With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

You might like...

Browse the best standard zoom lenses, the best telephoto lenses, and the best Canon lenses for DSLRs.

While a few high-end Nikon Z lenses are still made in Japan, the ‘Big N’ famously shifted Nikon camera production to Thailand back in 2020, with lens production now split between Japan, China, and more recently, Vietnam. As far as I was aware, only the Nikon Z DX MC 35mm f/1.7 is produced in Vietnam, but according to Nikon Rumors, it appears to have been joined by the Nikon Z 28-75mm f/2.8.

The rumor website was tipped off by the proprietor of another website called Photosynthesis, which is dedicated to cataloguing Nikon lenses. Although not confirmed by Nikon, an image of the Nikon Z 28-75mm f/2.8 clearly showing ‘Made in Vietnam’ on the underside of the barrel adds credence to the claim and you have to wonder if other optics could follow.

Nikon Rumors points towards new US tariffs as being the likely catalyst for the decision, surmising “moving manufacturing from China to Vietnam incurred additional expenses (...) which will be reflected in pricing.” As a Nikon photographer myself, it’s certainly nice to know where the company’s products are produced, but as far as I’m concerned it’s business as usual.

Sure, potential price rises are always going to be a concern, but that’s not a Nikon-specific problem. We know that both component scarcity and costs, along with a challenging economic climate and higher cost of living, are affecting consumer electronic prices across the board. Nikon also has an established presence in Vietnam, so it's not like it's starting from scratch.

Plenty of imaging goods are produced in Vietnam. Canon, Tamron, and Ricoh all have Vietnamese factories, and I can’t see there being any noticeable differences in quality from Nikon lenses produced in China, after all, the Nikon Z DX MC 35mm f/1.7 was awarded 4.5 stars on test. I’ll be interested to see if more ‘Made in Vietnam’ Z lenses appear and will, of course, update you if Nikon makes an official announcement.

You might also like...

Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026. It’s like When Harry Met Sally: Suddenly, I’m looking at the Nikon ZR like it’s a viable stills camera. My screen time is already atrocious – in a world where retro compact cameras are king, I’d like to see more hybrid viewfinders.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

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

I’ll die on this hill: the Nikon F5 is the best 35mm SLR camera you can buy.

Camera opinions are rarely worth dying over, but I have one that I will defend for as long as there is breath in my body and film in my refrigerator: the Nikon F5 is the best 35mm film camera out there. It is not the prettiest, the lightest, or the most discreet film camera ever made, but I firmly believe it is the best.

Furthermore, it can be bought surprisingly cheaply secondhand – I have seen bodies on sale recently for around £300 / $400 (although obviously actual prices will vary hugely depending on condition).

I know that statement will immediately upset the Leica faithful, Nikon F3 owners, Canon EOS-1V devotees, and anyone who believes a “proper” film camera should be fully mechanical, covered in brass, and operated entirely through dials. That is fine. You are welcome to meet me on this hill, but I am not moving.

The Nikon F5 represents the moment when 35mm photography reached its professional peak. It arrived in 1996 as Nikon’s flagship autofocus SLR, built primarily for photographers who had to return with the picture rather than those who simply enjoyed the process of trying to take it. Nikon designed the camera around speed, reliability, and professional use, giving it five-area autofocus, Dynamic AF, 3D Color Matrix Metering, and a 1,005-pixel RGB metering sensor.

With the dedicated MN-30 battery, the F5 could advance film at up to eight frames per second. That might sound financially irresponsible now that every press of the shutter carries a noticeable cost, but you do not have to burn through an entire roll in a matter of seconds to appreciate what that specification represents. It tells you that the F5 was engineered without compromise.

This was not a camera designed to look attractive on a shelf or appear tastefully beside a flat white on Instagram. It was built for sidelines, press pens, racetracks, war zones, fashion studios, and any other environment where missing the photograph was not an acceptable outcome. That is why I believe it remains the best 35mm camera to buy today: the F5 does not ask you to romanticize inconvenience. It simply gets out of the way and lets you take photographs.

Film photography has become strangely obsessed with limitations. We praise cameras for slowing us down, forcing us to concentrate, and making every frame more deliberate. There is truth in that, of course, but sometimes I think we confuse inconvenience with creativity.

A camera does not make you more artistic simply because it lacks autofocus. A light meter that requires a separate handheld device does not automatically produce better photographs, and manually winding the film does not make the final image more meaningful. Those things can make the experience enjoyable, but they do not necessarily make the camera better.

Sample images

The Nikon F5 gives you the character, latitude, grain, color, and unpredictability of film without requiring you to abandon the practical advantages of a modern professional camera. Its controls feel familiar, its autofocus works, its metering is remarkably dependable, and the body is shaped like something designed to be held for hours rather than admired through a glass cabinet. It is, in many ways, the perfect bridge between analog and digital photography.

That matters because the F5 allows someone accustomed to a DSLR to begin shooting film without first having to relearn the entire process of operating a camera. Load a roll, set your exposure mode, select your focus point, and start shooting. The image is still being recorded onto 35mm film, but getting it there does not have to be unnecessarily difficult.

Some film photographers will consider that a weakness, but I consider it one of the F5’s greatest strengths. I have owned and used mine for more than 15 years, and during that time I have never felt creatively restricted by it.

I have used the F5 with relatively modest lenses, fast primes, professional zooms, a Nikon 200mm f/2, and even a huge 600mm f/4. The fact that a camera released in the mid-Nineties can still communicate with such a wide selection of Nikon F-mount lenses remains one of its greatest practical advantages.

That enormous lens selection means the F5 can become almost anything you need it to be. Fit a 50mm prime and shoot everyday documentary work, add an 85mm lens and use it for portraits, attach a 70-200mm and photograph sports, or put a 600mm lens on the front and turn it into an analog wildlife machine. There are more romantic cameras, but few are more versatile.

Naturally, the F5 has its critics. It is big, it is heavy, and it requires eight AA batteries in its standard configuration. Nobody is going to mistake it for a pocket camera, and carrying one around your neck all day will certainly make its presence known. However, I would argue that its size is part of the appeal.

The grip is substantial, the controls fall naturally under your fingers, and the integrated vertical shutter release makes portrait-orientation shooting feel just as natural as holding the camera horizontally. With a larger professional lens attached, the body provides the balance needed to make the entire setup feel manageable. It feels purposeful because it is purposeful.

The use of AA batteries is often presented as another sign of the camera’s age, yet it may be one of the most practical power solutions ever fitted to a professional camera. You can find AA batteries almost anywhere, with no discontinued proprietary battery to hunt down, no specialist charger that becomes useless when it fails, and no need to worry about whether a decades-old rechargeable pack can still hold a meaningful charge.

Put eight batteries into the F5 and get on with taking photographs. It really can be as simple as that, and there is something reassuring about using a camera that does not depend on an increasingly rare power source to remain functional.

Yes, the F5 relies heavily on electronics, and eventually every electronic camera carries the possibility that something will fail. However, mine has endured years of use and abuse, while other cameras I have owned have long since given up. The F5 was never intended to be disposable technology; it was a professional investment designed to survive the demands of photographers who worked every day.

There is also the question of the Nikon F6. On paper, Nikon’s final professional film SLR is arguably the more technically advanced camera. It is newer, more refined, and equipped with a more sophisticated autofocus system, but I would still choose the F5.

The F6 feels like an exceptional film camera created at the beginning of the digital age. The F5 feels like the camera that conquered the film age, and there is something gloriously uncompromising about it.

Nikon did not build the F5 as a nostalgic tribute or a luxury object. It built the camera to become the new professional standard, and almost three decades later, that intent remains obvious every time you pick one up.

Other cameras may offer a purer analog experience. A Nikon F3 provides beautiful simplicity, a Leica M offers discretion, precision, and one of the greatest viewfinder experiences in photography, while a compact camera can fit into a coat pocket and accompany you everywhere. However, if you asked me to choose one 35mm camera to photograph everything for the rest of my life, I would take the Nikon F5.

I could use it for portraits in the morning, street photography in the afternoon, and professional sports in the evening. I could attach decades of Nikon glass, rely on its autofocus when the subject started moving, trust its metering when the light became difficult, and know that the body was built to handle more punishment than I would ever reasonably give it.

That, to me, is what makes a camera the best. The best camera is not always the one that creates the most romantic shooting experience; it is the one that gives you the greatest chance of making the photograph you saw in your head.

The Nikon F5 might not make you look like a fashionable film photographer. It might not match your vintage camera strap, and nobody will describe it as small or elegant, but it will take the photograph. I will die on the hill that, when it comes to 35mm film cameras, nothing does that job better.

Shop the Nikon F5

If you've been looking for a stunner of a lens, for both general shooting and extreme close-ups, the Nikon Z MC 105mm f/2.8 VR S is now available for just $896.95 at B&H – and you get a free filter kit on top.

With this new low price, you save $250 on its previous price of $1,146.95 – and top-tier primes are not coming cheap, so this deal offers a great discount on what we've called in our review "one of the finest Nikon Z lenses that we've seen."

Short: The Nikon Z MC 105mm f/2.8 VR S is a top-tier lens for performance and versatility. It's one of the finest Nikon Z lenses that we've seen to date, and that’s really saying something.

The Z MC 105mm is great for capturing wildlife photography, through portraiture and landscape, to extreme close-ups, where its 1.0x magnification factor reveals near-microscopic levels with clarity and depth.

And it's not only about sharpness (though it's razor-sharp from center to the edge), it's also about how effortlessly it lets you create.

With lightning-fast pinpoint autofocus and 4.5-stop optical VR, it partners beautifully with Nikon's Z-series cameras for incredibly stable, high-impact images – handheld or on the go.

From the customizable control ring to the multifunction OLED display and weather-sealed construction, this lens has it all. And yes, it costs more than the Z MC 50mm – about 50% more – but the performance leap is undeniable.

As mentioned, top-tier primes are not coming cheap, making this deal even more interesting. By investing in the Nikkor Z MC 105mm, you get a pro-grade build and image quality that borders on flawless.

Browse the best Nikon cameras and the best macro lenses.

Nikon is doubling down on its commitment to video, according to Nikon President Yasuhiro Omura. The interview, published by Japanese news outlet Jiji Press and sourced via Digital Camera Info, sheds light on the camera giant’s proposed strategies for the near future.

Nikon’s imaging business is said to account for roughly 40% of consolidated sales. It’s not surprising, then, following the company’s high-profile RED acquisition in 2024, RED technology is seen as a way to boost Nikon’s video credentials and therefore camera division, given the increasing importance of video tech. Mr Omura was quoted as saying “Robustness is also important for video cameras. We want to cultivate a brand known as ‘Nikon for video’.”

The ‘Big N’ could also meet the predicted rising demand for semiconductor lithography equipment by investing heavily in its semiconductor business. According to Mr Omura, an investment of around 360 billion yen (approx $2.2 billion / £1.65 billion) could be allocated, largely to the business, through to the fiscal year 2030.

It’s not been a particularly positive year for Nikon, thus far, with the company publishing huge losses at the end of the fiscal year and no new camera releases to speak of (yet...). However, it’s far from doom and gloom for Nikon’s imaging business, because it wasn’t the main culprit. Most of its ‘losses’ can be attributed to an acquisition within its Digital Manufacturing Business.

In short, a metal additive manufacturing company that Nikon bought in 2023 hasn’t been as profitable as it predicted, causing the company to readjust its books. This highlights big losses, but in relation to projected targets, so money hasn’t actually changed hands. Nikon’s plan to boost profits in this part of its business, according to Mr Omura, is to focus it on “aerospace and defense sectors”.

If Nikon is able to follow through with its strategy and become a key player in the video sphere, all while making its 3D printing business profitable, it’ll certainly be in a good place. Here’s hoping the camera giant's rocky start to 2026 spawns a fruitful 2027 and beyond.

You might also like...

If you're a Nikon fan, check out the best Nikon cameras and the best Nikon Z lenses. Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026.

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

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

Nikon Z6: Specs

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

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

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

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

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

The Nikon ZR is trending on Google today, and just yesterday I was thinking about buying one and doing the unthinkable… using it exclusively as a stills camera! I know, I know: “What heresy doth the man speak?” But hear me out on this one.

I was answering a comment on the latest episode of the Digital Camera World Podcast, where James and I were talking about the Panasonic Lumix L10 compact camera, and in that video we compared it with the Panasonic Lumix S9.

The S9 is a full-frame interchangeable-lens camera with no viewfinder and you can find it for some exceptionally good prices.

ABOVE: Watch the discussion that prompted by Nikon ZR temptation

I was busy browsing various camera retailers, daydreaming about what color I’d have, and then I noticed something that’s always been a big turnoff for me: no rear dial where your thumb naturally rests.

I’m used to operating cameras with front and rear dials, exactly where your index finger and thumb naturally sit. It is without doubt the most comfortable control layout, for me at least. And if a camera doesn’t have this, I find it very hard to get on board with it. But then I saw something I couldn’t unsee – a Nikon ZR.

The ZR has a Red-infused, video-first design, but also shares quite a few similarities to the Lumix S9 in that it has no viewfinder and is essentially a rectangular box with a shallow grip.

The Nikon ZR is bigger, but accommodates two memory cards (CFexpress B and microSD) and also has a rather unusual ace up its sleeve in that it has a giant four-inch rear LCD screen. For a camera without a viewfinder, that’s definitely a boon.

Still, buying one of the best cinema cameras on the market for photography seemed like a bit of a stretch, so I turned to Reddit to find out if other users had thought the unthinkable – and I was surprised to find they had.

A post by amcreativca shared a photograph they took with their Nikon ZR and it turns out they’re certainly not the only one. To my surprise, somebody even said: “I'm also thinking about switching to the ZR, I currently have an S9.”

Don’t get me wrong, I’d still recommend the Nikon Z6 III as the ultimate stills option out of the two, given that it’s essentially the blueprint for the Nikon ZR and features a nice deep grip and a viewfinder.

But as somebody who already owns a stills-focused Nikon and is on the hunt for something a bit more portable, why not take photos on a Nikon ZR?

So long as you’re not a flash photographer, of course; the ZR has a flash sync speed of just 1/60 sec due to its electronic-only shutter. It’s a very capable device for everyday photography, though. You get the same excellent AF system as the Z6 III, burst speeds of 20fps (RAW) and 120fps (JPEG), as well as a full-frame partially-stacked 24.5MP sensor.

I guess the lesson to take away from this is that both marketers and, indeed, ourselves impose limitations on cameras – but in reality, any camera you’re comfortable with is fit for purpose.

Sure, the Nikon ZR is a video monster. But with its large rear LCD and relatively portable form factor, I see no reason not to use it as a stills camera. I’d be interested to know what you think. Absolutely crazy idea? Or do you think the people of Reddit and I are onto something?

You might also like...

Still not convinced? Take a look at the best lenses for the Nikon ZR and the best Nikon cameras across the range.

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

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

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

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

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

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

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

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

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

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

Sony A7 III

Ideal for system switchers and DSLR upgraders

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

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

Comparison

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

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

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

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

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

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

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

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

Why APS-C cameras dominate the rankings

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

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

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

You might like...

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

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

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

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

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

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

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

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

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

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

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

Sony A7 III

Ideal for system switchers and DSLR upgraders

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

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

Comparison

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

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

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

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

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

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

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

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

Why would you want an old DSLR lens?

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

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

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

You might also like...

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

Nikon filmmakers and photographers can now take advantage of a third-party remote-control app designed specifically for Z-Series cameras. Parallax Monitor or ZR Ctl, depending on whether you’re using iOS or Android, respectively, allows users to take full control of a compatible Nikon camera, using both the app and their chosen smart device as a live view monitor and control station.

I first learned about Parallax Monitor / ZR Ctl via Nikon Rumors and immediately likened it to Nikon's existing proprietary app SnapBridge, which allows users to wirelessly connect a smart device to compatible Nikon cameras as well as share images via file transfer. However, Parallax Monitor / ZR Ctl isn’t an alternative to SnapBridge, it’s a completely different piece of software that’s directly aimed at serious videographers.

The app uses a range of live view overlays to help maintain correct and consistent exposure, including ‘traffic lights’ and zebras, as well as waveforms and histograms that are said to be calibrated for R3D, N-Log and SDR. It also claims to allow users to pull focus via a touch-controlled ‘Pull tool’, aided by focus peaking while also providing a ‘Cinematic AF’ trigger.

A simple function that I’m sure many videographers will make use of is the ability to switch between multiple aspect ratios via the live view screen, so if you’re trying to shoot a scene for multiple aspect ratios, you can ensure your subject is adequately framed for each. If you use anamorphic lenses, the anamorphic desqueeze function will allow you to ‘desqueeze’ at 1.33x, 1.5x, 1.8x, 2x, or any custom ratio in real time, so you can preview what the end product will look like.

Users can also access a variety of Playback features. You can preview LUTs during Playback, check audio, stream clips, and more. And finally, Parallax Monitor / ZR Ctl might be marketed towards videographers, but it also boasts a remote stills photography featureset, allowing you to review photographs over Wi-Fi, fire the shutter remotely, refine settings and more. Parallax Monitor is available via Apple’s App Store for $19.99 / £19.99 or ZR Ctl via Google Play for $19.99 / £17.99.

You might also like...

Forget "Hand of God" is this football's "Camera of God"? Why a cable-suspended camera is being blamed by Norway for its World Cup defeat. Nikon launches ingenious Nikon Zf bottle holder among other camera-related swag – but they're only available in Japan. Arri just gave live broadcasts the Hollywood slow-motion treatment with its latest Xtreme camera.

Despite newer flagship releases from Canon, Sony, and Nikon, one full-frame camera launched in 2023 continues to outperform far newer models in Japan's sales charts. Part of Sony's compact full-frame line, which debuted with the "world's smallest and lightest 35mm full-frame mirrorless camera", the Sony A7C II brings that same philosophy and performance to a newer generation. With built-in electronic viewfinder, in-body image stabilization and 33MP sensor, it has become one of the industry's biggest long-term success stories.

Major Japanese camera retailer Kitamura has now published its June sales rankings, with the camera once again taking the No.1 spot.

Launched nearly three years ago, the Sony A7C II has earned a reputation as a full-frame "sweet spot" camera, striking an impressive balance between performance, portability and price. Available for $2,098 / £1,799, it continues to prove that photographers don't always need the latest release to get the camera they want.

Kitamura's 10 best-selling cameras, June 2026

1. Sony A7C II
2. Canon EOS R10 + RF S 18-150mm IS STM Lens Kit
3. Fujifilm X-M5 + XC15-45mm Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Canon EOS R50 Double Zoom Kit
6. Sony A7 V
7. Sony A7 IV Zoom Lens Kit
8. Sony ZV-E10 II Power Zoom Lens Kit
9. OM SYSTEM OM-5 Mark II + 12-45mm f/4 PRO Lens Kit
10. Nikon Z30 Double Zoom Kit

Lightweight design marvel

The Sony A7C II features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS), and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

Even with its compact form, the A7C II retains a built-in electronic viewfinder – known as a must-have feature for many photographers.

Weighing just 514 g (1 lb 2.2 oz), it delivers full-frame image quality in a remarkably compact body that's particularly well-suited to travel photographers and hybrid creators. Despite its small size (124 x 71.1 x 63.4 mm), Sony has retained a built-in electronic viewfinder – a feature that many photographers still consider essential.

While some compact and creator-focused mirrorless cameras now rely solely on the rear LCD, the A7C II offers an eye-level shooting experience without significantly increasing its size.

Nearly three years after its launch, the A7C II still delivers everything most photographers want or need.

While camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

If you've been looking for a stunner of a lens, for both general shooting and extreme close-ups, the Nikon Z MC 105mm f/2.8 VR S is now available for just £717 at Wex.

With this new low price, you save £332 on its previous price of £1,049 – and top-tier primes are not coming cheap, so this deal offers a great discount on what we've called in our review "one of the finest Nikon Z lenses that we've seen."

Short: The Nikon Z MC 105mm f/2.8 VR S is a top-tier lens for performance and versatility. It's one of the finest Nikon Z lenses that we've seen to date, and that’s really saying something.

The Z MC 105mm is great for capturing wildlife photography, through portraiture and landscape, to extreme close-ups, where its 1.0x magnification factor reveals near-microscopic levels with clarity and depth.

And it's not only about sharpness (though it's razor-sharp from center to the edge), it's also about how effortlessly it lets you create.

With lightning-fast pinpoint autofocus and 4.5-stop optical VR, it partners beautifully with Nikon's Z-series cameras for incredibly stable, high-impact images – handheld or on the go.

From the customizable control ring to the multifunction OLED display and weather-sealed construction, this lens has it all. And yes, it costs more than the Z MC 50mm – about 50% more – but the performance leap is undeniable.

As mentioned, top-tier primes are not coming cheap, making this deal even more interesting. By investing in the Nikkor Z MC 105mm, you get a pro-grade build and image quality that borders on flawless.

Browse the best Nikon cameras and the best macro lenses.

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

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

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

Pro body, enthusiast price point

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

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

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

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

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

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

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

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

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

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

You might also like...

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

Nikon Japan has added a boatload of new merchandise to its Nikon Direct storefront, including t-shirts, tote bags and towels. Sadly, worldwide shipping isn’t available, so Western-based Nikon lovers will have to hold out hope that some of these goodies make it across the pond – although that’s doubtful.

Still, really cool camera swag is few and far between, so it’s fun to look at what’s available. Something that really stands out is a Nikon Zf-themed bottle holder, which will be available on July 16.

This enables you to attach a standard plastic bottle (500ml PET) to your camera bag or belt via a Nikon-branded carabiner, which is attached to a PVC mount that can accommodate the neck of the bottle. The mount is designed to look like the Nikon Zf, and when attached the bottle looks like a large telephoto lens.

Another piece of merch I’d be happy to get my hands on is a t-shirt with both the Nikon FM2 and Nikon ZF emblazoned on the front alongside a few choice specs. The shirt appears to be navy blue and the cameras are outlined in white, giving it a classy, understated look.

Of course, this is an ideal pairing given that the mirrorless Zf was built to look like the legendary FM2, one of Nikon’s most coveted SLR film cameras.

Another neat item is a range of tenugui with various lens configuration diagrams on them.

Tenugui is a traditional Japanese hand towel, which can be used for a variety of applications including wrapping items, wearing, displaying and drying. My favorite is the Nikon Z 70-200mm f/2.8 VR S II towel, themed around a lens I awarded five stars in my review.

There’s a nice sticker set, too, which includes the Nikon logo, the FM2 and Zf, several lens diagrams and a representation of Nikon’s Z mount. If you keep your photography kit in a hard case, these would look great applied to your baggage.

All of these items are said to be limited, so once the desired quantity has sold they’ll be gone for good. They’re also only available to Nikon Imaging members, although signing up is free.

You might also like...

DSLR cameras are picture-making machines; mirrorless cameras are picture-making computers, sometimes I just want to go back. Nikon F100: Serious about film photography but light on budget? This is as close as you’ll get to an F6 without the mammoth price tag. Doomed Nikon DL to make stunning comeback?
Following 1-inch premium compact camera rumor.

The year is already more than half over – and yet 2026 has been an unusually slow year for camera launches – so slow, in fact, that three key camera brands have yet to introduce a major camera in 2026.

The first half of the year has brought cameras like the Sony A7R VI, the surprise Panasonic Lumix LX10, the video-focused Canon EOS R6 V, the black-and-white Ricoh GR IV Monochrome, and the Leica SL3-P.

But the first half of the year has been largely quiet for Nikon, Fujifilm, and OM System. Nikon has yet to introduce a camera body in 2026. Fujifilm has launched the time-traveling Instax Evo Cinema and Instax Mini 13, but no X series cameras. OM System has introduced specialty models of existing cameras for astrophotography and infrared, but no major overhauls yet in 2026.

Even the brands that have launched new cameras this year have been a bit sporadic, with the first three months of the year unusually quiet. Has the pace of camera development slowed with longer gaps between launches, or is something else going on?

Fujifilm is in the quiet before the storm

Fujifilm has been a key player in both the retro camera and compact camera trends lately, two factors that likely led to the camera giant posting record revenue in 2025. Fujifilm has been steadily picking up momentum – so what’s with the quiet first half of 2026?

Fujifilm is in that pause between one generation and the next. Fujifilm’s X series has largely all been upgraded to the fifth generation of X-Trans sensors, with the 40.2MP X-Trans CMOS 5 HR across most models and the 26.1MP X-Trans CMOS 5 HS across speed and budget-focused models.

There are some exceptions – notably the Fujifilm X-Pro3 still using a third-generation sensor despite the brand's confirmation that it hasn’t abandoned the series – but Fujifilm’s X series is largely caught up.

Fujifilm’s quiet few months are likely the quiet before the storm, before the sixth generation of X Trans sensors makes its first official appearance. And, in the meantime, the 40.2MP is no slouch.

Fujifilm tends to bring the new sensor to higher-end options like the X-H series and the single-digit X-T series first, so as a photographer with an older X-T4 still in my bag, I’m eager to see what’s next.

Nikon needs a high-end camera launch

Nikon has fewer mirrorless bodies in its lineup than Canon and Sony, so it’s not entirely unusual that the camera giant hasn’t yet blessed fans with a new camera in 2026. But, by this time last year, Nikon had introduced the Coolpix P1100 and the Z50 II, so 2026 feels off to an unusual start.

I think Nikon’s recent financial reports hint at what could be coming next for the company. Earlier this year, Nikon told investors that one of the reasons that profit is down is that the brand’s cheaper entry-level cameras, like the Z50 II and Z5 II, are selling so well.

The Z5 II was introduced in 2025, and the Z50 II at the end of 2024, so I think it’s time for Nikon to give some love to its higher-end models. I’m less confident in speculating what high-end cameras might be getting a refresh soon. The Z6 III was a 2024 launch, and the 2020 Z7 II is aging fast, but any successor would need to offer something substantially different than the highly regarded pro Z8. Z9 II rumors are also making the rounds.

Of course, I could be totally off base – the Z30 is getting up there in years, and more compact designs are trending. I’m also hoping that one of Nikon’s recent comments about “heritage-inspired design” means photographers will get more cameras like the Nikon Zf.

OM System has been quiet – but not unusually so

OM System often only has one or two major camera launches a year, so the quiet first half of 2026 isn’t unusual for the brand known for its Micro Four Thirds cameras. And, technically, the brand has launched cameras this year, but just specialized ones, including the OM-3 Astro and the OM-1 Mark II Infared.

The bigger question is what’s next for OM System. The brand's mirrorless line has been using 20MP resolution since 2016 (though in two different variants), but when I asked the company about it last year, Eiji Shirota, Head of Business at OM System, told me, “the development and evolution of a new image sensor is an ongoing effort.”

But, he also said that the company’s focus on smaller, rugged fast cameras has been working, with 60 percent of OM-5 users in North America completely new to the brand. Computational photography and a High Res Shot mode instead help the OM System to get more resolution out of its 20MP sensors.

The Olympus OM-D E-M10 Mark IV still carries the Olympus name nearly five years after the switch to OM System, but any upgrade would have to not eclipse the OM-5 Mark II. Other key OM System speculation? Fans have long been asking for the PEN series to return (though it's still alive and well in Japan), and with compact cameras trending, perhaps now is the time for a tiny PEN mirrorless.

You may also like...

Take a look at the best Fujifilm cameras, the best Nikon cameras, or the best OM System cameras.

The Nikon D810 is trending on Google, which is slightly surprising in that it’s usually the Nikon D800 or Nikon D850 that gets all the attention. And I’m partially guilty in that I’ve written loads about those DSLR camera classics, but comparatively little about the Nikon D810. The problem is that it was a rather unremarkable entry into the D8XX series because it was essentially the Nikon D800 2.0.

It fixed a major problem and added a few small but decent upgrades, but the D800 (however flawed) remains the ground-breaking camera. The Nikon D850, then, was the proper follow-up and is considered by many, myself included, the greatest DSLR of all time. So, the poor old D810 is often forgotten about, but the thing is, it was actually an incredible camera. Let's explore why...

Nikon D800 vs Nikon D810

Let’s start with what the Nikon D810 fixed. The D800 / D800E was marred by a pretty catastrophic problem that reminds me a little of the high-profile ‘Red Ring of Death’ that plagued Microsoft’s Xbox 360 games console. Some early units featured an autofocus bug that affected left-sided AF points, reducing their accuracy. Nikon was able to fix the offending cameras, as well as the production line, but the problem stuck with the D800 and is still talked about regarding used models today.

And while the D810 wasn’t a huge advancement from the D800, Nikon did imbue it with a few spec upgrades. You might assume that both cameras’ 36.3-MP sensors are identical, but the D810 actually featured a new sensor with no anti-aliasing filter. It also had an upgraded EXPEED 4 image processor and a lower base ISO of ISO64 instead of the D800’s ISO100. This included a wider native ISO range of 64-12,800 as opposed to the D800’s 100-6,400 and a broader expanded ISO range of ISO32-51,200, up from ISO50-25,600.

The Nikon D810 also received a boost in burst speeds, delivering up to 5fps (up from 4fps) and maxing out at 7fps (up from 6fps) with the MB-D12 battery grip. It also introduced Group-Area AF to the series and provided marginally better video, thanks to its ability to shoot full HD up to 60p instead of 30p. There were other marginal upgrades, including an increased rear LCD resolution, but those are the main differences.

I myself still use my Nikon D800 on occasions, and I’ve never had any problems with it. However, I am guilty of often overlooking the Nikon D810, and while it doesn't occupy the same ground-breaking place in Nikon’s history as the Nikon D800, it is the better camera. You can pick used Nikon D810s up from as little as $449 / £384 from MPB at the time of writing and while it’s over a decade old, there’s still a little life in this old DSLR yet.

You might also like...

This 18-year-old DSLR is trending: Can the Nikon D700 really be a feasible buy for budget photographers in 2026? DSLR cameras are picture-making machines; mirrorless cameras are picture-making computers. Sometimes I just want to go back. Nikon F100: If you’re serious about film photography but light on budget, this is as close as you’ll get to an F6 without the mammoth price tag.

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

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

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

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

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

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

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

You may also like...

Head deeper into the Nikon world with the best Nikon cameras or the best Nikon Z lenses.

**UPDATE** In the poll so far (bottom of page) a whopping 65% of you have said that you own a DSLR camera and use it regularly, while just 7% have said you’ve never owned one. Evidently, there’s a healthy dose of nostalgia at play here, but look no further than the best retro cameras to know that nostalgia is a huge deal in photography. It’s easy to forget that film photographers were very skeptical of the DSLR when it was first introduced. It wasn’t until the Nikon D1 launched in 1999 that the tide started to turn and professional photographers began to adopt the new system.

... ... ...

I miss my DSLR camera. But before you assume it’s purely sentimental, I actually started to learn photography using SLR film cameras. I still own a film camera, but I don’t miss film like I miss DSLRs. In fact, I miss my DSLR camera so much, I’ve actually considered selling my mirrorless kit and going back to the Nikon D850, a ‘holy trinity’ of F-mount glass, a couple of choice primes and a supertelephoto, and never worrying about upgrading my setup ever again. Of course, I’m not going to do that (I don’t think…), but that’s how much I MISS MY DSLR!

I miss my DSLR like a ghost misses being opaque. And it gets worse. I swear I took my best photos ever on my DSLR cameras. I understand how ridiculous that sounds, given the insane specs of almost any enthusiast-level mirrorless camera nowadays. I’ve thought about this a lot and the conclusion I’ve come to is that I was less precious as a DSLR user. Let me explain.

My DSLR camera made me a better photographer?

When you shoot with an optical viewfinder, you’re less bothered about getting the perfect exposure. You understand the limitations of your camera’s light meter, and you deal with it. It’s kind of freeing. When I use mirrorless cameras, I’m almost constantly fiddling with the settings, hyper aware of the preview on the EVF.

I find myself retaking the same photos over and over again, ad nauseam, striving for perfect exposure and absolute sharpness. With a DSLR camera, I’d take a few shots, glance at the rear screen and move on. There’s also this expectation with modern cameras that they’re so good, anything other than sheer perfection isn’t good enough. As such, I think my DSLR shots were more characterful and featured more variation.

I miss the more tactile experience of using a DSLR camera, too. Mirrorless cameras are silent, free from vibrations, and to this day that bothers the heck out of me. I miss the reassuring vibration that AF was engaged and that visceral clunk of the reflex mirror and shutter dancing in tandem. I could operate my DSLR with my eyes closed. Mirrorless? No such luck.

Perhaps the best way I can describe it is that mirrorless cameras feel like picture-making computers, whereas DSLR cameras feel like picture-making machines. I’m a bit of a romantic at heart; I’ll be gushing about my Nikon Z8 again next week, but I can’t be the only one to feel this way. I’m sure a lot of photographers won’t get it, and that’s totally fine. But man, you cannot put a price tag on the bond I built with my Nikon D800 and Nikon D850.

Do you agree? Do you long for the DSLR camera's heyday? Do you still shoot on a DSLR camera? Let me know in the comments below, and fill in the poll below!

You might also like...

This 18-year-old DSLR is trending: Can the Nikon D700 really be a feasible buy for budget photographers in 2026? Nikon F100: If you’re serious about film photography but light on budget, this is as close as you’ll get to an F6 without the mammoth price tag. I’m a photography educator who disregarded Micro Four Thirds for wildlife photography. I don’t mind admitting when I’m wrong.

I was surprised to find the Nikon F100 trending on Google, but the more I think about this ‘modern’ film camera the more I understand why.

The Nikon F100 was released in 1999 and discontinued in 2006, making it a relatively recent example of the format. It was launched as a more affordable alternative to the Big N’s range-topping Nikon F5, making it an incredibly capable body for 35mm film photography.

But what makes the Nikon F100 such an attractive prospect is that it represents a sweet spot between specs and affordability. If you’re looking for what is technically the very best film camera Nikon ever made, look no further than the Nikon F6, which was released in 2004 and remained in production right up until 2020.

Because the F6 was never surpassed, it still commands extremely high prices on the used market. I’m seeing them priced in and around the $1,700 / £1,400 mark. The Nikon F100, on the other hand, goes for around $300 / £300. That’s a big difference.

Ultimately, the Nikon F100 gets you close enough to the Nikon F6’s specs that all but the very hardcore of film photographers would benefit from the difference. Don’t get me wrong, the F6 is the more advanced and better camera – but for most film uses, the Nikon F100 will do the job.

Nikon F100 vs Nikon F6

Using both the Nikon F100 and Nikon F6 will feel somewhat familiar to Nikon DSLR users. They’re not a manual film camera like the Nikon FM; they feature a variety of automatic modes, making them more complicated initially but overall easier to operate.

When it comes to the two cameras stacked up against each other side by side, there are a few big differences. Firstly, the Nikon F100’s 3D Matrix Metering is inferior to the F6’s 3D Color Matrix Metering and autofocus is a similar story.

The Nikon F100 featured Nikon’s Multi-CAM1300 5-area AF module, while the F6 debuted the more advanced Multi-CAM2000 11-area AF system.

Both cameras are well made, but the Nikon F6 comes out on top with extensive weather sealing and an all-metal body, compared to the Nikon F100’s largely metal build and only partial weather sealing. The Nikon F100 can also suffer from Nikon’s infamous sticky rubber/leatherette, much like the Nikon D70.

Lens compatibility is another win for the F6 over the Nikon F100. Make sure you look up exact lens compatibility before buying any film camera. While both cameras can accommodate most Nikon F-mount lenses, the F6 boasts better all-around compatibility. For example, the F6 can retain Matrix Metering when using manual F-mount lenses; the Nikon F100 cannot.

The viewfinders are slightly different, too, with the Nikon F100 featuring 96% coverage to the Nikon F6’s 100%. And while it won’t matter to most users, and could even be seen as a plus to some, the Nikon F100’s shutter is much louder than the Nikon F6.

If that seems like a lot of differences, it most certainly is. The Nikon F6 isn’t regarded by many as the greatest film camera ever made for nothing. But when it comes to film photography as a hobby, the vast majority of film photographers will get by with the Nikon F100 just fine.

If you’ve got the money then, by all means, pick up a fine piece of film photography history. For everyone else, the Nikon F100 is all the film camera you could ever need and provided you can find a good example, you cannot beat current used prices.

You might also like...

Want something that looks cool but boasts more mod cons? Take a look at the best retro cameras. If you're looking for a more authentic retro film camera experience, the Nikon FM could be all the camera you'll ever need. And to stay up to date on the most recent imaging advancements, here's the latest camera news.

Nikon has released the latest firmware for the Z50II – an affordable APS-C shooter geared towards beginners and vloggers – with the update expanding shutter priority (S Mode) controls when recording video along with several label and location changes to settings menu items.

While the name and location changes of settings menu items alone might not justify updating to firmware version 1.10 for stills photographers, videographers will want to consider the added creative controls over exposure and depth of field.

The most impactful new feature of the firmware update is the ability to manually adjust aperture when recording video in S Mode, enabling filmmakers to dial in depth of field and adjust exposure by eye. Prior to firmware version 1.10, the Z50II would make all the ISO and aperture decisions for you when recording in S Mode.

It’s a seemingly minor update that moves S Mode towards more of a hybrid auto-come-manual mode, but one that puts an end to any unwanted sudden and drastic exposure changes.

Nikon Firmware Download

Download firmware version 1.10 (Nikon Z50II)

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Nikon to address them. Keep an eye on Digital Camera World and we'll let you know about any problems.

Nikon has also rejigged the settings menus in the Z50II. In Picture Controls, “Cloud Picture Control” is now called “Imaging Recipe” and “Add Cloud Picture Control files” under the Set Picture Control setting has changed to “Download Imaging Recipes”.

You’ll also notice changes to the Setup Menu, including an added option to save your current focus settings to the U1, U2, or U3 positions on the top mode dial.

You might also like…

Take a look at our expert pick of the best Nikon cameras from basic beginner models to advanced pro rigs.

The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

The top trending cameras at B&H for June 2026 include:

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

You may also like...

Trends may be good indicators, but these are the best mirrorless cameras based on expert testing.

The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

The top trending cameras at B&H for June 2026 include:

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

You may also like...

Trends may be good indicators, but these are the best mirrorless cameras based on expert testing.

Japan has long been one of the world's biggest camera markets and is used as an indicator of wider photography trends. Now new data from Minna Camera suggests a more complex picture than the familiar "mirrorless takeover" narrative.

Between November 2025 and June 2026, the most-traded camera on the platform was the Ricoh GR IV – a 228g compact camera and the lightest and only model of its kind in the Top 20. Despite its 2025 release, it sits at No.1 in the rankings, a position supported by strong demand and frequent stock shortages.

At the other end of the scale, heavier DSLR models continue to appear in the rankings. The Nikon D500 still appears in the Top 20 at 760g, making it the heaviest camera in the rankings, alongside long-standing models such as the D750 and D7500.

The Top 20

Top 20 most-traded cameras at Minna Cameras (Nov 6, 2025 - Jun 13, 2026)*

*Camera type, sensor size and release date added by Digital Camera World

Used-market insights

Compact vs. mirrorless vs. DSLRs

Mirrorless cameras account for 80% of the Top 20, dominating the rankings with models from Canon, Nikon, and Sony.

The Ricoh GR IV is the exception. At just 228g, it is the only compact camera in the rankings (5% of entries), yet it is also the most-traded model overall.

DSLRs make up the remaining 15% of the Top 20. Nikon is the only manufacturer represented in this category, with the D500 (11th), D750 (17th) and D7500 (19th) all appearing in the rankings.

Lighter vs. heavier gear

The mirrorless era, now almost two decades old, brought photographers smaller and lighter camera systems.

This shift is visible in the data, with 15 of the Top 20 cameras (75%) weighting 600g or less. The remaining five models (25%) all exceed 600g.

Yet the persistence of heavier DSLRs suggests that weight alone is not the defining factor for photographers buying on the used market.

For many, the used market represents one of the last opportunities to get discontinued DSLR models – or to find a high-demand compact camera that can be diffivult to purchase new.

You might like...

Browse the best mirrorless cameras, the best DSLR cameras and the best compact cameras.

I said that the Nikon DL Series would sell like hotcakes today and roughly a year later, Nikon Rumors has posted a tenuous report that the doomed premium compact camera lineup could be making a more impressive comeback than Belgium did against Senegal in the World Cup. I say tenuous because none of this information has been confirmed (nor backed up by multiple sources).

It follows rumors that Nikon is working on its first full-frame compact camera and I can’t help but wonder if these rumors regard two separate releases or are actually one in the same. After all, an aftermarket EVF was touted in that rumor. Regardless, Nikon Rumors seems confident that some kind of Nikon compact is in the works, stating: “Nikon will definitely release a new compact camera.”

The ‘DL’ rumor comes with a few details, including the use of premium materials, an included leather case, Flexible Color Picture Controls, an aftermarket smart-shoe EVF, and a stacked, 24-MP 1-inch sensor. Much of this seems par for the course and while I’d prefer an EVF as standard, offering an attachment is the next best thing, I guess. The bit that worries me is that 1-in sensor. I said in my DL retrospective that if the series were to ever make a comeback, I’d like to see an APS-C sensor. And if you look at the compact camera landscape, I think that makes absolute sense.

1-inch sensors are sooo last year?

Most of the latest and greatest premium compact cameras are built around Micro Four Thirds [MFT], APS-C or full-frame sensors, and I think most consumers are getting used to larger compact cameras and the increased image fidelity that they provide. Think about it, you’re going up against the likes of the Fujifilm X100VI, Leica D-Lux 8, Ricoh GR IV, Leica Q3, and more recently the Panasonic Lumix L10. All premium compact cameras, all packing sensors that are larger than one inch.

If there’s stock in the one-inch sensor design, it’s possible that Nikon has identified an overcrowded APS-C premium compact market and is looking to operate within a sparser class of cameras. The Panasonic Lumix ZS300 (TZ300) is the latest compact with a 1-inch sensor launched by a major manufacturer.

Technically, the Fujifilm X-Half is another recent release, although its quirky vertical mount and entry-level build mean it stands alone. The Sony ZV-1 II is a video-focused device and it’s been nearly seven years since the Sony RX100 VII, although the VIII is rumored. It just worries me that consumers expect more from a premium compact camera’s sensor in 2026.

It wouldn’t be the first time Nikon has built a system around a one-inch sensor and found it to be a hard sell. People often wrongly think of the Z Series as Nikon’s first mirrorless camera lineup, but the ‘Big N’ dipped its toe into the world of mirrorless cameras with the Nikon 1 Series, which debuted in 2011.

I don’t think you can call a system that lasted up until 2018 and spawned 13 Nikon-branded lenses and 11 cameras a complete disaster, but it certainly wasn't a resounding success either. I don’t have a crystal ball, but I’ve always wondered if the 1 Series would have proven more robust if it’d been built around an APS-C-format sensor.

Of course, everything I’ve talked about today is complete hearsay. I hope we at least get a fixed-lens full-frame Nikon. And unlike the doomed Nikon DL Series, I hope whatever Nikon’s actually got cooking gets off the ground this time. One-inch sensor or not.

You might also like...

If you're a Nikon fan, make sure you check out the best Nikon cameras. How the Nikon Z30 failed the vlogging market, but rose from the ashes as an unlikely alternative to the premium compact camera. Denied World Cup accreditation, sports photographer captures games on television – but not everyone is a fan.

The Nikon D700 is trending, and while it might not be the first budget camera I’d stick on my recommendations list, you cannot argue with the image quality or price. At the time of writing, a working Nikon D700 can be picked up from used camera retailer MPB for as little as $249 / £149. Evidently, photographers are buying up DSLRs, and when you consider what you get for your money, it’s not hard to understand why.

Nikon announced the Nikon D700 in July 2008. Its biggest selling point was its heavy infusion of Nikon’s flagship D3 tech, and that’s still appealing today. You see, the D700 might be an aging piece of kit, but it still feels like a high-end product. After all, it’s a pro-grade, weather-sealed Nikon, made in Japan. It’s got that reassuring, high-end Nikon DSLR feel in that it’s like holding a miniature tank.

Nikon D700: Aging specs, premium build

The Nikon D700 is built around a 12.1-MP full-frame sensor, which in and of itself is reason enough as to why photographers on a budget may be interested in an aging DSLR like this. Full-frame cameras aren’t cheap and while 12.1MP isn’t up to today’s standards, the D700 is still capable of capturing gorgeous imagery. You just have to be much more regimented about getting it right in-camera.

And that’s another reason why a DSLR can prove to be a great buy. It’s a harder tool to learn than a modern mirrorless camera; it will force you to become a better photographer. Despite the D700 having impressive specs for its time, you’ll need to consider your ISO carefully to avoid noticeable noise; you won’t be able to fire off super-quick bursts because it’s capped at 5fps (without the MB-D10 battery pack), and you’ll have to wrestle with a robust but technically dated AF system. And all that’s before you consider the lack of an EVF.

But the good news is, if you learn on a cheap but capable DSLR like the D700, you’ll find the transition to mirrorless much easier. This old camera has another cool feature (or lack thereof) up its sleeve: it doesn’t do video. Now, that might seem like a shortcoming in 2026, but if the D700 did have video capabilities, they’d be undesirable anyway.

What you’re left with is a rarity in the modern world of photography: a stills camera that’s a stills camera only. If you’re determined to become a true student of stills photography, the D700 is an all-out photography machine. No video-centric distractions. Don’t get me wrong, it’s easy to ignore a camera’s video features, but there’s something pure and characterful about the D700’s limited featureset that’s a rarity in modern photography.

Nikon D700 as a cheap lens platform

And finally, perhaps the best reason to pick up a D700 or any DSLR for that matter is that you can take advantage of cut-price DSLR glass. My number one tip for new photographers or photographers getting into an interchangeable-lens system for the first time is to avoid spending all of your budget on a fancy camera and have nothing left over for lenses.

If your budget is really tight, a cheap DSLR can be used as a lens platform to start with, and then in the future you can always upgrade the camera. In the case of Canon and Nikon DSLR cameras, you can pick up official adapters so you can even end up with a new mirrorless camera and still make use of your lens collection.

So there you have it; the D700 still isn’t the first camera I’d recommend for photographers on a budget, but this exceedingly cheap DSLR could still prove a great entry point into the world of serious photography for the right photographer.

You might also like...

If you’re a fan of the ‘Big N’ then you’ll want to pick up one of the best Nikon cameras. The Nikon Df is the DSLR I'd buy today – and reminds me that photography isn't always about cutting-edge perfection. Has the compact camera trend already stalled? Camera numbers are down across every major category in the latest data from Japan.

Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

You might like...

Browse the best standard zoom lenses, the best 70-200mm lenses, and the best telephoto lenses.

Instead of relying solely on billion-dollar space telescopes, NASA should also consider using pictures taken by astronauts with commercial handheld cameras to study the cosmos. That’s what astronomers at Tokyo City University, Japan, have suggested in a new research paper.

The paper has revealed how an image taken by one of the astronauts during the recent Artemis II lunar mission has improved understanding of the F corona – scattered light from cosmic dust forming part of the outermost layer of the Sun's atmosphere.

The image was taken on day 6 of the lunar mission as the astronauts witnessed a total solar eclipse from the far side of the Moon. We don’t know which astronaut pressed the shutter, but we do know, thanks to EXIF data, that they used a Nikon Z9 and Nikkor 35mm f/2D lens, with settings: 2secs at f/2, ISO 1600.

According to the Japanese astronomers, the F corona is a faint spreading structure that can be seen in the image surrounding the Moon, which is obscuring the Sun, and special conditions such as a total solar eclipse are required for observation.

By analyzing the image, the astronomers deduced that the extent to which the F corona is distributed in the north-south direction is greater than scientific models have previously predicted, revealing new understanding of the origin and evolution of materials within the solar system.

The Tokyo-based researchers have said the study represents a pivotal intersection of science and human activity, as “a single photograph taken by a person in space” has highlighted a potentially crucial role astronauts using handheld cameras could play in the future of astronomy.

You might also like…

Discover our expert pick of the best Nikon cameras from basic beginner to advanced pro models.

I think older DSLR models are excellent choices for beginner photographers on a budget, and Nikon certainly has some of the best, especially as it practically dominated the entry-level end of the market for years.

In fact, the Nikon D600, with its 24MP sensor, continuous shooting of up to 5.5 frames per second and Full HD (1080p) recording is seemingly a solid choice, even more so now that you can find the 2012 camera for as low as around $300 /£275 (approximately AU$430) on sites like MPB.

However, if you’re eyeing up a Nikon D600, you should know that this camera has a history of oil spots building up on the sensor, causing unwanted marks in images.

Essentially, during operation, the shutter blades and their internal components would release micro-droplets of lubricant (oil) onto the sensor. This is a well-documented issue in the D600 and one that's tricky to sort as the oil tends to smear when wiped with a sensor cleaning kit.

I’m not saying that the D600 you may buy will definitely be affected by this, especially as Nikon addressed the issue in many cameras with service advisories offering free shutter system replacements.

This came following a class action lawsuit filed collectively by users in 2014 who had faced ongoing issues, despite, in some cases, having already sent their cameras in to Nikon for cleaning multiple times.

Some users also reported the leaking oil problem to seemingly fix itself after using the camera for some time. Nikon says the D600 was tested for up to 150,000 shutter cycles or actuations, so my educated guess is that picking up a camera with a low five-figure count may reduce the chances of an issue.

But, basically, what I’m saying is, be aware of this particular issue and investigate if the camera you’re keen on has been affected by it before deciding whether or not to buy. It could be that your contender has had absolutely no issues whatsoever, or it could be that the camera has a history of leaking oil onto the sensor.

Do your due diligence, and you’ll increase the chances of picking up a good Nikon D600 at a decent price, or you’ll know to opt for another camera altogether. In fact, my first camera was a Nikon D3500. This is a model I highly rate and one that’s never faced serious manufacturing defects like the D600.

You might also like…

Discover our expert pick of the best cheap cameras featuring solid specs that won't break the bank.

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

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

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

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

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

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

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

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

You may also like...

Take a look at the best Nikon cameras or the best Nikon Z lenses.

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

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

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

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

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

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

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

You might like...

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

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

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

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

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

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

Old tech, trendy soul

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

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

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

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

Nikon Z50 vs Canon EOS R100

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

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

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

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

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

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

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

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

You might also like...

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

The steepest camera discounts are often on older models. But the best deals on Nikon cameras that I’ve seen so far during Prime Day aren’t on older cameras but on three of the imaging giant’s best mirrorless cameras.

The Nikon Z6 III, Z5 II, and Z8 have all dropped to the lowest price yet, according to Amazon price trackers. Those three cameras are among our most-recommended Nikon full-frame cameras, covering the span from beginner to serious professionals.

Nikon Z6 III: The best Nikon for most

The Z6 III is the Nikon that I would pick for myself – and the model that leads the list of the best Nikon cameras. The 24.5MP full-frame sensor captures excellent detail, yet offers an excellent balance between resolution, low-light performance, and speed.

But the real reason that I’m drawn to the Z6 III is for the low-light autofocus. The Nikon Z6 III has class-leading low-light autofocus performance, which is rated down to an impressive -10EV. That’s also paired with impressive 20fps burst speeds, 6K60 video, and fantastic ergonomics with a comfortable grip, a flip screen, and a highly detailed viewfinder.

Nikon Z5 II: The best budget full-frame Nikon

The Z6 III’s impressive low-light autofocus and 24.5MP resolution surprisingly trickles down to Nikon’s most affordable full-frame camera, the Z5 II. Image quality and autofocus are going to be consistent between the two cameras.

What makes the Z5 II more affordable is that it’s not as fast because it doesn’t have the same partially stacked sensor design as the Z6 III. That drops down the burst speed to 11 fps mechanical and 15 fps electronic burst speed, so it’s not as good for sports and action.

The other genre that may want to spend more for the Z6 III instead is video, as the Z5 II tops out at 4K60p and crops the sensor in video mode as well.

The Nikon Z8: The best Nikon for pros (and action)

While the Z6 III is more than capable of pro portraits, for pros demanding the most speed and resolution, the Nikon Z8 is the way to go. The Nikon Z8 has the resolution and speed of the flagship Z9 but is packed into a smaller and more affordable body.

That gives the camera a 45.7MP full-frame sensor with 120fps bursts and a 493-point autofocus system that has ten different kinds of subject recognition. Complaints are minimal – the battery life could be better, and some competitors have even smarter autofocus systems. But for action and high resolution, both, the Z8 is an excellent camera.

You may also like...

Browse more of the best Prime Day camera deals, or follow our live Prime Day deal coverage for the latest deals. Or, take a look at the best Nikon Z lenses to pair with a Nikon mirrorless.

Viltrox makes some of the best third-party lenses for Sony, Nikon, and Fujifilm cameras, amongst others, and all at a fraction of the price of official glassware. And on Prime Day(s), there's a cool 20% off a range of lenses, from fun lens cap pancakes to fully pro fast autofocus glass, making these already attractively priced lenses not-to-be-missed bargains!

Here are some of the highlights, but there are loads more. Click on the alternative lens tabs on the Amazon page to find the perfect Viltrox lens for you.

While Viltrox lenses may be cheap to buy when compared to the big manufacturers' equivalents, there's nothing cheap about their build quality or spec sheets, with luxuries such as fast apertures and autofocus found throughout the range. While the deals above are Sony-fit, you'll find Prime Day Deal discounts on Nikon and Fujifilm-fit lenses, too, on Amazon's Viltrox Store.

I've been scouring Amazon for the best Prime Day deals on the best Nikon cameras and best Nikon lenses, and I'm afraid I've come up empty-handed, on day one at least. But just when I thought all was lost, I came across these cracking deals on Viltrox Nikon-fit lenses for Z-mount cameras.

Viltrox makes some of the best third-party lenses for Nikon cameras, and all at a fraction of the price of official Nikon glassware. And on Prime Day(s), there's a cool 15% off a range of lenses, from fun lens cap pancakes to fully pro fast autofocus glass, making these already attractively priced lenses not-to-be-missed bargains!

Here are some of the highlights, but there are loads more. Click on the alternative lens tabs on the Amazon page to find the perfect Viltrox lens for you.

While Viltrox lenses may be cheap to buy when compared to Nikon equivalents, there's nothing cheap about their build quality or spec sheets, with luxuries such as fast apertures and autofocus found throughout the range. You'll find some of these lenses available as Sony-fit too, with the same Prime Day Deal discounts!

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

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

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

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

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

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

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

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

You may also like...

Take a deep dive into the best Nikon cameras or the best low-light cameras.

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

Hey good lookin’

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

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

The Nikon Z fc is great value

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

Nikon’s got soul!

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

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

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

You might also like...

Want to know what it's actually like shooting with the Nikon Z fc? 27 miles, two days, and one Nikon Zfc. I pushed this cheap retro camera to its limit on the streets of New York. If you like the Nikon Z fc, but would prefer a film camera, check out the Nikon Zf. And to stay up to date, here's the latest camera news.

One of my friends just asked me an interesting question: should she buy a Nikon Z fc mirrorless camera or a Nikon D7500 DSLR camera?

It's not a comparison I'd have thought anyone would make. They're both entry-level in terms of specs, sure. But aside from being mirrorless, the Nikon Z fc is a very fashion-conscious retro camera; the Nikon D7500 DSLR camera is the furthest thing from fashionable.

Still, this probably says more about my friend than me. She doesn't care about fashion; she's all about function. She wants an affordable but capable photographic tool for a mix of studio and street work.

So, with similar specs and capabilities, I broke down the differences – and I was surprised at the recommendation I made!

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Photo

Both cameras have a 20.9MP APS-C sensor, which is DX format in Nikon speak. But beyond the raw resolution, these cameras have some significant differences – and I was surprised that the Nikon D7500 DSLR camera came out on top of its mirrorless stablemate.

The D7500 has more robust stills specs, with a maximum 1/8000 sec shutter speed and a flash sync speed of 1/250 sec. While its burst shooting speed is a modest 8fps, its native ISO100-51200 sensitivity can actually be pushed 5EV to an equivalent ISO1,640,000!

By contrast, the Nikon Z fc maxes out at a 1/4000 sec shutter – still good for most jobs, but for outdoor photography on a bright summer day it's going to be more limited. Similarly, the flash sync is slower at 1/200 sec and the same native ISO100-51200 can "only" be pushed to ISO204,800. Its top continuous shooting speed of 11fps is better for fast action, though.

Amazingly, the Nikon D7500 DSLR camera is actually more capable than the Nikon Z fc mirrorless for what my friend needs. Its shutter is more versatile for strobes and street shooting alike – and while I wouldn't ever use any camera's maximum setting, an ISO of 1.64 million is pretty impressive!

It's worth noting that the Z fc has superior autofocus, particularly with moving subjects, and its fully articulating screen is more versatile than the D7500's tilt-only affair. However, as a viewfinder-only shooter who shoots still subjects, these weren't super relevant to my friend.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Video

This one's closer than you might expect, as both cameras shoot 4K 30p in H.264 with microphone jacks for capturing external audio.

The major difference here is the Nikon Z fc's superior autofocus, which is inherently superior to the technology of the Nikon D7500 DSLR camera thanks to the latter being limited to contrast-detect AF in live view.

The Z fc's mirrorless tech has a different AF pipeline along with eye AF and subject tracking that makes it a far better video option – especially with the fully articulating rather than tilt-only screen. It also boasts FullHD up to 120p, compared to 60p on the DSLR.

Video isn't a consideration for my friend, but this is obviously a clear win for the Z fc.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Body & handling

With everything else being pretty comparable, I think this is really the deciding factor – because these cameras handle completely differently.

For starters, the Nikon D7500 DSLR camera has an optical viewfinder – glass-and-mirror tech that shows you exactly what the lens sees, but does not reflect the exposure values that the sensor sees. In other words, you will need to confirm your exposure on the rear screen after taking a shot (unless you shoot in live view mode).

The Nikon Z fc, as a mirrorless camera, functions 100% in "live view" as it only shows you what the sensor sees, with your exposure settings factored in. This gives you a WYSIWYG form of shooting, where what you see in the electronic viewfinder (EVF) or rear screen is exactly what your picture will look like when you've taken it (external flash notwithstanding).

Personally, I struggle to go back to optical finders these days – the WYSIWYG factor of an EVF makes life so much easier, and is especially useful for newcomers learning photography. However, I know that this is a very divisive issue – and some shooters (like my colleagues Mike, Seb and Rod) feel that optical finders are superior.

As a DSLR user, my friend also falls into the optical finder camp – so I have to concede this point in this particular conversation!

As alluded, the D7500 has a tilt-only rear screen while the Z fc has a fully articulating affair. Conventional wisdom says tilty screens are better for stills while "flippy screens" are for video, but this is a limited way of looking at things; tilt-only screens are fine if all you shoot are horizontal pictures, but for portrait shooting anything other than head-on they're useless.

Again, she doesn't shoot off the rear screen so it's a moot point, but I'd personally take the flippy screen any day.

Perhaps the biggest practical difference, certainly for my friend, is in the ergonomics of these cameras. The Z fc is styled after old film cameras and as such is flat as a bar of soap and eschews any kind of grip. Which again, contrarian that I am, I actually prefer, as I like slim cameras.

However, just about everybody I ever talk to prefers a camera with a grip (even most Z fc owners buy a grip, which I don't understand!). And the Nikon D7500 DSLR camera has a proper chunky grip, so you have plenty of purchase – especially when using big lenses (which, I'll concede, is easier with a grippy body!).

On top of that, the D7500 is extensively weather sealed for all-weather shooting. It's also much more sturdy and robust; the Z fc looks lovely, but it's quite light and plasticky in build. Sealing aside, the DSLR will withstand plenty more knocks and scrapes than the mirrorless – and it certainly doesn't have as much pretty paint to scratch off.

Unsurprisingly, the DSLR is a better fit – quite literally – for my friend's needs here.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Verdict

For 90% of people, I'd have recommended the Nikon Z fc. I prefer the EVF, the flippy screen, the superior video and autofocus, and I think it's one of the prettiest cameras around – so I love its looks and its ergonomics.

However, for my friend's needs and proclivities, I'm amazed to say that the Nikon D7500 DSLR camera is the better fit. She prefers an optical finder ("to see what the light is actually doing"), she prefers a camera with a proper grip for sustained shooting sessions, and she doesn't use video but she does use flash and needs the fastest shutter for outdoor use.

So it astonishes me to say that I recommended the D7500 – even though it's an older camera, with more limited tech at a higher price. I actually can't believe it – DSLR beat mirrorless. I need to go and lie down…

You might also like…

Take a look at the best Nikon DSLR lenses for the D7500 and the best lenses for the Nikon Z fc, and check out the best Nikon cameras across all categories

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

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

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

Nikon Z6 II vs Nikon Z5 II

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

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

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

You might also like...

If you're a Nikon fan, check out the best Nikon cameras. If you'd like to search beyond Nikon's Z System, here are the best cheap cameras. If you'd like to pick up some bargain optics, here are the best cheap lenses.

As much as I love chasing the northern lights, I haven’t yet attempted to see the southern lights. But NASA astronaut Jessica Meir arguably had one of the best views of the early June 2026 phenomenon, snapping swirling greens and reds 271 miles above the Indian Ocean aboard the International Space Station.

NASA shared the stunning photograph on June 16, but Meir captured the photo of the Australia Borealis on June 5 as the ISS passed south of Perth, Australia.

The photograph mixes both the arch of the lights with the curve of the Earth and swirling clouds. That means Meir and other ISS astronauts likely had one of the few viewing spots for the June 5 southern lights, as cloud cover will obstruct the views of the night sky phenomenon from Earth.

Meir took the photo with the Nikon Z9, which is one of the first mirrorless cameras ever to make the trek to space. As space cameras need to be thoroughly tested to withstand the rigours of space, using older DSLRs is more common – like aboard the recent Artemis II mission – but the Z9 is one of the first mirrorless cameras to be tested in space.

Meir took the shot through a window at the ISS – parts of the space station are visible at the top and bottom of the frame. A slow 1/4 shutter speed, bright f/1.8 aperture, and ISO8000 helped the camera gather enough light from the dark scene.

Meir is scheduled to remain at the ISS as the spacecraft commander through September 2026. Meir’s background is in studying life in the most extreme environments, from expeditions to study penguins in Antarctica while studying for her Ph.D. to her current role conducting biology experiments in space. Meir was also among the first all-female spacewalks alongside Christina Koch in 2019.

You may also like...

Explore tips for photographing the northern (or southern!) lights, or browse the best astrophotography cameras.

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

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

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

A tempting prospect: The "Baby Z9"

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

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

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

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

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

Nikon Z6 III: Two months too late

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

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

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

Live price check

See our pick of the best lenses for the Nikon Z9

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

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

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

Is Viltrox really making a Z-mount camera?

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

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

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

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

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

Why would Viltrox want to make cameras?

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

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

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

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

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

You might also like…

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

Over the years, a number of waterproof cameras have been produced. Likely the best-known of them is Canon’s AS-6, the “Aquasnappy”. But for serious underwater photographers, there has only ever been one choice.

Back in the mid-1950s, legendary oceanographer and explorer Jacques Cousteau wanted an easy-to-use, compact, amphibious camera that could be carried on the research vessel Calypso and used both on land and at depth.

Conceived by Cousteau and designed by Belgian engineer Jean de Wouters in the late 1950s, it is widely regarded as the first practical, fully waterproof 35mm camera that could be used directly underwater without a bulky external camera housing.

De Wouters built a prototype, which he called the Spiro in 1957, and that eventually evolved into the Calypso camera, manufactured by Atoms in France and distributed by La Spirotechnique in Paris starting in 1960.

The Calypso (sometimes called the Calypso-phot) was named after Costeau’s famed research ship, the RV Calypso.

The Calypso used a simple bayonet lens mount, whereby mounting the lens also pulled the two body halves into a single, watertight unit.

Both 28mm and 35mm lenses (often by SOM Berthiot) and a 45mm lens (by Angenieux) were made, and de Wouters designed a simple, two-bladed, focal-plane shutter that ran from 1/30 to 1/1000sec.

Aperture and focus were set via knobs marked on the lens barrel, rather than on the body. Later Nikonos versions gained a flash port in the base, for underwater flash units, making it a complete system for underwater photography down to about 60 meters (200 ft).

The Calypso’s most distinctive feature is a combined wind-on and shutter release lever. A small top-front rocker locks the lever and, once unlocked, the lever swings forward to its operating position.

Pushing it forward wound the film and cocked the shutter. Pressing it back into the body released the shutter. This layout minimized the number of seals needed and was carried over into Nikon’s Nikonos series.

In the early 1960s the design was licensed to Nippon Kōgaku (now Nikon), which refined it and sold it from 1963 onward as the Nikonos – later expanding it into a long-running series of underwater cameras. Thus, the Calypso is the direct ancestor of the Nikonos line and sometimes referred to as the “proto-Nikonos.”

Nikon produced several models, each adding modest but useful improvements, culminating in the Nikonos RS in 1992. It was a top-line autofocus SLR, waterproof to 100m, with a built-in motor drive, DX‑coded film sensing and a dedicated underwater AF lens set.

The system used Nikon’s special Nikonos / UW-Nikkor lenses, some of which were “water-only” designs optimized for shooting submerged.

These lenses are tuned so that the water itself becomes part of the optical path, giving very sharp, colour-rich images underwater – and they generally do not focus correctly above water. Popular focal lengths included 28mm, 35mm, 50mm macro, 13mm fisheye and the RS‑era 20-35mm zoom and 28mm zoom.

The autofocus Nikonos RS, the most advanced model, was quietly discontinued around 1996-1997 after only a few years of production. Nikon continued to manufacture and sell the Nikonos V until October 2001, when the company formally announced the end of the entire Nikonos series.

It cited the rise of high‑quality underwater housings for standard SLR and DSLR cameras, plus the shift toward digital imaging, as the main reasons for stopping new Nikonos development.

A small number of Nikonos RS bodies were modified by Kodak for the US Navy around 1995-1996, fitted with a digital-back-style rear unit similar to the Kodak DCS 420/425 series; thus becoming the Nikon/Kodak DCS 425 Underwater System.

But it was a one-off military project, not a consumer camera. The exact number made is not known, but believed to be quite small – and the price likely astronomical.

Nikon never did produce a dedicated, digital Nikonos-style camera. Enthusiasts still talk about the idea of a “digital Nikonos,” but Nikon has never brought such a camera to market. At least, not yet…

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

You might also like…

Take a look at the best waterproof cameras available today, along with the best underwater drones and ROVs – and even the best underwater fishing cameras.

After scooping a Highly Commended honor in the major Wildlife Photographer of the Year competition, 15-year-old Parham Pourahmad continues his award-winning rise in wildlife photography.

Parham was named the Youth winner in the prestigious Audubon Photography Awards for an image that freezes a Long-eared Owl in mid-air, wings fully extended. The jury says the image stood out for its "rich golden hues" with the "owl and the background complementing each other magically."

The young wildlife photographer based in Northern California shot both award-winning images exclusively with Nikon gear. His recent success was captured with one of the best DSLRs for beginners and a third-party lens – also found in his kitbag, the Nikon Z8.

Youth Winner

Shot info
Species: Long-eared Owl
Location: Fremont, California, United States

Tech details
Camera: Nikon D3500 + Sigma 150-600mm f/5-6.3 DG OS HSM | C
Exposure: 1/1000 secs, f/6.3, ISO 1800

Story behind the shot
Parham explains, "When I heard of a rare Long-eared Owl sighting at Coyote Hills Regional Park, I went to check it out. When I arrived before sunrise, I saw the owl looking for rodents in the park’s grasslands and marshes.

"It hunted on and off for the next hour, giving me ample time to take photos. The sun rose, shining beautiful colors all over the marsh.

"When the owl flew by, I framed it with its habitat to demonstrate the connection between the owl and its home.

"I appreciated the warm lighting and how the owl stood out despite appearing small in the frame."

You might like...

Browse the best DSLRs and the best cameras for beginners.

Looking for competitions to enter? Here are 10 global photo contests now open for entries from June to December.