail, while Sony’s latest AI-powered autofocus system brings class-leading subject recognition that can lock onto humans, animals, birds, insects, cars, and even aircraft with incredible accuracy.

Despite its resolution-focused design, the A7R V is also a highly capable hybrid camera. It offers impressive video features, including 8K recording, advanced stabilization, and powerful processing that make it a favorite among photographers and content creators who need both stunning stills and professional-grade video.

Japanese online outlet Asobinet has reported that the Nikon AF‑P DX 10‑20mm f/4.5‑5.6G VR has been discontinued in Japan. This may surprise US and UK readers given that the lens has already been discontinued. But Nikon tends to axe aging products quietly and even once the decision has been made, it can take a while for stocks to diminish noticeably.

I’ve checked B&H Photo and Adorama in the US, as well as Wex Photo Video, London Camera exchange, and Jessops in the UK, and cannot find any new stock. The lens can be found at Amazon.com, but prospective buyers must do their due diligence, looking out for possible grey imports on Amazon Marketplace.

However, the Nikon AF‑P DX 10‑20mm f/4.5‑5.6G VR has been easier to find in Japan, but it would appear that supplies are running low. According to Asobinet, the lens can be found at Camera Kitamura, Map Camera, Bic Camera, Yodobashi Camera, and Nikon Direct, but in some of these outlets, stock is limited.

You could of course go the used route, via retailers such as MPB or KEH Cameras. At MPB right now, prices start at $164 / £142. If you’re an APS-C (DX) Nikon user and budget isn’t an issue, you could also opt for the Nikon AF‑S DX 10‑24mm f/3.5‑4.5G ED. It’s currently available to buy via Nikon USA and while it’s not in stock on the Nikon UK website, it does appear to be available at some UK retailers.

Why would you want an old DSLR lens?

There is a strong contingent of Digital Camera World readers who still actively use DSLR cameras. I recently claimed that “DSLR cameras are picture-making machines; mirrorless cameras are picture-making computers.” Not only did I receive lots of responses, but an embedded poll revealed that lots of readers are still regularly using DSLR kit.

It’s likely that the number one reason why people are still using DSLR cameras is that they simply don’t feel the need to justify the expenditure of moving to mirrorless. If that’s the case for you, I would personally recommend buying DSLR lenses from a reputable used reseller as opposed to brand new, simply because of the price disparity. A lot of new Nikon lenses hold their price, but the used DSLR market has fallen dramatically in the past few years. It’s also quite easy to find modern DSLR lenses that haven’t been discontinued for long, like the Nikon AF‑P DX 10‑20mm f/4.5‑5.6G VR, in extremely good condition.

The Nikon AF‑P DX 10‑20mm f/4.5‑5.6G VR got four stars in the Digital Camera World review, where it was praised for its compact design, light weight and affordability, as well as its optical image stabilization and generous maximum viewing angle. That last point is an important one. Due to the 1.5x crop factor of an APS-C Nikon sensor, it’s a lot harder to achieve ultra-wide fields of view than on a full-frame camera. But this 10mm lens produces an equivalent focal length of 15mm, which is still very wide.

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Tamron has axed a long-standing tradition with a new lightweight 12-20mm f/2.8 for E-Mount and Z-Mount – and I couldn’t be more excited about it. Retro Nikon Zf mirrorless camera tops used sales charts for the first time in over a year, beating out trendy Fujifilm. I’m a landscape photographer and the last-gen, full-frame Nikon Z7 II is still a tour de force camera. Why pay more?

Camp Snap’s screen-free digital cameras launched as a way for kids to take a camera to a screen-free summer camp without the cost of disposable film – but thanks to the craving to curb screen addiction, the company’s retro cameras have found a following across generations.

With the small business’s success, however, comes more options to choose from. What’s the difference between the Camp Snap 2 and the Camp Snap CS-Pro?

I’ve personally used both of these cameras – I even went a week on a screen-free camera challenge and loved it so much that I went nearly two weeks instead. Both cameras share the same retro, screen-free charm, but there are several key differences to note.

Camp Snap 2 vs. Camp Snap CS-Pro: Specs

Camp Snap 2 vs. Camp Snap CS-Pro: Design

• The Camp Snap 2 is smaller and has a child-proof lock on the filters
• The Camp Snap CS-Pro is larger but has a classic design, filter dial, flash toggle, and battery life indicator

The Camp Snap 2 and the CS-Pro may both be screen-free retro compact cameras, but the two have drastically different designs.

The Camp Snap 2 design feels like a slightly more luxurious disposable camera. The camera looks a bit like a disposable, but it has a nice textured wrap that comes in a lot of different colors, and the plastic feels a bit sturdier than a disposable.

The CS-Pro, on the other hand, takes on the silver-and-black retro design that feels a bit more grown-up. The design is still plastic despite the silver color, but the silver and a black wrap feel like a classic.

The design differences span beyond just looks, however. The CS-Pro is the larger of the two, sitting taller and wider, as well as heavier. Both are pocketable, but the CS-Pro needs a bit more generous pockets.

The controls between the two also have a few notable differences. The CS-Pro has four filters available through a top dial. The Camp Snap 2 swaps filters with a button on the back, but this button can also be locked when using it as a kid camera.

Both compact cameras have a built-in flash, but the CS-Pro's is more powerful and has a toggle to turn it on and off. The Camp Snap 2's flash on is located right on the camera's on-off switch.

Another design feature that the CS-Pro has that the Camp Snap 2 doesn't is a battery life indicator. Four small green LED lights show an approximate estimation of the remaining battery. The Camp Snap 2 doesn't have this, but a low battery warning will flash on the screen when that point is reached.

Both cameras can use circular lens filters, but I think the CS-Pro's 37mm size is easier to find different options for than the Camp Snap 2's 30.5.

Camp Snap 2 vs. Camp Snap CS-Pro: Image Quality

• The Camp Snap CS-Pro has a higher resolution and a more powerful flash
• But the Camp Snap 2 does have 6 filters instead of 4

At 16MP, the Camp Snap CS-Pro has twice the resolution of the Camp Snap 2. Images from The Camp Snap CS-Pro are sharper, with more detail and larger files.

The CS-Pro also has the more powerful flash, which makes a difference when photographing something indoors from a distance.

While the CS-Pro has better resolution, it still has some retro charm, thanks in part to a cheap lens. The built-in filters also create images that feel a bit more retro, including black-and-white.

The one image quality perk that the Camp Snap 2 has is that there are six different built-in filters, where the CS-Pro has four on the filter dial. But, both cameras allow those built-in presets to be edited, so it's possible to create your own filters if you don't love the ones that come with the camera.

Another key difference to note is that there is some shutter lag -- or a delay between pressing the button and when the image is taken. The CS-Pro does a bit better at minimizing this, but there is still a small lag.

Camp Snap 2 sample images

Camp Snap CS-Pro sample images

Verdict

To put it simply, I would choose the Camp Snap CS-Pro for myself and the Camp Snap 2 for my kids.

But, of course, there are a few nuances between the two that help determine which is the right one. The CS-Pro has better image quality and a classic design for not much of a price difference.

The Camp Snap 2, however, is smaller and more affordable and comes with a child lock for those filters. Using the Camp Snap 2 certainly didn't feel like using a kids' camera if you want the smallest option and don't mind the lower 8MP resolution.

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Just a matter of days after launch, the Panasonic Lumix L10 became so popular that Panasonic Japan said the amount of pre-orders had created unexpected delays. But the camera's popularity isn’t the only thing delaying the compact camera that combines a Micro Four Thirds sensor with a 24-75mm equivalent zoom lens.

Panasonic told Digital Camera World that a minor cosmetic issue caused a temporary pause in shipments for the Titanium Gold variant of the L10, but that shipments have already resumed.

"We identified a minor cosmetic issue that resulted in a temporary pause to shipments as part of our commitment to delivering quality products," a Panasonic US representative said.

"With the issue being identified quickly, the correction has been completed by our factory, and customer shipments have already resumed. Customer satisfaction and product quality are our highest priority, and we are continuing to increase production to fulfil orders as quickly as possible."

A leaked email from a customer about a delay over a cosmetic issue sparked rumors over why the special edition variant was being temporarily delayed. The email, from Panasonic’s customer service team, noted that the interference has caused a pause in shipping.

The delay wasn't a significant one – the Titanium Gold Edition was expected to ship “July 2026” at launch, and shipments have already resumed.

Panasonic didn't note what the “minor cosmetic issue” was, but in our experience, the Titanium Gold finish held up well during testing. DCW’s Reviews Editor, Gareth Bevan, tested the Titanium Gold version of the Lumix L10 and hasn't encountered any issues.

The Lumix 10 has created such a big buzz that Panasonic Japan has paused pre-orders while the company works to ship out early adopters of the camera.

The compact’s popularity is likely due to the fact that it boasts a large sensor and a versatile zoom lens, joining the likes of the Leica D-Lux 8. Most compact cameras with larger sensors, like the popular Fujifilm X100VI and the Ricoh GR IV, use a fixed focal length without zoom – though several advanced one-inch sensor compacts offer zoom.

Along with the Titanium Gold special edition, the Lumix L10 also comes in black and silver variants.

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Take a look at the best compact cameras, which includes some of the best point-and-shoot cameras for simple snapping, along with the best APS-C compact cameras and the best full-frame compact cameras for serious shooting.

Amazon Prime sales are meant to be about finding great deals, but not everything that sells well is actually a bargain.

The Fujifilm X100VI became our best-selling camera across the entire sales period, proving once again just how much demand there is for Fujifilm’s viral premium compact.

There was just one major problem: it was selling for around $2,299, approximately $500 above its current $1,799 US retail price.

Shoppers were not receiving a Prime discount at all. Instead, they were paying a substantial premium simply to get hold of one of the most difficult cameras to find in stock.

I completely understand the temptation, especially when the X100VI has spent much of its life accompanied by a “temporarily out of stock” message, but please do not allow inflated third-party pricing to become the normal way of buying this camera.

Where to actually buy the Fujifilm X100VI

It is believed that placing an order through a retailer selling the X100VI at its proper retail price may now involve a wait of around a week or so rather than receiving it the next day. And some color options may take longer than others (the standard choice is silver or black).

However, waiting seven days to keep an extra $500 /£500 in your pocket sounds like a very sensible trade to me. That saving could buy several memory cards, spare batteries, a premium camera bag, a filter and hood setup…. Check out the best accessories for the X100 VI, to see what the saving could get you.

There is, of course, a reason the Fujifilm X100VI continues to attract this level of attention. Inside its compact, retro-inspired body is a 40.2MP APS-C X-Trans CMOS 5 HR sensor paired with Fujifilm’s X-Processor 5.

It also features a fixed 23mm f/2 lens, providing the equivalent field of view of a classic 35mm lens, making it a wonderful choice for street photography, travel, documentary work, and everyday shooting.

The Fujifilm X100VI also introduced up to six stops of in-body image stabilization to the series, helping photographers capture sharper handheld images in lower light. Its unique hybrid viewfinder lets you switch between an optical and electronic view, while 20 Film Simulation modes – including Reala Ace – provide Fujifilm’s much-loved colors straight out of the camera.

There is even a built-in four-stop ND filter, along with 1.4x and 2x digital teleconverter options for adding a little more flexibility to the fixed-lens design.

It's no slouch when it comes to video either, offering recording at up to 6.2K/30p as well as 4K/60p. The Fujifilm X100VI remains one of the most desirable compact cameras available, and it is easy to see why it became our most-purchased camera during the Prime sale.

Just remember that popularity does not automatically make something a deal. Wait the extra week, pay the proper price, and please keep that very welcome $500 for yourself.

If the latest camera rumors are to be believed, Canon's next release will be a retro camera featuring its newest 32.5MP full-frame image sensor.

The long-awaited Canon EOS R8 Mark II will be much more than a traditional update to the original Canon EOS R8, and in turn will be much more than just the company's entry-level full-frame body.

Rumors have been flying for years that Canon has been working on a retro-styled camera, similar to what its arch rival has done with the Nikon Zf and Zfc, appealing to the same market that fawns over SLR-style Fujifilm cameras.

And, with 2026 marking the 50th anniversary of the legendary Canon AE-1, it's been widely expected that this would serve as the inspiration for a retro mirrorless design.

However, rather than releasing a retro body as a standalone product, it's being reported that the EOS R8 Mark II will be released with this retro design – and that it will be announced in September.

Personally I think we'll also see a traditional R8 Mark II, which looks like the rest of the EOS R range, because not everyone will want a throwback camera – and the R8 is, after all, the de facto replacement for the discontinued EOS RP as Canon's entry-level full-frame camera.

So, similar to Nikon releasing both the retro Zfc and the traditional Nikon Z50 with the same internals but different designs for different audiences, I think Canon will do the same here.

Canon EOS R8 Mark II specs (rumored)

• 32.5MP sensor
• 40fps burst shooting
• Oversampled 4K video (no 7K, no open gate)
• In-body image stabilization
• 2x UHS-II SD card slots

Either way, Canon Rumors has shared a set of specifications for the Canon EOS R8 Mark II.

While these mark a substantial upgrade from the original R8, what's most interesting is that this will be the fourth time that Canon deploys its new 32.5MP full-frame sensor – which we first saw in the Canon EOS C50, followed by the R6 Mark III and most recently the EOS R6 V.

However, just as dual base ISO was only enabled for the C50, it looks like a number of other high-end features will be disabled for the R8 Mark II: namely open gate video and 7K recording.

This makes sense for multiple reasons. Obviously there needs to be some delineation between the product lines, and omitting features like open gate will keep the price of the R8 Mark II down – and, crucially, keep the performance up, as there will be no need to worry about recording limits.

In addition to the resolution boost, the R8 Mark II will also see the introduction of in-body image stabilization (IBIS) as well as an additional SD card slot.

Both of these will increase the size of the body, which might be another reason for the proposed retro design (as the bulkier SLR-style frame will disguise the space needed for the extra card slot and IBIS unit).

I do, however, think we all might have been a bit too excited about the concept of an "EOS RE-1" modeled after the AE-1. We might in fact be looking at something along the lines of the limited edition, Asia-only Canon EOS RP Gold (above). 

This would also be very welcome in my book, as I'm just jonesing for Canon to release a silver camera. Come on, Canon – I've got a fresh credit card waiting for you, just give me what I want!

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The long-awaited Sony RX10 V has finally arrived, bringing one of the most capable all-in-one camera ranges firmly into the modern era. Combining an enormous zoom range with Sony’s latest autofocus and processing technology, this premium bridge camera is designed for photographers who want to capture almost anything without carrying a bag filled with lenses.

For photographers in the United States wondering where to preorder the Sony RX10 V, there are currently two confirmed options: B&H Photo and Adorama. Both retailers have listed the camera for $2,298, giving buyers a choice between two of America’s best-known specialist photography stores.

Where to buy in the US?

The Sony RX10 V is available to preorder from B&H Photo for $2,298. B&H currently lists the camera as a new item that is coming soon, making it a straightforward option for photographers who want to secure their place in the queue before the first stock begins shipping.

B&H is likely to be the natural first choice for many photographers, particularly those who regularly purchase cameras, lenses, and accessories from the retailer. As an established specialist camera dealer, it also offers the reassurance of recognized customer service, clear returns information, financing options, and optional protection plans.

Adorama is also accepting preorders for the Sony RX10 V at the same $2,298 price. Like B&H, it is one of the largest specialist photography retailers in the United States and offers financing, additional protection plans, and potential reward points for customers enrolled in its loyalty program.

Choosing between B&H and Adorama will therefore largely come down to personal preference, previous experience with each retailer, available financing, and any rewards or account benefits. Both are established options for photographers looking to secure the Sony RX10 V ahead of its general release.

UK photographers also have several confirmed pre-order options. The Sony RX10 V can currently be ordered directly from Sony or through specialist retailers Park Cameras and Clifton Cameras, giving British buyers three established places to secure the new bridge camera.

Buying directly from Sony will appeal to photographers who prefer to order straight from the manufacturer. It also provides the reassurance of dealing directly with the company responsible for the camera, alongside access to Sony’s own customer service and financing options.

Park Cameras is another strong option for UK buyers. As one of the country’s best-known independent photography retailers, it offers specialist advice, finance and trade-in services, making it particularly attractive to photographers who may want to exchange existing equipment against the cost of the RX10 V.

Clifton Cameras is also accepting preorders and provides another trusted specialist option. The retailer is known for its personal customer service and photography expertise, which may appeal to buyers who would rather preorder through an independent camera store than a larger electronics retailer.

The RX10 V is the fifth generation of Sony’s celebrated all-in-one superzoom camera and retains the extraordinarily versatile 24-600mm-equivalent ZEISS Vario-Sonnar T* lens. Its 25x optical zoom covers everything from wide-angle landscapes and travel photographs to portraits, sports, birds, aircraft, and distant wildlife, all without requiring the photographer to stop and change lenses.

The lens offers a relatively bright f/2.4-4 maximum aperture and built-in Optical SteadyShot stabilization. This makes it particularly useful when shooting at longer focal lengths, where even small amounts of camera movement can affect image sharpness.

At the heart of the camera is a 20.1MP one-inch stacked Exmor RS CMOS sensor paired with Sony’s BIONZ XR processing engine and a dedicated AI processing unit. This combination enables blackout-free continuous shooting at up to 30fps, supported by as many as 60 autofocus and auto-exposure calculations every second.

Sony has also equipped the RX10 V with its Real-time Recognition autofocus system, which can identify humans, animals, birds, insects, cars, trains, and airplanes. An automatic subject mode can determine the appropriate target type, while human pose estimation helps the camera continue tracking a person even when their face is obscured or they turn away.

Video capabilities have received a substantial upgrade as well. The RX10 V can record uncropped 4K footage at up to 60p, alongside cropped 4K 120p recording for high-frame-rate and slow-motion sequences.

Support for 10-bit 4:2:2 recording, All-Intra compression, S-Cinetone, S-Log3, and custom LUTs makes the RX10 V a far more serious hybrid camera than its predecessor. It should therefore appeal not only to photographers, but also to filmmakers and content creators who want one camera capable of covering a huge range of situations.

The camera uses Sony’s high-capacity NP-FZ100 battery, with a claimed capacity of approximately 630 photographs per charge. Other useful additions include a 3.68-million-dot electronic viewfinder, a tilting touchscreen, USB-C connectivity, improved grip contours, and a single UHS-II-compatible SD card slot.

At $2,298 in the US, the Sony RX10 V is certainly not an inexpensive bridge camera. Its appeal, however, lies in its ability to replace an entire collection of interchangeable lenses with one fixed 24-600mm zoom.

For wildlife photographers, travelers, aviation enthusiasts, sports shooters, and anyone who values versatility over the ability to change lenses, it promises an unusually complete photographic package. The convenience of having such a wide focal range permanently attached could also make it particularly useful for photographers working in dusty, wet, or fast-moving environments where changing lenses is inconvenient.

US photographers can currently preorder the Sony RX10 V from either B&H Photo or Adorama. UK buyers, meanwhile, can secure the camera directly from Sony or through Park Cameras and Clifton Cameras.

With demand likely to be strong after such a long wait for a successor to the RX10 IV, placing an early preorder may be the safest way to secure Sony’s latest all-in-one powerhouse from the first available stock.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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I can still remember clutching my beloved mirrorless camera while reading the headlines a few years back: Digicams, the so-called crappy cameras of the Y2K era, have surged in trends. As a photographer, I initially wrote off the trend as temporary, but more than three years after the digicam started making a comeback, the nostalgic point-and-shoot has only gained in popularity.

According to data from Google searches, the terms “digicam” and “digi cam” both have continued to climb in popularity in 2026, bringing searches to a ten-year high.

The transition from film to digital hit in my teen years, and I can still remember how excited I was to get my first digital point-and-shoot. Yet, the earliest digital cameras were low resolution and slow, and I eagerly made the upgrade as tech progressed to DSLRs and then mirrorless.

But then, sometime around 2022 and 2023, the digital cameras from the Y2K-era began to see a resurgence in trends, driven in large part by Gen Z and a wider trend for nostalgic tech. Searches surged for older point-and-shoot cameras with megapixel counts in the single digits, scooped up by digging through closets or searching on secondhand websites.

As a professional photographer, I was originally befuddled by the trend for low-fi cameras that take what many would argue are “crappy images” by today’s standards. I thought the trend would fizzle out quickly.

But, two key things have happened in the ensuing years that have left me, despite my original reservations, ecstatic to see the digicam trend continue. The Y2K digicam trend surged right around the time when generative AI images were becoming widely accessible – and I don’t think that’s a coincidence.

Fast forward three years, and generative AI has become better at fixing the tell-tale anomalies, like wacky fingers, and even more widely accessible. But generative AI hasn’t lost the term “slop,” nor has the trend for imperfect retro photos seemed to slow down.

The other key thing that has happened over the last few years is that the digicam isn’t necessarily something that can only be found abandoned in attics or on secondhand websites. The number of new-in-box cameras launching with lower resolution and compact designs seems to have exploded – just look at the viral 1.6MP Kodak Charmera.

The nostalgic tech trend has also sparked adjacent trends, like the screen-free camera, low-resolution compact cameras that come packed with retro filters but without the smartphone distractions (or AI).

I wasn’t truly convinced of the return of the low-fi digicam when the trend first started to emerge – and I’m still shooting with my mirrorless camera. But, I’ve grown fond of pulling out a compact camera when I want to ignore my iPhone without the bulk (and the photo editing) that comes with shooting my mirrorless camera.

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Tamagotchis were back, the Colts were Super Bowl champions and, on every radio station, Rihanna could be heard singing “Umbrella, ella, ella.” What nobody could have predicted in June 2007 was how deliveries of Apple’s very first smartphone, announced at the beginning of the year, would change the face of consumer tech forever.

The end of June marked the 19th anniversary of those first US deliveries. And when I cast my mind back to that golden age of consumer tech, it’s stark just how much things have changed – and not just in the camera industry.

But of course, here at Digital Camera World, the iPhone launch is infamous for one specific reason: it killed the compact camera. Or at least, that’s what we thought…

The camera that's always with you

In reality, it’s hard to select which specific iPhone landed the killing blow (possibly the iPhone 4) but that initial 2007 release was the beginning of the end.

The irony, of course, is that the original iPhone, while groundbreaking in many aspects such as Apple’s slick Multi-Touch functionality, didn’t actually have a great camera. Not only was it 2MP, it didn’t have autofocus and it couldn’t even record video.

For context, the Nokia N95, which was released just prior to the iPhone, had AF, a 5MP camera, built-in flash and video.

It wasn’t until 2010’s iPhone 4 that Apple really took its camera seriously. But I wouldn’t call any iPhone camera particularly groundbreaking. The quality of the camera was never the main draw. It was ever-present and accessible, and that’s what mattered most.

You didn’t have to check that the memory card was inserted and formatted. You didn’t have yet another battery to charge. And you didn’t have to remember to pick it up as you left the door and assign it a pocket.

The camera was your phone, a device that had already weaseled itself into most people’s everyday lives. You now had a camera that didn’t take up any extra space and didn’t require any extra thought. And on top of it all, the iPhone’s incredibly responsive touch controls made taking pictures effortless.

In 2009, Chase Jarvis produced a book called The Best Camera Is The One That’s With You, and the title has become a modern proverb of sorts among photographers. Well, I guess you could call Chase an iPhone photography pioneer and his book perfectly illustrates the merit of merging camera and phone.

The killing blow had been landed. So how on Earth has the compact camera managed such a successful comeback?

The compact comeback kid

When the iPhone launched, smartphones were a novelty. And the camera was a huge part of that. Selfies were a breath of fresh air (kind of) and, for the first time, people could upload pictures of their holiday or dinner onto Facebook in an instant.

Look no further than that entirely pointless app that would turn your iPhone into a virtual flip lighter to know that early iPhone culture was about experimentation and, above all, fun.

But this was a time when we were enjoying smart technology in moderation. Like any addiction, smartphones are no longer fun. The dopamine rush fools us into the feeling, but the pleasure is fleeting and the comedown is real.

We rarely interact with smartphones in a playful manner. They’ve become our bank card, road map and authentication device. Bloated by medical, insurance and grocery store apps.

They’ve seeped into the workplace, too. Not a day goes by that I don’t wonder how this personal and private computer that was bought and paid for by me has become such an integral part of my working day. So much so that I simply couldn’t function without it.

And what of the smartphone camera? Well, when it’s not scanning my face, it’s reading QR codes and occasionally I take a picture.

And yet, I don’t like taking pictures with it. Not any more. There’s a laziness in the way that I operate my camera phone. No effort. I simply hold it up, tap the virtual shutter button a few times and move on.

What’s the point? As long as I’ve vaguely framed a composition, I know that the computational photography will ensure that it’s headache-inducingly sharp with exposure blended to within an inch of its life. And… Oh look, I’ve got a WhatsApp message. Urgh, it’s just another PCP scam. Now what was I taking a photo of? Oh, the moment’s passed…

So the camera that’s always with you is now attached to something that’s serious and essential. A vessel for brain rot. In 2026, your smartphone has baggage and it’s impossible not to place that baggage on every aspect of the device – including the camera.

Some look at a dedicated camera, a CD or a vinyl, a Blu-ray or a book and think: What’s the point? It’s all on your phone. That is exactly the point! I am certain we are seeing a rise in these trends because people are consciously or unconsciously separating themselves from their smartphones.

It doesn’t matter whether it’s a compact camera, a keychain camera, an instant camera or, most tellingly, a screen-free camera, people are choosing dedicated devices not just to reconnect with photography, but to reconnect with life.

Can your smartphone offer the sensory experience of tactile buttons and switches, the therapeutic benefits of slowing down and the joy of capturing moments with intent?

You cannot doomscroll on Fujifilm X100VI. You won’t get a WhatsApp message on a Kodak Pixpro FZ55. And a Polaroid Go Gen 3 won’t notify you of that work email that can wait until after the weekend.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why are Nikon Zf used sales up?

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

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

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

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

The Sony A7 IV has quietly become one of the most complete hybrid cameras on the market, and right now it’s even more compelling.

B&H has dropped the price to $1,998, down from $2,498, saving you a clean $500 on one of the most versatile full-frame mirrorless bodies you can buy.

In a market where genuine discounts on current-generation gear can be hard to come by, this is one worth paying attention to.

At the heart of the Sony A7 IV is a 33-megapixel full-frame back-illuminated sensor that strikes a sweet spot between resolution and real-world performance. There’s more than enough detail here for commercial work, landscape photography, and editorial assignments, yet it doesn’t feel bogged down by massive file sizes. Dynamic range is generous, colors are classic Sony - neutral but flexible - and low-light performance remains strong for everything from events to late-evening street shooting.

Autofocus is where this camera really earns its keep. Sony’s Real-time Eye AF for humans, animals, and birds is fast, sticky, and confidence-inspiring, especially when you’re working wide open or tracking unpredictable movement. For wedding photographers, portrait shooters, and even sports and wildlife creatives who don’t need stacked-sensor speed, the A7 IV delivers a level of reliability that makes you trust it without hesitation.

Video shooters aren’t left out either. The A7 IV records oversampled 4K footage with excellent detail, supports 10-bit 4:2:2 internal recording, and offers S-Log3 and S-Cinetone profiles for those who want grading flexibility straight out of the camera. It’s a true hybrid machine, equally at home on a gimbal, in a studio, or mounted on a tripod for long-form interviews.

Ergonomically, Sony refined what many of us had been asking for. The deeper grip, improved menu system, and dual card slots, supporting both CFexpress Type A and SD, make it feel like a serious working tool. Battery life remains solid thanks to the NP-FZ100, and weather sealing gives you the confidence to keep shooting when conditions turn less than ideal.

The Canon EOS 5D Mark IV is currently available at B&H for $1,799, reduced from $2,498.01 and offering a substantial saving of $699.01.

That is a serious discount on one of Canon’s most respected full-frame DSLRs. While mirrorless cameras may dominate the conversation today, the 5D Mark IV still has plenty to offer photographers looking for a tough, reliable, and professional camera.

Some cameras simply refuse to go quietly, and the Canon EOS 5D Mark IV is very much one of them. It was once the go-to body for wedding photographers, press shooters, portrait photographers, landscape specialists, and working professionals around the world, and even now it carries that same reassuring sense of dependability.

What makes the 5D Mark IV so appealing is that it was built as a proper workhorse. It features a 30.4MP full-frame sensor, Dual Pixel CMOS AF, 7fps continuous shooting, 4K video, Wi-Fi, GPS and Canon’s familiar DSLR handling. Even by modern standards, this is a camera that still feels highly capable rather than outdated.

Of course, newer mirrorless cameras offer faster subject-tracking autofocus, lighter bodies, and more advanced video features. But that is not really the point of the 5D Mark IV. This is a camera for photographers who still enjoy using an optical viewfinder, value excellent battery life, and want a rugged body capable of handling demanding shoots.

It also provides access to Canon’s enormous EF lens system, which remains one of the strongest reasons to consider the camera. There is a vast selection of new and used lenses available, covering everything from affordable everyday zooms to professional telephotos and fast primes.

There is also something rather charming about seeing the 5D Mark IV remain available from a major retailer such as B&H. It belongs to the final golden generation of professional DSLRs, before the industry shifted almost entirely towards mirrorless cameras.

This is therefore more than simply an opportunity to buy an older camera at a lower price. It is a chance to invest in one of Canon’s most important full-frame systems and a camera that has already proved itself in the hands of countless professionals.

At $1,799, the Canon EOS 5D Mark IV feels like a very clever buy for anyone who wants full-frame image quality without immediately committing to the cost of a modern mirrorless system. For photographers who already own EF lenses, or anyone looking for a dependable DSLR that continues to produce beautiful files, this is well worth considering.

Check out our pick of the best lenses for the Canon EOS 5D IV

This might be the most fun $45 I've ever spent on camera stuff.

Last month, Godox launched its first-ever camera: the Godox C100 "transparent viewfinder camera". Over half of its tiny 104 x 71.7 x 19.1mm frame is taken up by an "intelligent transparent display" that's basically a see-through LCD screen with a UI that shows your image frame, battery and shooting mode.

Basically, it's like taking pictures with a credit card that has a hole in it. And it is ludicrously good fun – definitely one of the best screen-free digital cameras you can buy right now.

I took it for an outing recently to put together a quick video, so below is a whistle-stop guided tour of the camera with some samples. (Yes, I know that my hands are shaky. I had mild dehydration and sunstroke from running around in the 90°F heat so I could post this video as soon as possible.)

So, you aim through the giant optical finder and do your best to frame your composition – which isn't quite as hit-and-miss as you might expect.

We've seen cameras like this before – namely the Canon Ivy Rec and the Instax Pal, both of which have fairly clumsy optical finders that give a vague approximation of your image frame (given that they are so far away from the camera itself) and, crucially, no feedback as to where your fingertips are!

The G100 is much more accurate, given that the camera is positioned literally just above the finder. In addition, it can be set to shoot 16:9, 4:3, 3:2 or 1:1 images – essentially cropping down the base 1920 x 1080 image each time.

Changing the aspect ratio superimposes a different frame on the display, to help you compose your shots. I haven't experimented too much with this, yet, as it seemed better to shoot "full frame" 16:9 and just crop later on.

Image quality is surprisingly good, given that this is just a 2MP camera with a tiny sensor. It's certainly better than other sub-$50 screen-free cameras like the Kodak Charmera, where images feel very lo-fi and crunchy.

You still wouldn't exactly shoot a wedding on this, but take a look below – with a touch of editing, the images are perfectly respectable:

The C100 also shoots 1080p video, which as you can see above registers all the jitters of sunstroked hands – so I'll do a couple more tests now that I'm not cooked by the heat. The audio is still pretty blown out and the image quality isn't remotely going to rival your camera or phone, though.

But I think the C100's coolest party trick is the fact that it also doubles as a light meter, which is a stroke of genius and might make this an essential pickup for film photographers. This week I'm going to test its accuracy against my trusty Sekonic meter to see how it performs. Either way, it's a cool little bonus feature to have.

Of course, as noted in my original story, the elephant in the room is that the Godox C100 takes "a great deal of inspiration" from the Escura InstantSnap – an almost identically functioning camera that debuted at CP+ 2025.

Escura's camera is only 1.3MP (with correspondingly inferior image quality), only shoots 480p video and doesn't have a light meter – but still, it's important to note that it likely served as the blueprint for Godox's device.

I'll have my full Godox C100 review up very soon, but in short I had low expectations for this camera – and yet it's been the most fun I've had taking pictures in forever. I also think that this is a brilliant camera for kids, as it's tiny, loads of fun and also cultivates patience, as you have to wait to get home to see what you shot. Not bad for 30 bucks!

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Check out the best screen-free digital cameras along with the best compact cameras and the best cameras for kids.

I’m a sucker for retro cameras, so I couldn’t pass up the chance to wax lyrical about the OM System / Olympus OM-D E-M10 Mark IV, which is now being sold at a temptingly low price. Both the black and silver variants have been discounted, plummeting to the tantalizing sums of just £511.43 and £550.19, respectively, with the 14-42mm slimline zoom.

The E-M10 Mark IV is an ideal first interchangeable-lens camera or an everyday beater for the commute or day trips. It is a camera we have been recommending for years as a great choice for beginners, and it is once again at a great price. Plus, I’m sure you’ll agree, it looks absolutely gorgeous! Here’s what you’re getting for your hard-earned cash…

First up, it’s worth mentioning just how small this little camera really is. It’s built around a 20MP Micro Four Thirds sensor, which provides a 2x crop factor. As such, MFT systems tend to feature smaller camera bodies and lenses than their APS-C and full-frame counterparts. The Olympus OM-D E-M10 Mark IV is no exception; the body is 383g and the lens is 91g. To put that into perspective, combined it’s a lighter setup than the Fujifilm X100VI.

As you’d expect from a camera within this price range, you get 4K 30p video – but what I do love about the E-M10 Mark IV is its in-body image stabilization, compensating for up to 4.5 stops. The camera also features Live Guide and Scene Modes that will give beginners a helping hand.

Otherwise it’s fairly standard fare, but when you consider that you’re getting a great-looking, compact, capable stills camera and kit lens from a reputable brand, for just over £500 with lens, the OM-D E-M10 Mark IV is an attractive prospect. I think it’s a fantastic first, everyday, street or travel camera and would gladly use one on my daily commute.

Want a memory card to go with your purchase? Here are the best Amazon Prime Day memory card deals.

Most keen photographers use, or at least know about, back button focusing. For Canon EOS mirrorless cameras, such as the R6 Mark III, this is when you set the AF-ON button at the back of the camera to control focusing, instead of focusing being handled when you half-press the shutter button. With this custom setup, you can press the ‘back button’ with your right thumb to track focus on moving subjects such as soccer players, or lock focus part of a scene, leaving the shutter button for only taking photos (and metering).

But there are lots of other ways to customize other buttons on your camera to make your photographic life easier, and so you don’t miss that shot as you’re fiddling about with your camera’s menus, scrolling for that special setting you can’t find!

I was shooting a big soccer tournament all-day long recently, with loads of quick matches between local youth teams on eight different pitches, and I didn’t have time to switch lenses as I’d miss those winning shots – like a great Jude Bellingham goal for England against Norway in the World Cup!

I was shooting with the full-frame Canon EOS R5 Mark II and RF 70-200mm F2.8L IS USM lens, and I was very happy to discover I could set it up to instantly switch between Cropping/aspect ratio modes. I had the rear * (star) button (reserved for as AE lock by default, which I never use) as a custom control to switch from full-frame to crop 1.6x mode for more reach when needed for players at the other end of the pitch, so 200mm became 320mm at the press of a button.

As the * button is next to the AF-ON button, I didn’t need to take my eye from the viewfinder, I could quickly press the * button with my right thumb mid games to flick to 1.6x crop mode (skipping the 1:1 square mode), to fill the frame with the action.

This also turned out to be a crucial custom setup for me and the EOS R5 Mark II, as it was hammering down with rain and windy as hell for most of the afternoon, so I couldn’t switch lenses in those conditions even if I wanted to.

This setup also saved hours when editing over 4,000 action images, since I didn’t need to crop the JPGs as much as I would have if I’d only used the usual full-frame mode.

Some other full-frame EOS cameras switch between aspect ratios, so I have to press the * button a couple of times to go from full-frame to square to crop mode. The EOS R8, for example, brings up the cropping/aspect ratio modes on screen when pressing the customized * button, so you can switch to crop mode and back to full-frame quickly.

What other modes might you find helpful to access quickly via the * button on newer Canon EOS cameras like the EOS R5 Mark II?

There are over 50 of other options to switch modes or to essential controls to this one * button as you can see in all these menu screenshots above and below.

Here are 5 suggestions you might find useful:

1. Switch between AF modes from One-Shot AF to Servo AF for action subjects.

2. Activate Eye Control AF.

3. Switch to Action Priority AF mode, ideal if your subject suddenly gets active.

4. Switch your screen off to save battery power.

5. Simply to access your White Balance options (as dedicated WB buttons on top of EOS mirrorless cameras have gone missing now they’re smaller than DSLR bodies).

You can also customize other buttons on EOS cameras including: M-Fn, SET, MODE and even the LCD light bulb button!

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Take a look at the best Canon telephoto lenses and best Canon superzoom lenses to get more reach instead of using crop modes if you prefer and need max high res images.

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

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

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

Pro body, enthusiast price point

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

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

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

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

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

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

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

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

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

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

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Check out the best Nikon cameras and the best Nikon Z lenses. For updates from the imaging industry, here's the latest camera news.

In the summer of 2006, I had the privilege to be a pre-production tester and reviewer for Leica’s then-new M8. Introduced later that fall, the M8 is thought of by many as the first digital rangefinder camera. But was it really? Not quite.

The first commercially produced digital rangefinder camera was the Epson R-D1, launched a couple of years earlier in March 2004. As it arrived well before Panasonic’s Lumix G1 of 2008, it became the world’s first interchangeable-lens mirrorless digital camera – long before that term was ever used!

[Many in the industry, myself included, don't class the R-D1 as a true mirrorless camera due to its lack of live view or electronic viewfinder. But technically speaking, it is the first! – Ed]

The R-D1 was developed in partnership with Cosina, which modified its well-made and well-respected Voigtländer R-2 Bessa body for the purpose. Epson provided the electronics, while Cosina had the task of fitting it all into the R-2 chassis. Great effort was made by both firms to preserve the film “feel” in the R-D1.

The resulting camera had a Leica M lens mount and a 6.1MP, APS-C sized Sony CCD sensor. This same sensor was used in the 2003 Pentax *ist D. Because CCDs consumed more power than modern CMOS sensors, battery life was noticeably shorter than that of newer digital cameras. But, for the era, it was pretty good.

Photos were stored on SD cards, though the FAT16 file system limited them to 2MB of storage – which works out to roughly 100 RAW and JPEG images or 200 RAW files per card. Later Japan-only versions added SDHC support, which offered higher capacities.

Use of the Leica M mount (long out of patent protection by that point) meant that hundreds of lenses could be used with the R-D1.

However, Leica's Visoflex series of reflex adapters would not fit the Bessa / Epson bodies, so without “live view” (which only arrived years later, the Lumix G1), R-D1, photographers were pretty much limited to the three main focal lengths (28mm, 35mm and 50mm) marked in the finder. For most, this was not a great problem.

The R-D1 mimicked an analog camera a closely as possible, using the rapid wind lever to cock the focal-plane shutter – although there was no film to wind.

And it featured a rather nifty “Seiko watch-inspired” analog indicator on the top plate to show the shots remaining, image quality, white balance and so on. This “inspiration” is not surprising, as the Seiko Epson Corp also makes Seiko watches!

Unlike a film camera, however, the R-D1 had a fold-out 2-inch (diagonal) reversible screen that featured 235,000 dots. Later models increased this to 2.5 inches, though the resolution remained the same.

For those who wanted the classic film experience and preferred not to “chimp”, the display could be reversed and folded inwards to protect the screen. Doing so then revealed a Leica-like ISO reminder dial, but in fact it was a small conversion table between the three focal lengths and their equivalents on the APS-C sensor.

An interesting wrinkle is that the “rewind knob” is the jog dial, for reviewing images. You simply pressed the “monitor” button and rotated the dial to move between the images. To see the information on a particular shot (EXIF data, histogram and such) you pulled it up and rotated it.

In 2006, the R-D1s arrived. Physically unchanged, it had upgraded firmware for RAW + JPEG mode, the ability to shoot in Adobe RGB as well as SRGB, and a few other perks. Owners of the original R-D1 could upgrade to the latest standard. The 12-bit RAW files could be captured at ISO200-1600.​

Production continued until 2014, with some 10,000 cameras produced. The later models, with the 2.5” fixed rear screen, were sold only in Japan.

There is one more interesting wrinkle to the R-D1 story. In November 2021, while Epson was reorganizing its warehouse, it discovered 30 brand-new, in-box R-D1 cameras that had been sitting there for 12 years! (I have seen similar situations with other suppliers, over the years.)

The company refurbished them and then offered them via lottery to verified, Japanese R-D1 owners rather than discarding them.​

The reason for limiting the lottery to previous owners was that the batteries in the “newly discovered” R-D1’s had not withstood the test of time and new ones were no longer available. So the winners needed to be able to use their existing R-D1 battery.

The winners got to purchase an otherwise-new camera for ¥2,000 (about $18 USD). It was an unusual, but wonderful way to end the series!

Read more of David Young's ongoing series on classic cameras, as well as his book A Brief History of Photography.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Specifications

Price

The Leica SL3-P is now on sale at $6,690 / £5,150 / AU$10,500 for the body on its own.

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

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH. - $7,790 / £6,100 / AU$12,600
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. - $8,390 / £6,480 / AU$13,500
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. - $10,995 / £8,560 / AU$17,600

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

In terms of Leica's own range of full-frame mirrorless cameras, it is priced to sit in the middle. The lower-resolution SL3-S body costs $5,665 / £4,500 / AU$9,300 and the 60MP SL3 body is priced at $7,485 / £5,920 / AU$12,500 – compared to these, the SL3-P certainly looks like by far the best value for your money.

Leica SL3-P: Design & Handling

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Performance

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

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

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

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

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

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

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

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

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

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

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

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

Leica SL3-P: Lab results

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

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

Signal to Noise Ratio

ISO

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

Signal to Noise Ratio Data

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

Dynamic Range

ISO

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

Dynamic Range Data

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

Resolution

ISO

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

Resolution Data

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

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

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

Verdict

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

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

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

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

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

Alternatives

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