Photography can get expensive fast – but it doesn't have to be.

The Olympus OM-D E-M10 Mark IV stands out as DCW's best affordable retro camera, and it's also packed with beginner-friendly features.

Now, the Olympus OM-D E-M10 Mark IV in silver is just £649 at Wex. Included in this deal is the Olympus M.Zuiko Digital 45mm f/1.8 in black for FREE.

That means you're getting a compact, powerful camera, while saving £130.99 off the £779 RRP, and a fast prime lens on top that's worth £349.

• The Olympus OM-D E-M10 Mark IV + FREE Olympus M.Zuiko Digital 45mm f/1.8 lens is also available in black for just £679 at Wex

The best cheap retro & best features beginner camera

Beautifully designed and packed with modern features, the OM-D E-M10 Mark IV is ideal if you value creativity and classic styling.

Its 20.3MP Micro Four Thirds sensor, paired with 5-axis in-body stabilization, produces remarkably sharp results even when shooting challenging low-light situations handheld.

The tilting touchscreen and tactile dials encourage manual experimentation, and the high range of compatible lenses opens up endless photographic possibilities. It's a superb choice if you want a lightweight, versatile tool for everyday shooting.

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I have been using the Canon EOS R5 since I bought it just after this phenomenal flagship camera was first launched - and I paid a lot more for it back then that you can buy it for today

Wex Photo is now offering the R5 for just £2,449 - which is the lowest price we have ever seen it at.

Admittedly, with the newer Canon EOS R5 Mark II now on sale, we expected the price of the OG model to drop – but for me, this older R5 is now something of a bargain. And as I have previously explained, I am not going to upgrade to the newer model

Yes, the Canon EOS R5 (review) isn't just a brilliant camera on paper – it's a camera that's so good, I actually bought one… but I just wish I could have bought it at this price!

Its 45MP sensor delivers stunning photographs, and it can shoot them continuously at up to 20fps – making this perfect for fast action like sports and wildlife, particularly with the incredible Dual Pixel CMOS AF II driving the autofocus system. And if you love resolution, get this: the camera can shoot 400MP photos as well!

In terms of video, you can capture gobsmacking 8K 30p or 4K 60p HQ video that will take your breath away. The camera is weather-sealed, making it suitable for all shooting conditions, with two memory card slots (one SD, one CFexpress B), and the image stabilization is fantastic. I love my R5, and my only regret is paying over 1,000 bucks more for it!

Check out our guide to the best lenses for the Canon EOS R5 and R5 Mark II

When the Nikon Zfc released back in 2021, it brought with it the lovely retro-themed Nikon Z 28mm f/2.8 (SE). And while the absence of an aperture ring seemed like a bit of a missed opportunity, I assumed that more retro Nikon Z lenses would be on the way. Jump to the release of the Nikon Zf in 2023, along with the Nikon Z 40mm f/2 (SE), and my heart sank. Another super affordable, retro-cool lens, without the substance (an aperture ring) to back it up.

The Nikon Zf and Z fc are modeled on the legendary Nikon FM2 from the early ‘80s. And they’re by far the most faithful replications of a film-era SLR on the mirrorless camera market today. Their slimline profiles and seriously lacking grips make them feel gratifyingly unwieldy and their chunky physical dials are a tactile pleasure to shoot with. The only thing missing, then, is a lens with an aperture ring!

I’m not alone in my grievances. Such feedback has plagued the Nikon Zf and Zfc ever since each retro camera's respective release, but thankfully, third-party options are available. However, none are quite as lovely as Voigtlander’s Z-mount line up.

Voigtlander immediately gets plenty of kudos because all of its Z-mount lenses are developed and manufactured under licence, so it’s got an official thumbs up from Nikon. What’s more, a trio of specialist APS-C (DX) optics are available, such as the Voigtländer D23mm f/1.2 Nokton Z Aspherical, alongside a broader range of 10 full-frame optics, like the Voigtländer 15mm f/4.5 Super Wide-Heliar Z Aspherical. That’s a decent lineup of glass!

Each Voigtlander lens feels authentically retro, too, boasting all-metal lens barrels, as well as manual-focus only designs, with many also featuring beefy scalloped grooves for better purchase. But they haven’t omitted the mod cons entirely. Lenses feature electronic contacts to supply EXIF data and work in tandem with IBIS.

And yes, they all have aperture rings.

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Want more of my Nikon ramblings? The Nikon Z 180-600mm f/5.6-6.3 VR bridges the gap between budget teles and pro-grade glass – and it’s a personal favorite. You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday! Plus, alien world of photomicrography displayed at Tokyo Photographic Art Museum celebrates 101 years of Nikon microscopes.

After cooling off for a while, there are fresh camera rumors about the Nikon Z7 III – which is purported to be a "high resolution camera" with a resolution of up to 61MP.

While Sony's latest resolution-focused body, the Sony A7R VI, has upped the full-frame ante to 66.7MP, a pixel count of 61MP would put the Nikon Z7 III on the same playing field as resolution monsters like the Sony A7R V, the Leica SL3 and the Sigma fp L.

The new report comes courtesy of Ordinary Filmmaker, citing a source he has known for a couple of years that he believes to be reliable:

"I do have news from a known source about the Z7 Mark III. Nikon is working on a Z7 Mark III that will be a high-resolution camera. We have confirmation on that, but don't have many specifications.

"The autofocus will be much improved over the Z7 Mark II. Okay, yes, that one was a gimme. That was an easy one. But let's get to the sweet spot, the resolution of the Z7 Mark III: Nikon's testing a resolution between 56 and 61 megapixels."

There is something of a precedent for this, as there have been rumors dating back as far as 2019 that Nikon was planning to use a 60MP Sony sensor for an upcoming camera.

I think the company would certainly do well to further differentiate its products at the top end, as currently there are a trio of Z bodies using a 45.7MP sensor (the Nikon Z7 II, Nikon Z8 and Nikon Z9) so having a dedicated "resolution model" would help give the Z7 line a distinct identity.

That would give us a full-frame lineup comprising the Nikon Zf for relaxed, retro-focused users, the Nikon ZR for dedicated video, the Nikon Z6 III for hybrid and action shooting, the Z7 III for the highest fidelity capture and the Z8 and Z9 for ultimate performance.

It would also leave Canon in the lurch as the only one of the "big three" full-frame brands without a high-resolution camera, which increasingly feels like a gap in its lineup.

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Take a look at the best Nikon cameras along with the best Nikon lenses for DSLRs and the best Nikon Z lenses for mirrorless bodies.

Fujifilm has yet to launch an X-Series camera in 2026 so, in the wait for its next generation, rumors are swirling over what’s next for the camera brand. Fujifilm has, however, debunked one particular rumor making the rounds: the demise of the Fujifilm X-T5.

Two major camera stores in Japan recently listed an X-T5 variant as discontinued, or 'sales ended', according to one report, fueling rumors that Fujifilm has already discontinued the X-T5 ahead of the arrival of a successor.

Digital Camera World reached out to a Fujifilm US representative, however, who confirmed, “the X-T5 has not been discontinued.”

It’s unclear why the Japanese stores had the X-T5 marked that way, but Google Translate suggests that it’s the “X-T5 bilingual model” that has been specifically listed as discontinued at some Japanese retailers.

That may ease worry about the availability of one of Fujifilm’s high-end X-Series bodies, but it’s unlikely to dull the anticipation over what’s next for the brand beloved for its retro designs and Film Simulations.

Fujifilm is in the pause between generations, having updated nearly all its X-Series cameras with the 40.2MP X-Trans CMOS 5 HR or the 26.1MP X-Trans CMOS 5 HS sensor. (The X-Pro3 is a notable exception.)

With nearly all Fujifilm cameras seeing a recent refresh, fans are eagerly awaiting the brand’s next reveal. Fujifilm tends to bring new image sensors to one of its flagship models first, so the X-T and X-H series are often among the first with a new generation of sensor.

As one of the company’s top models in the X series alongside the X-H2 and X-H2S, the Fujifilm X-T5 combines 40MP 20fps still photos with 6.2K 4:2:2 10-bit video recording, along with a 7-stop in-body image stabilization system and weather-resistant construction.

But the X-T5 is also known for its retro-styled body, with its iconic top dials and centered, SLR-style viewfinder. And, according to Fujifilm, it's still very much alive and kicking.

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Browse the best Fujifilm cameras or the best Fujifilm lenses, including the best lenses for the Fujifilm X-T5.

The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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Into Nikon? Check out the best Nikon cameras and the best Nikon Z lenses. Plus, You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday!

The Sony A7 V and A7R VI have been headlining several best-seller lists since launch – and now Sony says the cameras are selling so well that the company has an expanded share in the full-frame market.

In Sony’s first-quarter earnings report shared on July 31, the tech giant called out both the Sony A7 V and A7R VI as the camera market overall remains stable outside of a decline in China.

“Against this backdrop, strong sales of the A7 V, which won the Grand Prize at the Camera Grand Prix 2026, and the A7R VI, launched in June, helped raise average selling prices and expand our market share in the full-frame camera market, enabling the Imaging business as a whole to maintain its sales on par with the same quarter of the previous fiscal year,” Sony told investors.

The success of the A7 V and A7R VI doesn’t come as a surprise, as both models have made regular appearances across best-seller lists. But while Sony is collecting a larger share in the full-frame market and selling cameras at a higher average price, the company’s camera sales are similar to the same time last year.

The segment that had the highest increase in sales, however, is Sony’s image sensor division. Sony’s sensor division had a 104.5 billion yen increase compared to the same time frame last year – that’s about $656 million / £489 million / AU$938 million / $921 million at current exchange rates. While Sony’s gaming and music division still takes a bigger chunk of the Sony pie, the imaging sensor division had the most growth out of all of Sony’s divisions for the first quarter.

Sony says image sensor sales have jumped 26 percent over the same time last year, attributing the success largely to a higher average selling price for smartphone-bound image sensors. That left Sony with a record-high operating income for the sensor division.

While the A7 V, A7R VI and growth for smartphone camera sensors mark a positive shift for Sony, the report wasn’t without its concerns. First, the company’s largest image sensor plant has suspended operations after an earthquake on July 28, and production remains paused.

Another key challenge is one that several camera manufacturers have noted: the increasing cost of memory.

“The continued surge in memory prices remains a key business challenge for this segment this fiscal year,” Sony said, discussing the Entertainment and Tech segment. “However, the business is doing everything it can to implement cost-reduction measures in procurement and design, and to adjust its pricing strategies, including foreign exchange management.”

Sony says it also expects increasing memory costs to impact the number of shipments for high-end phones.

Overall across all segments, Sony shared that sales are up 8 percent and net income is up 32 percent compared to the same quarter in 2025.

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I’m always glad to see that the Fujifilm X-M5 is trending on Google, because it means plenty of people are giving this unassuming little powerhouse the attention it deserves. You see, despite its popularity, I’ve often wondered how many would-be Fujifilm X-M5 creators have simply dismissed Fujifilm’s smallest interchangeable-lens camera as being an entry-level body, maybe even a casual camera akin to the Fujifilm X Half, when in actual fact, it’s anything but.

Last year I claimed “the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera,” but it’s not just this camera’s tiny footprint that makes it so appealing; it’s the surprising power that lurks beneath the hood.

Firstly, the Fujifilm X-M5 is built around the company’s last-gen flagship APS-C sensor, the 26.1 MP X-Trans CMOS 4. This imbues it with some serious X-Series credentials right off the bat, complete with that coveted Fujifilm color science.

Then things get really interesting: 20fps burst speeds (30fps with 1.25x crop), along with 6.2K / 30p, 4K / 60p (1.18x crop), full HD / 240p, as well as 4:2:2 10-bit and F-Log for plenty of pliability in post-production. And to top it all off, it supports open-gate video.

Now, the elephant in the room is the lack of a viewfinder, but unusually that really doesn’t bother me here, because it’s clear that the Fujifilm X-M5 is designed to be as small and light as possible, and without compromise. Nobody bemoans a traditional compact camera for not having a viewfinder; it’s either your bag or it isn’t.

But here’s the thing. I reckon the Fujifilm X-M5, like the Ricoh GR IV, is the camera nerd's 'compact camera'. It’s small enough to be a constant companion, but it’s got the image quality, the specs, and the interchangeable-lens system to be an infinitely useful tool. In a world where the Fujifilm X100VI gets the lion’s share of the attention and plaudits, spare a thought for the Fujifilm X-M5. It’s easy to miss, but hard to find fault.

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I thought the Fujifilm X-E5 made the Fujifilm X100VI a lame duck. Here's why I've changed my mind. I spent some time with the Fujifilm GFX100RF; it may just be my ideal travel camera. And finally, check out the best retro cameras.

The Panasonic Lumix S9 has already established itself as one of the most compact and colorful full-frame cameras on the market, but this latest deal makes it considerably more tempting.

B&H Photo has reduced the Panasonic Lumix S9 with the Lumix S 18-40mm f/4.5-6.3 lens to just $1,397.99, down from its regular price of $1,797.99.

That saves you a sweet $400 and matches the lowest price I have seen for this remarkably portable full-frame kit.

At the heart of the Panasonic Lumix S9 is a 24.2MP full-frame CMOS sensor, giving you the image quality and low-light advantages of a considerably larger camera without forcing you to carry a conventional DSLR-style body. The S9 weighs just 1.1 lb, making it an incredibly appealing option for travel, street photography and everyday content creation, particularly for photographers who want something more capable than a smartphone without filling an entire camera bag.

The included Lumix S 18-40mm f/4.5-6.3 is also an excellent match for the S9’s compact design. Measuring approximately 1.6 inches long and weighing only 5.5 oz, it provides a genuinely useful range for landscapes, architecture, travel photography, group shots, and casual snapshots. It might not have the brightest maximum aperture, but its tiny dimensions help turn the S9 into a full-frame setup that you could comfortably carry all day.

This is not simply a stylish stills camera, either. The Lumix S9 can record 6K video at up to 30p and C4K or 4K footage at up to 60p, with 10-bit recording available for photographers and filmmakers who want more flexibility when editing their footage. Panasonic’s Real Time LUT system also allows you to apply customized looks inside the camera, making it much easier to produce polished photos and videos that are ready to share without spending hours color grading afterward.

There are compromises to consider, as the Lumix S9 does not have a built-in electronic viewfinder, traditional hotshoe or headphone connection. However, I think those omissions become far easier to accept at this price, especially if you primarily compose using the touchscreen or want a lightweight hybrid camera for vacations, social media and handheld video. You are still getting a stabilized full-frame sensor, strong video specifications and access to the continually expanding L-mount lens system.

At $1,397.99 for both the camera and the 18-40mm lens, the Lumix S9 is now cheaper than several fashionable fixed-lens compact cameras while offering a larger full-frame sensor and interchangeable lenses. B&H currently lists the kit in multiple color combinations at the same reduced price, but deals this good can disappear quickly. If you have been waiting for an affordable route into Panasonic’s full-frame system, this $400 saving makes the Lumix S9 very difficult to ignore.

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

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

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

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

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

Deals

Top choice: Sony A7 V

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

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

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

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

Browse the best lenses for the Sony A7 V

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

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

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

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

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

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

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

Deals

Promotions & Offers

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

Top choice: Sony A7 V

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

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

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

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

Browse the best lenses for the Sony A7 V

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

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

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

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

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

Canon EOS R5 sample images

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

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

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

Need help deciding?

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

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

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

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

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

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

Check out the best lenses for the Fujifilm X-M5

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

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

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

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

Which camera is the best to start your journey?

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

Canon EOS R100

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

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

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

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

Canon EOS R50

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

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

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

Verdict: R100 vs. R50

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

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

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

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

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

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

What’s a hybrid viewfinder?

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

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

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

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

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

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The Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera. I’ll die on this hill: The Nikon F5 is the best 35mm SLR camera you can buy – and it's a secondhand bargain! “AI dilutes what is impressive” – Robert Irwin hits the nail on the head when it comes to artificial intelligence in wildlife photography.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Dive into the best mirrorless cameras or the best cameras for beginners.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nikon Z6: Specs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Except that is not what has happened.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That does not mean I have no complaints, though.

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

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

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

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

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

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

No, it has not.

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

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

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

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

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

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

Whatever it is, the M EV1 still has it.

Shop the Leica M EV1

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

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

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

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

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

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

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

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

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

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

Sony A7 III

Ideal for system switchers and DSLR upgraders

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

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

Comparison

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

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

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

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

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

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

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

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

Why APS-C cameras dominate the rankings

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

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

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

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These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to $350 at B&H. Two bundles include accessories at no extra cost, since the price matches the camera body alone, making the extras essentially free.

The Canon EOS R8 is now available for just $1,299 at B&H – a $350 discount from its original $1,649 price tag.

The Nikon Z6 II is now available in a basic bundle for just $1,546.95 at B&H – a $200 discount from the original $1,746.95 price tag, including a shoulder bag and 128GB memory card.

The Sony A7 III is now available in a basic bundle for just $1,698 at B&H– a $300 discount from the original price of $1,998. This deal includes a shoulder bag and 128GB memory card.

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

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

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

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

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

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

Sony A7 III

Ideal for system switchers and DSLR upgraders

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

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

Comparison

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canon EOS R8 Mark II specs (rumored)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why are Nikon Zf used sales up?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here are 5 suggestions you might find useful:

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

2. Activate Eye Control AF.

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

4. Switch your screen off to save battery power.

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

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

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

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

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

Pro body, enthusiast price point

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Specifications

Price

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

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

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

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

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

Leica SL3-P: Design & Handling

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Performance

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

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

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

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

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

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

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

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

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

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

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

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

Leica SL3-P: Lab results

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

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

Signal to Noise Ratio

ISO

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

Signal to Noise Ratio Data

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

Dynamic Range

ISO

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

Dynamic Range Data

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

Resolution

ISO

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

Resolution Data

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

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

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

Verdict

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

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

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

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

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

Alternatives

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

Earlier this month, Nikon appeared to stealth launch an unusual “new” mirrorless camera: A Z6 III with all the same features, except all wireless communication capabilities were removed. Now, the store listing for the Wi-Fi-free camera has since disappeared, but Nikon has finally told us why the unusual Z6 III existed in the first place.

Speaking to Digital Camera World, a Nikon USA representative explained the unusual Wi-Fi-free camera this way:

“Nikon works directly with various government and industrial entities that may require cameras without wireless functionality for security reasons. These cameras are produced in limited quantities with long lead times. Some of our retail partners also have customers with similar needs, and we have made a small allotment of cameras available to evaluate potential market demand.”

The statement fits along the lines with what a Wi-Fi-free camera would seem to be created for – use cases where a lack of communication hardware makes a camera more secure. Nikon appears to be making a small number of these cameras, but since the appeal is more limited, the Wi-Fi-free option doesn’t typically make it to consumer shelves. That means there’s a wait to get such a secure variant.

The Wi-Fi-free Nikon, which first popped up at B&H appears to have already been removed from the US retailer.

Outside of lacking the communication capabilities, the unusual Z6 III variant also sat at a higher price point – which may make sense since the production line probably has to adjust for the limited run of cameras. But, that makes the camera make less sense for general consumers.

Either way, Nikon’s statement may help satiate the curiosity of Nikon fans wondering over the unusual – and now removed – Wi-Fi-free Z6 III.

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I’m a Canon professional photographer, so I'm a big Canon fan and I only shoot with EOS cameras. I still use Canon DSLRs for studio stuff and day-to-day photography when I don’t need an EOS R5 Mark II’s super-fast AI AF and I’m not shooting small moving targets.

But one of the reasons I like using full-frame mirrorless Canon cameras like the R6 Mark III is that they have a clever built-in 1.6x crop mode. I find this useful when I’m traveling light and only have one lens on my camera, such as during a recent city break in Madrid, Spain.

A quick flick to crop mode and 100mm becomes 160mm for a little more reach, to help me compose on distant subjects, parts of a scene or interesting elements of architecture.

Which is why I was intrigued by the Digital Telephoto Converter mode available on cameras like the full-frame EOS R8. This ‘Digital tele-conv’ mode is on the first page of the red shooting menu, just beneath the cropping mode/aspect ratio option.

I was excited to try it out and had high hopes, as there are 2.0x and 4.0x digital telephoto options, but I very quickly discovered that it has some big flaws.

While you can shoot RAW and use the crop mode, the Digital tele-conv is only available when you shoot JPEG (due to necessary in-camera interpolation) which already restricts the quality before we even get to digital croppage.

It also only allows you to use one central AF point (or box), which is fixed, and tracking frames are not displayed. Initially I found this was fine, until I realized that it affects metering for off-center subjects – as the above photos illustrate.

However, while clever in-camera interpolation somehow keeps the 2.0x and 4.0x images at 24MP 6000 x 4000 pixels at 350dpi, they are simply heavily cropped (or zoomed-in) – so image quality is, well, rubbish. Images look low-res and unsharp.

The Digital tele-conv can also be used in conjunction with the EOS R8's 1.6x crop mode to give you 3.2x or 6.4x magnification, but again – it’s just heavily cropping into an already cropped image, so quality drops off rapidly.

I wouldn’t be surprised if the Digital tele-conv mode disappears from future EOS cameras. It’s not available on the EOS R5 Mark II for good reason.

If you need extra reach for Canon lenses, get a proper teleconverter (which Canon calls extenders) for your telephoto lenses. Canon Extenders are available in 1.4x and 2x in both EF and RF mounts, and will deliver far superior results to these digital in-camera crops.

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Take a look at the best teleconverters in 2026 to see how they work and what to look for. And of course, you can check out the best Canon telephoto lenses and best Canon superzoom lenses to get more reach without any optical compromise.

Leica has officially unveiled the brand-new SL3-P, and it is already shaping up to be one of the most exciting and capable full-frame cameras the company has produced.

Designed for professional photographers and filmmakers who need speed, resolution and reliability in a single body, the SL3-P combines a new 44MP full-frame sensor with Leica’s most advanced hybrid autofocus system to date. It can shoot continuously at up to 40fps with autofocus, capture 176MP images using its Multishot mode and record 8K open-gate video, making it a serious all-rounder for everything from sports and documentary work to portraits, commercial photography and high-end filmmaking.

For anyone hoping to get their hands on one, you are in the right place. Below, I have gathered the best places to buy the Leica SL3-P from retailers across both the US and the UK.

The Leica SL3-P is priced at $6,690 in the US and £5,150 in the UK for the body only. It is available now through Leica Stores, Leica’s online store and authorized retailers, following its official release on June 25, 2026.

Where to pre-order?

At the heart of the Leica SL3-P is a newly developed 44MP back-illuminated full-frame CMOS sensor, without a low-pass filter, which feels like a very deliberate middle ground between outright resolution and the speed demanded by professional photographers.

That already puts it in an interesting position within Leica’s SL range. Rather than chasing the enormous files produced by the 60MP Leica SL3, the SL3-P offers 44MP and 26MP recording options, up to 14 stops of dynamic range, and an ISO range extending from 50 to 200,000. The result should be detailed files with plenty of flexibility, refined tonal gradation, and the sort of natural color rendering photographers expect from Leica.

When maximum resolution is required, the camera’s Multishot mode can produce enormous 176MP images. That will naturally be best suited to more controlled subjects, but for studio, architecture, product, and landscape photographers, it offers another level of detail without requiring a separate high-resolution camera.

Autofocus and speed are arguably the real headlines here. The SL3-P introduces an improved hybrid autofocus system that combines phase detection, contrast detection and depth mapping, with 819 phase-detection points spread across the frame.

Machine-learning-based subject recognition can identify people, animals, and vehicles, while continuous shooting reaches an impressive 40fps with continuous autofocus. That is a significant leap for the SL-System and immediately makes the SL3-P feel far better prepared for sports, wildlife, events, and documentary work where the moment will not wait for the camera to catch up.

Five-axis in-body image stabilization provides up to five stops of compensation, which should make handheld shooting more dependable when working in lower light, with longer lenses or at slower shutter speeds. Combined with the expanded ISO range, this feels like a camera designed to keep working when conditions become less than perfect.

The body design is also a major part of the appeal. Manufactured in Germany, the SL3-P uses a robust full-metal construction with IP54 protection against dust and water splashes. It is unmistakably a Leica, but the presentation is deliberately restrained, with black controls and no red Leica badge on the front.

That more discreet appearance suits the camera perfectly. The SL3-P is not trying to look like a special edition or collector’s piece; it looks like a serious professional tool designed to be used every day, whether that means working in a studio, covering an event or standing beside a racetrack in difficult weather.

Leica has also placed a strong emphasis on making the camera adaptable to the photographer using it. The controls, dials and on-screen Control Centre can be customized, while photo and video modes are clearly separated using Leica’s red and yellow color coding. The interface also rotates automatically when the camera is held vertically, helping settings remain clear and easy to read regardless of how you are shooting.

Composition is handled through a 5.76-million-dot OLED electronic viewfinder, which can operate at up to 120fps, alongside a 3.2-inch tilting touchscreen with 2.33 million dots. There is also a top status display for quickly checking essential settings without needing to look through the viewfinder or open the main menu.

For anyone working with fast bursts or demanding video formats, the SL3-P includes both a CFexpress Type B slot and an SD UHS-II card slot. That combination gives professionals the speed needed for high-data-rate recording, while retaining the convenience and wider compatibility of standard SD cards.

There is a serious amount of video capability here, too. The SL3-P can record up to 8K in an open-gate 3:2 format, using more of the sensor and giving filmmakers far greater freedom to produce horizontal, vertical, or square versions from the same footage.

It can also capture 5.9K video at up to 60p and 4K slow motion at up to 120p, with internal Apple ProRes recording available at up to 5.8K. Support for L-Log, HLG, Leica Pure and Leica Cine LUTs, False Color, anamorphic desqueeze and HDMI RAW output makes it clear that this is not simply a stills camera with a video mode added as an afterthought.

Professional workflow features have not been overlooked, either. Native tethering is available for Capture One and Adobe Lightroom Classic, while Adobe Frame.io Camera-to-Cloud support allows images and video to be transferred directly into a production workflow. Leica Content Credentials can also attach secure authorship and origin information to images, which feels increasingly important as photographers look for ways to distinguish authentic work from generated or manipulated content.

In a market filled with cameras that tend to prioritize either speed, resolution, or video, the Leica SL3-P looks like a remarkably well-judged combination of all three. It is fast enough for serious action, detailed enough for demanding commercial work, and equipped with the video tools needed for modern hybrid productions.

More importantly, it still feels like a Leica: beautifully restrained, built to withstand professional use and designed around controls that should encourage photographers to concentrate on the image rather than the camera. The SL3-P may not be the cheapest professional hybrid camera available, but it could prove to be the most complete and convincing SL camera Leica has made so far.

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Check out guide to the best Leica SL lenses, and to the best L-mount lenses

The newest Nikon mirrorless camera has arrived without the usual fanfare: Nikon has sneak-launched a new variation of the popular Z6 III.

A new Nikon Z6 III has popped up in retail stores, despite no official announcement coming from Nikon. But, there’s perhaps a good reason for the quiet announcement. The new Nikon Z6 III is identical to the earlier camera by the same name, except it lacks all forms of wireless communication.

The Nikon Z6 III with no wireless connectivity repackages the same full-frame 24.5MP sensor with 20 fps bursts, but eliminates Wi-Fi and Bluetooth.

That means the camera isn’t compatible with the Nikon app to transfer files and update firmware. It also lacks the original model’s ability to use a smartphone connection to tag photos with a GPS location.

The rest of the specifications are identical – removing the wireless capabilities doesn’t change the battery life rating, nor does it change the camera’s weight or size.

Nikon has created Wi-Fi-free cameras before. Cameras without wireless connectivity may be helpful for certain secure use cases, including government work that may require a device without external connectivity for security. A wireless-communication-free device could potentially also be used for security or forensics.

But the real reason that I wouldn’t buy the new Z6 III without Wi-Fi? The variant without communication capabilities sits at a higher list price. In the US, the original sits at $2,696.95 and the new Wi-Fi-free at $3,079. (Both currently have a $700 discount in the US.)

Unless you really need a camera that can’t possibly be hacked, I’d save the extra money and buy a regular Z6 III and turn on airplane mode for privacy.

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Forgive the double negative, but I cannot believe that Nikon isn’t at least planning a Nikon Zfc II. I love the Nikon Zfc, it’s quietly become one of my favorite Nikon cameras. Sure, the aging autofocus and image processor make it feel a bit sluggish, but it’s a camera that’s got mojo and that’s not something you can say about every camera in 2026.

It’s also very competitively priced in comparison to other retro cameras such as the OM System OM-3 and Fujifilm X-E5. Although admittedly, they do boast more modern specs. And of course, it’s still one of the best-looking cameras on the market. It’s not a modern take on a retro camera like a Fujifilm X-T30 III, it’s modelled to look exactly like a film SLR from Nikon’s past, such as the Nikon FM2.

And that’s part of the camera’s charm. It’s not very ergonomic, what with its thin, boxy shape, chunky dials and no grip. It can feel a little like driving a classic car, the ride’s a little bumpy but it’s so full of charm you’ll take it out for a Sunday afternoon’s drive, just because.

So, we know a Nikon Zfc II would need a big internal upgrade from the tech that it borrows almost entirely from 2019’s Nikon Z50. But what about new physical attributes? Surely I’m talking about replacing that plasticky bottom plate and toy-like battery door, right? Wrong. I mean, I’d love Nikon to fix that, but what I really, really want (zig-a-zig-ah) is a thread on the shutter button so I can add a soft shutter release button. That’s it.

It pains me every time I see a little Nikon Zfc. I think to myself, that’s crying out for a bright red soft shutter release button. The folks at Fuji know where it’s at, even the Fujifilm X-M5 and Fujifilm X-T30 III have provision for one! And to be fair, Nikon gets it, too. The Nikon Zf, which was released a couple of years after the Zfc, has a shutter button with a thread.

So, all the evidence points towards a potential Nikon Zfc II allowing you to attach a soft shutter release button, but just in case. Nikon, if you’re ever going to make a Nikon Zfc II, make sure it can accommodate a soft shutter release button! Please and thank you.

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Check out the best Nikon cameras and the best Fujifilm cameras. Plus, 27 miles, two days, and one Nikon Zfc. I pushed this cheap retro camera to its limit on the streets of New York.

If you're waiting to start your full-frame journey, switch to Nikon or want to step up your photography game, the Nikon Z6 II is a highly capable mirrorless choice.

The Nikon Z6 II + 24-70mm f/4 lens is now available for only £1,599 at Wex. This new low price saves you a massive £750 on the original £2,349 retail price.

Sure, the updated Nikon Z6 III has landed – but let's be honest, we don't always need the newest model to get quality results (and the new camera costs nearly twice as much as the previous one).

The Nikon Z6 II is a fantastic full-frame mirrorless camera that delivers great performance at an unbeatable price (especially with this deal). For many users, the Z6 II is actually a preferable option to the professional-grade Nikon Z7 II.

The Z6 II features a 24.5MP BSI CMOS sensor for sharp, high-quality images with great dynamic range.

It is powered by dual Expeed 6 processors, which means faster performance, better autofocus tracking and improved low-light handling. With 273 hybrid autofocus points, the Z6 II tracks fast subjects, including humans and animals.

A huge upgrade over the original Nikon Z6 is the two memory card slots, which can be a real game-changer and push the camera into the professional-grade category. With this, you can shoot client work or important events like weddings with peace of mind in case of card failure.

The bundled Nikkor Z 24-70mm f/4 S lens is a versatile all-rounder – great for portraits, landscapes, travel, or even wildlife photography.

While it doesn't match the low-light capabilities of the Nikkor Z 24-70mm f/2.8 S, when paired with the Z6 II's excellent ISO performance, it's more than capable of handling different lighting situations (or for creating beautiful bokeh). And shedding a stop might be worth it when you're saving this much!

The Nikon Z6 II offers incredible value for anyone looking to step into Nikon full-frame photography.

With solid performance, a versatile lens, and £750 in savings, it's a great time to pick up a camera that's more than capable without stretching your budget.

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If you are a dedicated Nikon shooter or simply exploring the Nikon ecosystem, here is our guide to the best Nikon cameras, the best Nikon lenses for DSLRs and the best Nikon Z lenses for Nikon mirrorless cameras.

The Nikon Z30 is trending again. Just yesterday I was advocating for the Nikon Z50 as one of the best beginner cameras for those who don’t mind buying used. But unlike the discontinued Z50, the Nikon Z30 is still a part of the Big N’s APS-C lineup.

For how long, and whether or not we’ll get a Nikon Z30 II, remains to be seen. But given Nikon's commitment to video in recent years and the Z30's successes, it certainly doesn't seem unlikely.

After all, we live in a very different landscape when it comes to vlogger-centric cameras than we did during the Nikon Z30's release in 2022. The DJI Osmo Pocket and, more recently, the Insta360 Luna Ultra have completely redefined the best cameras for vlogging.

These handheld pocket gimbal cameras might not be as versatile as, say, the Nikon Z30 or Sony ZV-E10 II, but the one job they do, they do very well indeed.

And yet, far from being dead in the water, the Nikon Z30 has sold very strongly in Japan. I’ve written an article before on why the Nikon Z30 never really won over the West but has remained big in Japan, and I dare say it’s trending today for similar reasons.

Old tech, trendy soul

The Nikon Z30 was never a technical marvel. By and large, it’s built around the same 2019 tech as the Nikon Z50. The biggest difference is that the recording limit has been upped from 30 mins to 125 mins. Otherwise, you’re looking at the same sensor, image processor, and photo and video capabilities.

What is different is the Z30’s physicality. While it adds a flip-out rear LCD screen, it omits a viewfinder. This is a big deal, and is likely the main reason why the camera hasn’t charmed consumers in the West. It is, however, precisely why the Nikon Z30 has proven so popular in Japan.

Without a viewfinder, the Nikon Z30 is extremely compact for an APS-C interchangeable-lens camera. It’s not going to beat the Fujifilm X-M5, and its thick grip makes it less pocketable than the Fujifilm X-E5, but it’s still incredibly compact.

It’s the most compact Z-Series camera by some margin, especially paired with the Nikon Z DX 16-50mm f/3.5-6.3 VR that barely protrudes beyond the grip. And what a nice chunky grip it is.

And unlike the Nikon Z fc, another Z50 in sheep’s clothing, which has a cheap-feeling plastic bottom plate, the Nikon Z30 boasts a really solid, premium feel.

Ultimately, technology has left the Nikon Z30 behind – so much so that I struggle to recommend it as a vlogging camera. However, as a premium ‘compact’ camera, it still excels.

It captures gorgeous images, has decent specs for compact use, and hasn’t been affected by the often inflated compact camera market.

I’m a Nikon fanboy at heart, so I’m always going to recommend Nikon’s excellent color science and RAW file quality. However, if you’re looking for a compact-sized camera that’s also a robust video option, I really do recommend taking a look at the aforementioned X-M5.

It’s smaller than the Nikon Z30, and its video spec blows it out of the water. It’s also a relatively similar price. That said, if you can find a Nikon Z30 for the right price, it’s still a fantastic little camera for everyday use.

At the time, I simply couldn’t understand Nikon’s play. Why remove the viewfinder? Well, as it turns out, it’s precisely the removed viewfinder and more compact size that’s made the Nikon Z30 a winner.

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Want an actual compact camera? Maybe you'd like to learn more about the Big N's other video-centric offering, the Nikon ZR. Or perhaps you'd just like to browse the best Nikon cameras.

Photography can get expensive fast, but your first camera and lens don't have to be. These three cameras are ideal for learning the ropes and come with a versatile lens perfect for everyday shooting, travel, landscapes, portraits, and more. With these deals, you can save up to $420.

The Olympus OM-D E-M10 Mark IV + 14‑42mm lens is now just $919.97 at B&H – you save $420 off its original $1,339.97 price.

The Canon EOS R100 + 18-45mm lens is now just $499 at B&H – you save $180 off its original $679 price.

Olympus M-D E-M10 Mark IV: Best cheap retro
Lens: M.Zuiko 14‑42mm f/3.5‑5.6 EZ
Beautifully designed and packed with modern features, the OM-D E-M10 Mark IV is ideal if you value creativity and classic styling. Its 20.3MP Micro Four Thirds sensor, paired with 5-axis in-body stabilization, produces remarkably sharp results even when shooting challenging low-light situations handheld. The tilting touchscreen and tactile dials encourage manual experimentation, and the high range of compatible lenses opens up endless photographic possibilities. It's a superb choice if you want a lightweight, versatile tool for everyday shooting.

Canon EOS R100: Best cheap beginner camera
Lens: Canon RF-S 18-45mm f/4.5-6.3 IS STM
If you want a straightforward, capable camera to learn on, the Canon EOS R100 is a fantastic starting point. Its 24.1MP APS-C sensor delivers crisp, detailed images with pleasing color straight out of the camera, while Canon's Face+ Tracking autofocus helps keep subjects sharp with minimal effort. The guided menus make it easy to understand exposure settings. It's compact, lightweight, and compatible with Canon's expanding RF lens system – giving you room to explore different genres without overcomplicating your setup. Please note: If you mainly want to shoot video, the R100 is not the camera for you, as fixed screen and cropped 4K video, limiting flexibility.

Browse the best cheap cameras and the best camera for beginners.

I’m constantly moaning that Nikon doesn’t have a true entry-level mirrorless camera in the same vein as the Nikon D3500. The closest you’ll get in the current line-up is the Nikon Z30 and the Nikon Z50 II.

But the Z30’s vlogger-centric design lacks a viewfinder and the Z50 II, as fantastic as it is, will set you back $910 / £849. Don't get me wrong, the specs warrant that price, just like the Fujifilm X-T30 III, the Z50 II is a cut above your average entry-level offering, but it's not a true entry-level camera.

In my mind, an entry-level camera should sit around the $500 / £500 mark. And due to the release of its more powerful successor, that’s exactly where the Nikon Z50 is hovering right now.

At the time of writing, MPB prices start at $479 / £394. You’ll have to buy a lens, of course, but you can find the Nikon Z DX 16-50mm f/2.8 VR or Nikon Z 40mm f/2 cheap enough.

So what does that $500 get you? Well, the Nikon Z50 is a first-generation Z-Series camera. It was released way back in 2019 and is therefore sluggish in comparison to Nikon’s latest wares, but stand it next to the only other true entry-level APS-C mirrorless camera on the market and the story is very different.

Nikon Z50 vs Canon EOS R100

The excellent Canon EOS R100 is a charming little mirrorless camera that is an easy recommendation for beginner photographers on a budget looking to pick up their first interchangeable-lens camera. And of course, that’s the route most photographers will go down.

Beginner cameras are usually purchased as gifts, so I’m well aware they are often bought new. Buying second-hand is also a more daunting prospect for beginners, but reputable camera stores such as MPB and KEH do mitigate the risk.

But if you don’t mind going the used route or have your heart set on a Nikon, the Nikon Z50 is arguably a better camera than the EOS R100. The elephant in the room is sensor resolution.

A beginner photographer might look at the Nikon Z50’s 20.9MP sensor and assume that the Canon’s 24.1MP sensor makes it the better camera, but the difference between 20 and 24 megapixels is negligible. I’ve used Nikon’s 20.9MP APS-C sensor extensively and I can personally attest that it’s a great-quality sensor that’s pliable in post.

When it comes to autofocus, the Nikon has more AF points. The EOS R100 features the same hybrid AF system that powered Canon's pro DSLRs and the Z50 matched the full-frame Nikon Z6 upon its release. Don’t expect a 2026 whip-fast AF performance from either camera, but both will prove serviceable for beginners.

The Nikon Z50 then pulls away from the EOS R100 with a greater ISO range, faster burst speeds, 4K / 30p, weather sealing and a larger rear LCD that also tilts and is touch sensitive.

Overall, I have no problem recommending the Canon EOS R100 to any beginner. It might not be quite as good as the Nikon Z50, but it's also more affordable. If you look in the right place you can pick up the EOS R100 + kit lens for the same price as a used Nikon Z50.

However, if you’ve only got $500 / £500 to spend and you want that money to go as far as possible, then a used Nikon Z50 is the better camera. The Big N might not have an official mirrorless successor to the hugely popular D3500 in its lineup, but for the time being the Nikon Z50 is more than capable of filling that hole. But if your budget can stretch to a Nikon Z50 II, that’s a whole different ballgame…

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If you're not sold on the Nikon Z50 or Canon EOS R100, take a look at the best cameras for beginners. If you're only interested in budget then here are the best cheap cameras. And at the other end of the scale, here are the best professional cameras in the biz.

Among the 21 RF-mount Canon cameras launched since 2018, newest among them is the Canon EOS R6 V – with the V indicating a ‘video first’ approach and mindset.

The camera has as many similarities with the Cinema EOS range, specifically the Canon EOS C50 – but this is smaller and lighter.

But one thing, however, that the ‘V’ in the camera’s nomenclature doesn’t indicate is the presence of a ‘viewfinder’. It has none – just a 3-inch, 1.62 million-dot rear LCD screen.

Yes, its maker will argue that this full-frame camera is designed to be used handheld, possibly at arm’s length, by influencers, and therefore an eye-level viewfinder wasn’t a development priority. But there’s not even an option to add an external viewfinder as an accessory, should users wish to do so, which feels like an opportunity overlooked.

More positively, a basic boxy shape may more readily fit a variety of camera cages and rigs. And, staying with practical concerns, the space usually reserved for an EVF has given way to a cooling fan to enable extended recording times without interruption.

And yet, thanks to the generous 32.5MP sensor at its heart – inherited from the C50 and R6 Mark III – the Canon EOS R6 V is also a very capable stills camera. Photos can be captured at full resolution up to 40fps, partly because it uses an electronic, as opposed to mechanical, shutter.

The lack of a mechanical shutter will also gaslight some photography purists.

Given that the R6 V could justifiably be considered a hybrid device, it does underline my question as to why Canon has limited its appeal by not providing an eye-level viewfinder for those who prefer to shoot that way – or at least want to have the option, on occasion.

The body-only price is still considerable, even for those who do want to primarily luxuriate in 7K 60p video recording, 4K 60p oversampled or up to 120p slow-motion footage.

Canon’s promotional tagline for the EOS R6 V is "loved for handheld creative brilliance". So why limit that creativity? I can’t help but feel it would have been adored if only, like the R6 Mark III, it had provided a viewfinder as well – even as an optional extra.

I bought the Canon EOS R5 a few years ago, and it is still the main camera I use for professional work - but I paid a way lot more for it than you can buy it right now. In the Amazon Prime Day sale that ends today (midnight ET), you can snap it up for $2,599 which is the same price as we saw on Black Friday, equalling its lowest-ever price from Amazon.

Admittedly, with the newer Canon EOS R5 Mark II now on sale, we expected the price of the OG model to drop – but for me, this older R5 is now something of a bargain. And as I have previously explained, I am not going to upgrade to the newer model

Yes, the Canon EOS R5 (review) isn't just a brilliant camera on paper – it's a camera that's so good, I actually bought one… but I just wish I could have bought it at this price!

Its 45MP sensor delivers stunning photographs, and it can shoot them continuously at up to 20fps – making this perfect for fast action like sports and wildlife, particularly with the incredible Dual Pixel CMOS AF II driving the autofocus system. And if you love resolution, get this: the camera can shoot 400MP photos as well!

In terms of video, you can capture gobsmacking 8K 30p or 4K 60p HQ video that will take your breath away. The camera is weather-sealed, making it suitable for all shooting conditions, with two memory card slots (one SD, one CFexpress B), and the image stabilization is fantastic. I love my R5, and my only regret is paying over 1,000 bucks more for it!

There was a lot of noise about the Panasonic Lumix S9 when it launched – and not all of it was positive.

From the complaints that it was a bigger version of the compact Lumix camera we really wanted (sound familiar?), to laments over its lack of EVF and hot shoe, to criticism of it trying to be a Fujifilm X100 VI, to blowback over the lens it launched with… the noise was hard to ignore.

And my colleagues and I were definitely part of that noise.

"Sorry, Panasonic, I don't want the S9 – I want the camera you made 11 years ago" I wrote, lamenting that it wasn't the Lumix GM1.

"The Lumix S9 hit all the right marks – until you attached a lens, said Gareth, our Reviews Editor, regarding the poorly-received 26mm launch lens. "Honestly, I didn't enjoy using the camera because of it."

Most damning of all was DCW contributor Rod Lawton, who wrote, "I saw Panasonic's Lumix S9 for the first time at a show and I just kept walking. That’s bad!"

Well, fast-forward two years from its launch, and Gareth and I both have a Lumix S9 – along with a lot of young creators who absolutely love it.

(The Lumix S9 is currently enjoying massive discounts in the Amazon Prime Day sale, particularly with the 18-40mm kit which has hit its lowest ever price in the US as well as its lowest price since January in the UK.)

So what turned us around? Well, for starters, there was plenty to love about the S9 from day one that had already won us over.

The body is absolutely tiny for a full-frame camera. Being about the same size as an X100 VI, it offered the most compact full-frame offering on the market.

Its 24.2MP sensor delivers brilliant stills at up to 30fps (though it's limited to 8fps with continuous autofocus) as well as 6K 30p open gate video.

Best of all, you can employ Realtime LUTs for both photo and video – which is essentially Fujifilm's Film Simulations on steroids, fully customizable and enabling you to perform your exact editing style and post-production looks in-camera at the point of capture.

The Crop Zoom and Hybrid Zoom functions were always big winners, too, enabling you to extend the focal range of your prime and zoom lenses by seamlessly adding a scaling digital zoom. With Hybrid Zoom on the Lumix 20-60mm lens, for example, keep turning the zoom ring and it becomes a 20-187mm!

As far as what changed, well, I have to take my hat off to Panasonic because significant improvements were made right from the off.

Firmware version 1.1 unlocked the much-maligned recording limits, which previously restricted filming to 10 mins in 6K, 15 mins in 4K and 20 minutes in FullHD. Of course, the camera is still limited by temperature build-up, as it lacks an active cooling system, but disposing of the artificial limits was incredibly welcome.

We also got the ability to display multiple frame markers when shooting open gate, which is a godsend for framing shots for multiple outputs.

The autofocus also got a serious improvement, including the addition of two new subject detection algorithms, and we received multiple quality of life improvements to everything from the startup speed to deeper integration with smartphone apps like Lumix Lab.

Perhaps most importantly, we now have lenses that actually suit the S9's size. I've often said that compact full-frame cameras are an act of folly, because there aren't enough compact lenses to go with them – and the S9 was deathly guilty of this for. However, the L-Mount Alliance stepped up.

Panasonic gave us both the Lumix S 18-40mm zoom and the Lumix S 40mm f/2 prime, amazingly both the same size. Then TTArtisan dropped a 40mm f/2 of its own, but my favorite is the Viltrox AF 28mm pancake – which is the lens that the Lumix 26mm wishes it was.

Honestly, if any of these lenses were available at launch, I think the reception to the S9 would have been completely different.

Of course, some of our core complaints remain. Until Panasonic (or a third party) releases an external EVF add-on, the lack of viewfinder still hurts. And the omission of both a hot shoe and a mechanical shutter means that flash photographers are still SOL.

But as a true hybrid camera aimed at creators on the go, the Lumix S9 has finally become the camera that Gareth and I both hoped it would be when we first saw it. It's not often that cynical journalists admit they were wrong or put their money where their mouth is, but as S9 owners we're both very happy to have seen the light!

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Take a look at the best lenses for the Panasonic Lumix S9 as well as the best L-Mount lenses from the entire range.

Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

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

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I put this together while working on my full Leica SL3-P review. This 45 megapixel camera offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

Hand on heart, this camera is my daily driver – it goes everywhere with me. I've just noticed that it has dropped in price at Amazon, making it a great deal for anyone who wants a pocketable mirrorless camera that is a stylish retro beauty.

Why do I love the Olympus PEN E-P7 (review) so much? In short, it's incredibly small and sleek – and, more importantly, so are its lenses. While APS-C (and even full frame) bodies can be small, their optics will simply never be as small as they can be on a Micro Four Thirds system.

Take the M.Zuiko 14-42mm EZ Pancake lens, which comes as part of this bundle: it's the size of a pocket tin of Vaseline, yet I think it's the best pancake lens ever made. I always bring a tiny prime with me (usually the M.Zuiko 45mm f/1.8) but I shoot 90% of my E-P7 shots on this pancake, with its useful 28-84mm equivalent focal range. It makes an unbeatable compact – yet absolutely capable – package, perfect for street, travel and everyday shooting.

The 180° flippy-down screen makes this a great option for shooting from high or low angles, or when I want to take a selfie with better quality than my phone. I can even control the camera from my phone, for remote shooting or video, then zip my files back to it via WiFi in an instant. It's a genuinely viable replacement for the immediacy of my phone camera.

Crucially, with a 20.3MP sensor backed by 4.5 stops of in-body stabilization, this camera doesn't compromise on quality. Is there as much detail or dynamic range or depth of field as there is on my Canon EOS R5? No – but I don't need there to be. Photos from this camera are more than good enough for double-page spreads in magazines. And they're certainly more than good enough for Instagram and Facebook.

The E-P7 is one of the best Micro Four Thirds cameras, so check out the best Micro Four Thirds lenses – many of which are the best Olympus lenses (OM System).

The Sony A7C II has dropped to just $2,098, down from $2,499.99 and saving you a cool $401.99 on one of Sony’s most capable compact full-frame mirrorless cameras.

For photographers who want full-frame performance without carrying a large and heavy camera body, this is a deal that immediately deserves attention. The A7C II combines a 33MP full-frame sensor with a remarkably compact design, making it an excellent choice for travel, street photography, portraits, and everyday shooting.

Autofocus is one of its greatest strengths. Sony’s intelligent subject-recognition system can identify and track people, animals, birds, insects, cars, trains, and aircraft, helping you keep moving subjects sharp without constantly adjusting your settings.

The A7C II is also a strong hybrid option for anyone shooting both stills and video. It offers detailed 4K recording, effective in-body image stabilisation, and a fully articulating screen, giving filmmakers and content creators plenty of flexibility when working handheld or filming themselves.

Despite its smaller body, this is not a stripped-back full-frame camera. It delivers the image quality, dynamic range, low-light performance, and dependable autofocus expected from Sony’s larger Alpha models, but packages everything into a camera that is far easier to carry throughout the day.

At $2,098, the Sony A7C II remains a premium investment, but a $401.99 saving makes it considerably more tempting. For anyone searching for a compact full-frame camera that can handle travel, portraits, action, and video, this is one of the strongest Sony deals currently available.

UPDATE: Specifications continue to leak for the Sony FX5 – and it's looking more and more like a camera that's gunning for Canon, featuring technology appearing for the first time in a Sony camera.

We already knew that the FX5 would shoot 5K open gate video, but the latest report reveals that it will also possess triple-base ISO – both features making their Sony debut.

Of course, Canon introduced open gate with the Canon EOS C50 – a hybrid camera that was squarely positioned as an FX3 rival. And the company also introduced triple-base ISO to the industry with the Canon EOS C400, a high-end cinema camera.

For Sony to jump on the bandwagon with both technologies shows that it really is firing back with all guns blazing.

"Three sources confirmed the Sony FX5 has a triple-base ISO which is a first on Sony cameras," reported Sony Alpha Rumors. "It also records internal RAW," adds the site, noting that it possesses X-OCN (extended tonal range Original Camera Negative) internal RAW, Sony's 16-bit linear encoding.

UPDATE (Jun 30): There appears to be some disagreement over two key points: whether this camera will be called the Sony FX5 or Sony FX4, and whether or not it will have a global shutter sensor.

While Sony FX5 is the name that has been "confirmed" by Sony Alpha Rumors, rival camera rumors site Photo Rumors has been claiming that it is actually the Sony FX4 – a report that seems based largely on a post by sometimes-reliable X.com leaker, how2fly.

Both sites do seem to be describing the same camera but, given the nature of these kinds of leaks, it's also possible that there's a Sony FX4 and FX5 on the way. It's still most likely that they're both the same model, but we shouldn't discount the unexpected launch of a new product (a la the Sony FX2) that is causing the streams to get crossed.

As far as the sensor goes, after initially reporting that the camera would feature a global shutter affair, Sony Alpha Rumors is now unsure "whether the camera uses a new 5K global shutter sensor or something entirely different."

A user on the site's forums insists that, "We have the leaked roadmap that has shown itself to be very accurate. The IMX01A is there, 16MP, 5K 240p, fully stacked, 'high sensitivity', full sensor dual pixel AF… It's basically the dream sensor as an FX3 upgrade."

UPDATE (Jun 26): It has been reported that the Sony FX5 will indeed be an open gate camera – and, fittingly enough, it will record in 5K resolution in the 3:2 aspect ratio.

The report also notes that the global shutter image sensor will be different to the one featured in the Sony A9 III.

The addition of open gate represents something of an about-turn for Sony, which for years insisted that there wasn't sufficient consumer demand.

"On multiple occasions, Sony managers said they didn’t believe it was a feature users really needed," writes Sony Alpha Rumors.

"But it looks like they’ve finally changed their mind: the upcoming Sony FX5 is expected to feature full open gate support. Specifically I have been told the camera has open gate 5K 3:2 support!"

ORIGINAL STORY (Jun 24): A new report "confirms" that the Sony FX5 will be announced in July, featuring bleeding-edge features like a global shutter sensor (previously seen in the Sony A9 III) and specs from the Venice cinema line.

The report also hints, with a wink and a smile, that highly requested features from users will also be included on the FX5. Could this be the long-desired introduction of open gate video?

For years we have heard camera rumors about a successor to the Sony FX3. However, while both Nikon (with the Nikon ZR) and Canon (with the Canon EOS R6 V and EOS C50 in particular) have eclipsed the original model, Sony hasn't brought an FX3 II to market.

Instead, Sony Alpha Rumors writes that we will see an FX5 next month.

"While everyone else was convinced that a new FX3 II was on the way, I can now confirm through trusted sources that Sony will announce a new Sony FX5 in July!"

We know from Weibo outlet E8M_8888 that Sony has registered a new FX model, having spotted the filing with Chinese certification bodies. So a new model is definitely on the way – and Sony Alpha Rumors is confident that it will be a "mini Venice" in terms of capability.

"It's a substantial upgrade over the FX3. It gets a new name because it's more like a compact Venice camera than an Alpha camera with cine features," adding that, "button and menu layout take over many aspects of the professional Venice camera".

E8M_8888 had previously reported that it would be "a modular camera that adopts an FX3-like style but moves away from standard Alpha camera design language.

"Its body layout and button configuration are more professional," with modularity supporting cinema peripherals and expansions such as XLR handles, external EVFs and SDI connectivity.

Crucially, due to its hybrid Alpha / Venice nature, the FX5 looks like it could shake up the hierarchy of Sony's cinema camera lineup – much as Canon did with hybrid bodies like the EOS R6 V and EOS R5C.

Should Canon be worried? The company already debuted global shutter sensors in its Cinema EOS lineup (with the Canon EOS C700 PL), so that in and of itself isn't new.

But Sony has invested heavily in the tech and will surely be doubling down on its advantages – and if that does cross the streams with open gate, this could be a very big deal…

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See where the biggest gaps are that the FX5 might close, with these Canon EOS C50 vs Sony FX3 and Nikon ZR vs Sony FX3 comparisons.