The Fujifilm X Half launched as a delightful entry into Fujifilm’s coveted X-Series line-up, with a quirky digital ‘half-frame’ design. And although I was charmed by this unusual compact camera, I never felt its entry-level attributes quite aligned with its RRP.

That’s why this Prime Day camera deal has caught my attention. A cool 35% off the RRP has plummeted the X Half to a much more palatable £429 at Amazon UK, the lowest price you’ve been able to buy it, outright. All three colors are available, too, Charcoal, Black and Silver. However, all variants are currently selling fast...

The charming compact camera is designed to deliver a film-like experience without the cost and hassle of buying and developing your own film. And while a digital half-frame camera might seem superfluous, given that film cost-saving measures aren’t an issue when shooting digital, the X Half’s vertically-mounted 1-inch sensor is designed to appeal to the social media crowd.

But perhaps the X Half’s most attractive feature is the fact that it’s a proper little Fujifilm camera with the brand’s famed Film Simulations. The camera received four stars in the Digital Camera World review, praising its pocketable size, classic rangefinder styling, and brilliantly designed screens/controls layout.

It’s a shame it’s missing settings for making film recipes and isn’t capable of shooting RAW. But my biggest bugbear has always been the price. With an RRP of £699, I’d be minded to consider the Fujifilm X-T30 III or find a good Fujifilm X-T30 II used deal. But at £429, the X Half is a fantastic deal.

The OM System OM-5 Mark II with the 12-45 mm f/4 Pro lens has just dropped to its lowest-ever price of £1,150 - a saving of £349 on the full price.

What makes this deal so appealing is that you are not just getting the camera body, but also a pro-quality Zuiko 12-45mm f/4 kit lens.

The OM-5 Mark II is exactly the sort of camera that makes sense for photographers who want serious features without carrying a heavy kit bag. It is compact, lightweight, and built around the kind of go-anywhere shooting experience that OM System does so well, making it a brilliant option for travel, walking, family adventures, and everyday photography.

It also comes with the sort of clever computational tools that make OM System cameras stand out from the crowd. Features designed for handheld shooting, outdoor work, and creative photography mean you can do more in-camera, rather than relying on extra kit or spending hours fixing things later on a computer.

For anyone looking to move up from a phone or an older camera, this bundle is especially tempting. You get a weather-sealed, adventure-ready camera system with a lens that covers a huge focal range, all while keeping the setup small enough to actually want to carry with you every day.

The Canon EOS R100 twin-lens bundle has dropped to just $699 in the Amazon Prime sale, down from $929 and saving you a massive $230 on a complete mirrorless camera kit.

For anyone buying their first interchangeable-lens camera, this is a deal that immediately demands attention. The EOS R100 is one of Canon’s smallest and most affordable mirrorless cameras, combining a compact body with a 24.1MP APS-C sensor, reliable autofocus, and the flexibility of the growing Canon RF lens system.

What makes this particular deal so appealing is the inclusion of two lenses. The RF-S 18-45mm is a compact everyday zoom that is ideal for family photography, travel, landscapes, and general shooting, while the RF-S 55-210mm gives you considerably more reach for wildlife, sports, portraits, and distant subjects.

Together, the two lenses cover an extremely useful focal range, giving new photographers the freedom to experiment with a wide variety of subjects without immediately needing to invest in more equipment. It is the kind of package that can take you from wide scenic views to close-up shots of faraway subjects simply by changing lenses.

The EOS R100 is also light enough to carry throughout the day, making it a great option for vacations, days out, and anyone moving up from a smartphone. Its straightforward controls make it approachable for beginners, while still offering the manual settings and creative flexibility needed as your photography develops.

At just $699, this is a huge amount of camera equipment for the money. With a capable Canon mirrorless body and two versatile lenses included, this Prime sale bundle provides almost everything a new photographer needs to start shooting straight out of the box.

The OM System OM-5 Mark II with the incredibly versatile 14-150mm f/4-5.6 II lens has dropped to just $1,269.99 in the Amazon Prime sale, down from $1,499.99 and saving you a cool $230 on a complete travel-ready camera kit.

For anyone looking for a compact mirrorless camera that can handle almost anything, this is a deal that deserves serious attention. The OM-5 Mark II combines a lightweight, weather-sealed body with powerful in-body image stabilization, making it an ideal companion for travel, hiking, wildlife, and everyday photography.

The included 14-150mm lens is a major part of the appeal. Its broad zoom range covers everything from wide-angle landscapes and street photography to portraits and distant subjects, meaning you can leave the heavier camera bag at home and shoot an entire trip with just one lens.

The OM-5 Mark II is also packed with the intelligent computational features that have made OM System cameras so enjoyable to use. Tools such as Live ND, High Res Shot, focus stacking, and advanced stabilization give photographers more creative options without requiring a tripod or additional equipment.

Its compact Micro Four Thirds design also makes this kit particularly attractive for photographers who want serious capability without carrying a large full-frame system. The camera and lens combination remains easy to pack, comfortable to carry all day, and rugged enough to cope with unpredictable outdoor conditions.

At $1,269.99, this is a strong saving on one of the most versatile mirrorless travel kits available. Whether you are upgrading an older camera or building a lightweight system from scratch, the OM-5 Mark II and 14-150mm bundle offers a huge amount of photographic flexibility for the money.

The Canon EOS R6 Mark II dual-battery bundle has dropped to just £1,599 in the Amazon Prime sale, down from £2,229.99 and saving you a massive £630.99 on one of Canon’s most capable full-frame mirrorless cameras.

For photographers looking to upgrade to a serious hybrid camera, this deal immediately demands attention. The EOS R6 Mark II combines a 24.2MP full-frame sensor with superb image quality, excellent low-light performance, and Canon’s highly dependable subject-detection autofocus.

Speed is one of the camera’s greatest strengths. It can shoot at up to 12 frames per second with its mechanical shutter or an impressive 40 frames per second with the electronic shutter, making it a brilliant option for wildlife, sports, action, and other fast-moving subjects.

The EOS R6 Mark II is equally impressive when it comes to video. It can record oversampled 4K footage at up to 60p, while its strong stabilization, responsive autofocus, and fully articulating touchscreen make it a highly versatile choice for filmmakers and content creators.

This particular bundle also includes a second battery, which is a genuinely useful addition for longer shoots, events, travel, and video recording. Rather than worrying about running out of power halfway through the day, you have a spare ready to go when the first battery reaches its limit.

At £1,599, this is an outstanding price for a camera that remains one of the strongest all-rounders in Canon’s mirrorless lineup. With a huge £630.99 saving exclusive for Prime Members, and an additional battery included, this is easily one of the most tempting Canon camera deals in the Amazon Prime sale.

If you’re planning on making the step up from APS-C (cropped sensor) to a full-frame camera, then my top recommendation right now would be the Sony A7 IV. Yes, as a longtime Sony A7 III shooter, you might think I’m biased, but hear me out.

The Sony A7 IV is a powerhouse hybrid camera that bridges the gap between professional stills and high-end video. Its standout features include a sharp 33MP back-side illuminated (BSI) sensor, AI-driven autofocus, 10-bit 4:2:2 video capture and a dedicated photo / video / S&Q dial.

While you’ll find competitive specs and prices in models like the Fujifilm X-T5 and the Canon EOS R7, you’d have to compromise and remain an APS-C photographer.

You could look to full-frame alternatives in the likes of the Canon EOS R5 II or the Panasonic Lumix S5II, but then it’s a toss-up between spending around $1,000 (approximately £750 / AU$1,400) more for the Canon or settling for decent but not A7 IV-level specs with the Lumix, albeit for a friendlier sum.

Specs aside, what people often forget about Sony cameras is that the sensors they pack are proprietary, containing industry-leading technology that major competitors like Hasselblad and Nikon prefer to use over their own in-house sensor design.

This is one of the main draws to Sony for me and something that will keep me a Sony shooter for some time.

In fact, the A7 IV sensor handles a solid 14 stops of dynamic range and has an ISO range of 100-51200 for stills and movies (and it’s expandable to 50-204800 for stills).

These attributes, along with the larger sensor surface area, mean the camera packs a hard-hitting low-light performance punch.

Funnily enough, even our Editor in Chief – who’s a Canon man through and through for full frame – has the A7 IV as his best all-rounder in our best full-frame cameras guide.

You should have a gander at that guide before making your decision as, although I say go with the A7 IV, the list goes into way more comparative depth.

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I’ve tried several of the best Sony cameras, but the budget model that I just keep coming back to is the Sony A6700. The crop-sensor camera is quite small, yet it delivers more performance than its cheaper sibling, the A6400. The Sony A6700 is the brand’s best crop sensor mirrorless for still photos – and it just dropped to the lowest price yet in the US.

The Sony A6700 is a mirrorless camera with swappable lenses, but the crop sensor and rangefinder design make the camera feel like a happy medium between something like the Sony A7 V and a compact camera. The camera isn’t quite small enough to be pocketable, but it’s more than portable enough to slip into a protective sleeve and slide into a purse or backpack.

The camera weighs just under a pound, and a small grip makes the body about three inches deep. A lens will add to that – which is why the camera isn’t quite pocketable – but the 16-50mm f/3.5-5.6 II kit lens only adds 3.8 oz and another 1.2 inches in length.

The reason the A6700 is one of my favorite budget cameras from Sony over options like the A6400 is performance. The Sony A6700 has smarter autofocus with subject recognition – a feature that makes a massive difference for beginners, as well as when shooting fast subjects like animals and kids. The A6700 also has in-body stabilization, to help curb shaky shots, and better battery life.

According to Amazon price trackers, the Sony A6700 has just dropped to the lowest price yet in the US, falling to $1,398 body only and $1,498 with the compact 16-55mm kit lens. That’s already the lowest price the compact mirrorless has seen yet, but Sony also has a $50 cashback offer when registering a new camera before June 30.

That’s not even a Prime-exclusive deal ahead of Amazon Prime Day, as several retailers are offering the discount. B&H and Adorama bundle the camera with a free memory card and bag.

Lowest ever price

The Sony A6700’s little sibling, the Sony A6400, is also discounted right now. While not the lowest price ever, the $948 deal with a kit lens is the lowest I’ve seen since the tariff price hikes. The A6700 is the better option if you plan to photograph fast subjects (like wildlife, kids and sports) and work in low light, but the A6400 is still an excellent budget camera with an even more compact design.

On the flip side, if you want something small but still want Sony’s trendy full-frame sensor, the lowest-ever price on the Sony A7C II and A7RC is still available – along with a rapidly growing list of the best Prime Day camera deals.

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Budget cameras often come with a list of features that feel held back in order to slot the camera in at a lower price point, but Nikon’s cheapest full-frame mirrorless camera has one key feature that I keep coming back to: Low-light autofocus.

The Nikon Z5 II boasts an autofocus rating down to -10 EV – the same rating as the more expensive Nikon Z6 III. On paper, that’s a number that beats out key competitors that typically sit closer to -6.5 EV. But, in actual hands-on testing, that means the Z5 II can lock on to subjects in near darkness.

Low-light autofocus has long been a challenge for camera technology – and in particular, mirrorless technology. That’s because mirrorless autofocus technology relies in part on contrast. In the dark, scenes have far less contrast, leaving the autofocus system often with a delay at best and, at worst, failure to lock on to the subject at all.

But mirrorless technology has been steadily improving in low-light autofocus, particularly as many now use hybrid autofocus systems that mix both contrast-detection and phase detection technology. In testing, the Nikon Z5 had no problem locking on, even in a dark music venue using eye detection.

That low-light autofocus performance is paired with a larger full-frame sensor that has a more conservative 24.5MP resolution, which in turn creates less noise when shooting in low light. Add in 7.5 stops of stabilization, and the Nikon Z5 II is a camera that can hold its own in the toughest dark shooting scenarios.

But what’s perhaps even more surprising than the low light performance is that the Nikon Z5 II is Nikon’s most affordable full-frame mirrorless camera – or at least, the most affordable without opting for a previous generation model.

If you want the absolute best low-light performance, however, a prime lens with a brighter aperture than the kit is the way to go – like the Nikon Z 50mm f/1.8 S (currently $200 off) for portraits, or for something compact and affordable, the Nikon Z 40mm f/2 (currently $70 off).

The Nikon Z5 II isn’t the only mirrorless camera with a step price drop ahead of Amazon Prime Day. The Nikon Z6 III, with similar autofocus capabilities but faster bursts and more video features, has also seen a steep price drop, along with several other cameras for Amazon’s shopping event.

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The Amazon Prime Day camera deals have only just started, but one of Canon's best full-frame cameras is already down to a ludicrously low price.

The EOS RP, Canon's smallest and best-value full-frame camera, has been reduced to an astonishingly cheap $617 in the US and just £679 in the UK.

🇺🇸 US deal

🇬🇧 UK deal

I've made no secret of my love for the Canon EOS RP (review), which to this day is one of my favorite members of the R System family. In fact, paired with a tiny pancake lens like the Canon RF 28mm f/2.8 and I think it's one of the best street photography setups you can buy – especially full-frame, especially at this price!

I have to note that the RP has just been discontinued in Asia, so stocks likely won't last long – especially at this price. But while the Canon EOS R8 is technically its successor, and is technically a better camera, the RP is by far the better buy with a price tag this low.

To this day it's Canon's smallest full-frame camera, which is something to be celebrated in a world where cameras are getting bigger and bigger. By contrast, the RP is even smaller than the Canon EOS 800D – a super-compact APS-C DSLR.

It's built around a 26.2MP full-frame sensor that delivers beautiful image quality, even though its wider specs are better suited to street and sedate photography rather than fast action and high-res video.

Its burst speed tops out at 5fps, which is enough for slow-moving subjects and general shooting, while the video is capped at 4K 25p and FullHD 60p. However, it's important to know that 4K shooting loses Dual Pixel CMOS AF and suffers about a 1.76x crop.

Other than 4K (where it reverts to contrast AF), the Dual Pixel-powered autofocus does a great job. It lacks the subject-detection algorithms of more recent cameras, but with 4,779 AF points and both face and eye tracking, it's capable for pretty much everything except the tough jobs.

Even though I'm a proud EOS R5 owner, and I long for the days when I had a brilliant little RP setup to take around with me for travel and everyday photography!

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All good things must come to an end. And so it is that Canon has quietly started sunsetting the Canon EOS RP in Asia, first indicated by the "Sales ended" tag on the official Canon Japan store listing.

While the RP hasn't yet officially moved to the company's discontinued products listing, and though it's still being sold by both Canon USA and Canon UK, this is the first indication that the svelte mirrorless camera is being Old Yellered.

With Canon Japan having exhausted its inventory, it's only a matter of time before stocks are gone elsewhere in the world – so if you've been thinking about getting one, now is the time.

This marks the end of the first generation of EOS R cameras (following the original Canon EOS R) – but, for me personally, it's also the end of the first Canon mirrorless camera that I truly fell in love with.

The R System wasn't Canon's first mirrorless foray, of course; that was the APS-C-only M System. But while I thought the EOS M50 was a neat little camera, I don't think anybody ever felt the same affinity for M cameras that they did for the R series.

I bought the EOS R on day one, trading in my 6D Mark II so that I could join Canon's mirrorless revolution from the beginning. The original R was essentially a 5D Mark IV in drag, making it ostensibly an upgrade from the 6D Mark II. However, even though the RP was essentially an adjacent model, it was the RP that I really wished I'd gone for.

The Canon EOS RP lacked mirrorless essentials like in-body image stabilization, and the 4K video was tragically cropped and robbed of Dual Pixel AF. Crucially, though, it was Canon's smallest and lightest ever full-frame camera, coming in at just 440g body only and measuring 132.5 x 85 x 70 mm (making it smaller and lighter than the 800D DSLR).

And it was very aggressively priced, launching at just $1,299 / £1,399 for the body and the Mount Adapter EF-EOS R to use DSLR lenses straight out of the box. All of which contributed to the name, "RP", meaning "Popular" – in the Japanese sense that it's a camera meant 'for everybody'.

Even today, while the Canon EOS R8 is a better camera, the RP is still Canon's best value full-frame camera.

It's currently available for just $617 at Walmart in the US or only £799 from Amazon in the UK – an absolute steal for anyone wanting to upgrade to full-frame photography or get into Canon's mirrorless ecosystem.

So, whether you want to get one while you still can or it's a camera that you never knew existed, please join me in pouring some sip on the kerb for the Canon EOS RP. My first love of the R System.

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The Nikon Z fc was launched back in 2021 and even back then it was rocking aging tech. This is because it’s essentially a reskinned Nikon Z50, which was released in October of 2019. So why is this five-year-old camera with seven-year-old innards trending in 2026? Well, it’s darn good looking, extremely affordable, and it’s got soul.

Hey good lookin’

The Nikon Z fc is one of the most faithful representations of a retro SLR in mirrorless form, arguably rivalled only by the full-frame Nikon Zf. I love Fujifilm’s flagship X-T line of cameras, but I wouldn’t say it’s faithfully retro, it’s its own beautiful thing. An X-T5 looks like it’s been inspired by the retro SLRs of yesteryear, but it’s still its own retro camera.

The Z fc on the other hand is modelled after 1982’s Nikon FM2 and if you ignore the rear LCD, which you can actually hide by flipping it all the way around, casual onlookers could mistake it for the real thing. It’s so faithful, in fact, that one of its main criticisms is that it basically has no grip, so it’s worth investing in a good neck strap or an aftermarket grip attachment.

The Nikon Z fc is great value

The wild popularity of Fujifilm’s X100 series over the past few years has had a huge impact on retro camera prices, both new and used. And while the Nikon Z fc was launched after the Fujifilm X100V, it was still born into a world that wasn’t quite as gripped with ‘Fuji-fever’ as it is now. It therefore remains an incredibly affordable option for a retro camera, retailing for $1,059.95 / £849 / AU$1,499 and often discounted. On the used market, there simply isn’t the clamour for secondhand Nikon cameras as there is Fujifilm cameras so you can find some incredibly good deals.

Nikon’s got soul!

My final reason why I think the Nikon Z fc is trending and why it’s still one of my favorite cameras is that it’s got soul, mojo! Maybe it’s more superficial than I’d like to admit, but there’s something about shooting with the Nikon Z fc that’s hard to find in many modern cameras. It’s an experience akin to using cameras such as the Fujifilm X100VI, Fujifilm X-Pro3, and Olympus PEN-F.

There’s a character to the Nikon Z fc, with its physical dials and slightly awkward form factor. It makes you work, but in a good way. And because of that, the technical shortcomings don’t matter as much. This isn’t a camera for video, it’s not a camera for sports or wildlife photography. It’s a camera for everyday photography, travel photography, and street photography.

The fact that it captures beautiful quality images, makes you want to pick it up time and again, and is fun to use, is what really matters. I dearly hope a Nikon Z fc II is around the corner now that the Nikon Z50 II has been out for a while, but if you can find a good deal on a Nikon Z fc and don’t mind the older tech, it’s still a fantastic camera in 2026.

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Want to know what it's actually like shooting with the Nikon Z fc? 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 like the Nikon Z fc, but would prefer a film camera, check out the Nikon Zf. And to stay up to date, here's the latest camera news.

Anyone hoping to get their hands on Panasonic’s new Lumix L10 is going to have to wait a little longer, as the company announced that it is suspending new orders in Japan from here on after receiving “far more preorders than anticipated.”

Panasonic first revealed that it was struggling to match preorder demand in Japan back in May, warning customers of potential delays. But on June 17, the company announced that it had suspended orders in Japan, freezing orders for the popular compact camera.

The new announcement didn’t make it clear when stocks will be replenished or whether it’s only in Japan that orders have been suspended. However, I’ve checked the Panasonic US and UK websites, and it looks like you now have to join a waiting list to order a Lumix L10 in these regions.

It’s no surprise that the latest Panasonic release has piqued the interest of many photographers.

The Lumix brand boasts some of the best compact cameras, and the L10 combines this solid reputation with a stylish retro design and a Leica DC Vario-Summilux 10.9-34mm (24-75mm equivalent) f/1.7-2.8 lens.

However, with demand now exceeding what Panasonic can handle, it looks like there may be a significant wait for shipping.

The Lumix L10 isn't alone in being in high demand, joining a long list of trendy compact cameras that come with wait times. Opting for a compact that's been around for more than a few weeks could potentially have a shorter wait list, however, depending on where you live.

The Fujifilm X100VI, with its whopping 40MP sensor, equally attractive retro style, film simulation modes, and solid 6K video recording, has been in high demand since its launch in 2024.

The X100VI's popularity can similarly make the compact camera hard to find in stock, but the limited availability is finally beginning to show potential signs of easing. London Camera Exchange in the UK estimates a 28-day wait, while Adorama in the US estimates availability in August.

The X100VI, however, lacks zoom – the L10's unusual mix of zoom and a Micro Four Thirds sensor that's larger than basic point-and-shoots is likely why the compact camera is seeing such high demand. It's also a little more expensive than the L10, priced at $1,799 / £1,599 / AU$2,899.

The Leica D-Lux 8 shares a similar sensor and lens combo, but comes in at a higher price, and even that camera, also launched in 2024, is out of stock at many retailers.

Panasonic has said that orders made before the cutoff time will be processed and that it’ll inform customers of new availability once it has a “stable supply outlook.”

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The Nikon Z6 II has been trending on Google, so I decided to take a little trip down memory lane and relive the launch of arguably the first full-frame mirrorless camera that Nikon got right (along with the Nikon Z7 II, of course). Clearly, people are still interested in this nearly six-year-old camera, but looking at prices online, my advice is to at least consider the Nikon Z5 II instead.

You see, the Nikon Z6 II is still available for purchase where it officially retails for $1,749.95 / £1,799, but can often be found well below $1,500 / £1,500. That’s a great price for a full-frame camera that’s more than capable of being a professional workhorse. But the Nikon Z5 II can be found for a similar price and, in some cases, cheaper.

When you compare the specs via the table below, it’s clear that, despite being Nikon’s entry point into its full-frame mirrorless system, the Nikon Z5 II is a superior camera to the Nikon Z6 II in more ways than not. Externally, they’re very similar, being roughly the same size and weight. The biggest differences are the presence of an LED information screen on the top plate of the Z6 II, the Z5 II having a fully articulating rear LCD, as opposed to the Z6 II’s tilting LCD, and the Z5 II’s mode dial positioned on the right and the Z6 II’s positioned on the left.

Nikon Z6 II vs Nikon Z5 II

Inside, both are built around a 24.5-MP back-side-illuminated CMOS sensor, but the Nikon Z5 II pulls away by housing Nikon’s latest Expeed processor. The result is a superior AF system and up to 30fps JPEG burst shooting. You also get up to 7.5-stops of image stabilization with the Nikon Z5 II, making it a significantly more powerful device.

When it comes to video specs, both cameras offer 4K / 60p (cropped) and full HD up to 120p. However, the Z5 II edges out the Nikon Z6 II by featuring in-body 12-bit RAW video output as well as internal 10-bit N-Log. The Nikon Z6 II can only capture RAW video and N-Log via a compatible external capture device, and the former requires a paid $199.95 upgrade whereby the camera has to be shipped to Nikon.

And finally, both cameras feature dual-card slots, but whereas the Z5 II features two SD card slots, the Nikon Z6 II has a more professional CFexpress / SD card setup. So, there you have it. However tempting the Nikon Z6 II might be, make sure you check out the Nikon Z5 II as well. If I were buying new, I’d definitely opt for the latter. The only way I’d buy a Nikon Z6 II now would be to source a mega used deal, and they are out there.

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I waited a long time for the Nikon Z6 III to come out. A long time. The full-frame hybrid mirrorless camera was heavily rumored prior to its June 2024 announcement – and I’m not sure there’s been a bigger buzz for a Nikon camera since. A full-frame mid-range camera is always going to court a lot of interest, but what made the Nikon Z6 III such an enticing prospect was its predecessor.

The Nikon Z6 II was a solid if not exceptional camera. It righted many of the original Z6’s shortcomings, but wasn’t a significant upgrade – more of a Z6 1.5, if you will.

Taking that into account, and the more advanced competition, it was obvious that the Big N was gearing up for a true successor in the Nikon Z6 III.

A tempting prospect: The "Baby Z9"

In May 2023 the Nikon Z8 launched as the spiritual successor to, in my opinion, the best DSLR camera ever made: the Nikon D850. But this wasn’t just a Nikon Z7 II in a more rugged body, it was a photo and video powerhouse that boasted a fully stacked 45.7MP sensor with no mechanical shutter. Its specs were largely identical to the flagship Nikon Z9, earning it the moniker "Baby Z9".

I was shooting on a D850, having stuck with the D8XXX series since the Nikon D800, and immediately the Nikon Z8 was my dream camera. But I questioned whether or not I really needed a camera as capable as the Nikon Z8. The D850 was everything I could ever want from a camera and I was totally in love with its incredible image files.

I was working on Digital Camera World's sister publication, N-Photo: The Nikon Magazine, and was fed up having to constantly borrow Z-Series cameras when testing new Nikon Z lenses and accessories. So, I decided I needed to get with the times. The problem was that, despite endless rumors, the Nikon Z6 III wasn’t available yet.

I didn’t want to purchase a Z6 II or Z7 II, because the whole point of moving away from my D850 was to have a cutting-edge camera. And while the Nikon Z8 was my dream body, I felt it was simply too much camera to justify.

I even took a secret look at the Sony A7 IV and Fujifilm X-T5, but the former had been out for a while and as much as I loved the X-T5 (I still want one) I’m a full-frame photographer at heart. So, I waited a little bit longer before I finally caved and bought a Nikon Z8. Two months later, Nikon launched the Nikon Z6 III…

Nikon Z6 III: Two months too late

I went to the launch event. I loved it. If the Nikon Z8 is a "Baby Z9" then the Nikon Z6 III is a "Baby Z8". It’s a fantastic photo and video hybrid with a partially stacked sensor, blistering burst speeds, whip-fast autofocus, jaw-dropping EVF and top-notch IBIS. There is no doubt in my mind that it’s the camera I should have purchased for three reasons: resolution, size and price.

I’ve talked extensively about how a high-resolution camera like the 45.7MP Nikon Z8 can affect image quality due to camera shake, meaning you often have to double or triple the reciprocal rule in order to capture critically sharp shots. When using a camera with a more modest 24.5MP sensor like the Nikon Z6 III, you can stick to the reciprocal rule more closely.

Obviously the Nikon Z8 is a lot smaller and lighter than the Z9, but it’s still a bit of a behemoth next to the smaller and lighter Nikon Z6 III. And while I relish having a large camera to balance a long telephoto lens, I don’t take my Z8 out nearly as much as I would a Nikon Z6 III, because it’s simply too big and heavy.

And finally, the most obvious difference between the two cameras is their price. Granted, by the time I bought it, the Nikon Z8 was regularly on sale for a chunk off the RRP, but the Nikon Z6 III’s launch price was $2,499 / £2,699 / AU$4,499.

The Nikon Z8 launched at $3,999 / £3,999 / AU$6,999 and the cheapest I’d seen it at the time was with a healthy 17.5% discount. Even then, it was more expensive than the Z6 III – I’m talking about the price of a decent zoom lens, which is a very important consideration.

Don’t buy what’s best, buy what’s best for YOU

And yet, the Nikon Z8 is still my dream camera. It’s technically the best camera I’ve ever owned and I’m not sure how it could ever be eclipsed (I certainly don’t need it to be). Had the Nikon Z6 III been announced a couple of months earlier, though, I’d almost certainly own one right now, instead.

Still, there’s value in this kind of discussion. If you’re looking for a new camera, don’t necessarily purchase at the end of your budget; really consider your use cases. To loosely quote Christopher Nolan’s The Dark Knight: An expensive high-resolution monster might be the camera you deserve, but not the one you need right now.

A bigger and more technically advanced camera isn’t necessarily the right choice for everyone. Don’t buy what’s best, buy what’s best for you.

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If you like the Nikon Z6 III, but prefer a retro camera then check out the similarly specced Nikon Zf. If you’re looking for an alternative from another manufacturer, check out the Canon EOS R6 Mark III.

The Nikon Z9 has just become a much more tempting proposition for serious photographers, with B&H dropping the flagship mirrorless body to just $4,996.95, down from $5,896.95, saving you a cool $900.

The Nikon Z9 isn’t just another high-end body, it’s Nikon going all-in on performance. With its stacked 45.7MP sensor, blackout-free shooting, and incredible burst speeds, this is a camera designed for professionals who need absolute reliability in the field. Whether you’re covering sport, wildlife, or demanding commercial work, the Z9 continues to set the benchmark for what a flagship mirrorless system should deliver.

What makes this deal particularly appealing is just how rarely the Z9 sees meaningful discounts. This isn’t a camera that quietly slips into sales cycles, it tends to hold its value, which makes a $900 price drop feel all the more significant. For photographers who have been waiting for the right moment to step into Nikon’s top-tier ecosystem, this is about as strong a signal as you’re likely to get.

At £4,399, the value proposition becomes far more compelling. You’re not just buying into a camera, you’re investing in a system that has proven itself at the very highest level of professional photography and filmmaking. It’s a tool that removes limitations and keeps up, no matter how demanding the assignment becomes.

Deals like this don’t tend to stick around for long, especially on cameras of this calibre. The Nikon Z9 remains one of the most sought-after bodies on the market, and with a $900 saving now on the table at B&H, it’s a rare opportunity to secure a true flagship for significantly less.

Live price check

See our pick of the best lenses for the Nikon Z9

The Canon EOS RP has always had a certain charm about it, and now there is even more reason to take a second look. This lightweight full-frame mirrorless camera has dropped to just $799, down from $1,049, saving you a cool $250 in the early Amazon Prime deals, making it one of the most tempting Canon deals around right now.

For anyone thinking about buying their first full-frame camera, or stepping into mirrorless without spending a fortune, the EOS RP remains a very clever choice. From the moment our editor-in-chief James Artaius picked it up, the RP won him over. Weighing just 485g, it is still one of the lightest full-frame mirrorless cameras you can buy, and its compact body makes it a joy to carry, whether you are heading out for travel, portraits, or everyday shooting.

Pair it with Canon’s RF 35mm f/1.8, and you have an incredibly nimble street photography setup, and it is a combination James often speaks highly of. That is really where the RP makes the most sense: not as a camera trying to be the biggest, fastest, or most advanced model in Canon’s range, but as a small, capable full-frame body that makes photography feel easy and enjoyable.

Launched in 2019 as the second body in Canon’s then-new EOS R lineup, the RP was very much a first-generation model, but don’t let that put you off. Thanks to regular firmware updates, it has aged far better than many expected, much like a decent bottle of claret. Under the hood, it shares quite a bit with the EOS 6D Mark II, including its 24.6MP sensor and 5fps continuous shooting, but the RP adds the benefits of Canon’s excellent Dual Pixel AF and a crisp electronic viewfinder.

If video is your priority, it is worth noting that the 4K mode comes with a 1.6x crop and drops to contrast-detection autofocus rather than Dual Pixel AF. But for stills photographers, travel shooters, or hybrid creators who are not looking for high-end video performance, the Canon EOS RP remains a superb and now incredibly affordable gateway into full-frame mirrorless photography.

You might be interested in the best Canon cameras across the entire EOS R range, along with the best Canon RF lenses to use with them.

It's usually modern models that we see discounted in the Amazon Prime Day camera deals. However, this year there's an absolute bargain on a flagship-level camera and lens that offers unbeatable value for outdoor photographers.

Right now you can scoop up the former flagship Olympus OM-D E-M1 Mark II with a 24-80mm trinity lens for just £1,186.67!

Released in 2016, the Olympus OM-D E-M1 Mark II (review) was the flagship camera for Olympus (now OM System). So even though it's an old body, when it was launched it packed cutting-edge technology – much of which is still impressive by today's standards – so you're getting an incredibly powerful camera without a 2026 price tag (this camera is a predecessor of the OM System OM-1 Mark II).

Some of its standout features include 80MP RAW imaging, made possible using Olympus' High Res Shot feature. This technology uses pixel shift multi-shot to quadruple the sensor's native 20.4MP resolution – ideal for capturing detailed landscapes in all their glory, while keeping the outfit a fraction of the size and weight of a full-frame setup (coming in at just 134 x 91 x 69mm and 574g).

Also making this camera perfect for outdoor shooting is its industry-best weather sealing, so you don't need to stop shooting when the weather turns. But this isn't just a camera for use on a tripod with static subjects!

The E-M1 Mark II boasts superb in-body image stabilization, offering up to 6.5 stops of shake compensation, as well as up to 60fps burst shooting (with AF locked, or 18fps with full AF) powered by a phase detect autofocus system. It also packs dual memory card slots for safety, along with a fully articulating screen and 4K 30p video.

This bundle also includes the brilliant Olympus M.Zuiko 12-40mm f/2.8 Pro lens (review) – a professional trinity lens with an equivalent 24-80mm focal range.

A true workhorse lens, it has spent more time on my Micro Four Thirds cameras than almost any other optic. It's fast, delivers great results and crucially is weather sealed – making it a perfect pairing with the E-M1 Mark II as a go-anywhere, shoot-anything, whatever-the-weather combo!

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Take a look at today's iteration of this combo, the OM System OM-1 Mark II (review) and the OM System M.Zuiko 12-40mm f/2.8 Pro II (review).

This one of the crazy camera rumors I've heard, but crazier things have happened: Viltrox is reportedly making a mirrorless camera that uses the Nikon Z mount.

If true, this might also explain the vigor with which Nikon has been legally pursuing the Chinese manufacturer.

On the surface, Nikon suing Viltrox over the Z mount seemed to be about the unlicensed production of third-party lenses. But if Viltrox is planning to use the Big N's mount wholesale, it becomes a much bigger issue.

Is Viltrox really making a Z-mount camera?

Viltrox has been rumored to be developing a mirrorless camera system since at least last August. When the brand joined the L-Mount Alliance in September, the dominoes seemed to line up for a Viltrox L-Mount camera.

Which may, indeed, still be the case. But Chinese social media has been rife with reports that Viltrox has – or, at least, had – its sights set on the Z mount.

Chinese social media, of course, is hardly the most robust source of information. However, when it comes to Chinese manufacturers, it has proven to be the most reliable insight into what companies in the region are up to.

It would be ballsy as all hell to make a completely unlicensed camera using someone's proprietary mount. Not unheard of, but certainly not from a brand as big as Viltrox.

As such, I'd personally take the biggest pinch of sale you can and file this one under "highly unlikely" – but that doesn't mean Viltrox wasn't developing something. Or, perhaps more offensively to Nikon, reverse-engineering something.

Why would Viltrox want to make cameras?

What would be the point in a third-party lens maker starting to produce cameras? It's a fair question. There is a mountain of R&D time and money involved in making a camera of any kind – let along a mirrorless camera that is going to compete with cutting-edge products from the likes of Nikon.

But you need only look at Sigma, which recently added the Sigma BF to the Sigma fp and fp L, as a lens maker who decided that the juice was worth the squeeze. Those cameras used the L Mount, with Sigma being a fellow (and indeed founding) member of the Alliance.

Then there's Yongnuo, another Chinese manufacturer, which launched a series of mirrorless cameras using the Micro Four Thirds mount – an open source standard, which would be a far less problematic route for camera development.

Still, it's a big expense and a big risk for minimal reward – Yongnuo's cameras were poorly received, and largely disappeared without trace, while Sigma's cameras are well regarded but hardly sell huge numbers.

However, Viltrox did say last year that, "Our commitment is to create a seamless and responsive ecosystem for creators," and this move would certainly serve that purpose.

You might also like…

For cameras that you can safely buy without anyone getting sued by the Big N, check out the best Nikon cameras and the best mirrorless cameras from all manufacturers.

Photography can get expensive fast – but getting a stylish camera companion (or your very first setup) 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.

The Olympus OM-D E-M10 Mark IV + 14‑42mm lens is now just $699.99 at B&H.

That means you're getting a compact, powerful camera in a sleek design and a versatile pancake zoom lens – while saving $200 off the original $899.99 price.

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 wide range of compatible lenses opens up endless photographic possibilities. It's a superb choice if you want a lightweight, versatile tool for everyday shooting.

As mentioned in the Olympus M.Zuiko 14‑42mm f/3.5‑5.6 EZ review, it is "in our opinion, the best pancake lens ever." The zoom lens is a true must-have optic and covers 18-82mm focal range in full-frame terms – a travel and everyday essential for beginners, enthusiasts, and pros alike.

Honestly, it's a bit frustrating being based in the UK – this Amazon US deal is a standout.

If you or someone you know wants to start your photography journey, this early Amazon Prime Day camera deal is something I highly recommend you take a look at.

For just $549 you get the Canon EOS R100 plus a lens, memory card and camera bag – that's everything you need to get out and start shooting right out of the box!

Not only is the Canon EOS R100 (review) very much the best beginner camera on the market, it's also the only beginner camera that carries an entry-level price tag.

I truly believe that photography shouldn't price out newcomers, which is why this brilliantly-priced bundle from Amazon is one that beginners should pay close attention to.

It's built around the R100, a super-compact camera designed to ease newcomers into photography with guided menus, friendly controls and excellent results. The 24.1MP APS-C sensor blows away the quality you get from a smartphone and enables you to learn the ropes of photo-taking with a dedicated viewfinder and 6.5fps burst mode.

This is really a camera aimed at burgeoning photographers, so while it can shoot 4K video I wouldn't really recommend it as a video camera (the 4K is cropped and also restricts the best autofocus mode). That said, it's pretty capable if you're happy shooting FullHD video for social media stories.

You also get a lens, in the form of the super-compact and super-useful Canon RF-S 18-45mm f/4.5-6.3 IS STM (review). This has an equivalent zoom range of 29-72mm (in full frame terms), so it's great for everything from walkabout and travel photography to experimenting with portraits and lanscapes. It's also image stabilized, to counteract camera shake.

The bundle also includes a 64GB Lexar memory card, giving you plenty of space to get shooting right away, along with an official Canon camera bag to transport all your kit. It's everything you need to jumpstart your photography journey at an amazing all-in price.

You might also like…

Take a look at the best lenses for the Canon EOS R100 to see what your next lens should be. Personally, I think everybody should own a nifty fifty – so check out my Canon RF 50mm f/1.8 STM review.

While the Nikon D610 was long discontinued, we've spotted the classic DSLR body brand new for $899.95 on Amazon. Even though the Nikon D610 hasn't yet reached vintage status, it was first launched over ten years ago and remains a great camera to this date.

Still, I wouldn't personally invest in one, as better price-performance options exist – like the Nikon Z5 mirrorless camera basic bundle, now available for $1,146.95 at B&H.

This deal saves you $300 off the regular bundle price, includes a Ruggard Journey 34 shoulder bag and a SanDisk 64GB Extreme PRO UHS-I SDXC memory card, and offers more future potential than the Nikon D610.

A great mirrorless alternative to the DSLR full-frame Nikon D610, for example, is the Nikon Z5 – especially if image quality, modern features, and portability are your priorities. It shares many of the D610's core strengths but introduces major improvements across the board.

For example, the Nikon D610 and Z5 use 24MP full-frame sensors, but the Z5's backside-illuminated sensor delivers better low-light performance and higher dynamic range.

The Z5 features 273-point hybrid autofocus, significantly more accurate and faster than the D610's 39-point phase detection system. You'll notice a major difference in overall AF responsiveness.

If you're a hybrid shooter, the Z5 certainly makes a better investment as the D610 is limited to 1080p, but the Z5 supports 4K video. Another upgrade is the 5-axis in-body image stabilization (IBIS) on the Z5. It enables smoother handheld shooting for both stills and video – something the D610 lacks entirely.

Being smaller and lighter, the Nikon Z5 is ideal for travel and long shooting days. Compared to the bulker D610, it offers better ergonomics in a more compact design.

The Z5 features an electronic viewfinder (EVF), with real-time exposure preview, focus peaking, and magnification – all tools that make composition easier and more accurate.

The D610, by contrast, uses an optical viewfinder (OVF) with no digital overlays. While Nikon's Z5 features Z-mount, you can still use F-mount DSLR lenses with an adapter and make use of your existing Nikon glass.

If you're deeply attached to the classic DSLR experience, the D610 may still appeal to you. But if you're looking for a modern, future-proof system with better low-light performance, autofocus, IBIS, and 4K video, the Nikon Z5 is clearly the better investment.

Some may argue that the Nikon Z6 II offers better specs for a slightly higher price. But this Nikon Z5 bundle currently offers one of the best price-to-performance ratios in the full-frame mirrorless category – especially if you are transitioning from DSLRs.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners, currently available on the market. Also see our suggestions for the best lenses for the Nikon Z5

Compact cameras are rising in both trends and price. That’s why, as a pro photographer, I think that if you don’t absolutely need to be able to slide a camera into your pocket, a compact mirrorless system with a pancake lens can offer more flexibility at a far better price.

One of the best examples of this is Sony’s compact rangefinder bodies that still manage to fit in full-frame sensors, the Sony A7C II and its high-resolution sibling, the A7CR. These cameras aren’t quite pocketable, but they both weigh less than a pound / 450g and, while you need to add a lens to that weight, it's still a highly portable camera.

The only way to get the 61MP full-frame sensor capability of the Sony A7CR in a smaller camera is with the Sony RX1R III, a compact camera that comes in at a pound / 456g, including its fixed lens.

The RX1R III sits at a luxury $5,098 / £4,100 price point, however. That's currently around $2,000 / £1,500 more than the A7CR and still more than $1,000 / £900 over the cost of the A7CR when factoring in the cost of a lens.

For photographers who don’t need 61MP, the 33MP A7C II is half the cost of the RX1R III, even when paired with a 28-60mm kit lens.

US Deal 🇺🇲

Sony’s most compact mirrorless cameras have just dropped to the lowest price that I’ve seen all year. According to US price trackers, the summer discounts on the A7C II and A7CR have even dipped below Black Friday 2025 prices, with the A7C II at $2,098 and the high-resolution sibling, the A7CR at $2,998. Both cameras are also eligible for $50 cashback.

That’s a rare $400 discount – $450 including the cash back – on two Sony cameras that have repeatedly returned to best-seller lists thanks to the mix of capabilities and portability.

UK Deal 🇬🇧

In the UK, the Sony A7C II is at the lowest-ever price, based on data from Amazon price trackers. The compact mirrorless is £500 off at £1,599, plus there's a £100 cashback offer.

The high-resolution Sony A7CR is also steeply discounted, dropping by £200 to £2,599, plus there's a £200 cashback here too.

Unlike popular advanced compact cameras like the Fujifilm X100VI and Ricoh GR IV, the Sony A7C II and A7CR have larger full-frame sensors. Despite the cameras’ smaller designs, there’s still a viewfinder – something the smallest cameras like the GR IV don’t offer – it’s just tucked off into one corner, rangefinder-style. There’s still a decent-sized grip, too.

If you want a camera that slides into a pocket, the Sony A7C series isn’t it. But if you want a camera that’s light enough to sling around your neck all day, easily tucks into a purse or backpack with a protective sleeve, and still offers a lot of imaging power for the price, then the A7C II and A7CR are excellent options.

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Take a look at the best cameras for travel or the best Sony cameras.

The Hasselblad X2D II 100C has unexpectedly surged back to No.1 in Japan's latest Yodobashi best-seller rankings – overtaking the Sony A7 V in a surprise shift at the top of the charts. The 100MP medium format flagship had previously fallen out of the ranking entirely.

The Sony A7 V had dominated the list since its launch in December 2025, holding the top position for months as one of Japan's most popular full-frame cameras. Its drop to second place marks the end of a long run at the top.

The latest Top 10 also shows a striking return in Japan's mid-range mirrorless market, with the Nikon Z50 II standard zoom kit re-entering the rankings after a nine-month absence.

Yodobashi's 10 top selling cameras (2nd half May 2026)

1. Hasselblad X2D II 100C Body
2. Sony A7 V Body
3. Fujifilm X-M5 + XC 15-45mm Lens Kit | Silver | Black
4. Fujifilm X-T30 III + XC 13-33mm Lens Kit | Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Sony A7C II Zoom Lens Kit | Silver | Black
8. Sony A7C II Body | Silver | Black
9. Nikon Z50 II + Z 16-50mm VR Lens Kit
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

Hasselblad vs. Sony

The X2D II 100C is an unusual camera to top a sales chart at this level. As a 100MP medium format flagship available for $7,399 / £6,400, it sits in a completely different price bracket to other cameras listed in Yodobashi's Top 10 – including the Sony A7 V (priced at $2,898 / £2,799) – yet it still managed to reclaim the top position in Japan.

It features 5-axis stabilization offering up to 10 stops, up to 15.3 stops of dynamic range, LiDAR-assisted AF (autofocus), and Hasselblad's signature color science, all designed for high-end stills performance.

By contrast, the Sony A7 V pushes forward with a 33MP partially stacked sensor and upgraded AI subject detection – making it a highly capable hybrid full-frame model – though its video performance is facing competition from rivals...

Fujifilm dominates Top 5

Fujifilm dominates the upper end of Japan's rankings, with two cameras in the Top 5. The X-M5 kit sits in third place, followed by the X-T30 III kit in fourth.

Both are retro cameras featuring a 26.1-megapixel APS-C X-Trans CMOS 4 sensor paired with the X-Processor 5 – an award-winning combination recognized for its strong image quality and performance.

The next Yodobashi update will reveal whether the Sony A7V can return to No.1, or if the Hasselblad X2D II 100X will hold onto its position at the top of Japan's best-seller chart. Also entering the mix is Sony's A7R VI, which arrived in June and could further shake up the rankings.

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Browse the best mirrorless cameras, the best full-frame cameras, and the best medium format cameras.

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

The Sony A7 III is now available for £999 at Park Cameras – you save £450 off its original £1,449 price.

And if you're looking for a complete kit, it's also available in a bundle with versatile optics, making it a perfect all-in-one setup for photography and video right out of the box.

The Sony A7 III + FE 28-70mm f/3.5-5.6 OSS lens is now available for £1,149 at Park Cameras – you save £500 off its original £1,649 price.

The Sony A7 III + FE 24-105mm f/4 G OSS lens is now available for £1,799 at Park Cameras – you save £450 off its original £2,249 price.

I've used the Sony A7 III for years now, and honestly, it's a great camera. Now, getting a full-frame mirrorless with a lens for under two grand is wild.

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

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

Specs-wise, the A7 II still holds its own: 24.2MP back-illuminated sensor, excellent high ISO performance for low-light shots, built-in 5-axis stabilization, and sharp 4K video.

It also boasts a solid 696-point autofocus system with face and eye detection – not the newest algorithm, but definitely still dependable when snapping subjects on the move.

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

I've dragged this camera through multiple countries, traveled with it, explored bustling cities, and even captured sharp action shots at the Isle of Man TT – and if you know anything about these motorbike riders, you know they're insanely fast.

So the A7 III's AF system, portability, and overall reliability have been put to the test!

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

A lot of people look at the Canon EOS R50 V vs R6 V equation and boil it down to one thing: sensor size.

But while it's true that one of the main differences between these cameras is the sensor, there's more to the Canon EOS R50 V vs R6 V discussion than that.

The bodies are more alike than they are dissimilar (in fact, they make a great complementary outfit as an A and B camera), but they offer distinctly different propositions for distinctly different kinds of creator.

So, whether you're an aspiring creator or someone who's already making money from your content, it's time for a Canon EOS R50 V vs R6 V comparison to see which is the right one for you.

Canon EOS R50 V vs R6 V: Specifications

Canon EOS R50 V vs R6 V: Photo

At first glance, this one is a whitewash for the R6 V. It has better resolution (32.5MP compared to 24.2MP on the R50 V), a higher sensitivity ceiling (native ISO64000 versus ISO32000) and faster burst shooting (40fps against 15fps) – with Pre-Continuous Shooting, too.

However, there are a couple of key considerations in the R50 V's favor – and the first one relates to that burst shooting.

True, the R6 V can shoot continuously at up to 40fps via its electronic shutter – but it only has an electronic shutter. The R50 V's top electronic speed of 15fps isn't nearly as fast, and nor is its mechanical shutter speed of 12fps, but having a mechanical shutter offers some big advantages.

First of all, if you happen to be shooting at those speeds, shooting electronically risks introducing rolling shutter – the effect where fast-moving subjects or scenery appears skewed (because the sensor's pixels are read line-by-line, top-to-bottom, meaning that moving objects shift and skew as the image is recorded).

Flash photography can also be far more problematic with electronic shutters – and, indeed, the R6 V does not support flashguns at launch, though a firmware update to add it has been promised.

However, the main benefit to a mechanical shutter is when it comes to shooting in artificial lighting. Electronic shutters commonly suffer from banding under artificial and LED light, which can be virtually impossible to remove in post-production.

On the other hand, the R50 V lacks in-body image stabilization. This makes it harder to handhold shots, especially with slow shutter speeds or when using larger lenses. The R6 V, by contrast, has up to 7.5 stops of IBIS – so if you rely on shake compensation, that's a big factor.

It's also weather-sealed, meaning that you can keep shooting when environmental conditions get challenging (provided you're using a weather-sealed lens, of course), and boasts dual memory card slots in case one of them fails.

In all, there's a lot to weigh up. The R6 V has higher resolution, faster bursts and IBIS. On the other hand, the R50 V has a mechanical shutter and is better for flash photography – and it's also much smaller and lighter, making it a better everyday and street photography comparison.

Still, in terms of raw specs and horsepower, it's hard not to give the nod to the bigger brother.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Video

When it comes to pure muscle, the R6 V is an absolute unit. Its 32.5MP sensor is capable of 7K 60p capture, 7K 30p open gate video, 4K 120p and FullHD 180p. It boasts both C-Log 2 and 3, and crucially it has an active cooling system for extended shooting times – which you'll need for cranking out 7K!

By contrast, the R50 V only offers C-Log 3 and its 24.2MP sensor tops out at 4K 60p – but this comes with a 1.56x crop. But its 4K 30p video is oversampled from 6K for extra crispiness, while it can crank out FullHD at up to 120p. And while it lacks active cooling, at 4K 30p you effectively get unlimited shooting.

So horsepower-wise, it's a cakewalk for the R6 V – but that horsepower is only better if you actually need it.

Trust me, 7K open gate sounds amazing on paper – and it is amazing – but you can quickly end up with files that are hundreds of gigabytes in size. Do you have the storage to handle that? The processing power on your computer? Do you really even need open gate?

Unless you consistently cross-post content, you're filming high-end studio work or you're shooting for clients that want multiple deliverables, I would argue that open gate is a nice-to-have – not an essential.

For most people, 4K 60p – which gives you the flexibility to do light slow-motion – is enough. The key difference here is that the R50 V imposes a 1.56x crop – and that's on top of the existing 1.6x crop introduced by Canon's APS-C sensor, which makes it much more challenging to shoot wide.

For example, a 16mm lens becomes an effective 25.6mm lens just by mounting it to the R50 V; shoot in 4K 60p and it becomes an effective 39.9mm. Which isn't necessarily a problem, but it does mean being conscious of your lens choice and shooting space, and potentially having to reposition your camera between shots.

Another key difference is the choice of log modes. C-Log 2 is the more professional, but again that doesn't mean it's better by default. In Canon's own words:

"Canon Log 2 provides the absolute maximum dynamic range (more than 16-stops on the EOS C300 Mark III and EOS C70), with detailed shadows and rich highlight information. Canon Log 3 provides the same highlight performance with slightly less information in the shadows (up to 14-stops)."

The long and short of it is that C-Log 2 has more shadow detail but also a lower noise ceiling, so you really need to know how to grade properly. C-Log 3 offers lots of highlight retention and is easier to work with, thus making it faster and friendlier.

Pro-level features aside, I think the biggest consideration is in-body image stabilization (IBIS). The R6 V offers up to 7.5 stops of shake compensation, which makes it possible to shoot handheld footage without too many jitters (though bear in mind that Canon's IBIS does introduce a "Jell-O effect" in the corners when using wide lenses).

The R50 V lacks IBIS, which means you're relying on a tripod, gimbal or the electronic stabilization. The latter crops into your footage (to give headroom for the camera to stabilize your shots), which you need to be extra-conscious of if you're shooting in 4K 60p. This means the R50 V is better for shooting on sticks, rather than handheld.

While the paper specs of the R6 V make it the technical winner, consider what your personal requirements actually are. I think IBIS is important, but it doesn't matter if you only ever shoot indoors on a tripod. C-Log 2 is great, but only if you do heavy post-production. Open gate is awesome, but only if your content needs it and your workflow can support it.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Price

No contest here: the R50 V is the most budget-friendly option and gives you incredible bang for your buck.

The Canon EOS R50 V is currently available body-only for as little as $649 / £549 / AU$1,099, or in a kit with the Canon RF-S 14-30mm f/4-6.3 IS STM PZ for $799 / £799 / AU$1,499.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

It's a very valid consideration that you could buy a pair of R50 Vs and have a two-camera setup for the same price as a single R6 V. Or buy an R50 V and have almost 2,000 bucks to invest in lenses. Either way, you can have a far more complete and versatile setup by going for the junior camera.

🏆: Canon EOS R50 V

Canon EOS R50 V vs R6 V: Winner

It's hard not to say that the Canon EOS R6 V is the better camera. It has a full-frame sensor, 7K 60p, open gate capture, uncropped 4K 60p, an active cooling system, in-body image stabilization, Canon Log 2…

However, it may be more accurate to say, depending on your needs, the R6 V is the superior specced camera; for some people, the R50 V with its smaller footprint, more manageable files, photographic versatility and price tag that's thousands of bucks less will be a more appealing option.

I would recommend the R6 V for professional creators and videographers who need the highest quality and the ability to output multiple deliverables for clients. And for aspiring or casual creators just building a brand or getting established, the R50 V gives you plenty of firepower at a more affordable price.

Still, in terms of pure capability, the R6 V is the more powerful system and the clear winner.

🏆: Canon EOS R6 V

The Sony A7 IV is a versatile camera that delivers detailed images with its 33MP CMOS sensor and captures 4K video at 60p—all in a compact body, making it an excellent choice for both filmmakers and content creators.

Since its launch, it has been one of the best mirrorless cameras for enthusiasts, and now, with its price dropping to £1744.10 with its FE 28-70mm f/3.5-5.6 OSS kit lens, using the new 10% off code this weekend. It’s an incredible deal for a feature-packed powerhouse! Alternatively, you can get the body alone for £1,619.10.

The Sony A7 IV boasts an impressive 15 stops of dynamic range and a wide ISO sensitivity range of 100-51,200, delivering excellent low-light performance. It supports 10 fps continuous shooting with both mechanical and electronic shutters, making it ideal for capturing fast action.

For video, the A7 IV records 4K up to 60p in 10-bit, a powerful feature for filmmakers and content creators. If you need even more detail, it offers 7K oversampling for incredibly sharp footage with no recording limits.

Autofocus is lightning-fast, with 759 phase-detection points and the ability to focus down to -4 EV in both photo and video modes—giving you a competitive edge in low-light conditions.

Additional features like 5-axis in-body stabilization, a 3-inch fully articulating touchscreen, full-size HDMI output, and 3.5mm headphone and mic jacks make it a fantastic choice for vloggers, while still excelling in high-quality still photography

Read more:

Best lenses for the Sony A7 IV

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 limited-time 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 £3,599.10 – save £1,098.90 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 when trading in your 'old' gear.

The offers end at 11:59 PM on June 7.

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

For much of the last few years, the Canon EOS R10 has been one of the best-selling mirrorless cameras in Japan, consistently holding top position as a go-to option for beginners entering photography.

Now, the latest sales data from Japanese retailer BCN reveals that a video-first camera – without a viewfinder – has overtaken the long-time bestseller. The new leader is the Sony ZV-E10 II, a compact mirrorless interchangeable lens camera designed primarily for video creators, vloggers, and hybrid shooters.

On paper, the Canon EOS R10 and Sony ZV-E10 II compete in the same APS-C mirrorless category. However, they represent two very different shooting philosophies.

BCN+R best-selling cameras (May 26)

1. Sony ZV-E10 II Double Zoom Lens Kit | Black
2. Canon EOS R10 + RF-S 18-150 IS STM Lens Kit
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z50 + 16-50 VR Lens Kit
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | White
7. Sony A7 V
8. OM System Olympus Pen E-P7 EZ Double | Silver
9. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver
10. Sony ZV-E10 II Power Zoom Lens Kit | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

Canon EOS R10 vs. Sony ZV-E10 II

The Canon EOS R10 follows a more traditional camera design. It includes an electronic viewfinder, a deeper grip and handling that feels closer to DSLR-era photography.

The Sony ZV-E10 II, by contrast, is designed first and foremost for creators. It removes the viewfinder entirely, prioritising a compact body, lighter weight, and video-focused features.

While traditional photography tools still matter, a growing number of users appear to prioritize video creation, portability, and ease of use over classic still-first design.

Why no viewfinder can be better for video creators

The missing viewfinder – most photographers consider essential – plays a much smaller role in modern content creation workflows.

In video-first shooting, users are typically working at arm's length or with the camera mounted on a tripod or gimbal. As a result, flip-out screens, touch controls, selfie framing, and AF systems such as face and eye tracking become far more important than eye-level composition through a viewfinder.

Removing the viewfinder also has a practical design benefit. It allows manufacturers to reduce the overall size and weight of the camera body, contributing to the compact, lightweight form factor that many creator-focused cameras are designed around.

Whether the ZV-E10 II's rise is a sustained trend or a temporary spike remains to be seen – but its climb from fifth place last month to No.1 suggests a shift in buyer priorities.

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If you're looking for a new camera, check out the best mirrorless camera, the best camera for beginners, and the best budget vlogging cameras.

Sony's on a bit of a roll at the moment. It seems like just yesterday it was launching the A7V (it was actually late last year – how time flies), and it’s now followed that up with the sixth generation of A7R. The A7R has long been the go-to full-frame camera for anyone who prioritizes outright resolution, but by going north of 60 megapixels, recent A7Rs have been compromised in other areas. There's the obvious issue of huge image and video file sizes, but the drawbacks of such a high resolution come in other, more subtle forms.

Squeezing more and more pixels (they're actually photodiodes, but I'll use the word pixels for simplicity) onto a sensor of a fixed size - in this case, 35mm full-frame - means each individual pixel must be reduced in size. Shrinking a pixel means it captures less incoming light during a set shutter speed than a larger pixel. This in turn makes the pixel, and by extension, the sensor, more susceptible to generating image noise, and it can also reduce the amount of dynamic range that can be captured.

Sony knew all this when the A7R was in its formative generations, as in addition to the standard A7 lineage, it also produced the A7S line: cameras which intentionally sacrificed resolution in order to improve light sensitivity (hence the 'S' suffix), thereby reducing image noise and boosting low light image quality.

These days Sony seems to have abandoned the A7S line, but the regular A7, now in its fifth incarnation, still exists as an option for photographers who'd rather have the benefits of a more modest pixel count. But while there are image quality drawbacks from increasing resolution (assuming sensor size remains the same), are they still pronounced enough to make a camera like the A7R VI unsuitable of low light or high contrast environments?

I've lab tested every A7R generation (along with all the A7R VI's main rivals), testing resolving power, image noise levels, and dynamic range. As you'd expect, the A7R VI excels in our resolution benchmark, and it’s less impressive in our noise and dynamic range tests. However, the image quality drawbacks of its high pixel count really aren't as significant as you might expect.

Dynamic range (EV):

At lower sensitivities resolution doesn't really affect outright dynamic range. Both the 33MP A7V and the 66.8MP A7R VI perform pretty much identically, capturing 12.5 stops of dynamic range. You need to push past ISO800 for the A7R VI's resolution to start to restrict its dynamic range, whereupon the A7V pulls out a 1-stop advantage. Would you notice this in real-world shooting? Maybe, but remember that these results are obtained by disabling Sony's DRO dynamic range enhancement, so this is a worst-case scenario for the A7R VI. What's more, despite it having a significantly higher resolution than rival cameras such as the ~45MP Canon EOS R5 Mark II and Nikon Z8, the A7R VI outperforms them for dynamic range at all sensitivities.

Signal to noise ratio (decibels):

When it comes to image noise, both the A7R VI and V produce more noise than the A7V, but we'd expect that – the A7V has to have something to show for having half the A7R VI’s effective megapixel count. Where the A7R VI does impress is its ability to match (and at some sensitivities, slightly beat) the Nikon Z8's noise levels, despite the Sony having 32% more pixels. Granted, the Z8 is now a three-year-old camera, but even the far more modern EOS R5 Mark II barely produces less noise than the A7R VI at higher ISOs.

Resolution (line widths/picture height):

Obviously the A7R VI aces our resolution test, resolving far more fine detail than the A7V. It's here that you're most likely to see an image quality difference between the two cameras, assuming you're viewing photos at 100% image size.

With the A7R VI, Sony has demonstrated that you can have incredible resolving power without having to make noticeable image quality compromises elsewhere. Inevitably such an accomplished performance comes at a hefty financial cost, but if you’ve got the cash to splash, image quality from Sony’s latest A7R doesn’t disappoint.

The Nikon Z6 II just seen another price drop, bringing it down to $1,396.95 (body only) at B&H—an incredible deal for its performance.

If you’ve been considering an upgrade to one of the best mirrorless cameras available, but you don't want massive 40+ megapixel in resolution then this is a fantastic opportunity. And while I may be a bit biased as previous Nikon shooter, I can confidently say this is a solid choice for anyone looking for top-tier quality and versatility!

The Nikon Z6 II builds on the original Z6 with dual processors, a second card slot, and faster burst shooting – delivering top-tier performance without the high megapixel count or price of the Z7 II. or the newly released Nikon Z6 III.

Nikon’s full-frame images are stunning, with rich colors and sharp detail, making them a joy to edit or share instantly. The added card slot makes this a pro-ready body, and autofocus effortlessly tracks eyes and animals.

While 4K 60p video is cropped, I mostly shoot at 24p or 30p, so it’s a minor drawback. At this new low price, this is hands down the best way to jump into Nikon’s mirrorless system – don’t miss out!

See our guide to the Best lenses for the Nikon Z6 II

If you're pondering the Canon EOS R6 V vs R6 Mark III, you're not alone. Canon has made the once-straightforward 6-series line quite complicated this generation, with complementary but confusing companion models.

Both cameras share near-identical core specs – the 32.5MP / 7K 60p sensor, 40fps burst shooting, 7K 30p open gate and so on – but there are key physical differences, from the ergonomics and strength of the IBIS to the presence or absence of mechanical shutter, EVF and active cooling, making the Canon EOS R6 V vs R6 Mark III decision quite a nuanced one.

Further complicating things is the fact that those core specs are also shared by the Canon EOS C50, which adds a further tier of difficulty. And on top of that, the R6 Mark II is still a current product (though its specs are completely different)…

If you want a comparison of all these bodies, I recommend my article Will the real Canon EOS R6 please stand up! Do you need the R6 II, R6 III, R6 V or C50? However, for a Canon EOS R6 V vs R6 Mark III tête-à-tête, read on…

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

The technical capabilities for stills are virtually identical except for one crucial difference: the R6 V lacks a mechanical shutter. Which isn't unique among mirrorless cameras; the Nikon Z8 and Z9 likewise only have a mechanical shutter.

So what's the issue? Unless the camera has a global shutter sensor (like the Sony A9 III), which reads the entire sensor at once, you are subject to experiencing "rolling shutter" when shooting fast-moving subjects and / or panning the camera with them.

This is because traditional sensors are scanned line by line, top to bottom, which can cause subjects or scenery to appear skewed as they have moved between each line being scanned.

In addition, electronic shutters are prone to banding and other artefacts when shooting under artificial light – but mechanical shutters are immune to rolling shutters and far less prone to banding issues. Which means you need to be mindful if you're going to shoot a lot of stills with the R6 V.

Aside from specs, though, there's also the physical attributes of the R6 V. It lacks an electronic viewfinder, which means you are limited to shooting from the rear screen – and you'll be doing it with a stop less of in-body image stabilization (IBIS).

On top of that, the R6 V's ergonomics and button placement – along with the design of the buttons themselves – are optimized for filming video, not for prolonged stills shooting.

By contrast, the R6 Mark III has been engineered as a stills-first camera. It has better ergonomics, better IBIS, a viewfinder and a mechanical shutter – and it also supports on-camera flash (Canon says that the R6 V will get flash support via firmware, but doesn't have it out of the box). All of which means that it's the superior camera for photography.

(Though if you only ever shoot on the rear screen and you have no intention of shooting indoors or fast subjects, the R6 V will absolutely do what you need it to.)

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

Okay, an argument could be made that the R6 V is just as good as the R6 Mark III for stills. However, there's no doubt that the R6 V trounces its sibling when it comes to recording video.

Again, the technical specs are virtually identical. But the R6 V has some massive physical and hardware advantages – namely in the form of an active cooling system. Where the R6 Mark III, with no fan to dispel heat, faces limited recording times when shooting high-resolution video, the R6 V can record for prolonged periods without overheating.

The R6 V is also geared for vertical shooting, with a second (vertical) tripod mount and a user interface that reorients 90° when you place the camera in a vertical position. It also has a tally light, so you and your subjects always know when it's recording.

As noted above, the controls on the V have also been completely redistributed for video-first operation – and their default assignments are to essential video features like zebras, peaking and live streaming.

One of the most important controls is the power zoom rocker switch, positioned in front of the record / shutter button. This enables you to perform smooth electronic pushes and pulls when using Power Zoom lenses like the Canon RF 20-50mm f/4L IS USM PZ.

The EVF-free design also makes the R6 V's rectangular body much more riggable and apt for cages. It doesn't support the XLR handle for the Canon EOS C50, but you can add Tascam's third-party XLR adapter for premium audio input.

Speaking of the C50, it's worth noting that neither the R6 V nor the Mark III offer things like shutter angle, timecode or anamorphic lens support, for which you'll need to opt for the cinema sibling.

Still, if you only need to shoot occasional video, the R6 Mark III is perfect for capturing complementary footage with your photographs. But if video is your main reason for picking up a camera, it's the R6 V all the way.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

It's quite a close call, but the EOS R6V comes in as the more affordable option both body-only and in a kit.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

Meanwhile the Canon EOS R6 Mark III comes in slightly higher, at $2,799 / £2,799 / AU$4,199, or in a kit with the Canon RF 24-105mm f/4L IS USM for $4,049 / £3,899.99 / AU$5,999.95 (in the US and UK it's also available in a kit with the Canon RF 24-105mm f/4-7.1 IS STM for $3,149 / £3,149.99).

Those kit options really tell the story of who these cameras are for, the Mark III being sold with an all-purpose photography optic while the R6 V is packaged with a video-first Power Zoom lens.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

Ultimately, at the risk of becoming a broken record, these two cameras are essentially identical in terms of their specs – they're two of the best hybrid cameras and do a brilliant job at both stills and video. However, they don't do an equally brilliant job at both.

Which means that it all comes down to what you shoot. If you're primarily a photographer, the Canon EOS R6 Mark III – with its mechanical shutter, EVF, ergonomics and better IBIS – is a far better stills camera.

If you're a video-first shooter, the Canon EOS R6 V – with its active cooling system, tally light, and vertical-friendly shooting and operation – is the better camera for creators, vloggers and videographers.

The Sony A7 V has dominated sales charts since the mirrorless camera’s launch in late 2025, but Sony may have already outdone itself. In the latest list of top trending mirrorless cameras at US retailer B&H, the newly launched Sony A7R VI has taken the top spot, pushing its lower resolution sibling, the A7 V, down to the second rung on the ladder.

The Sony A7 V has led several sales charts since its launch, including charts in both Japan and the US, a trend likely fueled by the full-frame camera’s balance between 33MP stills at up to 30fps and a mid-tier price point.

But in May, something major changed: Sony announced the long-awaited update to the high-resolution R series, the Sony A7R VI. The new mirrorless does what previous A7R cameras did not in that it offers both a high resolution 66.8MP mixed with 30fps burst speeds.

While the Sony A7R VI brings an impressive list of features, the camera had some mixed reactions – mainly because, along with the feature list, the list price sits higher than earlier generations.(And, like the A7 V, there’s no open gate video.)

However, if sales data from the major US camera retailer B&H is any indication, that price didn’t keep Sony fans away from pre-ordering the new mirrorless camera, which B&H estimates will begin shipping on June 4.

While the data hints at early success for the A7R VI, it’s not uncommon for a new camera to dominate trend lists but drop off in later months as the pre-orders from creators who have been waiting for the latest version taper off – so time will tell if the A7R VI becomes one of the most popular launches of 2026.

While the body-only Sony A7R VI is first and the A7 V second, the A7R VI with the new 100-400mm lens announced alongside the new camera follows close behind. The top ten trending mirrorless cameras at B&H in May are:

• Sony A7R VI
• Sony A7 V
• Sony A7R VI with 100-400mm f/4.5 kit
• Canon EOS R5 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 Mark II
• Sony A6700
• Canon EOS R7
• Canon EOS R6 V
• Nikon Z8

While Sony cameras take the top three, Canon has half of the top ten. Notably, however, the Canon EOS R6 V, which was announced on the same day as the A7R VI, isn’t coming in quite as hot at ninth place. The new V series model takes the sensor and processor of the popular Canon EOS R6 series – two of which are also on the top ten list – and reimagines the camera for video, sacrificing the viewfinder for an active cooling system.

With the Sony A7R VI and Canon EOS R6 V brand new launches that are still in pre-order status, it will be interesting to see where the models fall as all the pre-launch excitement tapers off – and whether or not the A7R VI’s dominance also holds true from other retailers and regions.

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The Sony A7 V has dominated sales charts since the mirrorless camera’s launch in late 2025, but Sony may have already outdone itself. In the latest list of top trending mirrorless cameras at US retailer B&H, the newly launched Sony A7R VI has taken the top spot, pushing its lower resolution sibling, the A7 V, down to the second rung on the ladder.

The Sony A7 V has led several sales charts since its launch, including charts in both Japan and the US, a trend likely fueled by the full-frame camera’s balance between 33MP stills at up to 30fps and a mid-tier price point.

But in May, something major changed: Sony announced the long-awaited update to the high-resolution R series, the Sony A7R VI. The new mirrorless does what previous A7R cameras did not in that it offers both a high resolution 66.8MP mixed with 30fps burst speeds.

While the Sony A7R VI brings an impressive list of features, the camera had some mixed reactions – mainly because, along with the feature list, the list price sits higher than earlier generations.(And, like the A7 V, there’s no open gate video.)

However, if sales data from the major US camera retailer B&H is any indication, that price didn’t keep Sony fans away from pre-ordering the new mirrorless camera, which B&H estimates will begin shipping on June 4.

While the data hints at early success for the A7R VI, it’s not uncommon for a new camera to dominate trend lists but drop off in later months as the pre-orders from creators who have been waiting for the latest version taper off – so time will tell if the A7R VI becomes one of the most popular launches of 2026.

While the body-only Sony A7R VI is first and the A7 V second, the A7R VI with the new 100-400mm lens announced alongside the new camera follows close behind. The top ten trending mirrorless cameras at B&H in May are:

• Sony A7R VI
• Sony A7 V
• Sony A7R VI with 100-400mm f/4.5 kit
• Canon EOS R5 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 Mark II
• Sony A6700
• Canon EOS R7
• Canon EOS R6 V
• Nikon Z8

While Sony cameras take the top three, Canon has half of the top ten. Notably, however, the Canon EOS R6 V, which was announced on the same day as the A7R VI, isn’t coming in quite as hot at ninth place. The new V series model takes the sensor and processor of the popular Canon EOS R6 series – two of which are also on the top ten list – and reimagines the camera for video, sacrificing the viewfinder for an active cooling system.

With the Sony A7R VI and Canon EOS R6 V brand new launches that are still in pre-order status, it will be interesting to see where the models fall as all the pre-launch excitement tapers off – and whether or not the A7R VI’s dominance also holds true from other retailers and regions.

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Trends are a good hint, but these are the best mirrorless cameras tested by real photographers.

The Canon EOS R100 has just dropped to $429 at B&H, down from its usual $559 price, saving you a very respectable $130 on one of Canon’s most affordable mirrorless cameras.

While the R100 is very much Canon’s entry-level model, that should not be mistaken for it being basic in the areas that really matter. At its heart is a 24.1MP APS-C sensor, backed by Canon’s DIGIC 8 processor, giving beginners and casual shooters a proper step up from smartphones, compact cameras, or older DSLRs.

For anyone wanting to get into photography without spending a small fortune, this is exactly the kind of deal that makes sense. The EOS R100 gives you access to Canon’s RF lens mount, meaning you are buying into the same mirrorless system as Canon’s more advanced cameras, but at a much friendlier price.

It is also a compact and lightweight camera, which makes it a great everyday option for travel, family photography, street shooting, or simply learning how to take better pictures. You also get 4K video recording, Full HD at up to 60p, and Canon’s Dual Pixel CMOS AF, which remains one of the easiest autofocus systems for beginners to get along with.

Of course, the EOS R100 is not designed to compete with Canon’s higher-end EOS R models, and more serious creators may want features such as a vari-angle touchscreen, faster shooting, or more advanced video tools. But for pure value, especially at this discounted price, it is hard to ignore.

At $429, this Canon EOS R100 deal at B&H is one of the cheapest ways to get into Canon’s mirrorless camera system right now. If you are buying your first real camera, upgrading from a phone, or looking for an affordable second body, this $130 saving makes the EOS R100 a very tempting buy.

The Nikon Z8 has just dropped to its lowest ever price, with B&H cutting this powerhouse full-frame mirrorless camera to just $3,396.95. That is a huge $900 saving from its usual $4,296.95 price, but the deal gets even better as B&H is also including a free Nikon 64GB XQD memory card worth $143.95.

That means you are effectively getting a total saving of $1,043.95 on one of the most impressive professional cameras Nikon has ever made.

This is such a strong deal because the Nikon Z8 is not some aging camera being discounted to clear space for the next big thing. It remains one of the most powerful hybrid mirrorless cameras you can buy, taking much of the technology from Nikon’s flagship Z9 and putting it into a smaller, lighter body. B&H lists the Z8 as being 30% smaller than the Z9, yet it still packs a 45.7MP stacked full-frame sensor and the kind of professional performance serious photographers demand.

For stills shooters, the Z8 is an absolute powerhouse. It offers huge resolution, fast shooting speeds, excellent autofocus, and that rugged Nikon handling that makes it feel ready for almost anything. Whether you photograph wildlife, sports, weddings, portraits, landscapes, or commercial work, this is a camera that can move between demanding professional jobs without feeling like a compromise.

Video shooters are just as well served, with the Z8 offering 8.3K 60p N-RAW, 4.1K 60p ProRes RAW, 8K30p, and 4K120p video, along with 10-bit internal recording. That makes it far more than a stills camera with video added on. It is a genuinely serious hybrid body for filmmakers, content creators, and anyone who needs high-end video performance in a compact mirrorless system.

The free Nikon 64GB XQD memory card is also a very welcome bonus, especially when buying a camera this powerful. Fast memory cards are not cheap, and with B&H listing the Nikon 64GB XQD card at $143.95, having one included makes this already excellent offer feel even stronger.

At $3,396.95, the Nikon Z8 is a standout camera deal, but with the extra free memory card included, it becomes one of the best high-end Nikon offers around right now. If you have been waiting for the right moment to buy Nikon’s mini Z9, this could be it, because saving more than $1,000 on a camera of this caliber is not the kind of deal that usually sticks around for long.

Has Sony just kneecapped its best professional camera?

The company has a brilliant flagship, the Sony A1 II, which marries 30fps speed with 50MP resolution. However, with the launch of the Sony A7R VI – which offers 30fps and 66.7MP resolution – you have to ask whether the A1 II is still Sony's top dog. The alpha, if you will.

And that's exactly what we did on the latest episode of the DCW News Podcast, where I was joined by my colleague Hillary Grogonis who has extensively tested Sony's new pixel-packed powerhouse. You can watch the full episode embedded below.

ABOVE: Watch the Sony A7R VI discussion

James: I kind of wonder, first of all, is this Sony's best wildlife camera? And also, does it make the A1 kind of pointless now? Because it exceeds the A1 in terms of resolution, it's got a 30fps burst, so what does this do to the Sony product lineup? It feels like everything's a little bit out of kilter now."

Hillary: It definitely feels like Sony has really narrowed the gap between their different options. So, one of the biggest differences as far as wildlife and sports goes is [the A7R VI] is going to keep that 30fps for a lot longer. It's got a much bigger buffer on it. I believe the A1 II can shoot at 30fps second for up to 240 RAW frames, and the A7R VI is 150 frames. So, quite a difference there.

How about that 66.7MP resolution – it's not that many more pixels than the 61MP Sony A7R V. Does it really make that big a difference?

Hillary: I kind of thought that the 67MP was the least exciting thing about the camera, to be honest. That stacked sensor, that speed is not common with something with such a high resolution. So, I was really excited about that stacked sensor.

James: Here's a consideration. So, 67MP in general, that's going to give you some big image files. If you're going to shoot this even at 15fps, let alone 30fps, you're going to end up with a whole bunch of high-res files. What does this mean in terms of storage? You've shot enough wildlife with this thing to have an idea. How much did it make your hard drive hurt?

Hillary: I think my hard drive cried a little bit, to be honest. But, I also think Sony has a unique solution here; just because it shoots at 30fps doesn't mean you mean you need to shoot at 30fps the whole time. They added the option to customize one of the buttons, in order to trigger a temporary 30fps burst.
So when I was photographing a bird and it was just sitting there on a branch, not really moving a lot, I don't need 100 photos of it. I could shoot at like 5fps, 10fps. And then, you know, if something happened, all I had to do was one press of the button and it was shooting at full speed again.
I think that's a really clever workaround, the option to shoot fast when you need it and slower when you don't, cause storage is going to be a big problem with the cost of hard drives and memory cards.

We talk plenty more about the Sony A7R VI – the $4,500 price tag, autofocus performance, missing features like open gate video, whether Sony A7R V users should upgrade, how Canon and Nikon will respond – on the DCW News Podcast, so check out the full discussion!

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See how the A7R VI fares against the highest resolution cameras on the market, as well as the best Sony cameras across the entire range.

Despite newer flagship releases from Canon, Sony, and Nikon, one 2023 full-frame camera continues to outperform recent models in Japan's sales charts.

In Kitamura's latest monthly ranking, the Sony A7C II has taken the No.1 spot as the best-selling camera. This follows a trend seen at another major Japanese retailer, Yodobashi, where the same model recently overtook the Sony A7 V after it led sales for six consecutive rankings.

Together, the data from both retailers highlight a consistent pattern: despite the release of newer models, the A7C II – launched three years ago – continues to be a top choice among buyers.

Kitamura's 10 best-selling cameras, April 2026

1. Sony A7C II
2. Sony ZV-E10 II Power Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Nikon Z30 Double Zoom Kit
6. Fujifilm X-T5
7. Sony A7 V
8. Canon EOS R50 Double Zoom Kit
9. Fujifilm X-T30 III
10. Canon EOS R6 Mark II

Why the Sony A7C II continues to sell strongly

Launched in 2023, the A7C II remains one of Sony's most successful compact full-frame mirrorless cameras, offering a balance of performance, portability, and price.

Priced at $2,498 / £1,999, it delivers full-frame image quality in a compact body weighing just 514 grams (1 lb 2.2 oz) and is particularly appealing for travel and hybrid shooters.

Under the hood, it features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS) and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

A full-frame "sweet spot" camera

While newer full-frame cameras often lean heavily toward either high-resolution photography or advanced video production, the A7C II continues to stand out as a balanced all-rounder.

Its combination of compact design, strong AF (autofocus) performance and capable video specs means many users simply don't feel the need to invest in newer and more pricey models.

This 2023 model still delivers everything most photographers need – and while camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

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Browse the best mirrorless cameras and the best professional cameras.

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £670 at Wex and Park Cameras.

The Panasonic Lumix S5 IIX is now available for just £1,399 at Wex – this new low price lets you save £200 from its original £1,599 price tag.

The Sony A7 IV paired with the 28-70mm f/3.5-5.6 is now available for just £1,949 at Wex – you save £200 off the bundle's RRP of £2,149.

The Nikon Z5 paired with the 24-50mm f/4-6.3 is now available for just £929 at Park Cameras– a £670 saving from the bundle's previous £1,599 price tag.

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

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX available as is the case within the Sony and Nikon lineup, but there are third-party options like Sigma available.

And if you want to keep using your older glass, Canon EF to L-mount adapters, for example, are available.

Sony A7 IV: Best for DSLR and system switchers, as well as content creators
Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

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

Nikon Z5: Budget-conscious DSLR option, best for stills-focused shooters
If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR, and thanks to the FTX adapter, you can continue using your trusted F-mount lenses seamlessly. The only downside is that the Z5 doesn't have IBIS, which is usual at this price point. That means handheld shooting with longer lenses or video might require a steady hand or a tripod.

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

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

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

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

If you're after a compact yet stylish Micro Four Thirds mirrorless camera, the OM-5 with 14-42mm f/3.5-5.6 II Lens Kit is now just $898.99 at B&H.

You're looking at a massive $400 discount off the original price of $1,298.99.

And if you've been waiting for the right time to grab the OM-5, this is it – best value I've seen to date. To put that in perspective, during Amazon Prime Day, the body alone dipped to around $999...

Looking for a camera that's powerful enough for serious photography but compact enough to take everywhere? The original OM System OM-5 is such a mirrorless camera – and packs flagship-level features into a body so small and rugged, you'll want to bring it everywhere.

The OM-5 borrows all the cool features from the OM-1 and puts them into a much smaller, more affordable package. That means you get powerful tech like Pro Capture, Live ND filter, and more, all without needing a lug around heavy gear or accessories.

Whenever you're shooting stills or video, the OM-5's 20.4MP sensor and TruePic IX processor deliver fast performance and beautiful results. Its 121-point hybrid AF (autofocus) system ensures sharp focus and smooth subject tracking.

And with a sensitivity range up to ISO 25,6000, you can keep shooting in low light without stressing about image quality.

So, if you want a reliable, all-in-one tool for travel, outdoor photography, and other projects, the OM-5 is a great catch. While it's not a 62MP full-frame mirrorless camera, it's the kind of camera that's there when you need it, and never gets in the way if you don't. And its tech thinks ahead for you, so you can stay in the moment, not fiddling with gear.

And here's the cherry on top: with this deal, you're not just getting the OM-5 body, you also get a 14-42mm f/3.5-5.6 II lens included. That's a super versatile kit lens, perfect for wide-angle landscapes or natural-looking portraits.

With this deal, you're saving big. During major sale events like Amazon Prime Day, the OM-5 body alone was going for around $999, highlighting that this offer is getting you an unbeatable bundle.

Browse the best Micro Four Thirds cameras

There was a lot to love about the Canon M6 Mark II, which was the flagship of the EOS M system. In case you don't know, that was the company's first foray into mirrorless cameras – but it was sadly discontinued in 2023.

While the Canon M6 Mark II had some killer specs – built around a high-resolution 32.5MP APS-C sensor, capable of 14fps bursts and 4K 60p video – there was one feature that was absolute genius: the optional, removable, electronic viewfinder (EVF).

This one accessory made the Canon M6 Mark II one of the most versatile cameras the company has ever made – and my dearest wish is that Canon resurrects it for the EOS R system.

Take a look at the common criticism leveled at cameras like the Canon EOS R50 V and EOS R6 V: they're brilliant cameras, and very compact, but most people wish that they had a viewfinder – or at least, the scope to add one – for proper stills shooting.

This isn't just a Canon thing; everything from the Nikon Z30 to the Sony ZV-E10 II has the same issue. Yes, they're designed primarily for video, and yes, this enables them to keep a smaller form factor by eschewing an EVF. But wouldn't it be nice if you could buy an EVF that mounts to the hot shoe, for those times you need it?

That's exactly what Canon used to offer, but the Canon M6 Mark II was the last camera to support the EVF‑DC2 add-on (which also worked with other select EOS M and PowerShot cameras).

It made the Canon M6 Mark II so much more useful; without the EVF, you could slip the camera into a large pocket or easily toss it in a fanny pack or small sling bag for everyday shooting. Then, for those occasions where you really needed to zero-in, you could click the EVF‑DC2 into the shoe.

Given the clever new Multi Function Shoe boasted by Canon's latest cameras, it could produce a brilliantly fast and high-resolution finder if it wanted to. Or even just update the EVF‑DC2 with the correct communication pins so that it can be used on the likes of the R50 V and PowerShot V1.

Come on, Canon – I know I'm not the only person who has asked for this, so please bring back the best thing about the Canon M6 Mark II! (Well, aside from the sensor that has now found its way into the EOS R7…)

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If you're an EOS M user, take a look at the best Canon EF-M lenses – and don't forget that you can easily adapt the best Canon lenses for DSLRs!

In terms of size and looks, the Panasonic Lumix S9 is one of the best full-frame compact cameras on the market. And now it's dropped to its lowest price EVER – you can pick up this camera with 18-40mm lens for just £809.19 from Amazon, who have dropped this already budget-priced model back down under a grand.

Only the white version is available at this amazing price, so other colours can cost almost £300 more - emphasising just how good this deal actually is.

Don't be deceived by the Panasonic Lumix S9's small stature. This compact interchangeable lens camera is a modern mirrorless powerhouse, boasting a 24.2MP full-frame sensor, Panasonic's Phase Hybrid autofocus, up to 6.5 stops of in-body image stabilization and up to 30fps burst shooting.

The absence of a viewfinder is partly responsible for the camera's compact size, so it's more likely to appeal to content creators and video shooters. Thankfully it's got a decent video spec, with 6K 30p and 4K 60p capture. It also comes with a variety of LUT presets to instantly enhance the look of video footage. And, if you shoot video for a variety of formats, you'll be pleased to know that it's an open gate video camera.

Check out our guide to the best lenses for the Panasonic S9

A Canadian wedding photographer and camera tinkerer has seemingly managed to install DOOM on his Nikon Zf. You heard that right, an Instagram video shows the 1993 first-person shooter video game running on the rear LCD screen of Nikon’s full-frame retro camera in what has to be my favorite unofficial camera enhancement of all time. In the video (below) Taylor Jackson can be seen using the camera’s d-pad to navigate the grisly sci-fi setting and using the playback button to fire ‘Doomguys’’ pistol.

Hilariously, Nikon USA has commented on the video stating: “We have questions 👀”. Now, I’m no hacker, but when I Googled the subject, the search page’s AI Overview seemed to think that loading third-party software onto a modern Nikon was very difficult given the locked-down architecture of the 'Big N's' cameras. The footage does look very convincing but whether it's a genuine port or camera trickery, the practice of loading DOOM onto unconventional devices most certainly does happen.

You see, there’s a bit of an internet tradition to try and get DOOM to run on weird tech. Tech nerds are intent on fighting the demon hordes via pretty much anything imaginable, office printers, calculators, heck, even a pregnancy test! It would seem that almost anything with a visual interface is fair game.

One of the most comprehensive accounts of porting DOOM to a camera can be watched below by YouTube gaming royalty LGR, which managed to get the game running on a Kodak DC260 digital camera and is most definitely real.

In the video below, it’s explained that the 1998 camera features an onboard computer, enabling users to download or even develop third-party apps. In the case of the Kodak DC260, a bespoke version of DOOM is downloaded onto a CompactFlash card, which is then inserted into the camera and run via the camera’s Applications menu. I’ve also seen a video from @knoptop, running the game on a keychain camera!

I’m sure the process was a little different for the Nikon Zf, but essentially, DOOM lends itself to being ported because the original code is now open-sourced and by today’s standards, this once-demanding computer game requires little processing power to run.

I hate to be a killjoy, but it is worth noting that installing third-party software onto a camera could end up voiding the warranty, so I’d be more inclined to mod a cheap used buy as opposed to a $2,000 / £2,000 modern mirrorless camera.

I do love the concept of a ‘90s video game classic running on a retro camera though. The Nikon Zf is based on the Nikon FM2, which was actually released in 1982, the same year that Pac-Man was released. Well, Taylor, if you’re reading this, you know what to port next!

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Ocassionally the worlds of photography and video games collide. Here are 14 of the best photography video games. If you're into the Nikon Zf, but would prefer a more affordable and portable option, check out the Nikon Zfc. For more vintage-looking delights, here are the best retro cameras.

The tiny but mighty Nikon Z30 is a camera that’s often overlooked in the West, but has proven incredibly popular in Japan, frequently making its way onto the BCN+ Ranking. And there’s one particular feature I don’t think is talked about enough: its imaging prowess.

Before I get into that, though, I want to talk about a few reasons why it hasn’t proven so successful in the US and UK.

The biggest sticking point is the viewfinder – or lack thereof. Now, the Big N would probably justify this due to the Nikon Z30’s vlogger-centric design.

However, while the Nikon Z30 did launch with decent enough video specs for the time, the lack of a headphone port was a major shortcoming for vloggers. And while no 4K 60p and IBIS (in-body image stabilization) were common within the Nikon Z30’s class, just one of those upgrades would have set it apart from the pack.

Add to that Nikon’s lack of solid video credentials in a pre-Red acquisition world and I can see why the camera has been a bit of a hard sell for Western vloggers. As for photographers, the Nikon Z30’s specs are almost identical to the original Nikon Z50, which does have a viewfinder.

No competition, right? Well, that depends on who you ask.

Shift back to the Japanese market and you have an imaging culture that holds small cameras in very high regard. The Nikon Z30 isn’t just small for an APS-C interchangeable-lens camera, it’s also extremely well-built. And not only is it rock-solid, but that deep grip means that it fits firmly in the hand.

The real magic happens when you start taking photos. Nikon is known for producing extremely high-quality RAW files and the Nikon Z30 is no exception. That APS-C 20.9MP sensor delivers the goods: files are richly detailed and pliable in post, and Nikon’s color science is top-notch.

And while it’s not a megapixel monster by today’s 40MP standards, that’s not actually a bad thing. Firstly, it means bigger photosites than a higher-resolution APS-C sensor – resulting in better low-light performance.

Secondly, it’s easier to avoid camera shake when using a 20MP sensor. Because once you’ve applied the 1.5x crop factor to the focal length in question, you can stick to the reciprocal rule rather than having to double or even triple it when using higher-resolution sensors.

Don’t forget that this is a proper Z-Series camera, meaning it’s compatible with the huge amount of Nikon Z lenses, which deliver supreme optical quality time and again.

To top it all off, the Nikon Z30 is an affordable camera. It launched with an RRP of $709.95 / £699 and nowadays you can find some absolute bargains on the used market. All that being said, I really think this camera deserves more respect here in the West!

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Interested in small interchangeable-lens cameras? Check out the Fujifilm X-E5. If you’re open to fixed-lens cameras, here are the best compact cameras. And if you like the Nikon Z30 but want something a little more advanced (and with a viewfinder), look no further than the Nikon Z50 II.

As great as mirrorless cameras are, one area where the good old DSLR still reigns supreme is battery life. For instance, the Nikon Z9 has a CIPA-rated battery life of 740 shots, whereas the D6 can manage an incredible 3580. In real-life shooting the Z9 will likely do much better, but the fact remains that using an LCD display for live-view shooting consumes precious battery life.

But a new rumor suggests Sony might be working on a possible solution. According to a source via Sony Alpha Rumors:

Sony is working on a new display technology for its Alpha cameras after 2026’Q3. This FSC-LCD unit will use 70% less energy and make the camera’s Live-View time much longer.

The FSC (Field Sequential Colour)-LCD, uses a high-transmittance grayscale liquid crystal display without R,G,B colour filters. It uses RGB Edge-Mini LED backlight, which means that the red, green, and blue light-emitting diodes can be switched on and off 720 times a second. This technique combines to produce a 240Hz refresh rate colour image on a grayscale 720Hz IPS LTPS LCD, delivering a flicker-free visual experience.

FSC-LCD technology is currently under development by Sony, TCL and Hisense. TCL is planning to promote FSC-LCD televisions featuring RGB-LED backlighting in the future, and a prototype TV has been exhibited in 2025.

Sony’s BRAVIA TV business will establish a joint venture with TCL in the 2027, with both parties operating the venture jointly.

It should be noted that a 70% energy saving in a camera's LCD display probably won't result in an equivalent percentage increase in shots captured per charge. This is due to the LCD screen being just one of many camera components that drain battery power. However, such a significant energy saving in the LCD should at least give a noticeable improvement in overall battery life. If this rumor is true, we may only have a few months to wait to see the new screen tech materialize.

Canon has done something very "Apple" with the R6 family: there are now four concurrent models in this extended lineup.

The centerpiece is obviously the Canon EOS R6 Mark III, but the older R6 Mark II is still on sale at least through the end of 2026 – and joining the base models are the EOS R6 V and the EOS C50, which share identical architecture and virtually the same specs as the Mark III.

So what's the difference between all these cameras – and which one do you actually need? Here's a quick Canon EOS R6 II vs R6 III vs R6 V vs C50 comparison to help you work out which is right for you.

Canon EOS R6 II vs R6 III vs R6 V vs C50: Specs

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for photo

Let's be clear: the base R6 models, the Mark II and Mark III, are built for photography – the R6 V and C50 are video-first bodies. So, even though the latter both possess the same specs as the Mark III, they lack things like a viewfinder, a mechanical shutter, the same level of stabilization and stills-oriented ergonomics.

Which means it's a toss-up between the Mark II and Mark III. On paper, there's no doubt that the newer camera is superior; it shoots higher-resolution stills (32.5MP rather than 24.4MP), has sturdier stabilization (up to 8.5 stops, up from 8) and has a deeper buffer (150 RAWs instead of 75) for rapid-fire shooting.

It also has slightly improved autofocus, which I particularly noticed when photographing wildlife and especially birds in flight.

However… all of those are "nice to haves" rather than essentials. Because I'll be honest, the Mark II's autofocus is still more than good enough (and still better than the AF on Sony and Nikon bodies). And while it's nice to have more megapixels, 24.4 is still plenty for most tasks. Ditto the stabilization.

For me, the real difference-maker is the buffer capacity. Being able to rattle off 40fps bursts for literally twice as long is important if you're shooting sports, wildlife or other fast action.

🏆: Canon EOS R6 Mark III

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for video

When it comes to video, while R6 III has virtually identical specs, the R6 V and C50 are both far and away superior devices for dedicated and prolonged recording.

This is due to one simple factor: active cooling. Both the R6 V and C50 have a fan, with this cooling system providing extended and even unlimited record times when recording high-resolution video – particularly useful when recording 7K 60p RAW or 7K 30p open gate.

Other than that, the differences between these two bodies put each camera firmly in one of two categories: the R6 V is a hybrid camera tailored for content creators and solo videographers, while the C50 lives up to its name as a pure cinema camera.

What does this mean, in real terms?

Well, the R6 V has weather sealing and in-body image stabilization, both of which are missing on the C50. It also boasts the same AF system as the R6 Mark III, which is to say it has superior subject detection and tracking (compared to the still-good but less-sophisticated EOS iTR AF X of the C50).

For true cinema purposes, the lack of IBIS on the C50 may actually be a boon (for hard-mounting the camera or using it with rigs). But it also boasts dual base ISO (at 800 and 6400) for cleaner video, along with support for things like anamorphic lenses, timecode, XC protocol and the XLR handle.

So the winner here, really, depends on whether you're creating content or shooting cinema.

🏆: Tie – Canon EOS R6 V / C50

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best value

This one is easy: the R6 Mark II, as a camera released in 2022, is by far the best value for money of the R6 family.

Currently priced $1,999 / £1,699 / AU$2,360, if you want to maximize your bang for buck then you don't need to look any further.

Next up on the pricing tier is the R6 V, which will run you a cool $2,499 / £2,399 / AU$3,599.

Then it's the R6 Mark III, at $2,799 / £2,799 / AU$4,199.

Finally, at top dollar it's the C50 with a reassuringly cinema-oriented price of $3,899 / £2,999 / AU$4,999.

🏆: Canon EOS R6 Mark II

Canon EOS R6 II vs R6 III vs R6 V vs C50: TLDR

So, after all that, which member of the extended R6 family is actually right for you?

It depends.

If budget is your first consideration, the R6 Mark II still offers excellent performance – 24.4MP stills, 40fps bursts, HQ 4K 60p, 8 stops of IBIS, weather sealing – for under 2,000 bucks in the US and UK.

If you want the best photographic experience, it's the R6 Mark III. With its 32.5MP stills, 40fps bursts with double the buffer of the Mark II, 8.5 stops of IBIS, weather sealing and slightly but noticeably improved autofocus, this is the one to go for. You also get 7K and open gate as a bonus, but record times will be limited by the lack of cooling system.

If you're a solo content creator then I would opt for the R6 V. It has all the stills capabilities of the Mark III (just without an EVF or mechanical shutter) but adds an active cooling system, vertical tripod mount and UI for social media shooting, support for things like shutter angle and zebras, and it's still weather sealed with 7.5 stops of IBIS.

And for the highest-end videography, the C50 is going to be the best choice. The lack of viewfinder, stabilization, weather sealing and mechanical shutter mean it isn't a choice for photography, casual or run-and-gun shooting. But features like the dual base ISO, support for anamorphic lenses and timecode, plus the bundled XLR handle will be uniquely useful for "proper video".

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One of Fujifilm's most popular mirrorless cameras is the Fujifilm X-M5 – so popular, in fact, that like the viral Fujifilm X100VI, it’s often hard to find in stock.

There’s a good reason for its popularity, with its affordable price and tiny design, but as a Fujifilm photographer it’s not the budget body that I would pick: I would choose the Fujifilm X-S20 instead.

There are two key reasons that the X-M5 is so trendy. First, it’s Fujifilm’s cheapest currently produced mirrorless, retailing for $999 in the US even when bundled with a lens.

But the X-M5 is also incredibly small, so I think part of its success is down to the fact that it makes an excellent alternative to a compact camera. At just 12.5 oz body only, the X-M5 is quite portable for a mirrorless body.

I’m not knocking the X-M5 – I think it’s a solid compact alternative and an entry-level option that still has a healthy dose of features, particularly for hybrid shooters. But, if I had to pick an affordable Fujifilm mirrorless right now, the X-S20 is the one that would win my attention.

The X-S20 has several things in common with the X-M5 – as well as the Fujifilm X-T30 III – including the same 26.1MP sensor, 20fps bursts and 6K video. But there are a couple of key reasons that I gravitate towards the X-S20 as a photographer.

The first reason that I’d save up a bit more for the X-S20 is that, unlike the X-M5, it still has a viewfinder. This does make the camera a bit larger in comparison, but it’s well worth it.

Viewfinders are much easier to see in bright sunlight and support a more ergonomic grip than framing the shot with the LCD screen. (The X-S20 also has a more comfortable grip than the X-M5.)

Image stabilization is the other big reason to consider the X-S20, as the X-M5 lacks stabilization in the body.

I hate hauling tripods around, and stabilization helps me take crisper images in low light without one, as well as being a big help when using longer lenses. Stabilization is one of those features that tends to come at a higher price point, yet it’s exceptionally helpful for beginners.

Stabilization is also the reason why I’d pick the X-S20 over the more affordable X-T30 III – which bridges the gap between the X-M5 and the X-S20 in Fujifilm’s lineup and also has a viewfinder.

But the reason that I’m tempted by the X-S20 right now is that B&H has it bundled with Fujifilm’s new pancake lens at a nice discount in the US.

The X-S20 is usually paired with the Fujifilm XC 15-45mm or the Fujifilm XF 16-50mm kit lenses, but the retailer has a bundle right now that includes the Fujifilm XF 23mm f/2.8 R WR.

This tiny pancake lens truly makes for a portable package, and the equivalent 34.5mm focal length with f/2.8 aperture is both versatile and a dream to shoot with!

Fujifilm has a handful of more budget-friendly options, but the viewfinder and in-body stabilization would make the X-S20 an easy decision for me.

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In a world of increasingly complex cameras, one minimalist full-frame mirrorless camera is standing out – and is winning awards for it.

The Sigma BF is a camera that strips things back to the essentials. Its design philosophy focuses on simplicity, encouraging photographers to concentrate on the act of taking a picture rather than navigating menus or features.

This approach has now been recognized at the Camera Grand Prix 2026, where the Sigma BF received the Editor's Choice R&D Award.

Editor's Choice R&D Award: Sigma BF

The Camera Grand Prix 2026 is one of Japan's most prestigious photography awards. The Sigma BF was praised for its radical simplicity and design-led philosophy.

"The Sigma BF is based on a design philosophy that returns to the essence of the act of 'taking a picture,' simplifying the control and display systems to the extreme. This creates a unique user interface that allows for deep concentration on the act of shooting itself. We highly valued this aspect.

"Furthermore, the unibody structure, machined from aluminum, combines high rigidity with craftsmanship, boldly expressing the material appeal of a camera as a product.

"Its innovativeness, which re-examines the raison d'être of the camera from an approach different from the conventional trend of increasing multi-functionality, and presents new value and direction, is particularly noteworthy."

Why simplicity matters in photography

Sigma CEO Kazuto Yamaki calls the BF "beautiful foolishness" – a phrase inspired by The Book of Tea, which celebrates the beauty of simplicity over excess.

It's less a product slogan than a philosophy: that stripping things back makes photography more intentional, not less powerful. That idea runs deep in Sigma's identity, a company founded in 1961 by Kazuto Yamaki's father and long known for its unique, design-led approach to camera making.

You can read more about this in our interview with Yamaki (where he says, among other things, that he thinks he can make Sigma "a nicer brand" than Canon and Nikon, even if he can't make it a bigger company).

By stripping the camera down to its essentials, the BF encourages a more considered way of shooting. It offers something no feature-heavy camera can offer in the same way: it teaches how to see.

Without distractions from menus or layered functions, attention naturally shifts to the fundamentals of photography – subject, light, composition, and timing.

In that sense, the camera is less about what it does for the photographer and more about how it gets out of the way. The Sigma BF is built for focus and intention, helping photographers concentrate on the essence of photography.

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If the camera sparked your interest, you can read our Sigma BF review. And see why Sigma's CEO says "I don’t believe I can make Sigma a bigger company than Sony or Canon, but I think I can make it a nicer brand”.

If you’ve been looking to step into full-frame photography, the current deal on the Canon EOS RP bundled with the RF 24-105mm f/4-7.1 lens is a rare chance to do it without breaking the bank.

The kit is now just £833.62, down from £1,059 – on a camera-and-lens combo that punches well above its price. For those ready to upgrade from a DSLR or a crop mirrorless camera, this bundle ticks the right boxes.

The EOS RP may sit at the entry level of Canon’s full-frame lineup, and is now seven years old, but it still carries many of the traits that make the RF mount system so attractive: clean 26.2MP images, 4K video capability, a fully articulating touchscreen and Canon’s renowned Colour Science. Pair that with the flexible 24-105mm zoom and you’ve got a combo that is ready for travel, portraits, landscapes, everyday shooting and more.

What makes the RF 24-105mm f/4-7.1 lens especially compelling here is the versatility: wide enough for landscapes, long enough for casual portraits, and compact enough that it won’t become a burden. Many full-frame lenses with that zoom range carry hefty price tags or weights; this one delivers a balanced, mobile full-frame kit setup that won’t leave you hauling 3-4kg around.

This deal also gives you a head start within Canon’s RF ecosystem. With the RP and standard zoom, you can begin building from a versatile foundation and expand your lens options as your skillset and budget grow. Whether you’re upgrading, making a full-frame entry or simply looking for something compact yet capable, the synergy of body + lens here adds real value.

Check out our pick of the best lenses for the Canon EOS RP

With the country preparing itself for an uncharacteristically hot and sunny Spring Bank Holiday, we have just spotted a fantastic deal on the Nikon Z8 pro-spec full-frame mirrorless camera. At £2,749 at London Camera Exchange, the Z8 is now £1,250 cheaper than it was at launch - and now at its best-ever price from an official UK retailer.

The Nikon Z8 boasts a generous 45.7MP full-frame resolution. Its stacked CMOS sensor delivers rapid readouts, rendering a mechanical shutter unnecessary – only an electronic one is present. This advancement allows for a remarkable shutter speed of up to 1/32,000 second, far exceeding other premium cameras that typically top out at 1/8,000 second.

For capturing fast-paced action, the camera supports up to 120fps continuous shooting speed, albeit at the cost of resolution, with stills dropping to 11MP at this peak burst rate. At 30fps, however, you can employ the full sensor capacity without missing any crucial moments, complete with autofocus and autoexposure engaged between frames.

Regarding video capabilities, the camera can record up to 8.3K 60p in 12-bit internally, supporting N-RAW and ProRes RAW HQ formats.

The only real drawback lies in its battery life, as the Z8 employs the same cell as Z7 bodies, providing approximately 275 shots per charge. However, the cost savings from this model afford you the opportunity to purchase an extra battery or two!

Check out our pick of the best lenses for the Nikon Z8

Right now, I’d argue the Nikon Z6 III is one of the best performance-to-value mirrorless cameras on the market, and this new £200 discount makes that point even stronger.

With the body now down to £1,599 at Wex, Nikon’s full-frame hybrid suddenly feels far more aggressive than it did at launch, and much more of a threat to its closest rivals.

The Z6 III was already one of the most complete cameras in its class, but once it drops below the $2,000 mark, it stops being simply a good deal and starts looking like a serious no-brainer. This is not a watered-down entry into full-frame mirrorless. It is a fast, capable, and thoroughly modern camera that gives you a huge amount of performance for the money.

What makes the Z6 III so compelling is that it does not feel like a compromise. Nikon has equipped it with a 24.5MP full-frame partially stacked CMOS sensor, the Expeed 7 processor, advanced subject-detection autofocus, and 6K/60p internal RAW video. Those are the kind of specs that push it well beyond what many photographers and filmmakers would expect at this price.

That performance really shows when it comes to speed. The Z6 III 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 weddings, events, sport, wildlife, documentary work, or simply unpredictable everyday shooting, that matters. This is a camera that can react quickly, lock on with confidence, and keep up when the pace changes.

But the reason I think the Z6 III wins on value is that it is not just fast, it is genuinely versatile. It feels equally at home shooting stills and video, which is exactly what so many creators now need. From its 6K video capabilities to its bright EVF, strong handling, and hybrid-focused feature set, this is the kind of camera that can do almost everything well without making you feel like you need to upgrade again too soon.

This price drop also changes the wider conversation around the Z6 III. At launch, some buyers may have hesitated because it sat a little close to more expensive options, but with $700 off, that argument largely disappears.

The Nikon Z6 III now feels like the sweet spot in Nikon’s mirrorless range: a camera with flagship flavour, pro-grade speed and serious hybrid muscle, without forcing you into flagship-level spending.