Talk of a rumored Nikon Z70 is really beginning to heat up. Just a couple of days ago, I wrote about an illustration of a mysterious camera unearthed by Nikon Rumors, thought to be the Z70.

Now the rumor outlet is at it again, releasing a rumored spec list for the Z70. And if I wasn’t excited about this camera rumor before, I certainly am now.

If true, the headline spec would undoubtedly be the 41MP sensor. To date, Nikon has never produced an APS-C sensor of that resolution.

In fact, it has very much bucked the trend of high-resolution APS-C cameras – with only a 20.9MP sensor featured on the Nikon Z50, Nikon Z50 II, Nikon Z fc and Nikon Z30.

A 41MP sensor would be a huge deal – and I’m sure it would be very well received by the community.

But while previous rumors have hinted at a stacked sensor, Nikon Rumors is now suggesting that this isn’t the case. This doesn’t surprise me. Stacked sensors are expensive.

If Nikon has gone to the trouble of developing an all-new high-resolution APS-C sensor, I’d expect to see it in other APS-C releases – like a Nikon Z50 III, for example.

With that in mind, I think the increased cost of a stacked sensor would simply be too premium for other APS-C releases. In other words, a conventional 41MP APS-C sensor seems more useful in the long run.

Now, I usually take rumors about resolution with a pinch of salt – remember when the Nikon Z6 III was going to have a 33MP sensor? – but talk of an all-new digital teleconverter makes a high-resolution Z70 make a lot of sense.

It seems sensible to assume that a digital teleconverter would crop into the image, thus making a high-resolution sensor imperative.

The video specs are also extremely exciting, with the rumor outlet citing 8K 60p, internal Red tech, ProRes RAW and a shifted video-record button.

Obviously we don’t have any details regarding bitrates or crops, but the Nikon Z8 and Nikon Z9 are currently the only Nikon cameras capable of recording 8K video. Plus, the integration of Red tech would put it in a very exclusive club with the Nikon ZR.

Another boon would be the same gorgeous 5,760k-dot viewfinder that’s on the Nikon Z6 III, along with a 120fps refresh rate. And finally, as to be expected, the camera is reported to run via the Expeed 7 image processor.

I wouldn’t expect to see any camera with an Expeed 8 until the release of the next flagship, presumably the rumored Nikon Z9 II.

Nikon Rumors also mentioned the price being “around or under” the Z6 III’s current street price of around $2,000. That’s expensive for an APS-C camera, but this doesn’t sound like just any APS-C camera.

I also thought I’d add a few additional specs that I’d expect to see – pure conjecture, of course! That would be a dual CFexpress and SD card slot, as well as an extensively weather-sealed body, both featured on the Nikon D500.

I’ve been saying I want a mirrorless version of the D500 for years, but if these specs are to be believed then the Nikon Z70 would be a mirrorless D500 and then some.

Going by the available information, it sounds a little bit like a baby amalgamation of the Z9, Z6 III and Nikon ZR. That certainly wouldn’t be a bad thing.

As for when we might hear more, the rumor outlet has suggested a rather optimistic time frame of the next two weeks. It’s getting a little late in the day for a Nikon camera release in 2026, but I guess we’ll have to wait and see.

I’ve been burned by rumors before, but I’m keeping my fingers crossed on this one…

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Five of the top ten best-selling cameras in Japan come from a single manufacturer. However, Canon has managed to interrupt its dominance at the top with the EOS R50.

Sony rules Yodobashi's latest camera chart for the first half of October, accounting for half of all entries. And at the top spot is a compact full-frame camera released in 2023: the Sony A7C II with zoom lens kit claims the number one slot – it still has what it takes to outsell newer releases.

The A7 V follows at three and, interestingly, both cameras appear again further down the ranking: the A7 V sits in seventh in a zoom lens kit configuration, while the A7C II takes eighth with its body-only version.

Yodobashi's Top 10 cameras, 1st Half October 2026

1. Sony A7C II Zoom Lens Kit | Silver | Black
2. Canon EOS R50 Double Zoom Kit | Black | White
3. Sony A7 V
4. Fujifilm X-M5 + XC15-45mm Lens Kit | Silver | Black
5. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver | Black | Charcoal Silver
6. Canon EOS R5 Mark II
7. Sony A7 V Zoom Lens Kit
8. Sony A7C II Body | Silver | Black
9. Sony ZV-E10 II Double Zoom Lens Kit | Black | White
10. Canon EOS R10 + RF-S18-150 IS STM Lens Kit

Sony's Top 10 dominance

Seeing Sony dominate Yodobashi's top ten camera chart is nothing new.

The manufacturer has done it before, leaving competing brands behind. The Sony A7C II ($2,098 / £1,799) and A7 V ($2,898 / £2,399) have, in particular, become regular fixtures in the rankings since they entered the market.

Launched in December 2025, the Sony A7 V is the brand's newest full-frame camera. In the month following its release, it quickly climbed the sales rankings and maintained a strong position.

The Sony A7 II, meanwhile, has been a top ten regular for nearly three years. Its excellent balance of performance and value has made it an incredibly popular choice, not just in Japan.

The only other Sony camera model featured in the ranking is the ZV-E10 II ($1,198 / £824), which launched in July 2024. A popular choice among vloggers, the camera comes close to delivering the ideal vlogging experience, combining video features with a relatively accessible price tag.

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You know all those vibe coders who have been hacking cameras to add new features and crack firmware? Well, Hasselblad literally isn't playing that game: its legal team has shut down the recent jailbreaking project that reverse-engineered its medium format cameras.

Headlines were made by the efforts of the Hasselblad Refinement & Augmentation Project (HRAP) after its achievements were shared on Reddit.

Some of them were innocent fun, such as getting Doom to run on a Hasselblad X2D (continuing the tradition of running the legendary videogame on everything from calculator to Canon DSLRs) and even installing ChatGPT on a Hasselblad X2D II.

However, the hackers started getting a little bolder when they started adding actual camera features that weren't previously available – such as making it possible to record video on an X2D II and even unlocking new autofocus features.

This was apparently too bold for Hasselblad, whose lawyers got in touch with one of the people behind the HRAP efforts and demanded that they shut it down.

"I didn't plan to post this, but Hasselblad sent a legal letter to silence HRAP. Resources will no longer be available starting today," they posted on Reddit, before not only deleting the project's github but also zapping their Reddit account.

For what it's worth, Redditor rrRadium – who posted many of the jailbreaking videos – still seems to be active.

While it's certainly been fun seeing vibe coders add things like film simulations to DSLRs, it was starting to feel inevitable that manufacturers would push back – especially after AI was used to clone Adobe's entire Creative Suite, not to mention Claude cracking the entire videogame industry open.

Coders have been soft-hacking Canon cameras for years in the form of Magic Lantern (which is side-loaded via a memory card), but directly reverse-engineering a company's proprietary software code is incredibly legally perilous.

And of course, loading unofficial software or firmware to your camera is almost guaranteed to invalidate the warranty – definitely something you don't want to do with an $8,000 Hasselblad.

It's probably only a matter of time before other brands take similar steps against their respective hackers, so we probably haven't heard the last about vibe coders being put on blast.

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Nikon has introduced one camera so far in 2026, the Nikon Z5IIC, and the company’s interchangeable lens camera sales are the lowest sales numbers reported since the end of 2022.

The data comes from the company’s second-quarter financials, which saw overall growth in both revenue and profit but declining sales in the camera division.

Amid the number crunching, Nikon also shared a chart detailing camera sales since April 2022. The second quarter of the current fiscal year saw 150,000 sales for camera bodies, bringing the first half of the year to 360,000.

That’s the lowest that camera body sales have been since the quarter spanning the first three months of 2023.

So far this year Nikon has only launched the Z5IIC, which takes the tech of the Nikon Z5II and puts it into a smaller, viewfinder-free body. With pre-orders opening on September 24, the Z5CII only had around a week of pre-orders to be tallied in the financial results for the second quarter.

In recent years, Nikon has launched around two mirrorless cameras a year. Last year, it released the Nikon ZR in addition to the Z5II. The year before it launched the Nikon Z6III and Z50II, while 2023 brought the Z8 and Zf.

But Nikon has also revised its forecast for the next quarter, which encompasses the holiday shopping season. The company expects to sell around 400,000 fewer cameras in the third quarter than previously estimated.

Nikon says that the camera market has declined significantly in China – which echoes other reports from camera makers, including Canon and Sony, who also reported a decline in mirrorless sales.

The latest numbers from the Camera and Imaging Products Association (CIPA) also show that the biggest decline in camera shipments is in those bound for China.

Along with a drop in sales, Nikon says that higher prices for memory components are also a factor in the forecast. Next quarter, the manufacturer expects a decline in the previously anticipated revenue but expects profit to remain the same – partially due to refunds from US tariffs.

While Nikon’s camera division is seeing reduced sales, the company as a whole posted both revenue and operating profit higher than initially estimated.

Revenue is up in every one of Nikon’s business segments except for the imaging products, including nearly 30% revenue growth for the precision equipment segment.

According to the latest numbers from CIPA, Japan’s biggest camera makers have seen a 5% drop in camera shipments for 2026 so far.

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I used to be the deputy editor of N-Photo: The Nikon Magazine, so I hope I can claim to know a Nikon camera when I see one.

When Nikon Rumors published a camera diagram of a reportedly registered N2416 wireless remote controller, I immediately concurred with the eagle-eyed outlet’s assertion that the Z-Series camera in the diagram simply doesn’t exist.

The giveaway is the placement of what looks to me like a video-record button. On all mainline Z-Series cameras (Nikon Zf, Nikon Zfc and Nikon ZR aside) this button is placed atop the grip, but on the mysterious illustration it’s positioned further back, next to a top-mounted OLED screen.

Even if this isn’t a video-record button, no Z-Series camera shares this button configuration. It’s either a mistake or an entirely new camera.

A Z9 II, Z7 III and Z70 are the most persistent camera rumors I've been hearing (though none have been in any way confirmed).

But while the consensus seems to be that a Nikon Z70 could launch this year, talk of a Z9 II is that it's been pushed back to 2027. The Z7 III, on the other hand, is such a long-running rumor that it’s difficult to tell what’s substantiated and what’s pure conjecture.

Going back to the diagram. The illustration isn’t consistent with Nikon’s current professional-grade bodies. For example, it has a top-mounted command wheel whereas the Nikon Z8 and Nikon Z9 have recessed command wheels, and the viewfinder eyepiece is rectangular instead of circular.

So, based on all the available information, it's unlikely to be a Z9 II, making a Z70 the most viable option, given what we know. Or at least, think we know.

And while Nikon hasn’t formally acknowledged the existence of a Z70, evidence is beginning to mount up. Back in August, an Apple ProRes RAW compatibility list featured the wording 'Nikon Z70' and was promptly removed.

More recently, a Nikon Singapore slip-up referenced the camera (again) in a caption. And now we have this mysterious illustration.

I try very hard not to get too excited over camera rumors, since I’ve been disappointed oh so many times (*ahem* Nikon full-frame fixed-lens compact camera anyone?). But I’ve said for years now that a mirrorless version of the Nikon D500 would be a great move from the Big N and I still stand by that.

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The Nikon Z8 is arguably the brand’s best pro-grade camera – and really, it’s the mirrorless take on my all-time favorite DSLR, the D850. But Nikon’s best pro mirrorless just got far more tempting as the price has dropped to the lowest level on record, a steep $1,100 discount.

The Nikon Z8 reminds me of a smaller D850 – but it’s also fair to call it a Z8 packed into a smaller body. Like the D850 and the Z9, the Z8 uses a 45.7MP full-frame sensor, capable of both great detail and great dynamic range.

But the Z8 has all the reasons to switch from a DSLR to a mirrorless: in-body stabilization, 20 fps burst speeds for full-resolution RAW files, 8K video, a blazing 1/32,000 second top shutter speed. And the Z8 does all of that in a body that’s smaller and lighter than the Z9 – and the D850, for that matter.

But the reason it stands out against the flagship Z9 is that it sits at a much more reasonable price point – though pro-grade cameras will never be impulse buys. Normally $4,296.95, the Nikon Z8 has now dropped to $3,196.95. That’s a $1,100 discount, which puts the Z8 at the lowest price on record. That’s $100 less than the previous record low.

The steep discount comes in part from the mirrorless camera’s age. The Z8 was announced in 2023. That’s hardly old, but naturally, the older a camera is, the more Nikon fans start wondering when its replacement is coming.

Still, the Nikon Z8 has aged well – and the discount gives the pro mirrorless a key advantage over some competitors. The Canon EOS R5 Mark II matches its resolution, but sits at $3,999 right now ($400 off the list price). Sony’s A7R V offers 61MP that’s currently discounted to $3,498, with the newest A7R VI selling for $4,498.

That $1,100 discount is why some cameras just get sweeter with age.

The Nikon Z8 isn’t the only full-frame Nikon on discount right now. The Nikon Z7 II, while an even older 2020 launch, brings 45.7MP at $1,696. The Z8 is the better performer with faster bursts, better autofocus, and more video prowess, but that’s a pretty tempting price for such a high-resolution full-frame camera.

For faster performance but less resolution, the Nikon Z6 III is also at its lowest price on record at $1,996.95, a $700 discount. Then, there’s the budget full-frame Nikon Z5 II, which now sits at $1,596.95.

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The Nikon Z7 is trending, which is a curious instance given that the first-generation Z-Series camera was released way back in 2018 and has long since been discontinued.

In fact, the Nikon Z7 launched alongside the Nikon Z6 as Nikon’s very first full-frame mirrorless camera. As such, it was billed as a high-end body – but it was quickly superseded by the Nikon Z7 II in 2020, which fixed a couple of notable problems.

Firstly, the Nikon Z7’s AF system wasn’t its strong point. Nikon did make it a lot better thanks to some clever firmware updates, but the Z7 II’s dual Expeed 6 image processors afforded it a proper upgrade.

Secondly, the Nikon Z7 only had a single memory card slot (XQD / CFexpress), much to the chagrin of wedding and events photographers who wanted a second slot for in-camera backup.

And finally, the Nikon Z7 didn’t launch with a battery grip, and never had a vertical grip, another bone of contention for working professionals. So, why on Earth would you bother with the Nikon Z7 in 2026?

Image quality and price

Where the Nikon Z7 really excelled, it still excels today, and that’s image quality. The camera’s 45.7MP full-frame BSI CMOS sensor is a thing of sheer beauty.

Like the Nikon D850 before it, this is a camera that produces gorgeous imagery. You also get a low baseline ISO64, enabling you to retain as much dynamic range as possible.

If you’re looking for a high-resolution camera that you can crop into, or simply the very best image quality you can get your hands on, the Nikon Z7 will serve you well. Especially for the price.

Here’s the reason I’m sure most people are looking for the Nikon Z7 in 2026: it’s a darn good deal on the used market.

Right now, prices at MPB start at $854 / £699. Let’s put that into perspective. That’s in the ballpark of entry-level cameras like the Canon EOS R50, Fujifilm X-T30 III and OM System PEN.

If you’re a landscape, astro, still life or architectural photographer who doesn’t require whip-fast autofocus and lightning burst speeds, there’s an argument that cameras such as the Nikon Z8 or Canon EOS R5 Mark II are overkill.

The Nikon Z7 will give you the megapixel grunt you need, the pliability in post-production, and the opportunity to crop tight, while affording you plenty of leftover capital to spend on lenses.

On that subject, any Nikon Z-Series camera is a good buy when it comes to affordability due to the presence of the Nikon FTZ Adapter. This enables you to adapt hundreds of cheap DSLR lenses onto your Nikon mirrorless camera, with AF working seamlessly on later models such as AF-S lenses.

Plus, the Nikon Z7’s in-body image stabilization will also give lenses without optical image stabilization a bit of a boost.

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Take a look at Nikon's latest camera: Nikon Z5IIC review: an awkward viewfinderless camera design that’s heavy in the hand, heavy on specs, and light on your wallet. Maybe you're interested in what could be on the horizon: Reported Nikon Z70 leak suggests rumored mirrorless camera could have 2x digital teleconverter. Plus, here's the latest camera news.

It’s easy to forget that Nikon is so much more than just a camera company. In fact, Nikon’s imaging division is only one, albeit sizable, portion of the optical giant’s money-making pie, as evidenced by some recent tweaks to its financial forecast.

On October 30, the company released a Notice Regarding the Revision of the Consolidated Financial Forecast for the Fiscal Year Ending March 31, 2027. With expected numbers published from the first half of the year, Nikon has amended its expectations for the whole year, and things are looking an awful lot better than the huge losses that were published for the previous financial year.

While revenue was down by JP¥1.5 billion ($9.4 billion / £7 billion) in the first half of the financial year, Nikon enjoyed larger-than-expected gains in operating profit, which it has attributed to an unexpected boost in service revenue in its Precision Equipment Business, due to a favorable semiconductor market, as well as US tariff refunds and reduced selling, general and admin expenses.

Increased operating profits are also expected to have a knock-on effect. In Nikon’s full financial year, projected profit before tax has been revised upward by 48.3% (to JP¥21.5 billion), while profit attributable to owners of parent has jumped by 60% (to JP¥16 billion).

Here’s the interesting bit for photographers and videographers. While Nikon has amended its expected results for the entire financial year largely for the better in terms of operating profit, profit before tax and profit attributable to owners of parent, revenue is still expected to be down by JP¥10 billion. And the culprit is expected to be Nikon’s Imaging Products Business (camera and lens sales).

Why are imaging sales down?

So what’s happening to the imaging industry? Well, Nikon Rumors rightly points out that there is simply less demand for consumer imaging tech, with the Chinese market proving particularly sluggish. In addition, Nikon had already forecasted an imaging sales slowdown. At the beginning of the year, Nikon also noted that while camera sales were strong, it was selling more of its cheaper cameras, resulting in less profit.

And let’s not forget, the camera market is challenging anyway. An article by my colleague Hillary Grigonis quoted Map Camera as stating that reduced supply and launch delays have factored in reduced sales. Almost half of the major camera launches of 2026 have faced backorders. With factors such as component shortages, Trump tariffs, the memory crisis, and a rising cost of living, it’s not hard to see why camera and lens sales present challenges.

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The best Black Friday camera deals might still be a few weeks away, but Canon isn't waiting until November 27 to start offering some rather tempting discounts on its cameras and lenses. The manufacturer's winter sale is now underway in the UK, with savings of up to £500 on selected cameras and lenses, alongside cashback offers on other products. Whether you're looking to upgrade your existing camera, invest in a new telephoto lens or pick up something compact for travelling, there are already some fantastic deals worth considering.

Of course, with Black Friday just around the corner, there's always the possibility that we could see even bigger discounts towards the end of November. However, I wouldn't necessarily dismiss what's already on offer, particularly when some of Canon's most popular cameras are seeing substantial price reductions. I've picked out three deals that I think are particularly interesting, covering everything from a powerful full-frame mirrorless camera to a versatile compact camera and an affordable telephoto zoom.

The standout deal for me has to be the Canon EOS R6 Mark II, which is now just £1,699.99 at Canon, down from £2,199.99, saving you a massive £500. While the newer EOS R6 Mark III has taken its place in Canon's lineup, that doesn't suddenly make the Mark II any less capable.

With its 24.2MP full-frame sensor, impressive subject-tracking autofocus, up to 40fps continuous shooting and oversampled 4K 60p video, this is still a seriously impressive camera for photographers and filmmakers alike. In fact, for anyone who doesn't need the additional resolution and features of the newer model, I think the R6 Mark II represents an incredibly compelling way to get into Canon's full-frame EOS R system without spending quite so much money.

Another deal that caught my attention is the Canon PowerShot V1, which has dropped to £859.99 at Canon, down from £959.99, giving you a £100 saving. This is one of Canon's more interesting compact cameras, particularly if you're someone who enjoys shooting both photographs and video but doesn't necessarily want to carry around a mirrorless camera and several lenses. Its large 1.4-inch sensor, 22MP resolution, built-in 16-50mm equivalent zoom lens and impressive 4K video capabilities make it a particularly appealing option for content creators, vloggers and travellers. You also get Canon's excellent Dual Pixel autofocus system, optical image stabilisation and active cooling for extended video recording. It's a capable little camera, and with £100 knocked off its price, it's certainly worth considering.

Finally, if you're already invested in Canon's EOS R system and want something with a little more reach, the Canon RF 100-400mm f/5.6-8 IS USM is now £719.99 at Canon, reduced from £799.99, saving you £80. I've always thought that lenses like this make a great deal of sense, particularly for enthusiast photographers who enjoy wildlife, sports and aviation photography but don't want the expense or weight of professional telephoto glass. At just 635g, this lens is remarkably portable for something offering a 400mm maximum focal length, while its 5.5-stop optical image stabilisation and Nano USM autofocus make it a versatile companion for capturing distant subjects. Admittedly, the relatively modest maximum aperture isn't going to suit every situation, particularly in poor light, but for daytime wildlife photography and general telephoto work, there's plenty to like here.

What I particularly like about these three deals is that they appeal to quite different photographers. The EOS R6 Mark II is an excellent option for anyone looking to make the move into full-frame photography, the PowerShot V1 offers a convenient all-in-one solution for creators on the move, and the RF 100-400mm is a relatively affordable way to explore wildlife and sports photography without investing in expensive professional lenses. Better still, the R6 Mark II and RF 100-400mm would make a very capable combination for anyone looking to build a new wildlife photography setup.

Canon's winter sale is currently scheduled to run until January 27, 2027, with the discounts available directly through the Canon UK Store while stocks last. That means there's no immediate need to rush into a purchase, although availability can always change. With Black Friday approaching, I'll certainly be keeping an eye on prices, but if you've been considering any of these three products, the current discounts make them well worth a closer look.

You just can’t put a good rumor down. Whispers of a Nikon Z70 have really been heating up. The recently released Nikon Z5IIC was surely the same viewfinderless full-frame Nikon camera rumor that had been doing the rounds, and with a potential Nikon Z9II supposedly pushed back to 2027, all eyes are on the hypothetical Z70.

But this latest tidbit from Nikon Rumors hasn’t been drummed up from an unnamed source; it’s supposedly come from Nikon itself. More precisely, Nikon Singapore. The rumor outlet has released a screenshot said to be promoting the new Nikon Z 120-300mm f/2.8 TC VR S. This included a photograph of the lens attached to a Z-Series camera.

Such is the awkward angle of the photograph, it could be any old Nikon camera, but beneath is a caption that reads: “Pair with the Z70’s Digital Teleconverter and reach stretches to an equivalent of 1,260mm at f/4.”

Doing the math: 1,260mm

If the 'leak' is accurate, it gives us some very interesting information regarding a Nikon Z70. Firstly, a “Digital Teleconverter” sounds very intriguing. Let’s do the math by assuming that the Nikon Z70 is indeed an APS-C camera with a 1.5x crop factor.

Fixing it to the Z 120-300mm would provide an equivalent focal range of 180-450mm. Multiply that by the lens’s built-in 1.4x teleconverter, and you’re left with a zoom range of 252-630mm. Multiply 630mm by two, and you’re left with 1,260mm, the same figure quoted in the email.

Accommodating a digital teleconverter

This suggests that the Digital Teleconverter is 2x (or a ‘doubler’). Since it’s digital, the compromise will be pixels, so this certainly supports rumors of a 45-MP stacked sensor. The upside of a digital zoom is that the aperture won’t be affected, as evidenced by mention of f/4 in the promo screenshot. The only variable affecting the aperture is the Z 120-300mm’s built-in teleconverter, pushing f/2.8 to f/4.

A mirrorless Nikon D500?

Personally, I’ve wanted a spiritual successor to the Nikon D500 for years. This was a pro-grade APS-C DSLR, with flagship Nikon D5 DNA (they actually launched together). Pairing this camera with a top-tier professional lens like the 120-300mm definitely suggests – if it is indeed the Nikon Z70 – that the camera is targeted towards serious wildlife and sports photographers, differentiating it from the more casual Nikon Z50II.

And yet, reliving the launch of the Nikon D500 does make me question rumors of a November release. The second generation of Nikon’s Z-Series is surely in its twilight years. My preference would be that a pro-grade APS-C mirrorless would borrow next-generation tech from the purported Nikon Z9II. The problem is that a Nikon Z9II (or the like) isn’t out yet…

This is pure conjecture, of course, but I suppose there would be nothing stopping Nikon from releasing a Nikon Z70 with next-gen features. However, in an ideal world, you’d think the flagship would come first.

Nikon has only released three lenses and the Nikon Z5IIC all year. If it wants to get something else out the door, there’s still time. However, most of its end-of-year camera announcements tend to be in September and October, so we’ll have to see if that rumored November release date is realistic or not.

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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 £700 at Wex or Amazon.

The Panasonic Lumix S5 IIX + 20-60mm and 50mm is now just £1,699 (inc. cashback) at Wex – you save £700 off the bundle's RRP of £2,399. (The body alone is reduced to £1,399 inc. cashback...)

The Sony A7 IV is now just £1,799 at Wex – this new low price lets you save £200 off its original £1,999 price tag.

The Nikon Z5 is now just £709 on Amazon – you save £540 off its £1,249 RRP.

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

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

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

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

Comparison

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

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

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

After years of waiting, the legendary PEN is finally back – and OM System's latest retro-inspired mirrorless camera is now on sale in the US and available to order in the UK.

First announced in September, the new OM System PEN marks an exciting new chapter for one of photography's most recognizable camera families, pairing classic design with modern technology in a compact body built for everyday photography.

Prices start at $999.99 in the US and £849 in the UK for the body alone, while the M.14-42mm lens kit costs $1,099.99 and £949, respectively. Available in black or silver, it's certainly an interesting addition to the growing market for stylish, compact cameras.

The PEN name has been around since 1959, when Olympus introduced its original half-frame film camera, and that heritage remains a big part of the appeal today.

Rather than chasing increasingly larger sensors and more complicated camera bodies, OM System has focused on what made the PEN so popular in the first place: portability, simplicity and the enjoyment of photography.

The new camera features a 20.4MP Four Thirds sensor, a 2.36-million-dot electronic viewfinder and a beautifully understated rangefinder-inspired design.

Weighing just 393g with its battery and memory card, it's small enough to carry almost anywhere, while its IPX1-rated splash resistance, when paired with a suitably sealed lens (including the new M.Zuiko 14-42mm III kit lens) makes it considerably more practical for everyday adventures.

Of course, there's much more to the PEN than its good looks. Underneath that retro exterior is a capable modern mirrorless camera, complete with a 121-point phase-detection autofocus system, AI-powered subject recognition for people and pets, 5-axis image stabilization offering up to 5.5 stops of compensation, plus continuous shooting at up to 30fps.

There's also 4K video recording, but perhaps one of its biggest attractions is OM System's approach to creative photography.

Dedicated color and monochrome profiles enable photographers to create distinctive, film-inspired images straight out of the camera, while computational features such as Live ND, High Res Shot, focus stacking and multiple exposure provide plenty of creative opportunities without needing to spend hours editing afterwards.

For me, this is exactly the sort of camera that deserves more attention. There's no denying that larger sensors have their advantages, but I've long felt that Micro Four Thirds remains more than capable for the vast majority of everyday photography.

Pair the PEN with a small prime lens and you have a genuinely portable camera that's ideal for street photography, travel, family moments or simply documenting the world around you.

In a market where cameras are becoming increasingly expensive and sometimes unnecessarily complicated, there's something rather refreshing about a camera that puts the enjoyment of taking photographs first.

It also offers something that many premium fixed-lens compact cameras cannot: access to an extensive range of interchangeable Micro Four Thirds lenses.

If you've been waiting to get your hands on the new PEN, the good news is that you can now buy it in the US through OM System's official US store or retailers such as B&H Photo, with the silver body listed in stock at B&H for $999.99.

American buyers can also choose the 14-42mm kit for $1,099.99 or a two-lens kit for $1,299.99, while a complementary Clever Supply leather wrist strap is being offered with qualifying purchases while supplies last.

In the UK, the camera is available to order through Wex Photo Video, Amazon and Park Cameras, although several retailers are still awaiting stock.

At $999.99 or £849, the PEN isn't necessarily a budget camera, but for photographers looking for something stylish, compact and enjoyable to shoot with, it could be one of the more interesting new cameras to consider this year.

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Looking for the perfect lens to pair with your PEN? Take a look at the best Olympus and OM System lenses.

Ever downloaded the phone app for your camera and been disappointed with how janky it is? You're not alone. In fact, this Redditor was so fed up of apps made by camera companies that he decided to make a wireless controller of his own – and the result is so good that people want to buy one from him.

"I hated having to connect my iPhone to my Lumix S9," wrote user el1asjr in the Lumix Reddit group.

"The app kept disconnecting, and I didn’t like having to give up my regular Wi-Fi connection just to use the camera. I wanted to keep my iPhone connected to the internet while recording myself, so I decided to build my own wireless controller!

"Now I can monitor myself and control focus, ISO, shutter speed, aperture, LUTs, video formats, aspect ratios, and more, all without relying on my phone. Really happy with how it turned out!"

For the physical controller, he used the Waveshare ESP32-S3 – a $40 pebble-style programmable device with an AMOLED touchscreen, which looks a bit like a smart watch without any straps.

"I’ve always liked Waveshare’s hardware, and this little device turned out to be perfect for what I had in mind," said el1asjr, but picking an input device was actually the most straightforward aspect of the project.

"Honestly, the hardware is the easy part. You could use another smartphone and build your own app, an ESP32, a Raspberry Pi, or pretty much any programmable device.

"The real challenge is how to make everything work properly. Simply asking ChatGPT or Claude to write the code isn’t enough. I’ve been working on this software for three weeks, and it’s still not finished.

"The biggest challenge was developing the software and getting everything to work seamlessly with the Lumix S9. It’s a custom-programmed device with an interface and features I designed specifically for this project."

While the device currently supports the Panasonic Lumix S9 and Sony ZV-E10, unsurprisingly the thread started filling up with requests for other camera models – as well as for specific features and controls, such as anamorphic desqueeze and open gate video settings.

Whether he'll be able to accommodate everyone's requests, he does plan to share his project with other camera users as soon as he's put in a bit more work.

"I’d genuinely love to share it with the community, and I plan to do so once it’s more polished and stable. It’s not quite as easy as it looks. There’s still work to be done!"

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Take a look at the best lenses for the Panasonic Lumix S9 as well as the best lenses for the Sony ZV-E10.

The world's smallest full-frame mirrorless camera hasn't even reached store shelves yet, but Sigma has already acknowledged that demand for the FP2 – particularly for certain configurations – has exceeded expectations, with production currently struggling to keep up with orders.

Announced on October 23, the compact full-frame camera is scheduled to launch on November 11. Now, pre-orders appear to have filled the initial shipment at several major retailers in Japan, meaning some customers may have to wait beyond the official release date to receive their camera.

Sigma Japan itself has acknowledged the situation, publishing a supply notice on October 29, confirming that orders for the FP2 and its new EVF-21 electronic viewfinder have exceeded the company's expectations. Production is currently struggling to keep up with demand.

According to DC Life, pre-orders in Japan have almost filled the initial allocation across all three FP2 configurations: the body-only version, the EVF-21 bundle and the 50mm F2 lens kit. DC Life refers to five major retailers, including Sigma's official online store.

The world's smallest full-frame camera

Six years after introducing the original FP, Sigma has returned with a successor that retains the minimalist concept while bringing some technical upgrades.

The Sigma FP2 is a compact mirrorless camera, measuring just 112.8 x 69.9 x 41.8mm / 4.4 x 2.8 x 1.6 inches with a body-only weight of 376g / 0.83lb. With battery and memory card, it weighs approx. 460g / 1.01lb.

Inside, the FP2 packs a 24.5MP partially stacked CMOS full-frame sensor, paired with an improved AF (autofocus) system featuring phase-detection and contrast-detection technology.

For video creation, the FP2 offers 6K Open Gate recording, up to 14.1 stops of dynamic range when shooting 4K FF L-Log and supports 32-bit float audio recording with appropriate optional audio accessories.

It also comes with approx. 30% longer battery life, a tilting LCD screen, and 70GB of built-in storage, alongside an SD card slot.

US+UK availability: Sigma FP2

The Sigma FP2 can be pre-ordered in the US and UK in three different variations. US retailer B&H lists an estimated shipping date of November 11, while UK retailer Park Cameras says deliveries are due mid-November.

Because many photographers prefer composing their shots through a viewfinder, and the FP2 lacks a built-in EVF, Sigma offers an external viewfinder bundle. The FP2 is also available paired with the Sigma 50mm F2 DG | Contemporary lens.

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I’ve just finished my review of the Nikon Z5IIC and was interested to find the Nikon Z6 trending on Google. Here we have the release of the ‘Big N’s’ latest mirrorless camera, with some seriously solid tech such as 7.5 stops of IBIS, up to 30fps burst shooting, and internal RAW 4K 30p video, and people are looking up an eight-year-old, first-generation Nikon mirrorless camera that’s long discontinued. And I think I know why…

A difficult debut

The Nikon Z6 launched alongside the Nikon Z7 as Nikon’s first foray into the world of full-frame mirrorless cameras. And while both bodies packed some seriously impressive specs for the time, they were marred by a few issues.

Firstly, the autofocus wasn’t really up to scratch. Nikon would eventually right this somewhat via a firmware update, but even then, compared to current-gen Z-series cameras, the Nikon Z6 and Z7’s AF system is a few steps behind.

Secondly, working photographers were hit with two oversights: the cameras only featured a single XQD (at the time) card slot, and there was no battery grip at launch. This made the cameras a hard sell for wedding and events photographers who rely on back-up storage and extended batteries for peace of mind.

And finally, while the Nikon FTZ Adapter made it possible to attach F-mount lenses, it was always going to take a few years before a strong lineup of native Z-mount glass was available.

Full-frame, exceptional value

Jump to 2026, though, and the Nikon Z6 has one huge advantage: its price on the used market. MPB is currently listing the Nikon Z6 from $664 / £509. That’s exceptional value for a full-frame mirrorless that was once a premium offering.

Don’t get me wrong, this isn’t the right camera for everyone. The lacking autofocus can make the Nikon Z6 a frustrating option for photographers who rely on AF algorithms. But for those who are photographing slower subjects or are comfortable using single-point or focus-and-recompose methods, the Nikon Z6 can still prove a fine lens platform.

If you’re on a tight budget, you may wish to invest in a cheaper body, so you have more money to spend on lenses (which usually make the real difference). And while the Nikon Z6 doesn’t have class-leading AF or burst speeds, it still captures gorgeous full-frame images and could be a wonderful start for a photographer looking to pick up their first serious camera.

A word of warning. Just make sure that you factor in the price of a CFexpress card. The memory crisis has rocketed prices across the board, so finding a good CFexpress deal is a challenge.

The Nikon Z5IIC effect

I don’t think it’s a coincidence that interest in the Nikon Z6 has increased following the release of the Nikon Z5IIC. This camera is geared towards more casual users and its silver body is rather striking. I’m sure it’s encouraged more than a few people to delve further into Nikon’s Z-series.

But while the Nikon Z5IIC is a good-value camera as far as its specsheet goes, it’s still priced at $1,399.95 / £1,349 / AU$2,399 (body only). That’s a significant outlay for casual photographers or anyone on a budget.

And while the Nikon Z6 pales in comparison to the Z5IIC’s formidable specs, especially when it comes to video, it has one thing that Nikon’s latest camera doesn’t have: a viewfinder. Even if you’re coming from one of the best camera phones, an electronic viewfinder (EVF) is a nice option to have. It enables you to hold the camera with more stability, helping to reduce camera shake, and it also means you have access to a clear, unobstructed view when bright sunlight is reflecting off of the rear LCD.

So, there you have it. The Nikon Z6 might be a mirrorless dinosaur at this point, but if you’re a stills photographer on a tight budget who isn’t bothered about class-leading AF, and simply want a decent camera as a lens platform, it’s worth checking out.

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Want more of my ramblings? I think this industry interview sheds light on Nikon’s slow camera release schedule. Why does every camera need to be a specs monster? The new OM System PEN is a good stills camera at a good price – let's have more of that, please! Plus, here is the latest camera news.

Picking up a used camera is a great way to fit high-end features into a small camera budget. The 2018 Fujifilm X-T100 is one such camera, particularly for photographers looking for a retro style on a budget.

But when I look at the X-T100, I can't help but think of another camera that's similarly priced on used markets: The Sony A6000 series, like the A6100.

The Fujifilm X-T100 is a lovely-looking camera – as are most Fujifilm rigs, for that matter – and it still packs in Fujifilm's popular film simulations.

While the 2018 Fujifilm camera does boast a 24MP CMOS sensor, just like all of the Sony A6000 models, and, admittedly, superior build quality with its sturdy aluminum top plate, I’d never peg the Fujifilm as a better device for capturing stills and video than its Sony counterparts. And I’m not just saying that because I’m a Sony shooter.

There's a key reason that I would choose a Sony’s A6000 APS-C line-up camera instead: Autofocus and video.

In terms of stills, the main difference between these two cameras is in the autofocus. The Sony A6100's autofocus system has more extensive sensor coverage and smarter features.

Sony’s specialized BIONZ X processor calculates tracking and exposure up to 60 times per second. This rapid calculation is backed by 179 phase-detection AF points. Even the earliest A6000 model from 2014 covers nearly the entire sensor, outclassing Fujifilm’s centralized, 91-point system.

Newer Sony models like the A6100 (2019) and A6400 (2019) feature advanced AI-driven AF to lock onto a subject’s eye, even through erratic motion. In contrast, the X-T100 relies on less sophisticated face-detection AF, which is more likely to lose its target if a subject blinks or turns away.

It’s not like you won’t get sharp images with the Fujifilm X-T100, but you’ve got a much better chance of consistently getting sharp images with a Sony A6000 model, especially later models.

The other big difference for me is video capability. I’ll start here by saying that the Fujifilm rig does have a better three-way tilting touchscreen than all of the A6000 models bar the most recent A6700 (2023).

This latest A6000 shooter also has a vari-angle LCD screen, while earlier generations in the lineup feature a basic up-and-down-tilting screen.

But beyond the LCD, Sony is clearly the better choice for recording. Sony introduced 4K UHD at 30fps / 1080p at 120fps back in 2016 with the A6300. Now, the Fujifilm X-T100 was released two years later with 4K UHD, but it’s strictly capped at 15fps.

Since then, Sony has only gone on to bolster the video capabilities of A6000 cameras, with later models able to shoot Full HD 1080p at 120fps, compared with the X-T100’s 24, 50, and 60fps.

The Fujifilm X-T100, which is only available used, tends to sit around the same price point as a used Sony A6100. Sony’s superior AF and video specs are enough for me to choose a Sony APS-C camera over an X-T100.

If you’re looking for a thorough breakdown of the Fujifilm rig and deep dives into the Sony shooters, then be sure to read their dedicated reviews on Digital Camera World next:

• Sony A6000 vs A6100 vs A6300 vs A6400 vs A6500 vs A6600 vs A6700: how do you choose?
• Fujifilm X-T100 review

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Here's our expert pick of the best APS-C compact cameras.

We love the Hasselblad X2D II 100C. In fact, we reckon it's the finest stills camera ever made. But the key word there is 'stills', as the X2D II cannot shoot video. Well, it turns out that's not completely true. A clever hacker that goes by the handle 'Cheese' has posted a short video to the Chinese site xiaohongshu.com showing an X2D II 100C capturing video.

The brief video description states that the hacker has developed a custom firmware for the camera that enables video capture, and aims to add raw, Open Gate recording in future. The video itself shows the capture and subsequent playback of a 6-second clip, as well as video record status indicators and capture controls coded into the camera's touchscreen interface. The result more closely resembles an original feature than a DIY hack.

But don't get too excited: this hack probably won't enable X2D II owners to capture video as though it was a factory-implemented feature. As Cheese points out in response to a comment, "An experimental function and a truly stable function are two different things...if you really want to do high-quality video rerecording, [the camera's] form factor will definitely need to be significantly changed" (auto translated from the original Chinese).

Though not specifically mentioned, it's highly likely that a major reason why Hasselblad never designed the X2D II 100C to record video was due to heat build-up. The camera already gets very toasty when shooting bursts of images over a prolonged period, so Open Gate raw video recording, though potentially possible, could well endanger the lifespan of key components. Even so, Cheese does say that the modded firmware will be available as open source after the code is perfected. I'd expect the firmware to include a record duration limit to help prevent destructive heat build-up.

So there you have it: the X2D II 100C can actually record video, but if I was an X2D II 100C owner, I wouldn't be risking my valuable camera by installing non-genuine firmware that has the potential to damage the camera's hardware.

For years, Micro Four Thirds cameras have been fighting an uphill battle against larger full-frame and APS-C sensors, particularly when it comes to dynamic range and low-light performance. But what if the next big leap in image quality has nothing to do with increasing sensor size?

According to a fascinating new rumor, the future of Micro Four Thirds could be about to get considerably brighter, with an entirely new generation of sensors reportedly being developed using LOFIC technology. If the claims prove accurate, we could see Four Thirds sensors capable of delivering more than 17 stops of dynamic range, potentially transforming what photographers and filmmakers can achieve with smaller cameras.

The technology in question is known as LOFIC, short for Lateral Overflow Integration Capacitor, and it could represent one of the most significant developments in digital sensor technology in years. Unlike conventional sensors, which can struggle to retain information in extremely bright areas of an image, Lofic uses additional capacitors to capture excess electrical charge that would otherwise be lost when a pixel reaches its capacity.

In simple terms, this means a sensor can preserve considerably more highlight detail without sacrificing the information captured in darker areas. For photographers, that could mean greater flexibility when editing RAW files, while filmmakers could benefit from an enormous increase in exposure latitude when recording challenging, high-contrast scenes.

According to 43 Rumors, information originating from a Chinese source suggests that new Four Thirds sensors incorporating this technology could arrive between 2027 and 2028. The source claims, "New domestic M43 sensors featuring LOFIC technology are on the horizon, promising even greater dynamic range and faster readout speeds compared to their predecessors."

More interestingly, the rumored sensors could combine dual conversion gain technology with LOFIC to achieve 14-bit sampling at 60fps, more than 17 stops of dynamic range, and a claimed exposure recovery range extending from +9 to -4 EV. The report also suggests the next generation could be based on a larger Four Thirds-format version of OmniVision's OV50X sensor, although none of these developments or performance figures have been officially confirmed.

What makes this rumor particularly exciting is that Lofic isn't simply theoretical technology waiting to be proven. We have already seen what it can achieve in the DJI Osmo Pocket 4P, which features a 1-inch sensor incorporating the technology. Independent testing by CineD measured an astonishing 16 stops of dynamic range at a signal-to-noise ratio of 2, increasing to 17.2 stops at a ratio of 1.

Those are remarkable figures from such a small sensor, and they demonstrate why this technology is attracting so much attention. If similar performance could be achieved in a larger Four Thirds sensor, it could fundamentally change expectations of what compact camera systems are capable of, particularly for photographers who want exceptional image quality without the size and weight associated with larger formats.

Of course, there is still a considerable difference between a promising sensor rumor and seeing that technology inside the next OM System or Panasonic Lumix camera. The suggestion is that DJI products could receive these sensors first, with no guarantee that traditional Micro Four Thirds manufacturers would have access to them.

Nevertheless, I find the possibilities incredibly exciting. Micro Four Thirds has always offered a compelling balance of portability, lens reach, and performance, but imagine combining those advantages with dynamic range that could rival, or potentially surpass, what we currently expect from much larger sensors. Sensor size will still influence noise, depth of field, and overall image quality, but Lofic could help remove one of the format's most persistent disadvantages.

If these rumors become reality, perhaps the future of Micro Four Thirds isn't about trying to compete with full-frame cameras by becoming something bigger, but by proving just how much more a smaller sensor can achieve.

Check out the best Micro Four Thirds cameras you can buy today

The Nikon Z5IIC launched following rumors of a Nikon camera without a viewfinder. While there were whispers of a fixed-lens full-frame compact camera and a stills-focused Nikon ZR, nobody could have predicted a ‘viewfinderless’ clone of the Nikon Z5 II.

Viewfinderless cameras have always been divisive. Photography purists cite the stability and sun-glare-free nature of shooting through the viewfinder as too crucial to pass up. But plenty of modern photographers ignore their EVF in favor of their mirrorless cameras’ rear LCD and a more dynamic method of shooting.

What works for you, works. But the big question I’ll be trying to answer is what benefits the Nikon Z5IIC’s viewfinderless design brings to the table. One such benefit is price. With reports of the Nikon Z5 reaching the end of its lifecycle, the Nikon Z5IIC could soon become the most affordable entry point into Nikon’s full-frame mirrorless lineup at $1,399.95 / £1,349 / AU$2,399 (body only).

And that entry point is exactly what Nikon is targeting. The ‘C’ in the camera’s name is supposed to represent ‘Casual’, which is why the Nikon Z5IIC is also the very first full-frame Z-series camera to feature Scene Modes.

I took the Nikon Z5IIC for a spin around the beautiful city of Bath to find out how its viewfinderless design fared in a street photography setting. Read on for a deep dive into the camera’s specs and to find out how it performed in real-world scenarios.

Nikon Z5IIC vs Z5II: Specifications

Nikon Z5IIC: Price

The Nikon Z5IIC is priced at $1,399.95 / £1,349 / AU$2,399 (body only). Compare that to the Nikon Z5 II, which is typically listed around $1,599 / £1,499 / AU$2,699, and that’s a decent saving of around $200 / £150 / AU$300. But one thing I’ve had in mind is where the Z5IIC will end up. As time goes on, we could see that body-only price creep towards the $1,000 mark.

You can also opt to choose from various kits or bundles, such as the Nikon Z5IIC + Nikon Z 24-50mm f/4-6.3 ($1,699.95 / £1,609 / AU$2,949). This prime-sized zoom is a great choice for the camera’s viewfinderless design. While the Nikon Z5IIC + Nikon Z 24-200mm f/4-6.3 VR ($TBC / £2,049 / AU$3,699) might seem like a great all-in-one option, I’d be wary of any lens bigger than the Nikon Z 24-120mm f/4 S, which I used during my review.

When you stack the Nikon Z5IIC against the Panasonic Lumix S9 and Sony A7C II, it’s priced between them. Overall, I think it’s competitively priced given its specs and the economic challenges the consumer tech industry is currently facing.

Nikon Z5IIC: Design & Handling

The Nikon Z5IIC largely follows the same formula as every other mainline Z-series camera: it’s solid, bulky, has a deep grip, and plenty of physical controls. The big difference is that it doesn’t have a faux pentaprism bump in which to house an electronic viewfinder.

It’s less bulky and inherently more ‘riggable’ than any other full-frame Z-series camera (Nikon ZR aside). This allows it to occupy marginally less space in a backpack, weigh marginally less in the hand, look marginally less professional and intimidating, and cost marginally less than its blueprint, the Nikon Z5 II. The big question I had when using this camera was: Is ‘marginal’ enough to warrant the downgrade in functionality?

I get it. Not every photographer wants to use a viewfinder, and there’s nothing wrong with that at all. If you’re prepared for bright, sunny conditions reflecting off the rear LCD and that doesn’t faze you, who am I to tell you otherwise? But the difference here is that the Nikon Z5IIC is a beefy, full-frame camera and that does change things.

Take the Panasonic Lumix S9 for example; a viewfinderless full-frame camera that’s roughly 135g lighter than the Nikon Z5IIC. That does make a difference. I’ve handed the Z5IIC off to various colleagues, and they’ve all been surprised by the same thing: its weight. The camera’s body weighs 538 g, which is a not-insignificant 82 g lighter than the Nikon Z5 II.

And yet, the way you handle a viewfinderless camera is just different. Peer through a viewfinder and you’ll instinctively cradle a larger camera with both hands, but viewfinderless cameras need to be held farther from the body. The Z5IIC might be lighter than the Nikon Z5 II, but I noticed its weight more.

That’s not to say the weight is a constant pain point, but it is a consideration. I used the camera with the Nikon Z 40mm f/2 and Nikon Z 24-120mm f/4 S. The latter is as heavy and bulky as I’d want to go for regular, handheld shooting. And even then, this is a relatively hefty setup for an everyday carry.

Use the Nikon Z5IIC for video, though, and the form factor isn’t an issue. Again, you tend to hold a camera differently when shooting video. Your forefinger doesn’t have to rest on the shutter button, meaning you can hold it in any way that feels comfortable to you. And of course, if you mainly shoot stills from a tripod, the form factor won’t be an issue at all, and most tripod users compose via the rear screen anyway.

Ultimately, the lack of a viewfinder won’t be a turnoff for everyone, but the size and weight of the camera could be. I recommend trying it on for size in your local camera shop before buying, and considering very carefully what lenses you want to use with it. A telephoto-friendly camera this is not.

A disappointing oversight from Nikon on paper is the Z5IIC’s rear screen. It’s actually lower resolution than the Nikon Z5II’s 2100k-dot screen (it’s 1040k dots). This really is a curious decision from Nikon and one that I can only assume was a budgetary measure. Still, you’d think the rear screen on a viewfinderless camera would be a core spec. And yet, despite my displeasure, if I’m going to be truly honest, I didn’t find this to be an issue out in the field. An oversight, yes, but not one that will impact the camera’s day-to-day usability.

Now that I’ve addressed the elephant in the room, let’s move on to some of the positives, of which there are plenty. As you’d expect from a mainline Z-series camera, the entire body feels solid. It’s built from magnesium alloy and durable-feeling plastics, while the grip is deep and covered in Nikon’s grippy leatherette.

It’s also weather sealed, and while I’m not going to leave a $1399.95 / £1,349 camera out in a downpour, the UK’s dreadful weather meant I spent a lot of time using the Z5IIC in light showers. I never advise letting any camera get saturated, but I felt entirely confident using the Z5IIC in wet conditions.

As per usual, Nikon has churned out a utilitarian device that’s built like a tank. But what’s unheard of from a mainline Z-series camera is that the Z5IIC comes in two colors. That’s right, it’s not just all-black with the classic red stripe; you can also opt for a silver variant. This paint job is only applied to the top plate, giving the camera a definite Sony A7C II vibe. Some of my colleagues think the silver looks plasticky, but as somebody who often moans about silver cameras looking cheap, I’d opt for the silver variant. Consider me a fan.

On the aforementioned top plate, you’ll find a fairly minimalist setup that’s functionally almost identical to the Nikon Z5 II. You’ve got a chunky mode dial that’s satisfyingly stiff, albeit slightly different to the Nikon Z5II’s in that it has only two U options instead of three. This is to facilitate the new Scene Mode icon (more on that later).

Like the Z5 II, there’s also a very handy Picture Control button. Simply tap it and use the rear command dial to scroll through 31 ‘looks’ which are applied to images in real time. The left side of the top plate is typically bare, but without the viewfinder bump, it might have been nice to have included an ISO or exposure comp dial.

Moving on to the rear, it’s standard fare except for the lack of a joystick. This is a real backwards step as far as I’m concerned. I can’t imagine it would have been an expensive addition. It simply means you’re forced to use the d-pad, which isn’t always as comfortable for your thumb, when holding the camera to accommodate its viewfinderless design. Thankfully, though, the buttons are solid and pleasantly spongy.

The Nikon Z5IIC has a single SD-card slot, which is a downgrade from the Z5 II. However, this isn’t a pro-grade camera, and if you’re a stickler for pro features, you’re going to want a viewfinder anyway. As such, I think this is a sensible cost-saving measure that won’t bother most, especially with the ever-increasing price of memory cards these days.

On the front of the camera, you’ve got two Fn buttons, which can be reached by extending your middle and forefinger from the grip, so they can be activated one-handed. And, like other Z-series cameras, the Z5IIC’s controls are highly customizable, so you can make the setup work for you.

The camera uses Nikon’s standard EN-EL15c rechargeable Li-ion battery. According to the CIPA Shot Rating, it’s rated for 350 shots, which isn’t much different from the Nikon Z5II’s 330-380. During use, I can confirm that the battery held up as well as could be expected. Any concerns you might have about the rear LCD always being on can be easily dispelled. Firstly, by getting into the habit of switching your camera off when not in use. And secondly, by the fact that a standard mirrorless is constantly switching between an EVF and a rear LCD, the power usage isn’t going to be much different.

Nikon Z5IIC: Performance

Nikon’s second-generation Z-series lineup consists of the Nikon Z9 at the very top of the pyramid, with varying degrees of tech trickling down to other cameras in the range. As such, all of Nikon’s cameras boast very solid core performances and the Nikon Z5IIC is no different.

In a world of high-megapixel sensors, you could look down upon the Z5IIC’s 24.5-MP sensor, but like all of Nikon’s full-frame image files, the stills you get from the Z5IIC really are top tier. RAW files stand up to generous cropping and are extremely pliable in post; they’re just an all-around treat to work with.

And if editing RAW files isn’t your thing, the Nikon Z5IIC is loaded with Nikon’s Picture Controls. Think Fujifilm Film Simulations, but not as good fresh from the box. Thankfully, Picture Controls can be edited so you can come up with your own ‘recipes’, and you can even download examples from other creators.

A fairly recent update that debuted on the Nikon Zf is Film Grain. This complements Picture Controls by adding retro film grain to images. Not only does it look the part, but the grain isn’t uniform, so each application is different. I tested this myself and can confirm that it does indeed hold up to scrutiny. You can customize the grain by choosing from three different sizes and seven different intensities. I wouldn’t recommend using everything maxed out, but the default settings do look very convincing.

Another feature that really lives up to the Nikon Z5IIC’s ‘Casual’ moniker is the presence of Scene Modes. The Z5IIC is the first full-frame Nikon camera to feature Scene Modes, and while that might not seem like a big deal, I think it’s a great addition. These modes are a great way for novice photographers to exercise a little creative agency beyond the one-size-fits-all Auto Mode.

There are 15 Scene Modes in total, allowing you to adapt quickly to a variety of shooting situations. For example, I photographed my dog using the Pet Portraits Scene Mode. The camera instantly opened up the aperture and switched to Animal-Detection AF, so all I had to do was compose my image and fire the shutter.

Similarly, I tried out Night Landscape and Autumn Colors; the camera instantly adapted to both scenarios, raising the ISO and opening the aperture in low light, and warming the image and boosting the saturation when capturing autumnal foliage. Picture Controls and Scene modes aren’t for everyone, but I think they fit the Z5IIC’s intended demographic and are definite selling points for the right photographer.

When it comes to autofocus, the Nikon Z5IIC performs very well. Sure, it can get a little stuck or confused at times, like any AF system, but provided you take the time to learn Nikon’s various modes, you’ll be well rewarded. I enjoy using 3D tracking, Wide-Area AF, and Single-Point AF, swapping between modes depending on the subject or scene at hand.

I own a Nikon Z8, and while the Z8 will certainly perform better in a side-by-side comparison, I didn’t find myself bemoaning the Z5IIC’s performance, which is high praise indeed. And of course, the Nikon Z5IIC has an autofocus mod con that currently no other Nikon camera has – not even the flagship Nikon Z9 – and that’s fish subject-detection.

Now, I initially found this quite the novelty, but in a world of ever-expanding AF algorithms, why not? I actually used to know a professional photographer who photographed fish for fish-keeping publications, and I’m sure he’d be very happy indeed with this development. It’s exciting news for underwater photographers, too, because put a camera with fish AF in an underwater housing and you’re golden.

Speaking of gold, I did my due diligence and found myself a fitting subject to test out this new autofocus mode. Thomas is a rescued fairground goldfish who resides in a local art studio owned by incredibly talented wildlife artist Jacqueline Byrne (@jacquelinebyrne.art). Jackie kindly allowed me to use Thomas as a model and I was pleased to find that the camera not only detected the goldfish’s body, but also locked onto his eyes.

It did struggle at times, but the conditions were challenging. Reflections and scratches on the tank glass, not to mention underwater foliage, and my need to shoot wide open in low light, all contributed. But fish AF works and isn’t quite the joke addition it may at first seem.

The Nikon Z5IIC’s form factor certainly lends itself to videography, and just like the Nikon Z5 II it boasts some decent specs. Arguably the biggest selling point is internal 4K 30p full-width RAW video. And while it’s nice to have, I always thought it was a little out of place on the Nikon Z5II, and I still think it’s a little out of place on the Nikon Z5IIC.

A lot of pro videographers don’t shoot RAW video. After all, it fills up storage as a pastime, creates increased internal heat, and is power-hungry in the edit. That said, it’s nice to have as an option. Although, a word of warning: make sure you’re using a capable SD card. The Nikon Z5IIC will only record RAW video on a memory card that’s over 32GB. And if your memory card isn’t fast enough, it’ll stop recording before time.

When it comes to overheating, ambient temperature and camera usage will always affect the outcome, but I shot 13 minutes of uninterrupted RAW footage in real-world testing without issue. The Nikon ZR is proof that Nikon knows how to build a camera that’s very hard to overheat, and while I cannot comment on long-term video usage due to my very short time with the camera, I don’t have any immediate concerns. I also shot some 4K video. As you’d expect, the autofocus performed well; just be aware that 4K 60p enforces a 1.5x (DX) crop.

Another video boon is in-body image stabilization. It’s not surprising given that the Nikon Z5II also has it, but it was a crucial inclusion because the Z5IIC’s direct competitors also have IBIS. What they don’t have is 7.5 stops of stabilization, with the camera beating the Panasonic Lumix S9’s 6.5 stops and the Sony A7C II’s seven stops. This is a great feature for photographers, too. I’d argue it’s essential for the Z5IIC given its viewfinderless design, because you’re not holding the camera up to your eye, which is the most stable shooting position.

While the lower-resolution LCD screen didn’t really bother me when shooting stills, I do think it matters more for video. Metering is such an important part of videography, and while you’ve got aids such as zebras and histograms, every little helps if you’re not resorting to an external monitor.

One thing I would suggest that any Nikon Z5IIC owner does is head into Menu>Setup>Monitor Brightness and set the latter to its maximum setting. This will reduce battery efficiency, but you’ll get a brighter and more visible screen. As a photographer, I lament the flip-out screen craze, much preferring a tilting screen, but the Nikon Z5IIC is a camera built to adapt to both worlds, and a flip-out screen is definitely preferable for video.

Nikon Z5IIC: Sample images

Nikon Z5IIC: Lab Tests

Nikon Z5IIC lab test data

For this test, we have compared the Nikon Z5IIC with its closest competitors, the Nikon Z5 II, Sony A7C II, and Panasonic Lumix S9

Resolution

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Resolution Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	28	28	30	26
2	28	28	30	26
3	28	28	30	26
4	28	28	30	26
5	28	28	30	26
6	28	26	30	26
7	28	26	30	26
8	26	26	28	26
9	24	24	26	24

Dynamic Range

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Dynamic Range Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	12.51	12.52	12.21	12.19
2	12.5	12.52	12.62	12.02
3	12.51	12.27	12.51	11.95
4	12.5	12.37	12.52	11.99
5	12.12	11.99	12.45	11.71
6	11.79	11.59	11.88	11.32
7	10.9	10.26	10.9	10.99
8	9.82	9.35	10.02	10.03
9	8.81	8.59	9.26	9.16

Signal to Noise Ratio

ISO

Nikon Z5 IICNikon Z5 IISony A7C IIPanasonic S9

Signal to Noise Ratio Data

Timestamp (ISO)	Nikon Z5 IIC ()	Nikon Z5 II ()	Sony A7C II ()	Panasonic S9 ()
1	46.32	46.16	41.44	44.88
2	43.03	43.42	39.27	42.35
3	40.68	40.51	36.44	40.49
4	37.75	37.31	34.04	37.64
5	34.82	33.99	32.35	34.41
6	31.38	30.65	29.31	31.51
7	28.45	27.23	25.95	29.06
8	25.5	24.44	23.14	26.37
9	22.68	21.78	20.46	23.24

Resolution: It’s not surprising that the Sony A7C II comfortably beats the other full-frame cameras thanks to its 33-MP sensor, with the Panasonic Lumix S9 bringing up the rear with its 24.2-MP sensor. The bigger surprise is the Nikon Z5IIC’s performance in relation to the Nikon Z5 II, exhibiting sharper images between ISO3200 and ISO12,800. However, this could simply be a variation in optics, and in a real-world scenario, the difference is going to be negligible.

Dynamic Range: Each camera boasts impressive dynamic range and despite differences in resolution, there really isn’t much to separate them. The Sony A7C II just about wins, as to be expected, but the Nikon Z5IIC more than holds its own, performing better than both the Nikon Z5 II and Panasonic Lumix S9. Again, the race is so tight, you’re unlikely to notice much difference in a real-world scenario.

Signal to noise ratio: The lower-resolution sensors come out on top here, with the Sony A7C II’s higher resolution proving its undoing, although it doesn’t lag far behind. When it comes to the two Nikons and the Panasonic Lumix S9, you’d have to defer to a photo finish to work out who’s pipped who to the post, but it does look like the Nikon Z5IIC has outperformed the Nikon Z5 II once again.

Nikon Z5IIC: Verdict

The Nikon Z5IIC is a tale of two halves. On the one hand, it has a slightly awkward design. On the other, its performance punches above its weight. I’m no stickler for always looking through the viewfinder, but the biggest benefit of viewfinderless cameras is their increased portability.

And yet, losing the viewfinder doesn’t impact the size and weight of the Z5IIC enough; it’s still a big lump. The upside of this is that it’s built like a tank and feels like a premium, weather-sealed product. I’m not saying the heft is a dealbreaker; just make sure you try it on for size before you buy.

Under the hood is where the camera really gains some ground. It’s a fantastic all-around performer, with great autofocus, gorgeous stills, solid video specs, and impressive in-body image stabilization. Plus, you get the rather unusual (if superfluous) bonus of RAW video.

Scene Modes is an unlikely standout for me. It really lives up to the Z5IIC’s ‘casual’ moniker and allows anybody to get creative with the camera from the offset. Picture Modes and Film Grain serve as the next step in creative agency, allowing you to apply ready-made or custom presets to your images in real time.

Finally, the Nikon Z5IIC is competitively priced. At $1399.95 / £1,349, it sits between the Sony A7C II and Panasonic Lumix S9. It’s not a cheap camera by any means, and I do wonder how appealing that price point is to its ‘casual’ target audience. But it’s got the specs of a more expensive camera.

Overall, I was ready to hate on the Nikon Z5IIC when it was announced, but I’ve been pleasantly surprised by how much I’ve enjoyed my limited time with the camera. That said, I wonder if its size and weight could be its undoing.

It’s too big to be an everyday carry, and I fear it may be too intimidating for its ‘casual’ target audience. I hope I’m proved wrong, because this is a well-built, exceedingly capable full-frame camera. Just like its blueprint, the Nikon Z5 II.

Nikon Z5IIC: Alternatives

Check out our guide to the best mirrorless cameras, and our rundown of the best Nikon Z lenses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Probably not.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

Take a look at the best Micro Four Thirds cameras or the best retro cameras. Or, read the full OM System PEN review.

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

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

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

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

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

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

Specifications

Price

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

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

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

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

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

Design & Handling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Performance

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Video performance

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

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

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

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

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

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

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

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

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

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

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

Sample Gallery

Early Verdict

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

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

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

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

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

Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nikon Z6 III

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

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

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

Nikon Z5 II

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

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

Top deals on Nikon Z lenses

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

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

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

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

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

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

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

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

Read more:

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

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

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

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

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

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

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

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

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

Sony A7 IV

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

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

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

Nikon Z5

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

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

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

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

Comparison

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Is the Nikon Z5 still worth it?

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

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

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

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

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

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

Lumix S9 discounted, but US buyers face a long wait

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

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

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

Photographer voice frustration over delays

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

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

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

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

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

The award-winning mirrorless camera

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Everything looks the same

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

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

Presets can be proactive

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

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

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

The recipe middle ground

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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