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

Now, B&H Photo is offering savings of up to 23% or free bundle accessories on some of the brand's most popular kits, from capable mirrorless cameras to a range of lenses starting with a nifty fifty, to a professional standard zoom, macro optics and more.

Mirrorless cameras

Lenses

Bundles

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

Small enough to slip in your pocket and affordable enough for almost any budget, these trendy compact cameras make everyday photography fun.

They don't often go on sale, but these three models are currently slightly reduced in price. The discounts are modest, but they make already budget-friendly cameras just a little more appealing.

The Kodak Pixpro C1 is now £77.96 on Amazon – you save £13.76 off its £91.72 RRP.

The Kodak Pixpro FZ45 is now £91 on Amazon – you save £17.40 off its £108.40 RRP.

The Chuzhao Digital camera is now £26.64 on Amazon – you save at least £5.32 off its listed £31.96 price. This camera is priced between £30 and £50, depending on the retailer.

• The Kodak Pixpro C1 is also available in brown for £79.99 on Amazon

• The Kodak FZ45 is also available in silver for £93.99 on Amazon

Kodak Pixpro C1

Kodak's Pixpro C1 is the brand's best budget selfie compact right now – thanks to its flip screen and wide-angle lens, making it more convenient than the FZ45 or Chuzhao for self-recording and vlogging-style clips.

However, it trades on image quality and flexibility, so if you care more about zoom or detail, the FZ45 is the stronger pick. If you want ease and selfies over everything else, the C1 is the camera for you.

Kodak Pixpro FZ45

Compared to the C1 and Chuzhao, the FZ45 is the most traditional camera here – it's the only one with real optical zoom, which makes it more versatile for travel and distance shots.

You lose the flip screen and retro charm, but gain reach and a more familiar shooting experience. The FZ45 is the camera for you if you want a simple holiday or everyday camera rather than a novelty or selfie device.

Chuzhao Digital Camera

The Chuzhao Digital Camera is the most characterful camera of the group – and all about enjoying the process of taking photos. The square format, waist-level viewfinder and TLR-inspired design make shooting feel playful – in a way none of the Kodak compacts really replicate.

While the FZ45 is about straightforward practicality and the C1 leans into selfie convenience, the Chushao is all about atmosphere, nostalgia and creative expression in your pocket.

Browse the best compact cameras, the best retro compact cameras, and the best cheap cameras.

Right now, I’d argue the Nikon Z6 III offers one of the best combinations of performance and value in the mirrorless camera market, and this latest $700 discount only strengthens that case.

With the body now priced at just $1,996.95 at B&H, Nikon’s full-frame hybrid suddenly looks considerably more tempting than it did at launch, and arguably a lot more threatening to its closest rivals.

The Z6 III was already one of the most well-rounded cameras in its class, combining strong stills performance with excellent video credentials, but dropping below the $2,000 mark changes the conversation completely. At this price, it goes from being a strong-value option to one of the easiest full-frame mirrorless cameras to recommend.

What makes the Z6 III such a compelling proposition is that it never really feels like a camera built around compromise. Nikon has equipped it with a 24.5MP full-frame partially stacked CMOS sensor, its powerful Expeed 7 processor, subject-detection autofocus capable of recognising nine different subject types, and internal 6K/60p RAW video. Those are serious specifications for a camera sitting at this price point, and they push the Z6 III well beyond what you might ordinarily expect from a sub-$2,000 full-frame body. This is not a stripped-back gateway into Nikon's Z system; it is a genuinely capable modern camera designed to tackle almost anything you throw at it.

You really start to appreciate that performance when the pace picks up. The Z6 III can shoot at up to 20fps in RAW, climb to 60fps when shooting JPEGs, and even hit 120fps using a cropped mode. Its autofocus system can also operate down to an impressive -10EV, making it remarkably capable when the light starts to disappear. Whether you are photographing weddings, events, sports, wildlife, documentary work, or simply subjects that refuse to sit still, the Z6 III has the speed and responsiveness to keep up. In many ways, it delivers the kind of shooting experience I would normally expect from a camera considerably further up Nikon's range.

However, the biggest reason I think the Z6 III represents such strong value is its versatility. This is not simply a fast stills camera with video added as an afterthought; it feels like a genuine hybrid from the ground up. Between its 6K video capabilities, excellent electronic viewfinder, strong autofocus performance, and well-thought-out handling, it is equally comfortable being used for photography or filmmaking. For photographers and content creators looking for one camera that can handle almost everything, that makes an enormous amount of financial sense. Buy the right body now, and you are far less likely to find yourself wanting, or needing, to upgrade a year or two down the road.

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.

See our guide to the best lenses for the Nikon Z6 III

The Camp Snap is the camera that arguably sparked a screen-free camera movement – but the small business’ latest refresh brings an even more Y2K look to its retro budget compact camera. The Camp Snap 2 just launched in an all-clear Arctic Frost colorway.

The second-generation Camp Snap launched earlier this summer with a refreshed design that provides access to built-in retro filters without a computer, a slimmer design and less shutter lag. Those updates come with the same concept that Camp Snap is built around: a screen-free shooting experience.

Despite only launching in June 2026, Camp Snap has been steadily adding to the second generation’s color options.

While a handful of semi-transparent models arrived with the initial launch, the latest option in the lineup removes the color from the semi-transparent series, creating a frosted white look that shows off some of the camera’s inner workings.

The fresh look brings a clear option for those who aren’t fans of the semi-transparent bold colors in the lineup, like the lime green, icy blue, bright pink, or purple that are already part of the Jelly Edition options.

Arctic Frost brings the semi-transparent design without the bright color, bringing a hint of the Y2K-era transparent tech trend to the viral compact camera.

When I tried the Camp Snap 2, I loved the new ability to swap filters at the press of a button – but I could still disable this feature when I handed it over to my 6-year-old.

The Camp Snap CS-Pro is probably my favorite in the lineup for adults, but the Camp Snap 2 comes in a hard-to-resist $70 / £54 / AU$130 price point and blends the charm of a disposable camera with the convenience of digital.

The new Arctic Frost colorway is already available from Camp Snap, where the compact camera sells for about $70 / £54 / AU$130. Like the other Camp Snap 2 colors, a memory card is included in that cost and pre-installed.

The company also offers stick-on gemstone packs to add personalized flair to the camera.

You may also like

Compare the Camp Snap 2 to the CS-Pro, or browse the best screen-free cameras.

The BCN Awards, sourced using data from major Japanese electronic retailers, has published its 2026 results and Nikon features in three categories: Mirrorless, DSLR, and binoculars, coming third, second and third in each category, respectively.

Nikon Rumors has posted BCN’s findings along with a short analysis of the brand’s fortunes. The rumor outlet praised Nikon’s presence within a very competitive market, while stating: “to climb higher, focusing on entry-level mirrorless or hybrid video capabilities could help.”

I couldn’t agree more! I’ve been saying for years that Nikon’s decision to focus on enthusiast and pro gear will hurt its imaging business in the long term, because brand loyalty is such a huge deal in photography.

The profit margin on an entry-level camera might not be as good as premium offerings, but it captures consumers at the very beginning of the funnel. Once you’ve bought into a system and got used to it, you’re likely to stick with that system when you eventually upgrade.

If Nikon isn’t fostering beginner photographers, it’s missing a crucial moment in which to build that connection. And I believe it’s even more important for Nikon to catch consumers early than some other camera manufacturers, because it’s competing directly with Canon and Sony. Let me explain…

Direct competition

Nikon, Canon and Sony are all going after the same corner of the market. They all build full-frame mirrorless cameras, boast huge collections of mirrorless glass, are jostling for the next big innovation in camera technology and are focusing increasingly more of their resources towards video cameras.

As such, they’re the go-to choice for professional landscape, portrait, wildlife and sports photographers, as well as run-and-gun video creators. The problem is that their customer bases are extremely loyal – fanatical, if you will.

Of course there are always exceptions to the rule, but most people who want to buy a serious mirrorless camera will choose one of the above manufacturers, not two, not three, just one. After all, they all pretty much do the same thing.

If you have a Nikon Z8 and buy a Nikon Z 24-70mm f/2.8 S II for $2,797 / £2,599 / AU$4,599, what’s the point of also investing in a Canon EOS R5 Mark II and then having to buy a Canon RF 24-70mm f/2.8L IS USM?

But other manufacturers such as Fujifilm, Leica and OM System don’t have to play by the same rules. You could very much own a Z8 and fancy picking up a Fujifilm X100VI, a Leica D-Lux 8 or the just-announced OM System PEN as an everyday carry.

Maybe the Nikon Zf and Nikon Zfc fill the role of something slightly different, but the majority of Nikon’s catalog is standard enthusiast- to pro-grade fare.

Entry-level gold

As a huge Nikon fan, every single Black Friday it pains me to see the utterly fantastic Canon EOS R100 become even more ridiculously good value, only to wonder why Nikon doesn’t have a camera like that. And while the Nikon Z30 and Zfc get close, they’re not truly affordable beginner cameras in the same vein as the EOS R100 or Nikon D3500.

Extenuating circumstances such as component shortages, the memory crisis, Trump tariffs and general economic instability mean it’s a difficult market out there for every camera manufacturer. And while Nikon isn’t in trouble, its financial results haven’t been where they ought to be of late.

Don’t get me wrong, Nikon is a huge company and its imaging division isn’t the only area it’s focused on. But to ensure a steady stream of Nikon photographers from now until well into the future, please, Nikon, don’t neglect entry-level photographers any longer.

You might also like...

Check out the best Nikon cameras and the best Nikon Z lenses. Plus, here's the latest camera news.

Only yesterday I wrote an article claiming that people still want full-frame DSLR cameras, and now Pentax & Ricoh Rumors has highlighted data from the BCN Award 2026 whereby Ricoh’s domestic Japanese DSLR market share has gone from 9.7% to 17.7%. And while that’s good news for a camera company that’s still supposedly developing DSLR cameras, it’s not necessarily an indicator of renewed interest in DSLR tech.

Canon and Nikon still command the largest market shares, with 44.3% and 38% respectively, but it’s not exactly surprising that their grip has relaxed slightly. After all, neither manufacturer is actively pursuing new DSLR releases, and despite many Canon and Nikon DSLRs still being available to buy new, both appear to be quietly winding down production, with the mighty Canon EOS 5D Mark IV being the latest high-profile DSLR to be officially discontinued. Canon Rumors also references the fact that “the DSLR market shrank dramatically last year”. With all of that in mind, it’s not surprising that Ricoh is mopping up a little more market share.

What about other camera formats?

When it comes to mirrorless market share, BCN’s statistics have Sony on top with 29.9%, Canon slightly behind at 27.4%, and Nikon trailing at 15.1%. Nothing overly surprising there.

When it comes to compact cameras, or what BCN calls the digital camera (integrated lens) department, I was surprised that Kodak comfortably beat Fujifilm at 24% and 13.9% respectively, with Kenko Tokina at 13.3%.

So, there you have it. Pentax reaches for more DSLR market share, but that’s likely because Canon and Nikon’s attention is elsewhere.

You might also like...

Check out the best Pentax cameras and the best Sony cameras. I’m a camera expert: Photographer calls APS-C vs full-frame “different looks,” and it changed my whole perspective.

As major camera brands shifted to mirrorless, Pentax has remained, perhaps a bit stubbornly, committed to the longstanding DSLR. But now, Pentax has discontinued production of every DSLR in its lineup – in order to make way for the development of “a new series of digital SLR cameras based on an entirely new concept.”

In an announcement shared on September 09, Ricoh announced that it is discontinuing production of all Pentax K-series DSLRs “in preparation for our transition to a new stage.”

The announcement reads: “Currently, we are re-examining the value of photography and developing a product that will allow more people to enjoy the act of taking pictures itself.

“It will still take some time before this product is released, but it will be a completely new concept digital SLR camera that will make full use of the assets of K-mount lenses that we have accumulated over more than half a century.”

Ricoh did not drop many hints as to what that “completely new concept digital SLR camera” will be, but made it clear that it will use the existing K-Mount lenses, will honor the SLR design and will be a digital – not film – camera.

A “completely new” concept built around the DSLR that has been around for 35 years will not be an easy task. The Pentax K-series originally launched in 2003. While the company remained committed to DSLRs as the biggest brands went mirrorless, the more recent Pentax cameras were known for sensor-shift stabilization – a design that also powered an unusual astrotracer feature.

The company’s comments also seem to hint that the upcoming DSLR will also be beginner-friendly:

“At Ricoh Imaging, we will continue to pursue the ideal style of SLR photography, and we want to deliver products that allow everyone who is interested in photography and wants to try using a camera to experience the joy of SLR photography and the wonder of photographs.”

The “joy of SLR photography” hints that Pentax’s upcoming “new concept” DSLR will likely be built heavily around the shooting experience. The idea that a camera should be fun to shoot is a growing concept amid the rise of screen-free cameras and retro camera designs. More smartphone users seem to be drawn to the idea of having a dedicated camera without the distractions of a smartphone.

While the DSLR now lags behind mirrorless technology in terms of features like resolution and subject detection autofocus, one of the DSLR’s endearing features is the optical viewfinder, rather than the mirrorless’ electronic one. The viewfinder is in the very definition of DSLR – digital single-lens reflex – as “reflex” refers to the reflex mirror that bounces the image from the lens up into the viewfinder.

With the rise of screen-free cameras and retro designs, perhaps the optical viewfinder could be poised for a comeback. But, the company is stressing that the upcoming camera will be “a completely new concept,” and new digital cameras inspired by old film cameras certainly are something that’s been done before – no matter how happy I would be to see a digital remake of the Pentax K1000.

The Ricoh brand certainly isn’t a stranger to creating a highly successful line of niche cameras. The Ricoh GR IV series of APS-C sensor compact cameras has repeatedly hit bestseller lists and sells so well that stock remains limited. But the launch was also perfectly timed amid the growing compact camera trend.

While Pentax is not the only camera maker still producing DSLRs, the brand was along in insisting that it wouldn’t move into the mirrorless space. (Or, at least, not again, as Pentax once offered the small-sensor Pentax Q mirrorless series).

Despite remaining committed to the DSLR, numbers from Japan hint that Pentax only shipped around 10,000 DSLRs last year compared to industry leader Canon’s 580,000 – a number that pales in comparison to Canon’s 2.3 million mirrorless cameras shipped.

DSLRs have been steadily declining over the last few years. In 2025, the number of DSLRs shipped out of Japan was just 11% of that of mirrorless cameras.

Pentax noted that the new concept DSLR “will take some time” and did not give an estimated arrival for the new launch.

While Pentax has now ended production of its K-series of cameras, the announcement does not include other non-DSLR cameras, like the Pentax WG-8 waterproof compact camera and the Pentax 17 half-frame film camera.

You may also like

Browse the best Pentax cameras – or read about buying used cameras as Pentax DSLRs become hard to find new.

OM System has officially brought one of photography’s most recognizable camera names back into the spotlight, and the new OM System PEN is now available to pre-order.

In the US, the camera body is currently listed for $999.99 at both B&H Photo and Adorama, while photographers in the UK can pre-order it for £849 from Wex Photo Video, Park Cameras and London Camera Exchange.

It marks the first camera to be launched under the PEN name since OM System took over the Olympus imaging business – and on paper at least, this looks like far more than simply another retro-inspired mirrorless camera.

The PEN name has always been closely linked with small, beautifully designed cameras, and OM System is clearly keeping that philosophy alive. The new model uses a 20.4MP Micro Four Thirds Live MOS sensor paired with the TruePic IX processor, all packed into a body weighing just 393g with the battery and memory card installed.

There is also a built-in 2.36-million-dot OLED electronic viewfinder, something that immediately makes this new PEN feel like a more complete photographic tool rather than simply a compact interchangeable-lens camera designed around its rear screen. Better still, the body is IPX1 weather-resistant when used with an appropriate weather-sealed lens, bringing another genuinely useful feature to a camera designed to be carried everywhere.

Autofocus also represents a serious step forward. The new PEN features a 121-point all-cross-type phase-detection autofocus system, alongside AI-powered subject detection capable of recognizing people as well as cats and dogs. OM System has even included Starry Sky AF, while continuous shooting can reach an impressive 30fps at full resolution.

Combine that with 5-axis in-body image stabilization, which offers up to 5.5 stops of compensation at the center of the frame, and this suddenly becomes a small camera with specifications that should make it capable of considerably more than casual holiday snapshots. Street photography, travel, family photography and even fast-moving subjects are all firmly within its remit.

What interests me most, however, is how heavily OM System has leaned into getting photographers away from the computer. The camera features dedicated Color and Monochrome Profile Controls that let you adjust the look of your images in-camera, with a front-mounted Profile Control switch providing quick access.

Color profiles allow individual adjustment of 12 colors across 11 levels, while the monochrome controls enable photographers to play with filters, grain, tone, highlights, shadows and vignetting. It feels like OM System understands exactly why cameras with distinctive JPEG looks have become so appealing, particularly among street and everyday photographers who want to create a recognizable look without spending hours processing RAW files afterwards.

There is plenty of OM System’s computational photography technology packed inside as well. The PEN includes Handheld High Res Shot for producing 50MP images, alongside Tripod High Res Shot for 80MP shots, Live ND from ND2 through to ND16, Focus Stacking, HDR and Multiple Exposure modes.

Those features can be accessed using the dedicated Computational Photography button, making techniques that would traditionally require filters, a tripod, or considerable post-production work available directly inside the camera. For a body this compact, that is an impressive creative toolkit – and one that gives the PEN considerably more depth than its simple rangefinder-inspired exterior might initially suggest.

OM System has not forgotten video, either. The PEN can record DCI 4K at 24p and UHD 4K at up to 30p, along with Full HD at up to 60p and Slow & Quick-motion options. There is a 3.5mm microphone input, vertical video support and a recording tally light, while face and eye detection can help keep subjects in focus. But I suspect photography will remain the biggest attraction here.

At $999.99 in the US and £849 in the UK, the new OM System PEN lands in a fiercely competitive part of the camera market, but its combination of compact dimensions, interchangeable Micro Four Thirds lenses, an electronic viewfinder, weather resistance, powerful stabilization and extensive in-camera creative tools gives it plenty of personality. The PEN has always been about making serious photography easier to carry – and this new generation appears determined to keep that idea very much alive.

I recently wrote about how crap cameras are being snapped up in droves by a younger audience. This appeared to confirm image quality was no longer the be-all-and-end-all when seeking a dedicated capture device, as opposed to a smartphone.

While its toughened snapshot cameras have found fans in families with children and action shooters wanting a waterproof option, Ricoh cameras have typically been more closely associated with photography specialists than generalists.

Its GR1 camera from 1996, to choose one pertinent example, was a portably lightweight 35mm film compact. Its portable size, no-nonsense design and robust magnesium alloy build, complete with 28mm f/2.8 lens, made it a favourite of street and travel photographers wanting an alternative to a bulkier SLR set up.

Image quality was the aspect that most impressed. It delivered high contrast, detail-rich results for almost a decade before its GR Digital successor arrived in 2005. That it took almost ten years to be replaced highlights just how highly photographers rated it. Ricoh only stopped servicing the GR1 in 2014.

So, it’s no surprise that the digital GR series was well received in its wake and continues to be so. Successive iterations, including even more specialised black and white capture-only spin-offs, are currently bagging multiple placings in top ten camera sales listings, edging aside the likes of Canon and Nikon.

While we’re constantly told by industry watcher CIPA that the fixed lens compact is the only camera category still growing, I can’t imagine the same youthful Gen Z audience that is snapping up cheap and cheerful point-and-shoots is routinely adding a prosumer-grade GR camera from Ricoh to their online basket.

Instead, I’m encouraged and believe there’s still a large enough number of true photography enthusiasts wanting something portably compact, which doesn’t compromise on image quality, to propel Ricoh GR cameras to the top of the best seller lists.

What was once considered niche or specialist, has, in a shrinking market, risen to the top. Or something near it. Japan’s financial institution Nikkei recently reported Ricoh had boosted its camera market share from 0.8% to 2.1%, with its 210,000-unit sales triple that of the previous year.

The GR series’ unassumingly boxy design and serious all-black finish may not be as flashy as the Fujifilm X100IV, but for street photography, it’s the more sensible option.

I’m looking forward to seeing more of Ricoh’s recently teased 40mm f/2.8 GR IVx compact, promising a 25.74MP APS-C sized sensor, when it arrives at the back end of this year. Such spec will tempt photographers looking for something with a viewpoint sufficiently close to human vision for street photography. As well as highlighting that not all digital compacts need to be plastic-y, low-res toys to find favour in challenging times.

Ricoh also gives credence to the belief that sometimes by specialising, rather than attempting to be all things to all men, you can generate just as much, if not more, success.

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 up to $557.44 on camera and lens bundles!

The Sony A7 V + Basic Bundle is now $2,924 – Save $207.38 off the original $3,131.38 price.

The Sony A7 V + 50mm f/2.5 G + Basic Bundle is now $3,572 – save $207.43 off the original $3,779.43 price.

The Sony A7 V + 24-105mm f/4 G OSS + Basic Bundle is now $3,922 – save $557.44 off the original $4,479.44 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

In my heart of hearts, I knew that the OM System PEN wasn't going to be a named successor to the Olympus PEN-F. But while it doesn't carry the "F", this new PEN is absolutely a spiritual successor to the PEN-F. And in every way possible – perhaps including its looks – it's a better camera.

I know that OM System can be a tough sell for some people, so let's quickly take an objective look at what the OM System PEN offers for the price.

For just $999 / £849 you get a camera that's weather-sealed, has in-body image stabilization (IBIS) and an electronic viewfinder (EVF), is loaded with pro features like 30fps Pro Capture, has computational photography tools like simulated ND filters (Live ND) and 80MP High Res Shot, has algorithmic autofocus (including astrophotography) and packs a stack of film-inspired picture profiles.

On top of all that, the OM System PEN is one of the best-looking retro cameras on the market. Seriously, aside from a sensor size prejudice, what's not to like about it?

Okay, there are a couple of things – like the 8-bit video, though honestly this is a stills-first camera to its core – but overall this is a frankly obscene amount of firepower in a camera that's sublimely small and effortlessly cool.

Take a look at my quick guided tour of the camera:

OM System PEN: Specifications

OM System PEN: Price & availability

The OM System PEN will be available in both silver and black in late September / early October with a price tag of $999 / £849 / AU$1,499 body only.

It will also be available in a bundle with the new, weather-sealed OM System M.Zuiko 14-42mm f/3.5-5.6 III kit lens (a 28-84mm equivalent) for $1,099 / £949 / AU$1,799.

In the US and Australia, a double-lens kit that adds the M.Zuiko 40-150mm f/4.0-5.6 R lens (80-300mm equivalent) will also be available for $1,299 / AU$2,099.

For reference, Fujifilm's cheapest body with weather sealing, IBIS and an EVF is the Fujifilm X-T5 at $1,999 / £1,699, while Canon's cheapest is the Canon EOS R7 at $1,649 / £1,449. (Call me churlish, but I'm discounting the Panasonic Lumix G97 due to its primitive contrast-based AF system.)

OM System PEN: Build & handling

The OM System PEN is almost identical in size to the PEN-F, with handling that's very familiar all-round – from the rangefinder-like positioning of the EVF on the left shoulder to the presence of the Profile Control switch on the front.

While it doesn't boast the same premium heft and construction as the PEN-F (as in, don't expect a single block of milled aluminum), in the hand it drives much as the F did – only this time you have the benefit of IPX1-certified weather sealing and operation in environments from 32°F / 0° to 104°F / 40°C.

Another big upgrade from the PEN-F is the presence of a dedicated memory card door on the side of the body – rather than stowing the card in the battery compartment, which these days is a mark of entry-level cameras.

Another upgrade for many, and something that has been adopted from the Olympus PEN E-P7 (a brilliant 2021 camera that was only released in Europe), is the repositioning of the power switch to the right-hand side of the top plate.

This makes it possible to turn on and operate the camera one-handed, for quickfire street shooting – or, as my friend Emily from Micro Four Nerds calls it – "Festival Mode". I personally never use a camera this way, but I know how important it is for a lot of photographers.

Also making its way across from the E-P7 is the aforementioned Profile Control switch, rather than the full Creative Dial from the PEN-F.

This is a simple flip switch that enables you to access the picture profiles menu while shooting, giving you access to the Color and Mono profiles, along with Color Profile Control and general recipe settings. (The Creative Dial offered dedicated positions for Color, Mono, Art (Filters) and CRT – the Color Creator / Profile menu.)

The battery compartment at the bottom contains a brand new battery design for OM, the squat (almost square) BLS-7. CIPA rates the battery as good for 410 shots (or 80-130 minutes of video), but I've got well over 600 shots out of a battery before recharging.

OM System PEN: Performance

The OM System PEN embodies everything that I've always loved about the PEN family, dating all the way back to the original E-P1 in 2009 (which was Olympus' first ever mirrorless camera).

It's a quick, nimble camera with agile autofocus that enables you to react instantly to the world around you. Paired with the compact new M.Zuiko 14-42mm f/3.5-5.6 III kit lens, it's a weather-sealed and near-pocketable marvel – making this a truly take-anywhere, shoot anything, whatever the weather setup.

True to the PEN ethos, "as simple as pen and paper", this camera can be used as a straight-up point-and-shoot; stick it in auto or semi-auto and it's a fire-and-forget snapper that gives you great results. But the more you investigate the many magic tricks up its sleeves, the more you realize what a creative powerhouse this thing really is.

Like Fujifilm cameras, the OM System PEN is loaded with film-inspired picture profiles and a slew of Art Filters. So, if you want to level up your images, you can enable a profile or filter and effectively "pre-produce" your image – giving you gorgeous JPEGs, straight out of camera, with no need to tinker in post production.

Want to jazz things up even more? You can fine-tune these profiles or dive into the Color Creator to customize the presets or make your own photo recipes.

You can even upload and share these using the OI.Share app (which, for my money, is the best companion camera app on the market if for no other reason that it actually works – and is brilliant for transferring files and remote shooting).

Want to get even more creative? Use the CP button to unlock a suite of computational photography features, including Live ND – a software-powered set of neutral density filters, enabling you to shoot long-exposure movement shots without the need for physical lens filters.

Or how about High Res Shot mode, which enables you to capture 80MP RAW images for those moments when you want hyper texture and detail – but without being bogged down by the everyday bulk of a medium format camera.

Experiment with in-camera focus stacking, shoot a spot of astrophotography with Starry Sky Autofocus, try light painting with Live Composite, shoot fast action like a professional with 30fps Pro Capture (which records the 12 frames before you fully press the shutter, so you never miss the magic moment)…

There is so much creative potential packed into the OM System PEN that you will become a more versatile and more adventurous photographer almost by osmosis.

But there are, of course, some limitations. The biggest one, as is ever the case with OM System and Olympus cameras, is the resolution; while Panasonic has graduated to 25MP sensors, OM is still using trusty 20MP affairs (for reference, this is the same one found in the OM-5 Mark II).

Personally, this makes no odds to me. As I've said before, ad nauseum, this is more than enough resolution for anything shy of larger physical prints; I have magazine covers and double-page spreads shot on 20MP and even 16MP OM / Olympus sensors. And if you do need the extra pixels for printing, High Res Shot gives you 80 million of them.

Really, though, the biggest limitation comes in terms of video; given that this camera uses the OM-5 Mark II sensor, you can only shoot 8-bit video. And while the OM System PEN adds the subject detection AF (for humans and animals) that was sorely missing from the OM-5, it only works for stills – not video.

In short, this isn't a vlogging camera; it's a pretty pure photography camera. If you want to shoot a bit of video for social media, or you need to snag a bit of B-roll, it's ideal – but moving pictures are absolutely secondary to still images. But make no mistake, those still images are stunning.

OM System PEN: Sample images

OM System PEN: Lab tests

While we've put the OM System PEN through our battery of lab tests, we are currently unable to process the results (until we can adequately de-crunch OM's newest RAW format).

I will update this review as soon as we've completed the lab analysis.

Until then, given that it uses the same sensor, you can probably expect the same ballpark performance as the OM System OM-5 Mark II's lab results.

OM System PEN: Verdict

I've been waiting half a decade for this camera; it's the first new member of the PEN family since the E-P7 launched way back in 2021 (which, incidentally, was also the first camera released after OM System splintered off from Olympus).

Some will opine that the OM System PEN isn't a PEN-F II. And I hear that, because few people wanted a PEN-F II more than me. But I'll be absolutely honest – this camera pretty much is a PEN-F II in everything but name.

The image quality is better. The stabilization is better. The autofocus is leagues better. The video, while limited, is also way better. It's IPX1 weather-sealed. And it's stuffed to the gills with clever computational features.

Heck, it's arguably better looking, too – though I'm sure plenty of people will pick a fight with me over that one.

Truthfully? There is now precisely zero reason for me to pick up my PEN-F. This new PEN does everything the F could, just bigger, better, more.

In terms of function, this camera feels a lot like the OM-5 Mark II – though I'd argue that the PEN is actually better thanks to the addition of the Profile Control switch and especially subject detection autofocus (which was the only real weakness of the OM-5, though it does boasts slightly better sealing).

However, as much as I'm inclined to compare it to other OM offerings, my biggest takeaway is actually how the OM System PEN compares to the Panasonic Lumix L10. And I should preface this by saying that I love shooting with the L10.

But the PEN is smaller and lighter. It's weather-sealed. It has IBIS. It's got dual exposure dials. In other words, it ticks all the boxes that the L10 missed – and of course, you can also change the lenses. Sure, the L10 absolutely annihilates it for video, but let's be real – nobody is buying the Lumix primarily for video, and the same is true of the PEN.

I would argue that anyone considering the L10 would be better off (quite literally, where cash is concerned) opting for the PEN. Not only does it offer acres more creative capacity, you'll also struggle to outgrow it – unlike the Lumix, which will leave you wanting the moment you fancy trying macro or telephoto photography.

The OM System PEN is the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists.

The popular retro Olympus PEN series is entering its OM System era. The OM System PEN is a compact mirrorless camera mixing the PEN legacy with simple controls and a design that’s small enough – and durable enough – to want to carry every day.

The OM System PEN, announced on September 09, carries the same unstacked 20.4MP Micro Four Thirds sensor and TruPic IX image processor as cameras like the OM-5 Mark II, but revives the longtime favorite PEN series with its retro, rangefinder-inspired design and yet sits on the more affordable end of OM System’s lineup.

Take a look at a guided tour of the camera:

The PEN has an unusual mix of stabilization and weather-sealing for the price

Price-wise, the PEN slots in between the Olympus OM-D E-M10 Mark IV and the OM System OM-5 Mark II, making the new camera one of the brand’s most affordable options, second only to the last remaining camera to carry the Olympus name.

Priced at $999 / £849 / AU$1,499, the OM System PEN brings two features that are difficult to find in this price bracket of mirrorless category: weather-sealing and in-body image stabilization.

The OM System PEN isn’t just weather-sealed but rated as IPX1 splashproof. That rating isn’t as robust as the IP53 rating for most of OM System’s higher-priced cameras, but weather-sealing is rare among budget-priced cameras and rarer still to come with an official IP rating. The IPX1 rating means the camera is rated to withstand rain (but not water spraying from every direction), while the X means that the camera wasn’t tested for dust resistance.

The OM System PEN also houses a stabilization system rated for 5.5 stops.

Weather-sealing and stabilization are arguably the two biggest features that OM System is known for, as the camera brand has positioned itself as an outdoor camera brand in the wake of the split from Olympus. With the launch of the PEN, even the cheapest mirrorless camera that carries the OM System name has those two features.

Finding both stabilization and weather-sealing in a mirrorless camera under $1,000 is hard to do without picking up an older or used model – though not impossible. The similarly priced Nikon Z50 II is weather-sealed but doesn’t have IBIS. Canon’s cheapest mirrorless with both weather-sealing and IBIS is the EOS R7 ($1,499 / £1,349 / AU$1,799); Sony’s is the A6600 ($1,399 / £1,450 / discontinued in AU), and Fujifilm doesn’t get to both features until the X-T5 ($1,699 / £1,399 / AU$2,699).

The biggest competition to the PEN for bringing both stabilization and weather-sealing is fellow Micro Four Thirds camera maker Panasonic, which offers five-axis sensor-shift stabilization with splash and dust seals on the Lumix G97 at about $850 / £899 / AU$1,499 with a lens.

The OM System PEN is the first in the PEN series to include weather-sealing, a move that makes a lot of sense for what the camera is meant for. OM System is targeting this camera both towards beginners and photographers looking for an everyday carry camera – and it’s hard to carry a camera every day if that camera can’t withstand a little rain.

The OM System PEN still maintains a gap between the brand’s next camera up in the lineup – the OM-5 Mark II – however. The OM-5 Mark II has better IP53 weather-sealing and up to 7.5 stops of stabilization, but also faster performance at 10 fps with a mechanical shutter to the PEN’s 6 fps. The PEN’s electronic shutter can also reach 30fps, but focus is fixed on the first frame.

Both the PEN and OM-5 Mark II share a 121-point autofocus system, though the PEN also has pet and human eye subject detection (albeit in stills only).

The OM System PEN keeps a retro but easy-to-use design

Like earlier PEN cameras, the newest addition to the series uses a viewfinder that’s placed off in the corner, rangefinder-style rather than the SLR-style centered placement. While the camera favors a retro design, the dials and controls are geared more towards simplicity and usability, featuring a more traditional mode dial. OM System describes it as “a timeless design for the joy of photography.”

But, like earlier digital PEN cameras, the 2026 PEN still has a dedicated control dial for creative control to easily switch between different color or monochrome looks. The PEN has the same color profiles as the OM-3, including the ability to customize different looks, but OM System is also launching an update to the OI.Share app that allows tweaking color recipes in the app and uploading to the camera – including creating new recipes based on an inspiration photo.

The PEN’s touchscreen is tilt-capable and includes a selfie mode that triggers shots with the touchscreen when flipped forward.

Alongside weather-sealing and stabilization, computational photography remains a big push for OM System, and the PEN features a dial just for those modes as well, including high-res mode, live NDs, and focus stacking. Additional modes, such as multiple exposures, are available inside the camera’s menu.

The OM System PEN is more geared towards stills, but the camera does offer 4K shooting, both vertical and horizontal videos, and the wider dynamic range modes OM-Cinema1 and OM-Cinema2, along with supporting the same creative controls for stills for shooting video.

The Olympus PEN series has long been a favorite among retro camera fans, spanning both the original film camera in 1959 to modern digital options like the 2016 Olympus PEN-F. The OM System PEN aims to pay homage to that inspiration as a camera that’s beginner-friendly, but that more serious photographers may want to reach for as a compact, everyday carry camera – and the weather-sealing and stabilization mixed with the retro design will go a long way towards those goals.

The weather-sealing makes the new OM System PEN slightly thicker than the PEN F, but the mirrorless still comes in at a compact 43.4mm depth and a lightweight 393g – including a new battery that’s rated to 410 shots.

The OM System PEN is expected to begin shipping in late October in the US, or late September / early October in Europe, along with the newly announced kit lens, the M.Zuiko Digital 14-42mm f/3.5-5.6 III.

Pre-orders have already opened at several retailers. The camera, available in black or silver, retails for $999 / £850 / AU$1,499.99 / CA$1,399 body only, or $1,099 / £999 / AU$1,799.99 / CA$1,549 with the kit lens. In North America, the camera will also be offered in a two-lens kit for $1,299 / CA$1,799 with 14-42mm and 40-150mm lenses.

You may also like…

Take a look at the best retro cameras or the best Micro Four Thirds cameras.

It’s like I always say: “You can’t put a good full-frame DSLR down!” Despite mirrorless cameras dominating the interchangeable-lens market, people are still buying up full-frame DSLR cameras. And while many have disappeared from the shelves of official retailers completely, a select few stalwarts are still available to buy new.

And it’s not hard to see why. The best DSLR cameras are reliable and of high quality, and in the case of Canon and Nikon especially, they open you up to a veritable smorgasbord of used lenses that you can pick up for some very low prices indeed. If you’re a photographer on a budget looking for a decent lens platform, a full-frame DSLR may still be the way to go.

It’s true that a lot of DSLR tech now lags behind mirrorless offerings, such as burst speeds, autofocus and video, but provided you’re happy with the resolution, image quality has remained largely unchanged, and plenty of full-frame DSLRs boast premium pro-grade features such as extensive weather sealing and optional battery grips.

Personally, if you’re working on a budget and want to pick up a full-frame DSLR, my recommendation would be to visit a reputable used retailer such as KEH (US), MPB (US/UK) or LCE (UK). That’s because even very good condition used DSLRs tend to be a lot cheaper than new retail prices.

What full-frame DSLRs can you buy new?

I decided to look at US retailer B&H Photo and UK retailer Wex Photo Video to find out what full-frame DSLRs are still available to buy new, and I was surprised by the choice.

Even though some of the models, such as the Canon EOS 5D Mark IV and Nikon D750, have been officially discontinued, stock is still lingering on shelves in some cases. My own personal favorite DSLR of all time is the Nikon D850, a camera I used to own and in my mind – and in the mind of many others – one of the greatest cameras ever made.

Ultimately, we really are in the twilight years of the DSLR. As it stands, Pentax remains the last bastion of modern DSLR development, with both Canon and Nikon having quietly shelved DSLR development in favor of a mirrorless future. Still, if you’re a stills photographer first and foremost and don’t need all of the cutting-edge tech, you could do a lot worse than a full-frame DSLR and a good set of compatible lenses.

You might also like...

Want more camera buying guides? Take a look at the best Canon cameras and the best Nikon cameras, as well as the best Pentax 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 Park Cameras let you save up to £1,448.90.

The Sony A7 V + 24-105mm f/4 G OSS is now £3,399 – save £329 off the original £3,728 price.

The Sony A7 V + 24-70mm f/2.8 GM II is now £3,999 – save £699 off the original £4,698 price.

The Sony A7 V + 70-200mm f/2.8 GM II is now £4,399 – save £799 off the original £5,198 price.

The Sony A7 V + 50-150mm f/2 GM is now £5,699 – save £519 off the original £6,218 price.

Deals

Offers

• Eligible for £200 Trade in Bonus : Trade in any Interchangeable Lens Camera and get a £200 bonus. Click here to get your quote
• 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

APS-C vs full-frame is a tale as old as time, and as a photography journalist, I’m definitely guilty of stoking the flames. But recently, I watched a YouTube video from a fantastic creator called Cam Mackey, and he simplified the whole debate into two words that have stuck in my mind ever since: “different looks”.

On a shoot where he was comparing the Leica M11 and Fujifilm X100VI, he talked about the different formats. Granted, he did acknowledge that there’s a big difference between the two, stating: “people out there that say: “Oh, full-frame vs crop sensor, it doesn’t matter,”” agreeing that in some cases it doesn’t, before continuing, “But those same people will also say: “Oh, medium format’s superior to full-frame””.

And as a predominantly full-frame photographer, I’ve definitely heard that argument time and again. But here’s the real thing I took away from the video: “So, you definitely get different looks, and you get different image quality, and you get a whole different feel from each sensor size.”

I absolutely love this sentiment. It’s such a simple way to think about sensor size, but creatively, it’s a healthier way than simply dismissing one or the other as better or worse. After all, they do supply you with different looks and different advantages. That’s why different sensor sizes exist – variety is the spice of life!

APS-C vs full-frame

The biggest difference between an APS-C image and a full-frame image is the crop factor. If both images are shot with the same lens, in the same position, with the same exposure settings, the APS-C image will appear zoomed in. If you cropped the full-frame image down to the exact composition of the APS-C image, it will look identical.

A big difference you usually hear people talk about is that full-frame cameras will give you a shallower depth of field and APS-C cameras will compress the image. But technically, an APS-C camera doesn’t produce a larger depth of field, nor does it produce more compression. The perceived difference is simply due to the crop factor.

Use the same lens on both bodies, and you’ll have to get closer to the subject with the full-frame camera, producing a shallower depth of field. And due to the cropped field of view on the APS-C camera, the image might look more compressed at a glance, but if you cropped a full-frame version of that image to the size of the APS-C image, the compression would look identical.

Another point that I often think about is that a lot of full-frame photographers heavily crop their images. But if you know a photographer uses a full-frame camera, you never question it. Ultimately, there’s no doubting that there’s a different quality to a medium format image, a full-frame image, and a crop-sensor image, but at the end of the day, there are way too many variables to simply crown one better than the other. It’s kind of like ranking the greatest bands of all time: everyone has a different taste in music, even if it's definitely Queen. I digress...

Different cameras for different purposes

There’s a reason why so many photographers end up having multiple cameras with multiple sensor sizes, and that’s because they’re different tools that excel at different applications. A lot of street photographers favor crop-sensor cameras, and a lot of professional portrait photographers favor medium format or full-frame cameras.

In recent years, APS-C has become more and more popular. A lot of this is down to Fujifilm’s excellent selection of X-series cameras. APS-C is also the choice of format for a lot of very popular Instagram photographers, especially those who capture street or travel photography.

So, if you’re choosing between an APS-C and full-frame camera or feel you need to ‘upgrade’ to a full-frame camera, think to yourself: you can still capture incredible imagery on both. At the end of the day, you’re getting “different looks”.

You might also like...

Check out the best Fujifilm cameras and the best mirrorless cameras. Plus, here's the latest camera news.

Nikon silly season is beginning to heat up. As we head into the final third of 2026, the ‘Big N’ has only released two lenses, plus a development announcement for the Nikon Z 120-300mm f/2.8 TC VR S. And with a history of releases in September, October and November, the anticipation is high. So, when Nikon Rumors posts about an “exclusive product presentation” from Nikon UK on September 25 at Grays of Westminster, it’s hard not to get a little bit excited about potential camera rumors.

The event, hosted by Nikon and RED creative, Bruno Murari, is even more curious given that no products are mentioned in the event schedule. What will be on show is simply referred to as “product highlights” or “the products,” which Nikon Rumors has described as "a bit strange" and "cryptic," and I have to agree; it does sound a little coy.

A string of rumors

All of this comes off the back of another Nikon Rumors post that I reported on last week. An Internet sleuth noticed gaps in the schedules of various Nikon Ambassadors, with a series of Nikon events to follow later in September, and theorized that this could point towards a possible product release. Complete conjecture, of course. It wasn’t all that long ago that Nikon Rumors reported on “almost everything” being supposedly delayed until next year, so at this point it’s anyone’s guess.

A release could happen, but it’s far from certain

I keep coming back to the same conclusion: it’s certainly the time of year for a big release, so nothing is beyond the pale. But if the rest of the year is anything to go by, not to mention some less-than-stellar financial results and ongoing market turmoil due to various factors, including Trump tariffs and component shortages. Suffice to say, I’m cautiously optimistic about a major Nikon release this year but heavily tempering my expectations.

You might also like...

Interested in all things Nikon? Check out the best Nikon cameras and the best Nikon Z lenses. Plus, here's the latest camera news.

The big three camera market leaders are Canon, Nikon, and Sony. Now, fresh sales numbers from major Japanese retailer Kitamura are in, and one global player accounts for 50% of the Top 10 best-selling cameras in August 2026, while one brand is nowhere to be found.

According to Kitamura, Sony takes 5 out of the Top 10 spots. Nikon didn't make the ranking with a single camera.

At No.1 sits the Sony A7C II, "recommended for users who want to carry a full-frame camera with them at all times and don't want to compromise on performance," as Kitamura explains. Right behind is Sony's A6700 in No.2, followed by the A7 IV. Sony's latest full-frame release, the A7 V, takes No.6 and the ZV-E10 II comes ninth.

Canon has two models: the Canon EOS R6 Mark II and Canon EOS R6 Mark III, placed fourth and tenth.

OM System and Fujifilm fill the remaining three spots in the sales ranking. The OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit comes fifth; the OM System OM-1 Mark II is seventh, and the Fujifilm X-M5 XC15-45mm Lens Kit is eighth.

Kitamura's 10 best-selling cameras, August 2026

1. Sony A7C II
2. Sony A6700 High-Magnification Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Canon EOS R6 Mark II
5. OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit
6. Sony A7 V
7. OM System OM-1 Mark II
8. Fujifilm X-M5 XC15-45mm Lens Kit
9. Sony ZV-E10 II Power Zoom Lens Kit
10. Canon EOS R6 Mark III

Sony's chart-topping cameras

No.1 Sony A7C II
Kitamura says, "The successor to the A7C, which debuted as the world's smallest and lightest full-frame mirrorless camera. Packed with the latest features into a compact body, it delivers performance that exceeds its appearance."

No.2 Sony A6700
"This kit includes the A6700 camera and the high-magnification zoom lens "E 18-135mm F3.5-5.6 OSS".

"Despite its compact size, this lens can zoom up to the equivalent of 202.5mm, allowing you to shoot a wide range of subjects, including landscapes, snapshots, flowers, animals, and sports, all with just this one lens," explains Kitamura.

No. 3 Sony A7 IV
Kitamura says, "This camera is Sony's most standard full-frame mirrorless camera. With high-precision real-time tracking, it keeps track of your subject, ensuring you never miss a moment for both still images and videos."

No.6 Sony A7 V
"The A7 series has finally reached its 5th generation.

"By adopting a newly integrated partial-stacked sensor and the next-generation image processing engine "BIONZ XR2," it achieves highly accurate AI subject recognition and blackout-free continuous shooting at up to approximately 30 frames per second.

"It is a high-performance camera that is hard to believe is a basic model," explains Kitamura"

No.9 Sony ZV-E10 II
Kitamura says, "This is the successor to the ZV-E10, which has gained popularity as a video camera for shooting vlogs and YouTube videos.

"It features the same BIONZ XR image processing engine as higher-end models, resulting in improved video capabilities and autofocus performance. It's a recommended camera for anyone who wants to shoot cinematic videos."

You might like...

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

Spypoint's Flex-S-Dark isn't the only trail camera on the market to combine a cellular connection and a solar panel built into the case, though the brand was certainly an early pioneer of the design.

And it makes sense – the appeal of the best cellular trail cameras is being able to leave them in a remote location and have clips and images sent to your phone from afar. But that's no good if your batteries keep dying, so a solar panel is there to top up the power – again to stop you having to keep checking and maintaining the camera.

The Flex-S-Dark is the successor to the original Flex-S, and keeps the core chassis, dual-SIM cellular connectivity and built-in solar tech of the original model – but upgrades the unit by adding invisible No-Glow LEDs for nighttime shots and the ability to trigger the camera on-demand from the app, rather than waiting for the next scheduled sync interval.

These improvements make it a real all-rounder, and the Flex-S-Dark sits at the top of Spypoint's flagship trail cam lineup. Its specs also position it at the premium end of the cellular market: 40MP stills, FullHD video with sound and a fast 0.3-second trigger speed.

To me, its main selling point is total hands-off maintenance. The solar panel (in theory) feeds an internal lithium battery to power the camera indefinitely without blowing through batteries, while a pre-installed SIM automatically latches onto whichever mobile network signal is strongest in your local area.

Still, it faces stiff competition from the recently reviewed Browning Defender Pro Scout Max Solar (46MP stills and smoother 30fps FullHD video) and the Tactacam Reveal SK (with a slower 0.5s trigger speed). But while Browning relies on a separate solar panel unit wired to the camera, Spypoint is pitching the Flex-S-Dark as a cable-free, cellular option.

But does it really offer a seamless solar setup and smartphone integration? And is that enough to offset the trade-offs in image specs?

As is usual for my trail camera reviews, I left the Flex-S-Dark camped out in a local UK woodland for several weeks to see how it fared capturing the badgers, foxes, deer and squirrels of the habitat – night and day.

Spypoint Flex-S-Dark: Specifications

Spypoint Flex-S-Dark: Price

The Spypoint Flex-S-Dark is near the top of the cellular trail cam market at about $190 / £220 / AU$550, depending on where and when you shop.

For that higher initial investment, you get a combination that fewer rivals can match: an integrated solar panel with a built-in rechargeable lithium battery and invisible, customizable no-glow dark LEDs.

The closest direct competitors are the Tactacam Reveal X-Pro and the Browning Defender Pro Scout Max Solar (a camera I tried and liked).

Browning’s solar setup offers a higher native image resolution, but comes with a much stricter, cap-heavy video transmission plan (something I really didn’t like). The Tactacam offers reliable cellular connectivity for slightly less money upfront, but lacks an integrated solar panel out of the box.

Some competitors require you to buy solar add-ons separately, but the built-in panel here handles daily charging automatically.

Spypoint also offers a free 100-photo per month plan, which I think makes ongoing costs more optional rather than mandatory if you have fewer triggers. Paid plans scale to $15 / £10 per month for unlimited photos (videos aren't mentioned), which is cheaper than rival Browning.

Spypoint Flex-S-Dark: Design & Handling

Older cellular trail cameras sometimes added bulk and size to house their radios, but the Spypoint Flex-S-Dark has a relatively compact footprint.

The main camera body actually sits slightly lower on a tree trunk than non-cellular units like the Bushnell Core S-4K, though its screw-on antenna at the side adds some extra vertical clearance (and is best removed when the camera is travelling to its location in your bag).

As trail cameras spend most of their lives strapped to trees and posts, not living in a camera bag, I don’t think a few extra grams or centimeters will bother most buyers – and the Flex-S-Dark is still low-profile and easy to tuck into cover.

The unit is clad in a utilitarian matte gray casing, a stark change to the traditional patterned camo print on many trail cams. Obviously, users aren’t all going to be using it in the same location as me.

Still, I found it far more noticeable to a passerby skirting the woodland footpath than other camo-printed models like the Browning Strike Force HD Pro X1080 – and that made me nervous to leave it alone.

To me, the unit feels reassuringly solid for life outside – and it doesn’t have any brittle plastics or rattly latches that I often notice on budget alternatives.

The defining physical feature is its roof-integrated solar panel. Unlike the Browning Defender Pro Scout Max Solar, which has a separate solar panel and runs a trailing wire up a trunk, the Flex-S-Dark builds the solar array into a top sloping face of the camera body.

It’s a clean, wire-free design that eliminates dangling cables that squirrels or weather could damage. You can also drop a tray of eight AA batteries or an optional LIT-22 lithium pack into the bottom compartment as a secondary backup, and this too feels solid.

There’s no button to eject the battery compartment, so it’s a case of yanking it out and back in again – a less smooth and satisfying experience. At the back of the cam, you’ll find a rubber-sealed 12V DC external power jack.

A flexible cellular antenna screw securely onto the side of the unit, and can be rotated and angled through 360° rather than being fixed in place. I found this flexibility practical in the field, allowing me to adjust its angle so it didn't get snagged on nearby branches.

Opening the heavy-duty latch reveals a departure from many traditional trail cam control panels. There’s no LCD screen for framing shots or navigating menus, which helps with keeping the overall size down.

Spypoint has stripped the layout down to a bare-bones interface: a power switch, a battery level indicator, a network signal meter, a format button for the microSD card and a physical Test button.

This minimalist layout meant I could prep in the field is thus: turn it on, wait for the LED bars to confirm cellular connection and format the card. But as ever, not having a screen means mounting the camera is a bit of a guessing game.

To check if the lens is pointed where you want it, you have to hit the Test button, wait for the photo to transmit to the Spypoint app on your phone, check the image and adjust the strap accordingly.

It’s not too much of a hassle during initial setup, as long as you have the Spypoint app set up and don’t leave it until you’re standing out in the rain like me. Once the camera is anchored with the included nylon strap (and excellent clamp), the unit does feel locked down and ready for long-term deployment.

Spypoint Flex-S-Dark: Performance

ABOVE: Sample clips from the Spypoint Flex-S-Dark trail camera

After woodland-testing the Spypoint Flex-S-Dark for several weeks, I’m left feeling both impressed and disappointed. The camera is mostly a reliable, well-connected scouting unit, but its video and stills performance fell short of my expectations.

The dual-SIM connectivity is the camera’s strongest asset. When I deployed it in a mixed woodland, I simply added it to the Spypoint app by adding in a serial code, and it picked up local UK networks without fuss.

The camera will automatically lock onto the strongest available signal without requiring manual configuration and let you know the status of the signal in the app.

There’s built-in GPS, too, which can plot exact camera placements onto an in-app map to help you keep track of camera deployments. Not something I needed, but I can imagine this being very helpful on larger estates and areas of land.

The headline roof-integrated solar panel needs some realistic expectations. When I had it mounted in my open garden with direct summer sunlight, the solar roof kept the internal battery sitting at 100% indefinitely.

Once it was tucked under woodland trees and a few days of overcast weather, the panel generated more than a trickle charge, but the battery status was still listed as High (and showing as full) after a week or so.

Being a cellular trail camera, the Flex-S-Dark required navigating via the Spypoint app.

This offers a really smooth and neat experience, with clear dropdown menus that make it simple to adjust sensor sensitivity, toggle capture modes, or even build weekly operational schedules to pause triggers during high-traffic human hours.

I liked being able to check the remote status tab of the camera from the app’s main screen; it instantly reports on signal strength, storage and levels for the internal solar battery and the backup AA tray.

What’s less pleasing is that setting changes made on your phone don't apply instantly, and updates are applied during the camera's next scheduled cellular transmission cycle.

Spypoint advertises a rapid 0.3-second trigger speed, a metric that applies to still photos. When set to record video, I felt like the camera suffers from a wake-up delay.

In several of my test videos, animals crossing the detection zone were already mostly out of the frame by the time the recording started – noticeably different to the Browning that caught subjects squarely in the center.

The Flex-S-Dark may well boast 40MP photo resolution and 1080p video capture, but like many trail cams, I think these numbers feel (and look) artificially inflated by sensor interpolation and heavy digital processing.

On captures where the woodland was in bright daylight, the scene suffered from highlight clipping and sunlit leaves becoming blown-out. And in flatter, evening light, the color saturation dropped off, giving mid-tones an unnatural yellow-green tint.

In the video footage, which I set to the maximum setting, artefacts are visible in the moving background vegetation, and the low 15fps frame rate created some motion smearing.

The Flex-S-Dark offers you the choice of two flash options: No-Glow for total stealth or Low-Glow, which can be detected but generally ranges further. Using the invisible No-Glow IR array, I was able to capture a foraging muntjac calm and unaware.

However, here the IR beam has a narrow hotspot in the center, rendering nearby foreground brambles as harsh, blown-out highlights. Subjects looked a bit soft and hazy unless they passed directly through the central sweet spot of the frame.

I don't think anyone would buy a trail camera for award-winning picture quality, but I was still left unsatisfied with the hit rate of my triggers – how often animals were blurred, cut off or hard to identify.

Spypoint Flex-S-Dark: Verdict

The Spypoint Flex-S-Dark definitely delivers on the promise of the best cellular trail cameras: easy, long-term deployment.

Its roof-integrated solar panel means no wires or cables to consider, and the multi-carrier connectivity and an intuitive companion app make remote monitoring simple. What takes the model further than competitors is also having those invisible No-Glow IR LEDs (or Low-Glow if you want them) and on-demand app triggers.

But while all this convenience is fantastic, I’m still underwhelmed by the overall image quality. My daylight captures often looked overexposed (where other cameras have handled the same high-contrast woodland scene well) and heavily processed.

And despite the unit's undetectable night flash, uneven illumination created some bright central hotspots that left surrounding areas hazy and prone to motion blur. Fast-moving subjects occasionally slipped past the frame, too.

I thought the camera's app was great – streamlined, responsive and easy to use. It also incorporates Spypoint's Buck Tracker AI species recognition, a feature that automatically scans and tags photos as they arrive.

North American users might appreciate the free antler-detection filter for quickly sorting deer; however, UK wildlife enthusiasts (like myself) will need a paid Insiders Club subscription to unlock tags for other animals or human activity filters.

If your priority is pure set-and-forget utility with long battery and simple app management, the Flex-S-Dark is a highly practical choice.

But for wildlife enthusiasts who want tack-sharp stills good enough to identify individual animals, fluid video clips, or wide dynamic range may find the overall image output underwhelming compared to class rivals.

Alternatives

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

The DSLR market may be dying, but Canon seems to be the camera’s life support right now. While the company has already moved decisively toward mirrorless cameras, new industry figures reveal that it’s still producing DSLRs in surprisingly large numbers.

According to data from market research firm Techno System Research (TSR), published in Toyo Keizai's Company Shikiho Industry Map 2027, Canon produced approximately 580,000 DSLRs in 2025.

That dwarfed production by the other two active DSLR manufacturers, Nikon (which produced 60,000) and Pentax (which produced just 10,000).

Overall, Canon’s figure represented almost 90% of the 650,000 DSLRs produced by the manufacturing triumvirate combined, despite the company's DSLR lineup having shrunk drastically in recent years.

In 2021, the company announced that it would no longer develop new DSLR models – and the only models remaining on sale are the flagship Canon EOS-1D X Mark III, mid-level EOS 5D Mark IV and entry-level Canon EOS Rebel T7 / 2000D.

While Canon recently confirmed the discontinuation of the EOS 5D Mark IV – after the recent TSR data was collated – it’s unclear whether it will stop production of new EOS-1D X Mark III and EOS Rebel T7 / 2000D units any time soon.

After all, Go Tokura, Canon's executive vice president, confirmed to our editor-in-chief, James Artaius, at CP+ earlier this year that the company is continuing mass production of DSLRs while sales remain strong.

However, Canon’s 580,000 figure also represents a substantial decline from the previous year. TSR data puts Canon’s 2024 DSLR production at approximately 790,000 units, a 27% year-on-year fall.

Nevertheless, Canon's continued output demonstrates that the DSLR market has not disappeared entirely – and that there is apparently still enough demand for it to keep production lines running despite its near-total focus on mirrorless development.

TSR's figures are production estimates rather than retail sales or shipments. The company's Digital Still Camera Production Statistics research is published quarterly and tracks camera production by manufacturer and camera type.

You might also like…

Here’s our pick of the best DSLRs, along with the best Canon lenses for DSLRs and the best Nikon lenses for DSLRs.

The Leica M11 might be gone, but I don’t think it will be forgotten anytime soon. In fact, I would argue that the original Leica M11 will eventually be remembered as one of the most important digital M cameras Leica has ever made.

Not necessarily because it reinvented the rangefinder, but because it appeared to be the camera that convinced a much wider generation of photographers to finally take the plunge. For many people watching from the sidelines, the M11 became the camera that started their Leica journey.

When Leica launched the M11 in 2022, it also made a very deliberate attempt to show that an M camera could compete technologically with the best full-frame cameras from Sony, Canon and Nikon.

At its heart was a new 60MP full-frame BSI CMOS sensor, giving photographers the sort of headline resolution normally associated with some of the most technically advanced mirrorless cameras on the market.

Yet Leica being Leica, it did things slightly differently. Its Triple Resolution Technology enabled you to shoot at 60MP, 36MP or 18MP while still using the entire sensor area – meaning you could have maximum detail when you wanted it, without being forced to deal with enormous files every single time you pressed the shutter.

That might sound relatively ordinary today, particularly as the same technology has continued throughout the wider M11 family, but at launch it helped change the perception of what a modern Leica M could be.

This was still the beautifully simple, manually focused rangefinder that photographers had loved for decades, but underneath it was a thoroughly modern digital camera.

There was internal storage, USB-C connectivity, vastly improved battery life and enough resolution to crop aggressively without immediately destroying your image. Leica hadn't abandoned what made the M special; it had simply dragged the digital side of the camera firmly into the modern era.

But I think the M11's biggest contribution had very little to do with specifications.

Around its launch, something interesting started happening online: more content creators, YouTube photographers and prominent photography personalities seemed to be talking about Leica, buying Leica cameras and, perhaps most importantly, showing what it was actually like to live with one.

Suddenly the M-System wasn't being discussed exclusively by lifelong Leica owners and rangefinder devotees. The M11 was appearing alongside Sony Alpha cameras, Fujifilm bodies and Canon EOS models in videos watched by photographers who may never previously have considered spending Leica money on a camera.

The hype surrounding the M11 undoubtedly helped Leica reach a different audience.

Sample images

And I think that mattered enormously. Leica has always carried a certain mystique, but mystique can also create distance. The M11 somehow made the brand feel more accessible without actually becoming affordable.

Watching photographers that you followed online forget about autofocus, pick up an M11 and start talking about slowing down, manually focusing and rediscovering photography created a surprisingly powerful pull. It made people curious.

Some undoubtedly bought into the hype, while others discovered that rangefinder photography genuinely suited them, but either way the M11 seemed to become a gateway into Leica ownership for a new generation.

The standard Leica M11 has now bowed out, with the Leica M11-P becoming the natural successor and taking the same basic formula further with additional refinements. Yet I think the original deserves its own little chapter in Leica history.

There will always be technically important M cameras, and there will always be collectible ones, but the M11 arrived at exactly the right moment, when photography culture was increasingly being shaped by creators, YouTube and social media.

It was the Leica that caused a stir, convinced photographers to jump ship and made an entirely new audience wonder whether their next camera should have a red dot on the front. The M11 might be gone but, for a lot of photographers, it was where Leica began.

You might also like…

Take a look at the best Leica cameras along with the best Leica M lenses for rangefinders and the best Leica SL lenses for mirrorless bodies.

The Kodak Pixpro FZ45 is one of the most popular cameras in the world right now – and with this $10 saving, it's the perfect time to buy one.

Right now you can snap up the Kodak Pixpro FZ45 for just $89.99 – a great Labor Day saving on this cult compact, with a choice of black, white or red.

The Kodak Pixpro FZ45 has been selling like hotcakes as the craze for old-school compact cameras kicks into overdrive.

Whether you're looking for a pocketable point-and-shoot to take with you on trips or vacations, or you're looking to achieve that nostalgic look for your photos on social media, the FZ45 features a "Friendly Zoom" of 27-108mm – great for covering everything from wide-angle group shots and landscapes to getting close up on distant subjects on the street, at the beach or even the zoo.

The camera packs a flash, digital image stabilization, subject detection for faces, cats and dogs, and a 16MP image sensor capable of FullHD video, and a 2.7-inch rear screen with 230,000 dots of resolution.

A great anything, anywhere, anytime snapper!

Check out our full rundown of the best Labor Day camera deals

The role of the Bridge camera used to be a more defined one. Sitting between the compact camera at one end of the digital camera spectrum and the interchangeable lens system camera at the other, it was positioned to combine elements of both.

Today, we’re firmly in the mirrorless camera generation, with the entry-level models providing a similar handling experience but with a generally larger sensor size; it is more of a challenge to see the benefits even the best bridge cameras can bring to the table.

That is before you look at the lens on the Kodak AZ653. The range is huge! There are spotting scopes which might struggle to provide the magnification of the 1560mm equivalent focal length. Mirrorless lenses might be a lot smaller and lighter than their DSLR counterparts, but an APS-C or full-frame-based lens with this kind of range would still be prohibitively cumbersome and expensive.

Therefore, while it may seem that the market for the AZ653 is a lot smaller than it might have been ten years ago, it should still appeal to photographers who want magnifying power on a budget or are considering a superzoom companion for a Safari trip.

Replacing the earlier AZ652, the new model has a very familiar specification; however, so the question is: has enough been changed, improved, or upgraded over the previous model? And can a camera with a tiny 1/2.3in sensor really be taken seriously for advanced photography assignments?

Kodak Pixpro AZ653: Specifications

Kodak Pixpro AZ653: Price

The Kodak Pixpro AZ653 is available in most regions, priced at $449 / £349 / AU$ 750. This positions it as a good alternative to many entry-level mirrorless cameras or smartphones, while providing the same focal range as multiple standard zoom lenses rolled into one.

Kodak Pixpro AZ653: Design & Handling

I’ve always had a soft spot for the design of a Bridge camera, and the AZ653 is no exception. It is like a miniature DSLR. I say that since it was ultimately the DSLR format that influenced the design of most cameras meant for high-end enthusiasts and professionals that came after them.

The Kodak features a pleasantly deep and sculpted handgrip, which allows a firm hold of the camera even if working single-handed. In fact, there are mirrorless cameras around today that are less comfortable to operate than the AZ653.

Despite it being a small camera body, it’s possible to fit all fingers of the right hand onto the grip, without the little finger left hanging. I did feel tempted to allow my little finger to slip under the camera to support it a little better; however, because it’s such a lightweight product, this wasn’t uncomfortable.

Other than the zoom range itself, a standout feature is the control ring around the lens barrel. This not only gives the camera a more professional look, it also allows tactile control of major camera settings, speeding up operation. It works well for the most part, not least because of how familiar it felt coming from an interchangeable lens system. Out of the box, the ring on my sample camera was set to control the aperture value; however, I didn’t find this especially useful, given the limited F-stop range available.

In the case of this camera’s biggest selling point – that mammoth 65x zoom – it made sense to have the ring control the zoom setting. The downside here is that, because the focal length range is so massive, it takes a long time to actually move through it from 24mm to 1560mm. The ring itself is quite stiff, while the electronic zoom mechanism is at times painfully slow to move the lens elements.

It also has a tendency to stop at intervals through the range, often necessitating a pause before resuming the turn of the control ring to kick-start the zoom once again. This really slows down operation, making the setup unsuitable for ultra-fast subjects.

Since the rotary zoom switch around the shutter button is connected to the same electronic zoom motor and works more quickly, there is sadly much less sense in using the physical ring as a zoom control.

The build quality might not win awards, but the AZ653 still feels well made. It’s reassuringly solid, and while it is quite plastic-y, this is in much the same way as many mirrorless camera bodies and lenses do these days, even the higher-end types. As far as sub-$500 cameras go, the AZ653 is decidedly premium in appearance and finish. I particularly like the rubber coating around the viewfinder, which makes it more comfortable when placed to the eye, and the rubberized material wrapped around the handgrip.

It is disappointing that there is no articulated LCD screen. The fixed monitor adds a dated look to the camera, especially since a flip or twist style screen is now seen as a standard feature of most mid-range cameras. To make matters worse, it’s also not touch-sensitive.

I get it, Kodak is trying to keep costs down, but using features like touch focus, touch shutter and even image and menu scrolling have become muscle memory for many photographers, all of whom will be frustrated by being stuck with the scroll wheel and rocker if they are anything like me.

On a more positive note, all of the buttons are well placed, as is the PASM-style mode dial on the top right of the camera.

Kodak Pixpro AZ653: Performance

Ok, so we have to be realistic when setting our expectations regarding the maximum possible quality. In good light, outdoors, the camera is able to produce some reasonably good images. While 20MP isn’t high-resolution by today’s standards, it’s more than enough for A4 prints and social media use. Kodak has also been wise to limit the pixel count on the tiny sensor. The photosites are small enough already, so cramming on 30MP or more just to satisfy the headlines would have likely pushed the image quality too far.

As it is, fine detail starts to suffer above ISO400, especially once the ambient light levels fall outdoors or when shooting in dimly-lit interiors. By ISO3200, files are pretty mushy, although more texture can be extracted from the Raw files than out-of-camera Jpegs, which are subjectively bad across the board, even at the lowest sensitivities.

The integrated zoom lens does actually perform impressively well. I liked the general levels of sharpness, which stayed consistent throughout the (admittedly limited) aperture range. The optics are sharpest in the center of the frame and resolution does fall off heading out towards the corners. There was also a noticeable decline at the longest reaches of the 65x zoom, with blurring of critical detail creeping in from about the top third of the focal range.

Chromatic aberration and distortion are fairly well controlled, as is corner vignetting. This is where the advantages of an integrated lens become clear; many long zooms designed for interchangeable mounts don’t speak so efficiently with the host camera’s digital contributions to aberration correction.

Video fares similarly well. The AZ653 understandably can’t compete with larger sensor cameras like the Canon EOS R5 Mark II, or Nikon Z8, which are now favored by many professional filmmakers over traditional video cameras.

There is the limited depth-of-field control to contend with, introduced by the small sensor, leaving shots with a lot of background detail you must be mindful of when composing your footage. There is also noticeable grain even at modest ISO settings.

You’re also limited to Full HD (1080p), with no provision for 4K. This is likely to bother hybrid content creators who want to capture both still images and B-roll for reels on Instagram and TikTok, particularly those searching for a do-everything camera to take with them on their travels.

The stuttery zoom and autofocus also become a problem when shooting video. On several occasions, the AZ653 lost focus altogether in the middle of a clip, and failed to find it again despite being outdoors in good light, with plenty of contrast to lock on to. Irritatingly, audio is disabled while zooming during recording, most likely to remove the noise created by the motor.

However, with no audio jack or accessory shoe to plug in an external mic, this basically renders the camera useless for video when the subject matter requires reframing mid-footage. There is a USB-C port, so technically you could plug in a wireless receiver such as the one provided with the DJI Mic Mini, but this would also make it impossible to hold the handgrip, located just in front.

Kodak Pixpro AZ653: Verdict

The Kodak Pixpro AZ653 is not a bad camera. As far as entry-level cameras go, it actually represents reasonable value. For less than $500, you’re getting a feature set big enough for most beginners, enough resolution for online use, a sharp lens with an incredibly versatile focal range, and a premium handling experience.

As long as you’re aware of the limitations of the small sensor area, and are willing to accept the poorer low-light performance in exchange for an ultra-lightweight build and form factor, the AZ653 will tick most of the boxes for a reliable travel companion.

That said, some fairly major compromises have clearly been made to keep the cost down. The LCD screen is disappointing, both in the preview quality and the lack of touch sensitivity and articulation. These can be seen as essential features in a camera made for 2026 audiences, and their omission is hard to ignore.

This is also not a camera I’d recommend you buy for video features. It is almost like video was included as a token rather than as an integrated part of the specification. It’s a shame as with provision for external accessories to be used, namely an external mic, the AZ653 would have been a near-perfect vlogging camera: small, discreet, and able to cover almost all subjects you might encounter in an average day.

As it is, the AZ653 seems like a bit of a relic of the 2010’s that has managed to live on well beyond its expected shelf life. However, if you can look past the obvious shortcomings, there is very limited competition for the balance of price and lens reach.

Alternatives

Check out our full guide to the best bridge cameras for other options

If the Panasonic Lumix S1R II has been sitting somewhere near the top of your camera wishlist, this might be the deal that finally makes you pull the trigger.

B&H has dropped the price of Panasonic’s high-resolution full-frame powerhouse to just $2,997.99, down from its usual $3,297.99 price, saving you a very welcome $300. Better still, the camera is currently listed as in stock, so there shouldn’t be any hanging around once you’ve placed your order.

The Panasonic Lumix S1R II is one of those cameras that manages to blur the increasingly thin line between a high-resolution photography flagship and a seriously capable filmmaking tool. At its heart sits a 44.3MP full-frame BSI CMOS sensor, giving landscape, commercial, studio and portrait photographers plenty of resolution to play with, while Panasonic’s handheld high-resolution mode can push that all the way to approximately 177MP when you really want to capture every last detail.

It isn’t simply about resolution either. Panasonic has equipped the S1R II with Phase Hybrid autofocus and impressive subject-recognition capabilities, while the electronic shutter can fire away at up to 40fps. There is also up to 8 stops of in-body image stabilization, making this a surprisingly versatile camera for photographers who might want enormous files one minute and the ability to keep up with faster-moving subjects the next.

Video shooters have arguably got just as much to get excited about. The Lumix S1R II can record 8K video at up to 30p, 4K at up to 120p and 6.4K Open Gate footage, while internal Apple ProRes RAW recording gives more serious filmmakers considerably more flexibility without immediately having to bolt an external recorder onto the camera. That makes the S1R II a particularly tempting proposition if you’re looking for one body capable of handling both demanding stills work and professional-level video production.

At $3,297.99, the Lumix S1R II was already competing in a fiercely crowded part of the full-frame market, but knocking $300 off changes the argument considerably. At $2,997.99, you’re getting a 44.3MP full-frame camera with 8K video, high-speed burst shooting, serious stabilization, and Panasonic’s increasingly impressive autofocus system for less than $3,000. If you’ve been waiting for the right excuse to add the S1R II to your kit bag, I’d say B&H has just given you a pretty good one.

Check out all the best Labor Day camera deals

It’s been a little will they won’t they when it comes to Nikon lately. Just last week I wrote about a rumor claiming big delays across the board, and now Nikon Rumors is back with a more positive tale from the grapevine, surmising some kind of Nikon release in September.

Apparently, a reader has looked into the schedules of various Nikon Ambassadors and found that many of them are free during the week of September 12, but scheduled for Nikon events on September 26. This has resulted in the theory that Nikon could be launching something in mid-September and showing it off later in the month.

The argument is supposedly bolstered by Nikon ambassador Kristi Odom, whose schedule is apparently free in both instances. Kristi is an award-winning wildlife photographer, which has caused the same camera sleuth to surmise that she’d be the perfect pro to test a rumored flagship APS-C camera (Nikon Z70) and the Nikon Z 120-300mm f/2.8 TC VR S (which has already had a development announcement).

While something could indeed be released in September, I’ve been burned by the rumor mill so many times lately, I’m not sure picking apart evidence like the imaging equivalent of Hercule Poirot is particularly helpful. After all, only a couple of weeks ago, everything was supposedly delayed…

And yet, if Nikon is intent on releasing something this year, we are definitely heading into the period where that could happen. You don’t have to be Jessica Fletcher to work out that Nikon has a habit of announcing cameras at this time of year. The Nikon Z6 II, Nikon Z7 II, Nikon Z9, Nikon Zf, Nikon Z50 II, and Nikon Zf Silver were all announced in September, October, or November. Anything later is a bit too close to Christmas, and then that’s the year over with.

As to what Nikon could announce, that’s beyond me. Lately we’ve had rumors regarding a Nikon Z70, fixed-lens full-frame Nikon, and of course, a Nikon Z9 II. I, for one, am still keeping my fingers (and toes) crossed for a Nikon Zfc II. So, take your pick. I’ll keep my ear and magnifying glass to the ground and let you know if more Nikon camera rumors surface.

You might also like...

Check out the best Nikon camera and the best Nikon Z lenses. Plus, Nikon’s monster bridge camera with eye-watering 125x zoom gets firmware update to fix annoying bugs.

Despite the mirrorless camera takeover, DSLRs are still popular with amateur and professional photographers – and Pentax remains one of the few brands keeping the format alive.

Now, however, one of its cult favorite cameras appears to be on the way out. The Pentax K-1 Mark II, a 36MP full-frame DSLR, is now marked as "discontinued" by multiple major retailers in Japan.

While Ricoh has yet to confirm global discontinuation officially, this follows the earlier disappearance of the K1 Mark II 28-105mm lens kit. In the past, Ricoh often hasn't issued a formal announcement; instead, its products just quietly left the market.

While Canon and Nikon moved much of their focus to mirrorless, Pentax always remained a compelling alternative for photographers who prefer the traditional DSLR experience.

Saying this, the brand ended the production of multiple models in a relatively short amount of time. First it was the Pentax K-3 Mark II, followed by the Monochrome version in March 2026.

Current availability & prices

So, for anyone considering a K-1 Mark II, now is a good time to buy a brand-new DSLR rather than relying on the second-hand market, which could become the only option if global stock continues to shrink.

You might also like...

Browse the best Pentax cameras and the best Pentax lenses. Also, take a look at the best DSLRs and the best full-frame DSLRs.

DJI's second offering in the 360-degree camera space is hot on the heels of arch-rival Insta360's X6. In theory DJI is still playing catch up – the X6 represented a 10th anniversary – but this camera has specs which could turn the eye of any 360-degree creator, not least the 10-bit recording across all modes and 1-inch image sensor.

Bringing the same 8K resolution for video as most other 360-degree cameras, there are a few boosts – including a 16K timelapse mode and, excitingly for many, 8K60fps (beating the Insta360 X6's maximum 8K50fps.

There is also some AI introduced in the software, with DJI Studio now including frame interpolation which can create up to 8K/480fps, or 64x slow motion in post, and on-camera AI boosting the night mode to a 'SuperNight 2.0'.

Is this enough to lift the camera to the top of our best 360-degree camera guide (after we've only just put the new X6 there)? Let's see...

DJI Osmo 360 II: Price

The Osmo 360 II launches in a Standard Combo for £509 / AU$929, and an "Adventure Combo" for £639 / AU$1,099. There are no US prices as the product will not be officially sold in the USA.

DJI Osmo 360 II: Specs

DJI Osmo 360 II: Build and handling

The Osmo 360 II doesn't feel a million miles away from its predecessor in design, a squarer and more boxy design than Insta360's despite the recent ensquarification of the X series with the new shorter X6.

The case design features have changed a bit on closer inspection though. There is a bigger microphone guard on the 'front' (the side without the display) of the camera, and the case appears to be screwed together.

The rugged plastic is also an even darker black, whereas the Osmo 360 (1) had a smooth front – no screws in the corners – as well as a prominent white DJI logo on a very dark gray surface. The new 360 II features a gloss black logo on a matt black background, and it's that bit more black.

The base of both cameras features for contacts for pogo pins in accessories, and the standard DJI action camera connector.

The touchscreen side has also changed slightly, with red and gray physical buttons below the screens, but in essence we're looking at a camera with back-to-back lenses which have nearly 1-inch sensors. The marketing team tends to refer to them as 1-inch sensors since they are square, and the upshot is that they deliver as much size as a traditional rectangular sensor would in the same circumstances (and, until recently, that is how 360-degree cameras were made – simply losing a significant percentage of the chip's surface area because the optics resulted in their being disused).

Like its predecessors, the camera has replaceable lenses, which should boost its appeal to action camera users.

DJI has also added the option for a double-rotate to initate shooting, which might make a lot of sense to gloved users (winter sports etc.)

DJI Osmo 360 II: Performance

When I powered up both cameras to test, the 360 II was notably faster, although the screen layout – with icons in each corner – seems remarkably unchanged.

Image quality – never really an issue on the previous model – is better here, and it was possible for me to detect evidence of the claimed 14.5-stop dynamic range, especially where light was mixed.

The desktop software still didn't feel as polished as Insta360's tools to me. It was able to find clips and download them, as well as tweak the lens effects, so to some extent I could just be being a stick in the mud.

I must admit that, in my testing (which, admittedly, was in different locations – York for this camera and New York for the X6), I felt that the Insta360 X6's microphone setup had the advantage when it came to operation without a worn wireless mic. This, however, is not a setup many folks should be using!

DJI Osmo 360 II: First Impressions

I've taken the camera out on a couple of trips, both before the final firmware was released, so I cannot offer a full verdict yet – this page will be updated in the coming days.

What I can say is that the camera produces surprisingly good results, and feels as robust as I needed in my hands. I am just as confident about its ability in low light as I am with the Insta360 X6, and I can see that the color science is going to need further examination.

In both cases, the presence of a 10-bit recording mode means that 360-degree video can be used more freely with other professionally graded content, and that should mean 360-degree video can be part of something

It's also pleasing to see that DJI has stuck to the goal of keeping the camera robust

An Instagram photographer with a passion for capturing sun flares has released a Reel along with the rather dramatic caption: “This photo just destroyed my camera's sensor… was it worth it??”

Karna Hansen’s (@karnawesthansen) video has certainly garnered plenty of attention, with 4.3 million views and counting. The picture is an absolute stunner; a perfect ring of flare surrounded by a patchwork of foliage. But did the photographer really destroy their camera in the process?

Karna shot the image on the Fujifilm X100F. The description of the video reveals that the camera does, in fact, still work, but says that “Every time I take a photo like this the camera sensor gets less and less usable.”

In reality, it’s unlikely that the sensor will degrade over time. The real danger is damage happening in the moment, but there are a few reasons why Karna’s compact camera is unlikely to get damaged from a shot such as this.

Firstly, this kind of photography should not be confused with solar eclipse photography, where you’re typically using a long lens that concentrates the sun’s rays onto the sensor, and/or longer exposures, which extend the time harmful rays make contact with the sensor. As such, a solar filter is essential for subjects such as solar eclipses and solar flares.

But Karna’s sunburst is taken at a wider angle, so the sun is smaller in the frame, and the exposure would probably have been fairly quick. In all likelihood, the camera’s sensor is in very little danger. That said, I don’t mind a little hyperbole in this instance, because it’s no bad thing to warn others of the harmful impact the sun can have on your camera.

Ultimately, the longer your camera is exposed to the sun, the more you risk damage. If you’re using live view or a mirrorless camera, where the shutter curtain is open, damage can occur even if you’re not taking a photo. And yet, as somebody who’s shot plenty of sunbursts and portraits with sun flare, I’ve not ruined a camera yet.

One other thing you must always be wary of is how to protect your eyes when pointing your camera towards the sun. The Fujifilm X100F sports Fujifilm’s Hybrid Viewfinder, which means it can be used as an electronic viewfinder and an optical viewfinder. When photographing the sun, it is imperative that you never look at it through an optical viewfinder, as this could seriously damage your eyesight.

You might also like...

Want more sunny tips and tricks? How to create portraits with flare. Sunbursts and starbursts: shoot stunning sun flare photography. Cheat at photography: create realistic lens flares in Photoshop.

If you've been thinking about getting into full-frame photography or becoming a Sony shooter, this is the deal I wish I'd found some time ago.

The Sony A7 III is now available for $1,698 at Adorama – you save $300 off its original price of $1,998 AND get three free accessories worth $409.90!

I've used the Sony A7 III for years now, and honestly, it's a great camera.

When I wanted to get into full-frame photography, the Sony A7 III covered all my needs and still does. Coming from Nikon, I wasn't sure how I'd vibe with Sony, but the A7 III quickly won me over.

What also sold me on switching systems was getting access to Sony's full-frame E-mount system – one of the most diverse lens ecosystems out there. Whether it's native Sony glass or third-party options like Sigma and Tamron, the variety is massive, both in function and price.

Specs-wise, the A7 II still holds its own: 24.2MP back-illuminated sensor, excellent high ISO performance for low-light shots, built-in 5-axis stabilization, and sharp 4K video. It also boasts a solid 696-point autofocus system with face and eye detection – not the newest algorithm, but definitely still dependable when snapping subjects on the move.

Sure, newer models, like the Sony A7 IV and now the Sony A7 V, offer some upgrades, but come with a hefty price tag – often nearly double what the A7 III costs.

I've dragged this camera through multiple countries, traveled with it, explored bustling cities, and even captured sharp action shots at the Isle of Man TT – and if you know anything about these motorbike riders, you know they're insanely fast. So the A7 III's AF system, portability, and overall reliability have been put to the test!

You may also like

Browse the best mirrorless cameras, the best full-frame cameras, or the best compact full-frame cameras

One of the key pieces to Sony’s mirrorless success is the speed made possible by the world’s largest sensor manufacturer’s stacked designs. But while Sony makes stacked sensors for full-frame mirrorless and stacked one-inch sensors in cameras like the RX10 V and RX100 VII, Sony’s APS-C mirrorless lineup skips the layered sensor built for speed.

Fresh reports are circulating that Sony’s sensor division is working on a 26MP APS-C stacked sensor. While Sony has yet to confirm the existence of such technology, the report is fanning the flames of rumors for potential new cameras such the Sony A6900 or a cinema-grade APS-C camera like the Sony FX30 II.

Sony’s stacked shutter design is the reason why cameras like the new Sony A7R VI can shoot at 30fps and 67MP when high-resolution cameras have traditionally been far slower than lower-resolution models.

The stacked design isn’t relegated only to Sony’s high-end mirrorless cameras either, with the layered sensor design also popping up in cameras like the RX10 V bridge camera and the RX100 VII compact camera – not to mention the stacked sensors inside some Sony smartphones. In fact, Sony first brought a stacked one-inch sensor to compact cameras in 2015.

Ten years after bringing the stacked design to compact cameras, I think it’s a fair question to ask when Sony could fill the gap between compact and full frame with an APS-C sensor.

Stacked sensors give the imaging chip dedicated layers for memory in order to speed up processing times. The result is faster burst speeds for stills and faster video frame rates.

Such an upgrade would make sense for the theoretical update to the A6700, as Sony’s more advanced stills-focused APS-C model is a good budget option for genres like sports and wildlife. But the rumors are calling for Sony’s upcoming sensor to be 26MP, which wouldn’t offer a resolution boost over the current model.

Without confirmation from Sony, it’s unclear if the brand’s next mirrorless camera could feature a stacked sensor design. Sony is the world’s largest sensor manufacturer, and even if the rumored sensor exists, there’s still a good chance that it isn’t destined for one of Sony’s mirrorless cameras.

But, having used the Sony a6400 as a budget birding camera and having also shot with the A7 V and A7R VI, I would love to see Sony’s stacked sensors come to the A6000 series.

You may also like

Take a look at the best Sony cameras or the best Sony E-Mount lenses.

The secret is out: in an abnormally revealing teaser, OM System has revealed that a new compact, retro mirrorless camera is coming on September 09. But while the teaser has longtime fans hoping for a revival of the beloved PEN F series, the upcoming launch comes at a time when reports suggest the company’s mirrorless sales have dropped.

In a teaser revealed earlier this week, OM System shared a glimpse of the back and top sections of what looks like a retro, compact mirrorless camera. The first teaser revealed far more than most, without using the usual tactic to cast the camera in shadow. The rangefinder-style viewfinder had many fans hoping the camera is a refresh of the long-requested PEN series.

Then, a second teaser seemed to hint at a PEN legacy even more, displaying the 1959 Olympus PEN and the 2009 PEN E-P1 (the brand’s first digital mirrorless).

The teased camera will be the brand’s first major camera launch of 2026, as the company hasn’t launched a new model outside of the specialized OM-3 Astro and OM-1 Mark II Infrared. While it’s not unusual for OM System to launch only one camera a year, the teaser comes as the company is facing a sales slump.

OM System isn’t a publicly traded company, so unlike Canon, Nikon, Sony and Fujifilm, there’s no publicly available insight on the company’s sales and profits. But a recent report in Japan suggests that the company’s camera sales have dipped by 10,000 compared to last year, with an operating profit in the red to the tune of -¥1.6 billion – about -$9.9 million / -£7.4 million / -AU$13.9 million.

That echoes an earlier industry report ranking Japan’s top camera brands by the number of cameras shipped, which also said that OM System shipped 150,000 cameras, a drop of about 10,000 compared to the year before. That list showed Ricoh overtaking OM System, but more due to Ricoh’s sales numbers tripling, likely due to the popularity of the Ricoh GR IV series.

OM System has used a 20MP sensor on its Micro Four Thirds line since 2016, moving through two sensor variants with the same resolution in the past decade. While OM System says sensor development is ongoing, the company has focused on building rugged, outdoor cameras taking advantage of the Micro Four Thirds' more compact designs, well-loved stabilization system, and the brand’s computational photography prowess.

If the teased camera is in fact a refresh of the PEN line, I can see such a camera boosting the brand’s camera sales, regardless of whether or not the upcoming launch still uses a 20MP sensor. The PEN series is well loved, yet the last time the company launched a PEN with worldwide availability was still in the company’s Olympus days, back in 2020. (The Olympus PEN E-P7 launched in 2021, but was limited to Asia and Europe.)

Regardless, I think OM System fans are eagerly awaiting whatever’s next on September 09.

You may also like

Browse the best micro four thirds cameras.

If you love shooting the DSLR way, the Nikon D850 is a full-frame camera that truly delivers – combining high resolution, impressive speed, and incredible value.

And right now, the Nikon D850 with AF-S 24-120mm f/4 G kit zoom has dropped to a new low price of £2,199 – that's a saving of £600.

This full-frame DSLR powerhouse offers 45.7MP resolution and up to 9 fps – ideal if you are a pro or serious amateur. With its versatility and speed, the D850 is perfect for a wide range of photography styles...

Now, let's talk about why the Nikon D850 is such a big deal. Beyond this great price, it's a versatile powerhouse made for all kinds of photography and videography – nature, landscapes, weddings, fashion, sports – you name it.

The camera's performance is so broad that it can easily handle nearly any shoot you throw at it. The only thing holding it back from being a top-tier 4K filmmaking tool is its contrast-based autofocus in live view mode.

Designed with professionals in mind, the 45.7MP D850 also has a strong following among serious amateurs. With this deal, it's a chance to get a professional-grade Nikon DSLR without breaking the bank.

Its closest rival from Canon, the EOS 5D Mark IV, is solid – but the D850 beats it in resolution, shooting speed, and full-frame 4K video. And with this deal, you're getting an old-school pro-level camera for a fraction of the list price.

Scientists use camera traps to capture all sorts of wildlife footage – and this time, they’ve recorded a feisty standoff between a big bobcat (Lynx rufus) and an adult Eastern diamondback rattlesnake (Crotalus adamanteus) in Florida.

And while the footage was recorded on grainy trail cams, it looks more like an epic Godzilla vs King Kong battle that you’d see on the big screen.

The photos were taken in 2022 as part of a survey documenting mammal attacks on reptiles, with the ravenous assault unfolding over the course of 38 different frames.

The folks behind the study – researchers from the University of Florida – later published that, in the first few frames, the bobcat surprisingly approaches the snake before biting and clawing at its tail, body and head.

Subsequent images captured on the Bushnell Core trail camera show the results of the vicious attack, with the overturned rattlesnake bearing wounds to the head, midbody and tail. The scientists noted that the rattlesnake did try to retaliate, albeit unsuccessfully.

While rattlesnakes are dangerous to bobcats because the wild cats lack immunity to snake venom, bobcats are equally dangerous to rattlesnakes because they combine lightning-fast reflexes, paw-slapping tactics and precision biting.

According to the researchers, large reptiles such as rattlesnakes often occupy the top of trophic webs (interrelating food chains) and adult mortality through predation is rare.

They explained that because many large reptiles are long-lived, the loss of reproductive adults can have wider implications for species populations. As such, the camera trap footage comes as important documentation of this phenomenon.

What a showdown between a killer kitty and a savage snake, although I really wasn’t expecting it to be such a one-sided affair. Hopefully, these scientists can upgrade to HD camera traps in time for the next royal rumble.

You might also like…

Here’s our pick of the best cameras for wildlife photography.

Fujifilm has built a reputation for retro-styled yet compact designs – and the brand's efforts have not gone unnoticed. The compact Fujifilm X-E5 mirrorless camera has just won the top APS-C Camera award from the Expert Imaging and Sound Association (EISA) awards, with Fujifilm’s budget-friendly X-T30 III taking home a value-based award.

The EISA awards are an annual call-out to the biggest new cameras, lenses, and sound tech of the year. The 2026-27 awards are headlined by several highly popular models, including the Sony A7 V as the Camera of the Year, its big sibling the A7R VI as Professional Camera, Nikon’s first cinema mirrorless the ZR topping the photo-video category, and the sold-out Panasonic Lumix L10 taking top compact camera honors.

But Fujifilm has taken home honors for both the best APS-C camera with the X-E5 and the “Best Buy Camera,” a category meant to highlight a more affordable shooter, with the X-T30 III.

The X-E5 and X-T30 III sit at opposite ends of the price range for Fujifilm’s APS-C range, but the two mirrorless cameras have a few things in common – a compact, retro-inspired design.

The Fujifilm X-E5 is regularly heralded as the mirrorless twin to the viral X100VI compact camera when paired with its compact pancake kit lens. The X-E5 uses a rangefinder-inspired design that places the electronic viewfinder off in the corner, rather than in the center like an SLR. Like the X100VI, the X-E5 boasts plenty of retro dials.

But the X-E5 also gives a dedicated spot for one of Fujifilm’s most famous features: a dial just to swap film simulations. That gives photographers quick access to switch in-camera color profiles.

Inside, the X-E5 packs in the tech that sits inside Fujifilm’s top X-series models: a 40.2MP APS-C X-Trans sensor with the X-Processor 5 and, unlike the X-E4, image stabilization and subject-detection autofocus.

The EISA Awards called the X-E5 “a photographer’s delight for street, travel and everyday shooting.” As someone who has actually traveled with the X-T5, I would have to agree. Working with the mirrorless and the 23mm pancake lens, I could almost forget that I wasn’t shooting with a compact camera.

The Fujifilm X-T30 III, on the other hand, is still retro and rather compact for a mirrorless, but sits as one of Fujifilm’s more affordable choices. The X-T30 III takes on the look of a vintage SLR rather than a rangefinder, but unlike Fujifilm’s cheapest mirrorless camera, the X-M5, the X-T30 III still has a viewfinder.

The budget price shows a little in the specs, with a 26.1MP resolution X-Trans CMOS 4 sensor rather than the fifth-generation 40.2MP option. Still, that sensor’s no slouch – in fact it’s the same one inside my X-T4 that I still use as a pro photographer.

While the X-E5 was a major upgrade from the older X-E4, the X-T30 III feels like a more incremental update. Still, DCW gave the X-T30 III a Recommended badge, as the refreshed budget camera updates the autofocus but not the price point.

You may also like

Take a look at the best Fujifilm cameras, or the best retro cameras.

The pocketable design has propelled the Ricoh GR series into viral popularity – but the line's long-lensed sibling is about to get discontinued as the company makes way for a new model. In one fell swoop, Ricoh announced both the discontinuation of the Ricoh GR IIIx and the development of the Ricoh GR IVx.

The x-numbered compact cameras bring a longer 40mm lens to Ricoh’s popular GR series. With the Ricoh GR IV launched last year, fans have been eagerly anticipating the pocketable camera’s long-lensed sibling – and on August 26, Ricoh announced that the GR IVx is in development, expected to arrive in the Winter of 2026 at the earliest.

Ricoh says that the GR IVx will come with a "newly developed GR lens."

While the Ricoh GR IVx may not be coming for several months yet, Ricoh has already shared a full list of specifications. That list hints that, like the GR III to the GR IIIx, the GR IVx will have the same 25.74 APS-C sensor, but swaps out the GR IV’s 28mm equivalent lens for a 40mm equivalent one, a 26.1mm f/2.8 lens.

Like the original, the GR IVx looks to keep what makes the compact camera series so popular: The large sensor inside a small camera. The upcoming Ricoh GR IVx has nearly the same dimensions as the existing camera; it’s just a few millimeters deeper and weighs slightly more for that longer lens.

I’ve used several Ricoh GR series compact cameras, and the X model is the one that I always lean towards. A 40mm equivalent lens is close to what the human eye sees. It’s a happy-medium focal length that can still shoot landscapes but doesn’t have the ultra-wide distortion when shooting portraits. Since I’m more of a portrait photographer than a landscape photographer, I’ve always gravitated more towards models like the GR IIIx.

In the GR IIIx review, the camera is described as "a camera that should be shouted about more," and I completely agree.

Ricoh says that because certain parts are no longer available, the Ricoh GR IIIx, as well as the GR IIIx HDF and GR IIIx Urban Edition, will end production in Japan in October 2026. Ricoh says that overseas availability may differ outside of Japan, but it looks like after this fall, the GR IIIx will become even harder to find.

The announcement of a new model just around the corner will likely encourage many to wait for the GR IVx – but I think there’s actually still a good reason for going for the GR IIIx even with a new model on the horizon.

Why? The Ricoh GR IV launched at a significantly higher list price than the GR III. In the US, the difference was about a 50 percent increase.

Ricoh hasn’t shared the price of the upcoming GR IVx yet, but the GR IIIx did launch at a slightly higher price than the GR III.

The list price of the Ricoh GR IIIx has already risen above its original launch price, thanks to high demand and the increasing costs for parts. But the GR IIIx is still cheaper than the GR IV in several regions. In the US, the GR IIIx is about $350 cheaper than the GR IV right now. In the UK, the price difference is about £200.

That’s enough of a savings to sway some not to wait for the new model, considering the old one won't be around when the new one launches. The GR IV got a new processor, more internal storage, better battery life, and a slight resolution bump from the Ricoh GR III – and the GR IVx looks to follow that same list of upgrades, just with a newly designed 40mm equivalent lens.

You may also like

Learn the differences between the different Ricoh GR series compact cameras, or read about the unique black-and-white-only Ricoh GR IV Monochrome.

It was watching the BBC's Springwatch, that spurred me into getting trail cameras for my small back garden. The TV show had shown how, with the aid of camera traps, they had shown a city householder that she had foxes, badgers and hedgehogs visiting her backyard after dark. I wondered if I could see the nocturnal wildlife in my own manor – so I bought a pair of Wolfang WT-02 trail cameras and set them to work.

They were unbelievably cheap – despite promising 4K footage and having the distinct advantage of built-in solar panels. But I didn't expect to win prizes with my footage - and didn't even know if I would record anything worthwhile – so something that proved the existence (or not) of creatures of the night in my own backyard.

Wolfang WT02: Specifications

Wolfang WT02: Price

There are plenty of cheap trail cameras to choose from at Amazon and elsewhere - but most are from companies you have never heard of. Wolfang is an exception – as DCW has tested several of its low-cost action cameras in the past, such as the WA300.

The Wolfang WT02 seems to have a recommended retail price of $69.99 / £49.99, but can regularly be found for $40 / £30 or lower, making it a staggerinly good deal.

Wolfang WT02: Design & Handling

The Wolfgang comes really well equipped, despite its price. The solar panel is a godsend for something that you may leave for weeks out the open – and even in the UK, where sunshine is far from guaranteed, the solar panel was more than adequate to keep the unit powered up. You do have the option to install four AA cells as a back-up (and the manufacturer recommends this for cold climates) – but in my experience it was not necessary, and this definitely helps to keep down the running costs.

My unit came with a microSD card, but I have read that not all retailers provide this – but even so this is literally all you need to get yourself set up and running. It comes with a webbed strap for attaching the unit to a tree, post or gate – but there is also a multi-angle mounting arm that you can use to attach more securely to a post or building.

The unit has a built-in color screen underneath it waterproof housing, which you use for set-up. This can also be used to review your images and videos – but I found it best to download the images from the card, and review the captured footage on my laptop screen.

The menu gives you a good amount of control over your captures - the resolution, the duration of each clip and so on. One useful feature I discovered is that you can set when the trail camera was active… on its first outing I had it set up to trigger 24 hours a day, which meant during daylight hours I got lots of clips of the neighbors' cats and of passersby. Tweaking the settings so it was only functioning from dusk to dawn meant my success rate increased dramatically.

Wolfang WT02: Performance

I knew there were foxes living near me – as had seen them crossing my road early in the morning on the occasions I have to get an early train or plane. And I had also been told there there were badgers in the allotmants that back onto my small garden. I therefore set up the cameras to record the path that runs behind my back garden and the allotment.

Amazingly, on the first night I discovered that we had both badgers and foxes that passing by on their search for food. The badgers would invariably be looking for snails and other creepy crawlies by the back gate. The foxes were intrigued by the infrared light that the trail camera uses to capture its after-dark footage.

The quality of the footage - given the price of the unit - is very impressive… and you can see that for yourself from the best clips captured in the couple of months that I had the camera set up.

My one criticism is that the microphone doesn't appear to do a good job of capturing the sounds of the wildlife - even though badgers are far from quiet as they forage for snackes. And I know the sound is actually recording - as you can hear clearly the rain falling in one of the daylight clips.

Above: Sample videos of badgers captured with the Wolfang WT02

Above: sample videos of foxes shot at night with the WT02

Above: assortment of video clips shot in daylight with the Wolfang WT02

Wolfang WT02: Verdict

For the price, the Wolfgang WT02 trail camera is a bargain – and particularly so as it is self-fuelled through its integral solar panel. There are models that will give you better quality, no doubt. And there are much more expensive options, that allow you to monitor the footage remotely via your mobile phone. However, if you are someone like me, or doesn't even know if there is any interesting animals to capture, this bargain device is a great way of proving whether there is (or there isn't). And at this price, I would recommend getting two (or more!) like me, so you can have more angles covered.

Alternatives

GoPro’s first mirrorless camera is so small that the Mission 1 Pro ILS looks closer to an action camera than a mirrorless camera. The GoPro Mission 1 Pro ILS’s size creates wider flexibility in getting shots in tight perspectives and creating small mounted rigs. But the small design isn’t without its downsides: GoPro recommends using an added support for Micro Four Thirds lenses that weigh more than 250g.

The GoPro Mission 1 Pro ILS uses a Micro Four Thirds mount, which opens the action camera giant’s first mirrorless to hundreds of different lenses. However, the camera body doesn’t have any electronic form of communication with the lens, which means electronically driven “focus by wire” lenses aren’t supported.

In focus-by-wire optics, the focus isn’t physically adjusted from the turn of the focus ring but is instead adjusted electronically. This electronic design requires communicating with the camera body, and the Mission 1 Pro ILS doesn’t have any electronic contacts to communicate with the lens.

That takes MFT lenses like those from OM System and Panasonic off the table, as these lenses require communication with the camera to work. Besides disappointing creators who already own a stash of lenses from those brands, the incompatibility with OM System takes a number of weather-sealed lenses off the table.

While I was disappointed that I couldn’t mount my OM System 150-600mm lens on the Mission 1 Pro ILS – because how cool would a 1,800mm equivalent be! – the ILS will also need help supporting heavier lenses.

When I started testing the ILS, GoPro recommended that I use a lens support system for any optics over 250g, though the company noted that lenses with a built-in tripod collar could be supported by using the collar on a tripod.

Using a lens support system is going to increase both the size of the camera and the cost. SmallRig makes a universal lens support that sells for about $22, for example, but it requires rods and a baseplate. Adding the SmallRig 15mm baseplate and rods would be around $125 (about £91 / AU$175 / CA$173) worth of accessories to help support larger lenses.

Lenses 250g and under don’t need any additional support – and there are quite a few lenses that GoPro recommends from the Laowa 7.5mm f/2.0 Dreamer that I used with the new ILS to optics from TTArtisan, Rokinon, Meike, Viltrox and several others that fit both the mechanical focus and weight requirements.

One more thing to note? When swapping lenses, you have to go into the camera menu and select the correct lens, or HyperSmooth won’t work properly.

There are compromises that had to be made in order to create a mirrorless that small, and potential GoPro mirrorless buyers need to be aware of them before committing to the tiny 8K camera from the well-known action camera brand.

You may also like

Browse the best cameras for vlogging or the best GoPro cameras.

Japan's latest compact camera sales figures from major retailer Yodobashi are in – and in the Top 10 chart for the first half of August 2026 are many cult point-and-shoot cameras that are years old. At the top of the ranking sits a compact first released eight years ago, then relaunched in 2024 with essentially the same technology.

The Canon PowerShot SX740 HS / Lite takes the crown despite the wave of new compact camera launches lately, including Panasonic champions like the Lumix L10 or ZS300 / TZ300. It is hard to find stock, with second-hand prices often climbing above its original RRP of $699.95 / £549.99.

Yodobashi also reveals just how high demand is for some of the cameras on the list: four of the Top 10 are currently on backorder, including the No.1, the Canon PowerShot G7 X Mark III (No.2), Ricoh GR IV (No.4), and Fujifilm X100VI (No.5) – all made the ranking due to previously placed orders. Sony's ZV-1 II also made the Top 10, despite being currently out of production.

Yodobashi's Top 10 best-selling compact cameras, 1st Half Aug 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black backordered
2. Canon PowerShot G7 X Mark III | Black | Silver backordered
3. Sony ZV-1 II | Black | White currently out of production
4. Ricoh GR IV backordered
5. Fujifilm X100VI | Silver | Black backordered
6. Sony RX10 V
7. Panasonic Lumix TZ99 / ZS99 | Black | White
8. Canon IXY 650M / Elph 360 HS A / Ixus 285 HS A | Black | Silver
9. Kodak Pixpro C1 | Brown | Black
10. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver

Canon's unbeatable PowerShot compact cameras

When the original Canon PowerShot SX740 HS launched in 2018, the compact camera market looked very different from today. Straightforward point-and-shoots were popular, while premium compacts (now found across the category) were far less common.

Canon clearly found a winning formula with the SX740 HS, and the Lite Edition keeps that formula largely intact. It uses the same core camera technology as the original, with the main difference being the removal of in-camera USB charging in favor of an external battery charger.

The appeal is easy to understand: a genuinely pocketable camera, a huge 40x optical zoom (24–960mm equivalent), and a familiar, straightforward shooting experience – a combination that remains difficult to replace, even as newer compacts arrive with more advanced technology.

Another Canon model making the list is the PowerShot G7 X Mark III, also a model that is years old. It launched in 2019, yet remains one of the most sought-after compact cameras on the market.

Compared with the SX740 HS / Lite, the G7 X Mark II has a 1-inch sensor and a bright 24-100mm equivalent f/1.8-2.8 lens with 4.2x optical zoom.

Featuring a sensor format that is used in many of the best compact cameras, it gives users a big step up in image quality from most camera phones or action cams, also when compared to the smaller 1/2.3-inch sensor of the SX740 HS / Lite.

The Canon G7 X Mark III is more expensive second-hand

Used prices are now often higher than the G7 X Mark III's original retail price.

While this might seem unusual for an older camera, renewed interest in compact cameras and the dedicated shooting experience that differs from shooting with a smartphone are key factors. Social media also helped fuel the point-and-shoot revival.

With the camera now difficult to find in stock, that popularity has collided with limited supply – pushing second-hand prices well above what you'd normally expect from a camera release in 2019.

So while newer compact cameras continue to arrive with more advanced technology, the latest Yodobashi chart shows that buyers are still driven to get one of the established Canon cult models, winning with their proven formula.

You might like...

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

Fujifilm took inspiration from the X100-series of compact cameras when it crammed a medium format sensor inside a compact camera – but now the Fujifilm GFX100RF has swept all three of the world’s biggest awards for product design.

The Fujifilm GFX100RF has now earned a Bronze Award from the International Design Excellence Awards, or IDEA 2026. While the IDEA Awards were just announced earlier this month, the GFX100RF had already earned a 2026 IF Design Award and the Red Dot Design Award ‘Best of the Best.’

Together, the IDEA, IF Design, and Red Dot awards are considered the world’s three largest product design awards – and the GFX100RF has now earned honors across all three competitions.

The GFX100RF uses the same 102MP medium format tucked inside mirrorless cameras like the GFX 100S. But what’s unusual about the GFX100RF is that it takes that sensor and crams it into the body of a compact camera with a fixed lens.

I took the GFX100RF on a trip last year to Los Angeles, California, and the camera felt small enough to forget that I was shooting with a luxurious medium format sensor.

The GFX100RF takes some inspiration from Fujifilm’s viral X100VI, carrying a similar retro look and feel – yet the GFX100RF carries some key design differences. The entire top plate is made out of one block of aluminum. The camera carries a definitive luxury feel in the build quality alone.

The design of the GFX100RF also elevates access to a handful of controls. The medium-format compact camera has some of the same top dials as Fujifilm’s other retro cameras. But, the GFX100RF also has a dedicated dial made just for quickly adjusting the aspect ratio. Another lever controls zoom – which is only digital, not optical, but 102MP leaves a whole lot of room for cropping and still getting excellent detail.

Putting digital zoom onto a lever on the camera body left some space on the built-in 35mm f/4 lens (28mm on full-frame equivalent). Fujifilm tucked in another control ring here that can be customized inside the camera’s menu.

Fujifilm’s recent camera designs haven’t gone unnoticed. The GFX100RF sits alongside popular cameras with a less luxurious price point like the X100VI, the X-E5, and the X-T30 III. Fujifilm’s viral cameras – and beloved retro designs – are likely one of the reasons that the company has seen huge leaps in camera shipments over the last two years, recently rising to the top three of Japan’s camera makers.

You may also like

Take a look at the best retro cameras or the best compact cameras.

I feel as if I’ve just shaken hands with Sasquatch. A mirrorless GoPro has been rumored so long it feels like a mythical creature – but now I’ve held the mirrorless GoPro Mission 1 Pro ILS in my hands.

I’m a professional photographer and camera reviewer, but the GoPro Mission 1 Pro ILS is unlike any other camera that I’ve used before – and that’s both good and bad.

While the ILS was initially revealed at the Mission 1 series launch, back in April, pre-orders for GoPro's first mirrorless camera opened today, August 26, with shipping and retail availability beginning on September 02.

The GoPro Mission 1 Pro ILS shares much of the same specs as the fixed-lens Mission 1 Pro, looking very much like the Mission 1 Pro had its fixed lens surgically replaced with a Micro Four Thirds lens mount. Besides the identical 8K60 sensor and GP3 processor, the ILS also looks and operates like a GoPro.

Holding the Mission 1 Pro ILS in my hands still felt very much like shooting with a GoPro – which is great news for GoPro fans. But the Mission 1 Pro ILS is a camera of compromises in order to pack swappable lenses into a camera that’s just 197g.

The Mission 1 Pro ILS packs high-end features into an affordable – and tiny – body

The legendary GoPro features that have migrated into mirrorless are headlined by HyperSmooth. I hate hauling around tripods, and I spent much of my time with the ILS capturing handheld video. Handheld shots are impressively steady, with just enough movement to have that POV-feel without being jittery or distracting.

The stabilization impressively even helped when getting in close to the subject. Using stabilization on different lenses is more challenge, however, and I did spot on occasional wobble – and HyperSmooth is definitely not smooth enough to actually run with the camera.

While that stabilization is possible with the fixed lens Mission cameras, the ILS mixes that with a handful of things that aren’t typically found on a GoPro, like longer focal lengths and yes, even bokeh and lens flare.

The other unusual feature of the ILS is how small it is – which is perfect for getting unusual angles. I even tucked the GoPro mirrorless inside a large jar. The body of the ILS is essentially the same as the Mission 1 Pro, but the mirrorless mount does jut out farther and taller from the body.

GoPros have long been the filmmakers' tool for shooting spots that a typical camera won’t fit – the ILS still offers that compact size, though naturally that will also depend on what lens is mounted to the front.

The ILS also has an impressive list of specifications for the $699 / £599 / AU$1099 / CA$949 price point. While there are a handful of mirrorless cameras that can be picked up at that price point, none of them are 8K-capable cameras. Yet, on the GoPro ILS, resolution reaches up to 8K60, with open gate available up to 8K30 and slow motion up to 1080p at 960fps (in 10 second bursts).

But, the GoPro Mission 1 Pro ILS has some significant compromises

The Mission 1 Pro ILS’s lens mount, however, doesn’t have any electronic communication between the lens and the camera. That means that the ILS is a manual-focus-only camera.

But, many Micro Four Thirds lenses are what’s called focus-by-wire, which means that the lens needs the electronics inside the camera in order to physically move the glass pieces to adjust focus. Without any electronic contacts, the GoPro ILS isn’t compatible with these lenses at all, even in manual focus mode, which eliminates a number of fantastic lenses from OM System and Panasonic.

One of the reasons the lack of support for lenses from brands like OM System is so disappointing is that the ILS body is splash-resistant when paired with a weather-sealed lens. The manual focus lenses that the ILS is compatible with are rarely weather-sealed.

Without any communication with the lens, users also need to go into the camera’s menu each time a lens is swapped and choose the right lens profile – forget this step and HyperSmooth will look terrible, as the camera needs that data for the stabilization algorithms to work properly.

The ILS’ small design also comes with a compromise – GoPro says that lenses that weigh more than 250g should be paired with an external lens support. Pairing the ILS with a heavier lens will require an additional investment in a base plate, lens support, and rod – accessories that add on to the cost, no to mention negating the small size.

GoPro users should also be very careful with mounted setups. GoPro doesn’t list a maximum recommended weight for their existing accessories – after all, all GoPros were small before the ILS, so a maximum weight wasn’t really needed. GoPro doesn't list a specific weight lens-ILS combo that should be avoided for traditional GoPro mounting accessories.

But, a GoPro representative told me, “If you plan to subject the camera to higher shock and vibe levels, then we recommend using heavier-duty third-party solutions and the 1/-4-20 threaded insert to mount the camera.”

The combination of a one-inch sensor with a Micro Four Thirds mount also creates a 3x crop factor. This can be great if you want to get in close for telephoto or macro, but less so if you need an ultra-wide view. The widest lens on GoPro’s list of supported lenses is the Laowa 4mm f/2.8 Fisheye, which will act like a 12mm wide-angle lens.

While many of the GoPro mirrorless compromises are related to the lens, the ILS is also geared towards cinema, not stills. Still shots have a built-in delay, and processing leaves the camera temporarily unable to shoot a second shot. GoPro’s mirrorless camera can take stills, but it’s secondary to video.

The non-electronic lens mount and the camera’s small size introduce several compromises. But the Mission 1 Pro ILS is built for filmmakers who likely already use manual focus or follow focus accessories.

Ahead of the GoPro mirrorless launch, a GoPro executive told me that the ILS isn’t going up against the likes of Canon, Sony and Nikon – GoPro sees the ILS as more of a tool in a multi-camera kit where the ILS isn’t the main camera.

The GoPro Mission 1 Pro ILS is meant for mounting scenarios with more flexibility – and bokeh – than a classic GoPro, as well as for run-and-gun filmmakers who need something small and affordable. And for that, I’m glad the GoPro mirrorless is no longer the stuff of myths.

You may also like

Take a deep dive into the best GoPro camera, or browse the best cinema cameras.

GoPro has sliced off its longstanding ultra-wide lens and given a GoPro a Micro Four Thirds Mount. The GoPro Mission 1 Pro ILS is the action camera giant’s first venture into the world of mirrorless cameras – and it’s unlike any other camera that I’ve tried.

The ILS feels as if GoPro sliced off the lens of the Mission 1 Pro and gave it a Micro Four Thirds Mount. GoPro’s first mirrorless carries the same body design, handling, 8K60 sensor, and GP3 processor as the fixed-lens Mission 1 Pro.

But the ILS also carries the same price point as the Mission 1 Pro, making GoPro’s first mirrorless camera one of the cheapest 8K mirrorless cameras available.

GoPro’s move into mirrorless carries a set of features that feel very GoPro, including HyperSmooth and a familiar double-screen design. But there are some unusual sacrifices made to get such a small camera, making the ILS a bit more of a niche shooter.

GoPro Mission 1 Pro ILS Review: Price

The GoPro Mission 1 Pro ILS launches at the same price as the fixed-lens Mission 1 Pro: $699 / £599 / AU$1099 / CA$949 – but you will also need to budget for a lens.

That makes the Mission 1 Pro ILS one of the most affordable 8K-capable mirrorless cameras.

But, as a GoPro, expect to be heavily tempted by the accessories, as the ILS feels almost like a modular camera. That list price doesn't include a lens. The point-and-shoot grip is a huge help for shooting handheld; then there's the Media Mod for added mic ports or the GoPro wireless mic.

Heavier lenses over 250g are going to need a third-party support system to help the tiny camera support the weight of the lens. And while the ILS has the classic GoPro mounting fingers, most GoPro mounts are only designed for lightweight setups – GoPro recommends using the tripod mount and third-party accessories made for larger cameras when mounting in a high-vibration scenario or with heavier lenses.

GoPro Mission 1 Pro ILS Review: Specs

GoPro Mission 1 Pro ILS Review: Build and Handling

The GoPro Mission 1 Pro ILS may be GoPro’s first mirrorless, but the camera still feels quintessentially GoPro. The ILS feels like GoPro took the Mission 1 Pro and just swapped out the lens for a Micro Four Thirds mount.

The main part of the ILS body uses the same design as the fixed-lens Mission 1 cameras, making the camera the smallest mirrorless camera available. The lens mount juts out from the body a bit, increasing the depth and height of the camera’s dimensions, but the ILS can use the same Point-and-Shoot Grip and the same Media Mod as the fixed-lens Mission 1 cameras.

The ILS’s small size makes it possible to get some unusual perspectives from angles that a mirrorless camera wouldn’t normally fit, although this, of course, depends on the size of the lens.

The small size isn’t great to hand-hold, but GoPro also launched a point-and-shoot grip that gives the hand a decent-sized grip to wrap around for handheld shooting.

But there is a downside to the small design. GoPro says that lenses that weigh over 250g should be used with an external lens support, which means buying the support, a base plate, and rods. This not only increases the cost of the camera but also the size by adding in all those accessories.

Users should also take care when choosing mounts. GoPro’s mounts were designed for action cameras, not mirrorless cameras. GoPro recommends using third-party mounts and the camera’s tripod mount rather than the mounting fingers when working with heavier lenses or mounting scenarios with higher levels of shock and vibration.

The size isn’t the only thing the ILS has in common with earlier GoPros – the user interface will also feel very familiar to anyone who has used a recent Hero camera. Like the Mission 1 Pro and the Hero13, there are just two buttons on the ILS: one at the top to start a recording and the on-off button at the side (which also swaps modes).

That leaves most of the GoPro ILS adjustments through the touchscreen. I love that there’s the option to build your own modes, so you can save frequently used settings inside of its own custom mode (and you can delete the standard modes that you don’t want).

One key step that ILS users can’t skip? The ILS requires telling the camera body what lens you are using – if you skip this step, HyperSmooth won’t look smooth without that essential data.

Like recent Hero cameras, the ILS has a large screen on the back as well as a smaller screen on the front, but large lenses will partially block that front screen a bit.

A door at the side of the camera opens up for the battery and the microSD card slot. That Enduro 2 battery is rated for around 3 hours of 4K30, but the battery levels did drop fairly quickly when shooting 8K60.

Like GoPro’s action cameras, there are both the mounting fingers and a ¼-20 threaded mount at the bottom of the camera.

While the ILS has the same build as the Mission 1 Pro, the lens mount makes GoPro’s usual waterproofing impossible. The GoPro Mission 1 Pro ILS is not submersible without underwater housing, though the camera body is splash-resistant if paired with a weather-sealed lens.

GoPro Mission 1 Pro ILS Review: Lens Compatibility

The GoPro Mission 1 Pro ILS uses a Micro Four Thirds mount – but not every MFT lens is compatible. The ILS doesn’t have any electronic communication between the body and the lens. This means that the ILS uses manual focus only.

But, this also means that focus-by-wire lenses won’t work on the GoPro ILS. Autofocus lenses with a focus-by-wire lens require electronics to move the lens pieces to focus; these lenses aren’t capable of adjusting the focus by a twist of the focus ring if there’s no communication between the camera and lens.

That means that most autofocus MFT lenses, like those from OM System and Panasonic, are not compatible with the Mission 1 Pro ILS. That does limit the number of available options quite a bit and is particularly disappointing because it eliminates a lot of weather-sealed lenses.

Lenses that weigh more than 250g will also require an external support in order to avoid putting too much stress on the small camera’s mount.

For this review, I used the Laowa 7.5mm f/2.0 Dreamer, which is one of a few dozen manual focus lenses that GoPro recommends (and is under 250g).

GoPro Mission 1 Pro ILS Review: Performance

Like GoPro’s action cameras, the Mission 1 Pro ILS leans heavily towards cinema and video rather than still photos, though the ILS is still capable of 50MP still photos.

For video, the Mission 1 Pro ILS packs much of the same specs as the fixed-lens Mission 1 Pro, including the same one-inch sensor, GP3 processor, 8K60, 8K30 open gate, and 1080p 960fps slow motion.

One of the biggest advantages of the ILS is the combination of HyperSmooth with swappable lenses. I spent most of my time with the ILS shooting handheld, yet the footage was surprisingly steady – not quite as good as from the fixed-lens Mission 1 Pro, but I was impressed that HyperSmooth even seemed to work on close-ups.

With HyperSmooth, handheld footage looks solid – not tripod solid, but usable footage that still has enough movement to feel like a POV shot. Occasionally, I did detect a bit of a wobble towards the edges when handheld and (attempting) to hold fairly still.

There was a noticeable fish-eye edge wobble when trying to do fast movement handheld, however, so I think true run-and-gun filmmakers actually running are going to want to pair the ILS with a gimbal.

The other key advantage the ILS has is how tiny it is. That makes it possible to get shots from tight angles. I even tucked the camera into a jar for one shot.

The Mission 1 Pro ILS's small size also makes the camera more mountable – however, dedicated GoPro fans will notice that the interchangeable lens model doesn’t support GoPro’s horizon lock to keep the horizon in the same place.

Mounting the camera on a bicycle with HyperSmooth on, footage was naturally not as steady as the handheld shots, but still impressive for a camera without any mechanical stabilization.

The 8K open gate resolution in 4:3 offers a lot of crop-ability for social videos, while still keeping a high level of detail. Naturally, the sharpness comes from the lens, not the camera, but the 3x crop factor means the ILS is going to be using the sharpest center of MFT lenses.

While the Mission series one-inch sensor is larger than that of a typical GoPro, it’s smaller than a typical cinema camera, which comes into play in low-light scenarios. I recorded some fireflies as dusk turned to dark. The ILS managed to capture some tricky shots at dusk that I don’t think a typical GoPro would have captured.

But, the ILS only stretches to ISO 1600 – which is still quite noisy – and I think the low-light shots hinted at some of the biggest limitations compared to a larger sensor cinema camera.

The ILS has a few color profiles built in, ranging from vibrant to cinematic. I spent much of the time in the cinematic color profiles, and I thought colors looked good, but a little too muted at times. But, the ILS is also equipped with GP-Log2 for the most color flexibility in post.

Much of the image quality coming from the ILS is going to depend on what lens is twisted on the front. But unlike any GoPro before it, that interchangeable lens mount means creators can pick a lens with the right vantage point and sharpness for the project. I loved that I was actually able to get some excellent lens flare and bokeh not typical of a GoPro with the Laowa 7.5mm that I tested.

Mixing a one-inch sensor with an MFT mount gives the ILS a 3x crop factor. That means that the ILS is using the sharpest center of the lens. That will give extra telephoto reach and even turn lenses that aren’t really macro into close-up-capable shooters.

But, that also makes getting an ultra-wide angle far trickier. The lens that I used with the ILS is technically a fisheye, but with the 3x crop, it didn’t have that typical fisheye look and instead functioned more like a 22mm lens.

The audio coming from the built-in array of 4 mics was surprisingly solid for a built-in mic, with minimal wind noise and decent volume for close subjects. GoPro includes the option to record 32-bit float to a separate file for editing. While fantastic for a built-in mic, serious videographers will want an external mic system. The Media Mod offers more ports for mics, while GoPro also launched its first wireless mic alongside the Mission 1 series.

The Mission 1 Pro ILS is a compact cinema camera, so still photos come secondary. The camera can shoot 50MP or 12MP shots with single shot, burst mode, and interval shooting for time lapses available.

There’s a slight one-second countdown before each photo, and after each shot, there’s a short processing period where you can’t shoot another photo until the camera is finished. Bursts are also limited to a pre-set number; you can’t hold the shutter button down until you want the camera to stop shooting.

This setup is one of the reasons the ILS doesn’t feel like a stills camera – you can take photos with it, but the Mission 1 Pro ILS doesn’t operate like a typical mirrorless camera geared for stills. Outside of the small size, the biggest perks of the ILS, like HyperSmooth, all lean towards video.

GoPro Mission 1 Pro ILS Review: Initial Verdict

The GoPro Mission 1 Pro ILS feels like a cross between an action camera and a mirrorless camera. The small size, stabilization, and 8K open gate are key perks that create a novel filmmaking tool.

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

But while the Mission 1 Pro ILS is GoPro's first mirrorless camera, it's more of a niche filmmaking tool – the Mission 1 Pro ILS isn't designed to go up against the longstanding mirrorless brands like Canon, Sony, and Nikon. For starters, it's built for filmmaking and not stills, but it's also manual focus only and requires external support for heavier lenses.

With a manual focus design and video-first skillset, I wouldn't recommend the Mission 1 Pro ILS for beginner vloggers or still photographers.

And while the one-inch sensor may be large by action camera standards, it's small by mirrorless standards – so I don't see serious filmmakers using the Mission 1 Pro ILS as their primary camera.

But the small, mountable design with the ability to swap lenses is unusual. I can see filmmakers loving the Mission 1 Pro as a secondary purpose-built camera for shooting in tight spaces, mounted rigs, and run-and-gun setups where mobility is key.

GoPro Mission 1 Pro ILS Alternatives

You may also like

Browse the best GoPro cameras or the best cameras for filmmakers.

If you've been thinking about getting into full-frame photography or becoming a Sony shooter, this is the deal I wish I'd found some time ago.

The Sony A7 III is now available for £1,199 at Wex – you save £300 off its original £1,499 price tag.

I've used the Sony A7 III for years now, and honestly, it's a great camera.

When I wanted to get into full-frame photography, the Sony A7 III covered all my needs and still does. Coming from Nikon, I wasn't sure how I'd vibe with Sony, but the A7 III quickly won me over.

What also sold me on switching systems was getting access to Sony's full-frame E-mount system – one of the most diverse lens ecosystems out there. Whether it's native Sony glass or third-party options like Sigma and Tamron, the variety is massive, both in function and price.

Specs-wise, the A7 II still holds its own: 24.2MP back-illuminated sensor, excellent high ISO performance for low-light shots, built-in 5-axis stabilization, and sharp 4K video. It also boasts a solid 696-point autofocus system with face and eye detection – not the newest algorithm, but definitely still dependable when snapping subjects on the move.

Sure, newer models, like the Sony A7 IV and now the Sony A7 V, offer some upgrades, but come with a hefty price tag – often nearly double what the A7 III costs.

I've dragged this camera through multiple countries, traveled with it, explored bustling cities, and even captured sharp action shots at the Isle of Man TT – and if you know anything about these motorbike riders, you know they're insanely fast. So the A7 III's AF system, portability, and overall reliability have been put to the test!

You may also like

Browse the best mirrorless cameras, the best full-frame cameras, or the best compact full-frame cameras

UPDATE: OM System Japan has dropped a second teaser for its new PEN camera, due to launch on September 09.

This time there is less focus on the new camera itself, as it remains entirely in shadow (unlike the original teaser, which gives us a great look at the body). Instead, it positions the new product as a new chapter in the history of the PEN lineup.

First it shows the original Olympus PEN half-frame film camera from 1959, then the Olympus PEN E-P1 from 2009 – which was the company's first ever mirrorless camera. Finally, it shows the outline of the new camera – which, as I discuss below, certainly looks like a PEN-F II. Or maybe a PEN E-P5. Or maybe something new altogether… 

ORIGINAL STORY: Has the day finally come? OM System has just dropped a teaser video for a new camera – and it sure as sugar looks like it could be a successor to the iconic Olympus PEN-F.

"Stay tuned. Something new is coming" states the text on the video (which I've embedded below) announcing a reveal on September 09. Unlike a lot of teasers, we get a surprisingly good look at the camera – which, as you can see, boasts the rangefinder-style silhouette of the manufacturer's PEN cameras (rather than the SLR-style shape of the OM series).

And I may be biased, so you tell me – take a look at the camera shown in the teaser next to three of my PEN cameras: the original Olympus PEN-F film camera, the PEN-F digital camera and the Olympus PEN E-P7, which was the last PEN camera to hit the market:

As you can see, the new camera that OM is teasing bears the same signature two-tier top plate as the PEN-F digital. Most PEN models have had a similar design that homages the original film PENs, but as you can see with the PEN E-P7 – it has been much more subtle, with only the PEN-F digital having a stepdown that's anywhere near as pronounced as we see in the teaser.

Other signposts that we might be looking at a PEN-F II are the fact that the teaser camera has an electronic viewfinder (EVF). Famously, the PEN-F digital was the only camera in the product line that possessed an EVF.

Taking a look at the power switch, I'll grant you, it looks a lot more like the design found on the EP-7 (and it's on the same side, too). However, if you look at the second (rear) dial, you'll note that the E-P7 had both exposure dials on the top plate while the PEN-F digital had the rear dial positioned essentially on the back of the camera – in the same position seen on the teaser.

Finally, the E-P7 has a pop-up flash on the left shoulder and a tilt-only screen. As you can see, the teaser camera – like the PEN-F digital – has no pop-up flash and has a hinged screen that indicates a fully articulating affair.

So, does all this mean that we're looking at an OM System PEN-F II? Well, not necessarily.

While this is certainly a PEN camera, it's entirely possible that this is an evolution of the EP series or even a new line altogether. The old rules, under the Olympus regime, don't necessarily apply any more – so the fact that it has an EVF and articulating screen don't necessarily mean that it's a PEN-F.

But then, by the same token, the old Olympus missive that the PEN-F had to be a premium camera milled from a single ingot of aluminum – which made it a pricey camera that therefore sold under expectations – don't necessarily apply either. This can be a PEN-F that isn't made of aluminum and doesn't carry a high manufacturing cost.

If the Lumix L10 has taught us anything, it's that there is still a huge appetite for a pretty-looking Micro Four Thirds camera – which this new PEN, whatever its designation, is guaranteed to be. But it also has to have modern specs to match – and that's a department where OM System, which is still trotting out long-in-the-tooth 20MP sensors and underwhelming video specs, faces the biggest challenge.

OM has previously told me that every lens it launches will be weather-sealed, because it has styled itself as an outdoor brand. Thus, I expect this camera to be similarly sealed – and it would be the first PEN to possess the feature.

This might also explain what looks to be the OM System M.Zuiko 17mm f/1.8 II on the front of the camera in the teaser video. That's a perfect outdoor 35mm equivalent lens for street photography, so it would make sense, though it does pour cold water on hopes for a new pancake lens (like an upgraded version of the M.Zuiko 14-42mm EZ Pancake that doesn't suffer a fatal cable issue).

Whatever it is, we've only got a couple of weeks to wait until OM reveals what this new camera is, does and looks like. You can bet I'll be right there to tell you all about it – quite possibly with my credit card in hand…

You might also like…

Take a look at the best Olympus / OM System cameras along with the best Olympus / OM System lenses to pair with them.

Japan's latest camera sales figures by major retailer Yodobashi are out – and the No.1 is a full-frame mirrorless that many photographers have been waiting for. Since its release in December 2025, the Sony A7 V has regularly topped the sales charts. But the real all-rounder camera champion sits at No.2 and No.4: the Sony A7C II, a compact full-frame that has been on the market for almost three years.

The A7 V is a multi-award-winning camera, having been named Camera of the Year twice by EISA and the Camera Grand Prix, and was also awarded the title Best Full Frame Expert Camera at the TIPA World Awards. When it entered the market around eight months ago, it quickly became one of the most popular cameras in Japan.

But the more interesting success story is the A7C II. Announced in August 2023, it continues to appear among Japan's best-selling mirrorless cameras, beating newer releases more often than some might expect – and there's a good reason why.

Yodobashi's Top 10 best-selling cameras, 1st Half Aug, 2026

1. Sony A7 V
2. Sony A7C II Zoom Lens Kit | Silver | Black
3. Fujifilm X-M5 + XC15-45mm Lens Kit | Silver | Black
4. Sony A7C II | Silver | Black
5. Canon EOS R50 Double Zoom Kit | Black | White
6. Hasselblad X2D II 100C
7. Canon EOS R5 Mark II
8. Canon EOS R10 + RF-S18-150 IS STM Lens Kit
9. Canon EOS R6 Mark II
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

The Sony A7 V vs. Sony A7C II

So why is a nearly three-year-old camera still selling alongside Sony's newest full-frame model?

Both the A7 V and A7C II are full-frame mirrorless cameras, but the A7C II has two major advantages: price and portability.

At 514g, it is considerably lighter than the 695g A7 V. The A7C II is currently available for $2,498 / £2,099, while the newer A7 V costs $2,898 / £2,799.

The A7C II is a compact all-rounder that champions performance and portability. It already delivers advanced AF, high-resolution imaging, and solid video capabilities – meaning some users may not see a compelling upgrade in newer models.

That's why, even three years later, the A7C II is still a competitive player in a competitive market that's known to move fast.

You might like...

Browse the best mirrorless cameras and the best lenses for the Sony A7 V.