If you're a high-end creator or videographer, you've probably got one question on your mind: Sony FX3 vs FX5, which do I get?

Chances are, you've probably already got a Sony FX3. Launched back in 2021, it's been an absolutely monster success story for Sony and has been the go-to camera for creators, videographers and even filmmakers for the past half-decade.

But it's definitely a camera with room for improvement, which is why Sony finally pulled back the curtain on the Sony FX5.

While it's keen to stress that this isn't a replacement for the FX3, and isn't just an FX3 II by a different name, the FX5 offers a clear upgrade path for existing users – and a compelling proposition for those using other brands how might be considering a Sony system.

So, stick with the familiar face or drop the not insignificant extra bucks on the new kid in town? Here's my Sony FX3 vs Sony FX5 at-a-glance comparison.

Sony FX3 vs Sony FX5: At a glance

Sony FX3 vs Sony FX5: What's the ACTUAL difference?

I'll try to make this as straightforward as possible.

The Sony FX3 is a 4K 120p camera that doesn't shoot internal RAW, but can take photos (12.1MP). It has dual base ISO (800 and 12,800), good for 15 stops of dynamic range. It has 5.5 stops of in-body image stabilization and a last-gen autofocus system with human-only subject detection (with birds in stills mode). It has a 3-inch, 1.44 million-dot rear screen and no native viewfinder options. It tops out at 24-bit audio and uses dual SD cards.

The Sony FX5 is (or rather, will be) a 5K 120p / 4K 60p open gate camera that doesn't take photos but shoots internal RAW, including X-OCN. It has three-base ISO (800, 4,000 and 12,800), good for 15 stops of dynamic range (before using Dual Gain Shooting). It has "equivalent" 8.5 stops of stabilization and an integrated AI processor with human, animal and bird algorithms. It has a 3.5-inch, 2.76 million-dot screen with optional Sony EVF. It 32-bit float (with the right accessories) and has dual hybrid SD / CFexpress A slots.

But of course, there's a bit more to it than that.

Sony FX3 vs Sony FX5: Buyer beware

Crucially, the FX3 includes the XLR handle – and does so for an all-in price tag of $4,298 / £3,579 / AU$5,999. The FX5 does not include the handle, despite its higher $4,898 / £4,700 / AU$7,849 asking price – you'll need to shell out considerably more for the $5,498 / £5,200 / AU$8,849 bundle.

Neither camera comes with an EVF. Third-party options are available for the FX3, though they use the HDMI feed. Sony offers a first-party option for the FX5, with 7.07 million-dot resolution and 90° tilting, which will cost you an extra $698 / £650 / AU$999.

Note that you will not natively be able to use the XLR handle and the EVF simultaneously on the FX5, due to a conflict of space and outputs on the top plate. The Sony has hinted that a third-party solution may soon be available for those who need it.

Perhaps most importantly, a number of headline features – namely full open gate and RAW recording functionality – are not available on the FX5 at launch. On day one the camera will only be capable of 5K 60p open gate and 4K 120p capture; the full 5K 120p / 4K 60p open gate and 4K 240p shooting will only be available with firmware v2, which won't come until 2027.

It should also be pointed out that Sony does not provide an official CIPA rating for the stabilization in the FX5 "because it's a Cine Line product", but explained that its performance is "equivalent" to the Sony A7R VI (rated 8.5 stops at the center and 7 stops at the periphery).

Sony also offers an irreversible service to disable the stabilization unit completely on the FX5, if your work requires hard mounting or drone use where IBIS is unhelpful or even problematic. The camera will be labelled as such on the bottom plate, to make it clear that the IBIS system has been deactivated to prevent confusion (particularly, I assume, on the resale market).

Sony FX3 vs Sony FX5: Verdict

Obviously this isn't a verdict on the performance of both cameras; I think it's pretty clear that the FX5 outperforms the FX3 in every category, unless you want to take a photograph.

Ultimately, if you're reading this, you want to know whether the FX5 is worth the considerable extra expenditure – and there are obviously a whole bunch of provisos and asterisks to consider, both for the camera itself along with your work and the way you shoot it.

If money is no object, of course – go straight for the FX5, there's nothing to discuss. Otherwise, you need to ask yourself if you really need what it offers that the FX3 doesn't.

Do you really need 5K open gate? Does the resolution you get at 16:9 shooting genuinely limit your work and the way you deliver content? How often do you truly need to use the same shots for vertical and horizontal output, and would an L-bracket and an extra take be better value? Do you even have the storage and processing power in your workflow to handle open gate files?

Do you really need three more stops of stabilization or AI-powered autofocus? Or do you use your camera on a gimbal, with a focus puller or even manual-focus lenses?

I think, if most creators and video shooters answer honestly, the answer is no to most of those questions. Or at least, no to the $1,200 difference between the like-for-like cameras. In truth, I think the biggest and most important considerations aren't the headline attractions at all.

Okay, I'll grant you that three-base ISO is important if you're not able to control the lighting where you shoot. There's a gaping chasm between ISO800 and ISO12800, so splitting the difference with an ISO4000 option can be a pretty big deal depending on your typical shooting conditions.

But far more important to me are things like 32-bit float, which is guaranteed to save your audio ass at least once in your career (and might single-handedly justify the purchase). The dramatically improved battery life is another big bonus, boosting continuous recording by around 35 minutes.

I'd also argue that switching to CFexpress cards is a pretty huge upside, as we all know how fragile the SD format can be. And obviously, internal RAW recording is an enormous plus if that's what your content requires.

In all, if you've been bumping into its limitations and the FX3 has been actively impeding your work, upgrading to the Sony FX5 is a sensible option for serious, high-end videographers. Remember, this is a hybrid product that boasts features and interfaces from the Venice and Burano lines. Are you really that caliber of shooter?

Otherwise, despite its age, the Sony FX3 still offers fantastic features and powerhouse performance – and at a much lower price point. And hey, if all you want is the option to use a nice EVF, you can buy the Sony FX2 for less than both of these cameras.

Amazon Prime sales are meant to be about finding great deals, but not everything that sells well is actually a bargain.

The Fujifilm X100VI became our best-selling camera across the entire sales period, proving once again just how much demand there is for Fujifilm’s viral premium compact.

There was just one major problem: it was selling for around $2,299, approximately $500 above its current $1,799 US retail price.

Shoppers were not receiving a Prime discount at all. Instead, they were paying a substantial premium simply to get hold of one of the most difficult cameras to find in stock.

I completely understand the temptation, especially when the X100VI has spent much of its life accompanied by a “temporarily out of stock” message, but please do not allow inflated third-party pricing to become the normal way of buying this camera.

Where to actually buy the Fujifilm X100VI

It is believed that placing an order through a retailer selling the X100VI at its proper retail price may now involve a wait of around a week or so rather than receiving it the next day. And some color options may take longer than others (the standard choice is silver or black).

However, waiting seven days to keep an extra $500 /£500 in your pocket sounds like a very sensible trade to me. That saving could buy several memory cards, spare batteries, a premium camera bag, a filter and hood setup…. Check out the best accessories for the X100 VI, to see what the saving could get you.

There is, of course, a reason the Fujifilm X100VI continues to attract this level of attention. Inside its compact, retro-inspired body is a 40.2MP APS-C X-Trans CMOS 5 HR sensor paired with Fujifilm’s X-Processor 5.

It also features a fixed 23mm f/2 lens, providing the equivalent field of view of a classic 35mm lens, making it a wonderful choice for street photography, travel, documentary work, and everyday shooting.

The Fujifilm X100VI also introduced up to six stops of in-body image stabilization to the series, helping photographers capture sharper handheld images in lower light. Its unique hybrid viewfinder lets you switch between an optical and electronic view, while 20 Film Simulation modes – including Reala Ace – provide Fujifilm’s much-loved colors straight out of the camera.

There is even a built-in four-stop ND filter, along with 1.4x and 2x digital teleconverter options for adding a little more flexibility to the fixed-lens design.

It's no slouch when it comes to video either, offering recording at up to 6.2K/30p as well as 4K/60p. The Fujifilm X100VI remains one of the most desirable compact cameras available, and it is easy to see why it became our most-purchased camera during the Prime sale.

Just remember that popularity does not automatically make something a deal. Wait the extra week, pay the proper price, and please keep that very welcome $500 for yourself.

As concerns surrounding artificial intelligence and misleading imagery continue to grow, a photograph's traceable history could become every bit as valuable as resolution, autofocus, or dynamic range. C2PA-enabled cameras help field the question "Is this AI?" by giving viewers an overview of how a photograph was captured and edited.

Cameras on this list may be designed for very different photographers, from photojournalists and documentary shooters to portrait, landscape, and commercial professionals. Some are compact rangefinder-style models, while others are powerful full-frame workhorses, but they all share one increasingly important feature: built-in support for C2PA-based Content Credentials.

This technology adds cryptographically signed provenance information at the moment an image is captured, helping viewers confirm where a photograph originated and whether it has been altered through a compatible editing workflow. It does not judge whether the subject itself is truthful, but it provides a transparent, tamper-evident record that can help distinguish genuine camera-captured photography from manipulated or AI-generated content.

Whatever genre of photography you shoot, the best C2PA-enabled cameras give you a clearer way to demonstrate that your images originated with you, in your camera, at the point of capture.

The best C2PA enabled cameras in 2026

Best in concept

Sample images

The Leica M11-P combines the traditional rangefinder experience with one of the most important new technologies in digital photography. Its understated design removes Leica’s familiar red dot, giving the camera a more discreet appearance that suits street, documentary, and travel photographers who prefer to work unnoticed.

Inside, it shares the same 60MP full-frame sensor as the standard M11, complete with Leica’s Triple Resolution Technology. Image quality is exceptional, with superb detail, rich color, and plenty of flexibility for large prints or heavy cropping.

The M11-P was the first camera ever to embed C2PA-compliant provenance information at capture, creating a secure record of an image’s origin and subsequent editing history. While many brands use software-based C2PA, Leica uses a hardware-based chipset to apply the C2PA as the image is captured, making the data harder to tamper with.

The C2PA embeds more than the typical metadata, like what camera was used and the photographer's name. The C2PA also records if the photo was opened in an editing program like Photoshop and, if so, what changes were made. If you only made adjustments to color, for example, that's what will show inside the Content Credentials.

Anyone can look up the Content Credentials online, but the feature is also compatible with Leica's Fotos app. These Leica Content Credentials cannot prevent photographs from being manipulated, but they give photographers a clearer way to demonstrate that an image began as a genuine camera capture.

The Leica M11-D offers the same C2PA functionality but removes the rear screen entirely, creating an even more traditional shooting experience. Reviewing images requires a connected smartphone, but for photographers seeking a more focused, film-like approach, it is an appealing alternative to the M11-P.

Read our full Leica M11-P review for more details

Best for beginners

Sample images

The Fujifilm X-T50 brings much of the imaging performance of the flagship X-T5 into a smaller and more approachable body. Its 40.2MP APS-C sensor and fifth-generation processor deliver excellent detail, strong color, and plenty of cropping flexibility, while built-in image stabilization makes it a capable everyday camera for travel, street photography, and portraits.

Video performance is equally impressive for a camera of this size, with high-resolution 6.2K recording, oversampled 4K, and internal 10-bit options. Fujifilm’s Film Simulations remain a major part of the experience, with the dedicated dial making it quick and enjoyable to switch between different looks without spending hours editing afterwards.

The X-T50 does support C2PA Content Credentials, giving photographers a way to attach verifiable provenance information to their images. Like other C2PA cameras, this attaches a digital signature and tracks whether or not a photo has been edited. The C2PA feature is also free to use and doesn't require a paid activation.

The X-T50 is one of the more affordable options for anyone who wants strong image quality and traditional Fujifilm handling alongside a modern authenticity workflow. It is not perfect, though. There is no weather sealing, the battery is relatively small, and the single memory-card slot limits its appeal for demanding professional work. Its price also places it close to the more robust X-T5, but for photographers who want Fujifilm’s latest sensor technology and C2PA support in a compact body, the X-T50 remains a very compelling choice.

Read our full Fujifilm X-T50 review for more details

Best hybrid camera

The Canon EOS R5 Mark II is one of the most advanced hybrid cameras available, combining a 45MP full-frame sensor with rapid shooting, sophisticated autofocus and professional video capabilities. It can capture bursts at up to 30fps and record 8K 60p RAW video, making it equally comfortable covering sport, wildlife, news assignments, and high-end filmmaking.

Canon’s Dual Pixel Intelligent AF is a particular highlight. Eye Control AF allows you to select a subject simply by looking towards it in the viewfinder, while Action Priority can recognise important movements in selected sports and shift focus towards the player most likely to perform the decisive action. Its powerful stabilisation and in-camera neural-network processing further strengthen an already formidable all-round package.

For this guide, however, the most important feature is its support for C2PA-based image authentication. With Canon’s Image Authenticity feature enabled, the EOS R5 Mark II can attach signed provenance information at capture, helping news organisations verify where an image originated and follow its history through editing and publication. Canon’s wider Authenticity Imaging System also supports certificates, trusted timestamps, and content-history verification, although C2PA functionality requires paid activation and availability varies by region.

While specifically designed for newsrooms, Canon's Image Authenticity requires a paid activation.

The EOS R5 Mark II is undeniably expensive, and not every photographer will need its extensive speed, video, and authentication capabilities. For professional photojournalists, sports photographers, and editorial teams that require both cutting-edge performance and a traceable image workflow, however, it is one of the strongest C2PA-enabled cameras available.

Read our full Canon EOS R5 Mark II review for more details

Best digital/analog experience

Sample images

The Leica M11-D takes a very different approach from most modern digital cameras. By removing the rear screen entirely, it encourages photographers to concentrate on framing, timing, and instinct rather than reviewing every image immediately after capture. The result is a slower, more deliberate experience that feels closer to shooting with a traditional film rangefinder.

Despite its minimalist design, the M11-D is built around thoroughly modern technology, including Leica’s 60MP full-frame sensor and C2PA-compatible Content Credentials. Provenance information can be attached at the moment of capture, helping create a secure record of where an image originated and how it moves through a compatible editing workflow. Like other Lieca,s the C2PA data is hardware based.

It is not the most practical choice for photographers who need instant playback, rapid menu access, or a conventional digital workflow, as image review is handled through a connected smartphone. For street, documentary, and fine-art photographers who value both a distraction-free shooting experience and verifiable image authenticity, however, the M11-D is one of the most distinctive C2PA-enabled cameras available.

Read our full Leica M11-D review for more details

Best Canon for sports

Sample images

The Canon EOS R1 is built for professional sports, news and action photographers who need speed, reliability and intelligent autofocus above everything else. Its 24.2MP stacked full-frame sensor can shoot continuously at up to 40fps, while the fast sensor readout keeps rolling-shutter distortion to a minimum when photographing rapid movement.

Canon’s Dual Pixel Intelligent AF system is the real highlight. Action Priority can recognise important moments in football, basketball and volleyball, while Registered People Priority helps the camera remain focused on selected individuals. Eye Control AF also allows photographers to choose a subject simply by looking towards it through the viewfinder, making the R1 exceptionally responsive in unpredictable situations.

The EOS R1 also offers 6K 60p RAW video, powerful in-camera noise reduction, and deep-learning upscaling that can increase the dimensions of a 24MP image by four times. It may lack the native resolution of some competing flagships, but its combination of speed, connectivity, and intelligent processing makes it ideally suited to photographers working against tight deadlines.

Of course, it also supports Canon’s C2PA-compliant Authenticity Imaging System. With the Image Authenticity function activated, the camera can attach a digital signature at capture, helping news organisations verify an image’s origin and track its history through editing and publication.

The full C2PA service requires paid activation, and availability varies between regions, but for professional sports and press photographers who need both rapid performance and verifiable imagery, the EOS R1 is one of the strongest options available.

Read our full Canon EOS R1 review for more details

Best Sony camera for sports

The Sony A9 III is built for professional sports, action, and news photographers who cannot afford to miss a decisive moment. Its full-frame global-shutter sensor eliminates the rolling-shutter distortion associated with conventional electronic shutters, while enabling blackout-free continuous shooting at up to 120fps with full autofocus and exposure tracking. It can also reach shutter speeds of 1/80,000 sec, including with compatible flash equipment.

Sony’s AI-powered autofocus system is equally impressive, recognising and tracking subjects including people, animals, birds, insects, vehicles and aircraft. Combined with its exceptional burst speed, this makes the A9 III particularly well suited to unpredictable subjects where even a fraction of a second can determine whether you capture or miss the image.

With compatible firmware and Sony’s Camera Authenticity Solution, the A9 III can also support C2PA-based Content Credentials. These add signed provenance information to captured files, helping photographers and news organisations verify where an image originated and follow it through a compatible editorial workflow. Sony also uses depth data inside the credentials, which helps prevent someone from taking a photo of an AI-generated image with the camera and passing it off as real.

Licensing and service availability may vary depending on the country or region. Basic C2PA certificate capabilities are included with the purchase of the camera, but the Digital Signature Upgrade License made for newsrooms is a paid upgrade.

For most photographers, the A9 III’s extraordinary speed will be unnecessary and will quickly create demanding storage, backup, and image-selection workloads. For professional sports and press photographers who genuinely need global-shutter performance, advanced autofocus, and verifiable image provenance, however, it is one of the most specialised and capable C2PA-enabled cameras available.

Read our full Sony A9 III review for more details

Best for megapixels

The Fujifilm GFX100S II makes high-resolution medium-format photography considerably more accessible. Its 102MP large-format sensor delivers exceptional detail, dynamic range, colour depth and tonal subtlety, making it particularly well suited to commercial, fashion, landscape, fine-art and archival photography.

Despite that enormous sensor, the GFX100S II is relatively compact and weighs approximately 883g. Its in-body image stabilisation provides up to eight stops of compensation, while Pixel Shift Multi-Shot can create files with resolutions of up to 400MP when even greater detail is required.

Its place in this guide comes from Fujifilm’s rollout of C2PA-based Content Credentials across selected GFX and X Series cameras. This gives professional photographers a way to attach tamper-evident provenance information to their work, helping demonstrate where an image originated and how it has been handled through a compatible workflow. The latest firmware and any required software should be checked before relying on the feature professionally, but C2PA is a free feature.

The faster and more expensive GFX100 II remains the better choice for demanding video or action work, but many photographers will not need its additional performance. For anyone prioritising extraordinary resolution, manageable handling, and verifiable image provenance, the GFX100S II is one of the most compelling C2PA-enabled cameras available.

Read our full Fujifilm GFX 100S II review for more details

Best compact monochrome

Sample images

The Leica Q3 Monochrom is an unapologetically specialised camera, combining a fixed 28mm lens with a dedicated black-and-white sensor. Its 60MP full-frame sensor captures exceptional detail, tonal depth and low-light performance, while the Summilux 28mm f/1.7 lens delivers excellent sharpness and contrast for street, documentary, travel and fine-art photography.

It is not designed for photographers who want maximum versatility. There is no colour capture and the lens cannot be changed, but those limitations are a large part of its appeal. The Q3 Monochrom encourages you to concentrate on light, texture and composition, creating a more deliberate and focused shooting experience.

For this guide, its other key feature is built-in Leica Content Credentials. The camera can attach C2PA-compliant provenance information at capture, helping establish where an image originated and providing a traceable record through a compatible editing workflow.

It is expensive and undeniably niche, but few cameras combine such exceptional monochrome image quality with a compact body, fast fixed lens and verifiable image provenance. For photographers committed to black-and-white photography, the Q3 Monochrom is one of the most distinctive C2PA-enabled cameras available.

Read our Leica Q3 Monochrom review for more details

Best mirrorless Leica

Sample images

The Leica SL3-P is a powerful hybrid camera designed for photographers and filmmakers who need speed, image quality, and professional video tools in one body. Its 44MP full-frame BSI sensor delivers excellent dynamic range, color and low-light performance, while its multishot mode can produce 176MP files when additional resolution is needed.

Autofocus is considerably faster and more dependable than on previous SL cameras, combining phase, contrast, and object detection. Continuous shooting reaches 40fps with full autofocus, making the SL3-P suitable for action, events, and documentary work as well as more considered portrait and commercial photography.

Video is another major strength, with 8K recording, 3:2 open-gate capture, with RAW output over HDMI. It also supports professional features including ProRes recording, L-Log, timecode, external SSD recording, and direct camera-to-cloud workflows through Adobe Frame.io.

The SL3-P is the second camera in Leica’s SL system to include Content Credentials technology, following its introduction on the SL3-S. It can cryptographically sign images at capture with information about the camera and subsequent editing history, giving professional photographers a clearer way to demonstrate the origin and authenticity of their work.

It is expensive, but for anyone who wants a premium hybrid camera with strong stills, video and C2PA support, the SL3-S is a highly compelling choice.

Read our Leica SL3-P review

Best all-rounder

Sample Images

The Sony A1 II is one of the most capable professional cameras available, combining exceptional image quality, rapid performance, and Sony’s most advanced autofocus system. It is an evolutionary update rather than a complete reinvention, borrowing several features already seen elsewhere in the Alpha range, but those improvements are enough to keep Sony’s flagship competitive.

Its 50.1MP full-frame sensor continues to deliver outstanding detail and dynamic range, while the improved in-body image stabilization makes handheld shooting more dependable. The most significant upgrade, however, is the automatic subject-recognition autofocus. The camera can identify and track different subjects with very little input from the photographer, making it faster and more intuitive for sports, wildlife, news, and documentary work.

For photographers who need to demonstrate the origin and authenticity of their images, the A1 II also supports C2PA-based Content Credentials through compatible firmware and workflow. The Sony A1 II is one of the first cameras to offer C2PA for video as well as stills. Sony offers a basic C2PA certificate at no additional charge, but the Digital Signature Upgrade License – which includes video licenses – is a paid feature built for newsrooms.

The biggest obstacle is its price. Rival flagship cameras now offer similarly impressive speed, autofocus, and image quality for considerably less. Even so, the Sony A1 II remains an exceptional professional tool, particularly for photographers who need one camera capable of handling almost any subject while also supporting a verifiable image-provenance workflow.

Read our full Sony A1 II review for more details

Honorable mentions

How to choose the best C2PA-enabled cameras?

Choosing the best C2PA-enabled camera should begin in the same way as choosing any other camera: think about what you actually plan to photograph. A photojournalist may prioritize speed, autofocus and durability, while a portrait or commercial photographer may care more about resolution, color depth and studio connectivity. The presence of Content Credentials is important, but it should complement the camera’s core performance rather than replace it.

You should also check exactly how C2PA support is implemented. Some cameras require a firmware update, additional software or a particular workflow before credentials can be attached and preserved. It is also worth considering whether the editing programs you use can maintain the provenance chain, especially if you regularly crop, retouch or export your images before publication.

How we test cameras

When I test a sports camera, I don’t waste time shooting brick walls or static landscapes – I take it straight to the action. Whether it’s courtside, ringside, or trackside, I put these cameras through real-world sports scenarios to see how they perform under pressure. Sometimes that means shooting pick-up games at the local rec center, and other times, it’s photographing elite Olympic athletes. No matter the level, the goal is the same: to push these cameras to their limits.

I stress-test autofocus, burst shooting, buffer depth, and battery life, capturing both stills and video. I shoot in bright outdoor conditions and dimly lit indoor arenas to see how the ISO performance holds up and whether the autofocus can track fast-moving subjects in tough lighting.

Once I’m done, the cameras go to our lab manager, Ben Andrews, for rigorous scientific testing. Using Imatest Master and DxO Analyzer, he evaluates:

1. Resolution (ISO-12233) – We use an Applied Image ISO-12233 resolution chart to determine the camera’s vertical resolution at the center of the frame. The higher the value, the sharper the detail.

2. Dynamic Range (DxO Analyzer) – This measures the camera’s ability to retain detail in highlights and shadows. We use DxO’s transmissive chart, which allows testing up to 13.3 stops of dynamic range.

3. Noise Performance (DxO Analyzer) – Using the dynamic range transmissive chart, we analyze the signal-to-noise ratio for both raw and JPEG files across all ISO settings. A higher value means cleaner images with less noise.

By combining real-world field testing with controlled lab analysis, we ensure these cameras are truly ready for the fast-paced demands of sports photography.

• Back to the top ⤴

FAQs

• Back to the top ⤴

As you probably know, mini camera keychains – especially Kodak keychain cameras – have been as popular as Pokémon cards lately. The craze first kicked off last year with the original Kodak Charmera, and since then everyone from Yashica to Insta360 has got in on the craze.

If you've somehow missed the trend, these keychain cameras are teeny-tiny compact cameras that are small enough to – you guessed it – fit on a keychain.

Their appeal is multifaceted. First and foremost, they're ridiculously cheap. Selling for about $35 in the US, they're affordable enough to be impulse buys and are perfect for gifting. Secondly, they're ridiculously cute and collectible. Coming in multiple colors and styles, there's a real "gotta catch 'em all" vibe.

But the Kodak keychain cameras added a third stroke of genius: blind boxes. Like a Labubu (or, indeed, a pack of Pokémon cards), Charmeras come in an unmarked box and you didn't know which of the six designs you were going to get (hence you're buying a box "blind").

I dunno about you but, as a child who grew up collecting things like stickers and trading cards, I'm a sucker for a blind box. And Kodak knew what it was doing by adding a "secret" seventh design – a super-rare version that you had a 1-in-48 chance of getting.

For a while, those secret Charmeras (with a transparent design) were being sold for $500 on eBay! The Millennium Edition Kodak keychain cameras also have a secret variant (in a very sexy chrome body) and Escura does the same with a "mystery" SnapRoll design.

However, while these keychain cameras are undoubtedly cute and collectible, it's fair to say that the image quality is far more about fun than fidelity.

If we take Kodak's keychain camera as an example, it packs a minuscule 1/4-inch sensor with just 1.4MP resolution. And there are some cheap knock-offs on Amazon with even worse quality.

So you're not exactly going to shoot a wedding on one of these, but it's a fun thing to have on your car keys or dangling from your bag – and they make perfect cameras for kids, too. I've tried out a bunch of them and, after some unscientific testing, these are the best keychain cameras I've used so far.

Best Kodak keychain camera

The one that started it all, the Charmera is the OG Kodak keychain camera – and thus, the one that set the bar. It's not a very high bar technically, though, with a tiny 1/4-inch sensor that maxes out at 1.6MP resolution for stills and FullHD 30p for video.

What is that good for? More than you might think, surprisingly! Obviously the images are never going to win you a photo competition, but they're about early era smartphone quality – an aesthetic which has a following among Gen Zers, for whom this is the "retro look" the same way that Polaroid and 35mm was retro for my generation.

Images are muddy but not devoid of charm, like shooting with a digicam from the late Nineties. They make for fun social media snaps, and the tinny video in particular has that vintage digital camcorder quality that some folks spend a lot of time layering LUTs and filters to replicate.

The rear screen is very small, making it tricky to compose images, though credit to Reto (the company that actually makes the Charmera) for including an optical viewfinder – which is even smaller and less useful, but is a nice nod to the old cameras like the Kodak Fling.

Something that my colleague Mike remarked on, which never occurred to me, is that the Charmera offers authentic retro charm – whereas the SnapRoll can only offer an imitation of retro brands.

Best film-style keychain camera

If you want a keychain camera that looks like a roll of film, the Escura Snaproll is by far your best bet – but there's more on offer than just looks!

The signature appeal of this camera is its design. Kodak's keychain cameras are cool just because they're small, but the SnapRoll is cool because it looks just like a canister of 35mm film.

Indeed, Escura has gone to great lengths to style the different SnapRoll variants after famous film stocks such as Kodak Gold 400 or Ilford Pan 400. Personally, I think that's even neater than a cute little rectangular box – and as someone who grew up shooting film, I much prefer the design of this to the Charmera.

It also boasts a bigger LCD screen, which makes it easier to frame and review your shots, and shoots both in a higher resolution and a square format – which is something that's always fun to challenge your compositions. Image quality is about on par with the Kodak, though I prefer the filters here – particularly the GameBoy-esque green filter, for which I have a soft spot.

However, video can only be captured in SD (720p) – though honestly, none of these keychain cameras take video that's very good by any conventional measure!

Best Kodak keychain camera for filters

The Charmera Millennium Editions are the second wave of Kodak keychain cameras, and possess the exact same technical specs as the original series.

What's different is twofold. First, where the OG Charmeras featured Eighties-inspired styling, the Millennium Editions features a Nineties aesthetic – with nods to things like pixel art as well as cult tech like Sony's MiniDisc, as you can see in the green one above.

(The "secret" chase variant even tips its hat to the iconic T-1000 from Terminator 2, with a liquid metal finish that's sure to have scalpers' eyes wide with anticipation.)

The other difference is also an aesthetic one, but for your photos: the Millennium Edition adds a new selection of frames and filters (including a neat Video Player frame, which looks like your photos are being viewed on something like RealPlayer or Media Player Classic).

While the original Charmera filters were pretty horrible (particularly the single-color options), here they're almost sophisticated. The new Pixel Filters offer a sort of duotone line art style – and the Coral in particular creates some very interesting results. If you enjoy creative filters, this is the one to go for.

Best keychain camera for creators

My hat is off to Insta360. Not only does it sell grips that turn the Ace Pro 2 action camera into a bona fide compact camera and even an instant camera, it also offers a housing that turns the Go 3S into a pro-level keychain camera!

That's what we've got here. The thumb-sized Go 3S slots into the Retro Viewfinder – a plastic sheath with a top-down optical viewfinder. And just like that, you've got a brilliant 4K keychain action camera.

Obviously this isn't the same sub-$50 proposition as the other cameras on this list, so some might see it as a cheat. However, if you want something keychain-sized that packs the power of a "proper" camera, this is the hands-down winner.

The Insta360 can shoot 12MP photos and 4K 30p video on a much larger 1/2.3-inch sensor, which delivers monumentally superior image quality. Seriously, it's in a completely different stratosphere – and also offers features like image stabilization, timelapse, slow-motion, open gate video and even pre-recording. It's even waterproof to 33ft!

Because there is no screen (although you can buy the Action Pod separately for about a hundred bucks, with a flipping 2.2-inch touchscreen) you'll need to pair the Go 3S with your phone – where there is an enormous amount of additional control available.

Best cheap keychain camera

If you just want something cute, cheap and photo-related to hang on your car keys or dangle from your camera bag, the Photo Creator Mini Cam is the one for you.

This keychain camera is essentially a glorified charm that takes pictures, but it's also ridiculously cheap. Right now you can find it for as little as $15 in the US and £6.50(!!!) in the UK, making it a perfect novelty purchase where images are a Brucie bonus rather than the point of the product.

And that's really the best way to think about the Mini Cam. Despite technically having more than double the resolution of the Charmera, the image quality is considerably worse for both stills and video.

However, there are a couple of unique upsides. For starters, this camera comes with a 1GB microSD card – so you can start playing with it right out of the packet. It also possesses a "flash" – although this is really just an LED that lights up, rather than anything that's going to illuminate a shot.

Again, that's really the case here: everything is for show. This is a cute little keychain camera that looks like a mini DSLR or mirrorless body, and it just so happens to be able to take photos and video. Ask nothing more of it and, for the super-low price, this is a fun little novelty item.

You might also like…

Want something that's still small, but boasts better image quality? Check out the best compact cameras and the best point and shoot cameras for more powerful portable picture taking!

Screen-free digital cameras are a relatively new trend, but an increasingly important one. Smartphones mean that there’s nearly always a camera within my reach – but that camera is also a portal to the World Wide Web, a phone, a computer, a videogame console and, frankly, a distraction.

That’s why I decided to ignore my iPhone camera for an entire week and shoot with some of the best screen-free digital cameras instead – and I loved it so much that I lasted nearly two weeks!

The rise of screen-free digital cameras are an admission that smartphone cameras often distract us from the moments that we’re meant to remember. But, a camera without a screen also feels far more retro – and many of them fall under the compact camera trend as well.

The best screen-free digital cameras make photography – and even videography – a slower, more intentional process. After trying out several options, I think these are the top screen-free options available. I’ve personally tested almost all of these cameras, with the exception of two options that were tested by Digital Camera World’s action camera and Leica experts.

Best screen-free digital cameras

Best screen-free digital camera overall

The trouble with a lot of screen-free digital cameras is that while they may not have a built-in screen, many rely heavily on smartphone apps to function. The Camp Snap CS-Pro is a screen-free camera that doesn’t require an app at all. The only time you’ll need a screen is to view the photos, and you can do that with a computer, tablet or phone and a USB-C cord or SD card reader.

The Camp Snap Pro uses a 16MP sensor to snap images with a touch of retro imperfection. Some smartphones will capture crisper shots, but I love the built-in retro filters and refreshingly simple design. My biggest complaint is that there’s a slight delay between when the button is pressed and when the photo is actually taken, which can make timing the shots more challenging.

The CS-Pro is a true point-and-shoot. The only controls beyond the shutter button are a dial to adjust the filter and a switch to turn the flash on and off. But perhaps the best part is that the camera only costs around $99 / £90 / AU$153 / CA$140.

Read my full Camp Snap CS-Pro review

Best "screen-free" digital camera for image quality

Okay, the Fujifilm X Half isn’t technically screen-free; in fact, it has two screens. But the X Half has a Film Camera Mode that disables the screen so you only see the shooting settings. You can’t preview your photos at all, are locked into one “roll” and have to wait for the photos to develop.

That makes the X Half both a standard digital camera and a screen-free digital camera in one, depending on which shooting mode you use.

Where most screen-free cameras are low-resolution shooters with small sensors, the X Half uses a 1-inch 17.7MP sensor that gives it a key advantage over cheaper cameras. But what I loved even more than the large sensor was the different film-like options.

The X Half is packed with Film Simulations, including an excellent black-and-white, but there’s also a light leak mode effect and even halation, two of my favorite film-like effects. My biggest disappointment is that you can’t pick a film simulation and the light leak, as the latter is its own separate mode.

Most screen-free cameras don’t have a macro mode, face detection, autofocus or video, but the X Half has all three. You can’t shoot video in the screen-free mode, however, and you can’t see the autofocus points through the optical viewfinder in the screen-free mode either.

The combination of the sensor and Film Simulations makes the X Half a camera that both snaps modern photos that can outperform a smartphone, and capture retro photos that feel more like film. Yes, technically, the X Half has a screen, but the film camera mode with its film advance lever and disabled screen felt just like using a camera without one.

Like many screen-free cameras, though, the X Half needs to connect to a smartphone to “develop” the photos taken in the film mode. Even if you return to standard screen mode, you can’t see the shots on the screen. I would have preferred at least having the option to still use film mode without requiring a smartphone to view them.

Read our full Fujifilm X Half review

Best screen-free digital disposable camera

The Flashback One35 V2 feels like a retro disposable film camera – but it’s a screen-free, reusable digital camera. The Flashback inherits the inherent slowness of disposable film with a charmingly clicky film wind button, which is required between each shot. Otherwise, using the camera is as simple as looking through the viewfinder and clicking the shutter.

What I really loved about the Flashback One35 V2 is the variety of different film presets that are available. There’s an excellent selection to choose from, including more golden tones and black-and-white. That, mixed with a more plasticky lens, gives the digital images some of the charm of disposable film.

The Flashback didn’t have noticeable shutter lag – a common issue among screen-free cameras. But, digital minimalists, be aware that the disposable dupe does require a smartphone, as the app is what allows for swapping film presets.

The standard mode requires 24 hours to “develop” photos before seeing them in the app. There’s a Digicam mode without the wait, but even this mode requires connecting to the app after 27 photos.

Read my full Flashback One35 V2 review

Best screen-free digital camera for kids

While I think the Camp Snap CS-Pro is the better option for grown-ups, I wouldn’t hesitate to pick up a Camp Snap 2 for a kid, pre-teen, or teenager – though on the strictest budgets, adults may still love this camera too. The second-generation camera adds the ability to swap digital presets as you shoot, but this function can be locked for the youngest kids.

The Camp Snap 2 feels a bit like a disposable film camera in its screen-free design, but unlike the Flashback One35 V2 the camera doesn’t require a smartphone app to work. The camera is so simple that even my six-year-old figured out how to turn the flash on and off.

While the Camp Snap 2 is a key improvement over the original, there’s still some shutter lag to contend with – this means a slight delay in taking the photos. If kids don’t hold still quite long enough, that can create a blurry shot, but there’s an audible click to know when it’s safe to keep moving.

Still, as a parent, I’m annoyed by the cameras for kids with games built in, so I love that my kid can’t try to sneak in extra screen time when I hand him this camera.

Read my full Camp Snap 2 review

Best screen-free digital video camera

One of the biggest things that I missed when I gave up my iPhone camera for more than a week to go screen-free was the ability to shoot videos. Well, Camp Snap has a screen-free camera for videos, too. The CS-8 is a digital camera that looks like a retro Super 8.

I loved the dial on the side of the CS-8 to swap between different retro looks. There’s a dial for adjusting the aspect ratio, too, which is great for social media videos. The quality isn’t the best, at 2.7K 30p across most modes, and the digital zoom in particular is best avoided. But the price also reflects those specs, so I didn’t mind.

My biggest hesitation with the CS-8 is that, while the Super 8-inspired design is endearingly retro, it’s also large – and when I’m traveling, I’ve often eyed the camera but ultimately couldn’t find the space for it in my bag. Still, few screen-free cameras can shoot videos, and the CS-8 is full of retro charm.

Read my full Camp Snap CS-8 review

Most compact / best waterproof screen-free digtial camera

The Insta360 Go 3S Ultra Retro feels like a cross between an action camera and the viral keychain camera, the Kodak Charmera.

The Insta360 Go 3 is typically a modular action camera that sits in a base with a screen. But the retro bundle doesn’t include this screen base and pops the tiny magnetic camera in a tiny retro housing, complete with a viewfinder to frame the shots.

Because the Go 3S is originally an action camera, this tiny screen-free setup will take photos as well as videos of up to 30 minutes in length – or 76 minutes with the included battery pack.

Because the camera is so tiny, adjusting most of the settings and retrieving the photos and videos is done with the smartphone app. But using a single press for photos and a double press for videos allows for swapping between photo and video modes without the app.

The retro attachment effectively turns the action cam into a screen-free digital camera – and a rather tiny one at that. This is a great option for digital minimalists who want to go screen-free while still shooting both photos and videos. It’s also a great option for creators who want something waterproof.

Read our full Insta360 Go 3S review and our take on the retro viewfinder accessory

Best screen-free mirrorless camera

While most screen-free digital cameras fall in the compact camera category, there’s one mirrorless camera that comes to mind that looks like a retro rangefinder but is actually hiding a 60MP digital sensor: The Leica M11-D. By leaving out the screen, the M11-D looks very much like the brand’s film cameras from the same M series.

Without the option to view the images as you shoot, the M11-D – which has always felt more slowed-down and intentional thanks to manual focus lenses – looks and feels more film-like, despite having all digital tech inside. The 60MP sensor and quality of Leica’s M-series lenses churn out wonderfully sharp images with beautiful bokeh.

DCW's Leica photographer, Sebastian Oakley, said it best in his Leica M11-D review: “By removing the rear LCD screen, Leica forces you to rely on your instincts and trust in your abilities as a photographer. It’s a liberating experience, one that places you fully in the moment, just as film cameras did in the past.”

Of course, as a Leica, the M11-D comes with a luxury price tag, but it's rare in its screenless mirrorless design.

Read Seb's full Leica M11-D review

How we tested screen-free cameras

Shopping for a screen-free digital camera isn't quite the same as looking for a standard compact camera. For one, screen-free cameras are often meant to be minimalist in both experience and the tech inside.

Many of them are meant to snap images with a retro feel, so resolution and sensor size aren't quite as important as, say, choosing a mirrorless camera. When considering the different screen-free options, I prioritized cameras that struck an ideal balance between the design, the images and the price.

I also considered cameras that aren't technically screen-free, as long as they had a mode to disable the screen. The screen isn't the real problem – it's the distraction that comes with a screen. That's why the Fujifilm X Half's Film Camera mode makes the list, even though it does technically have screens.

All the cameras on this list have been personally tested by DCW staff. I tested a majority of them myself, when I challenged myself to a week without my smartphone camera, while DCW's action camera expert Adam Juniper recommended the Insta360 Go 3S Retro, and Leica expert Sebastian Oakley voted in favor of the M11-D.

Find out more about how we test and review on Digital Camera World.

How to choose the best screen-free camera

The biggest question to ask when choosing a screen-free digital camera is why you want a screen-free camera in the first place. If you want something small enough to take anywhere without the distraction of a smartphone, then consider a budget point-and-shoot like the Camp Snap CS-Pro.

Leaving the screen off the camera often means the cameras rely on apps to adjust the settings and change the filters. If you're a true digital minimalist and don't want an app connection at all, then the list is an even shorter one, as options like the Flashback One35 V2 and the film mode on the Fujifilm X Half require a smartphone app.

Most screen-free digital cameras are simple compact cameras that try to replicate the look and feel of disposable film cameras. But, if you want something with above-average image quality, consider a camera with a larger sensor like the Fujifilm X Half or even the luxury mirrorless Leica M11-D.

Finally, keep in mind that many screen-free cameras only take still photos or videos and not both. The Insta360 Go 3S Retro is capable of both photos and videos. The Fujifilm X Half is too, but the videos aren't available in the screen-free mode.

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

What a camera! The Sony A7R VI is undeniably expensive but I’d expect nothing less, considering the specs. A headline attraction of this 2026 launch is Sony’s ultra-high-resolution 66.8 megapixel stacked image sensor, with the potential to capture the utmost in fine detail and texture. However, that places big demands on any lens that you mount on the camera. To say that you need really sharp lenses to make the most of the A7R VI would be an understatement.

But there’s more. Not just for meticulously planned and executed studio setups, the Sony A7R VI is perfectly viable as a sports and wildlife camera, complete with a super-fast 30fps burst rate, tenacious autofocus, and rock-steady image stabilization. Oh, and it more than qualifies as a hybrid camera, with a pretty amazing feature set for shooting video as well as stills.

With all of that in mind, I’ve selected some of the sharpest zoom and prime lenses from Sony’s own-brand FE-mount collection, plus some spectacular third-party lenses that really deliver the goods while being very competitively priced. I’ve also covered everything from top-grade standard, wide-angle, and telephoto zooms to perfect primes for street photography, portraiture, macro work, and everyday shooting. Let’s get straight to it…

The best lenses for the Sony A7R VI

• Back to the top ⤴

Best standard zoom for the A7R VI

The original version of this lens was an optical recipe for success, but the Mark II is better in every way. Honoring the name of its flagship G Master series, Sony has delivered a professional-grade zoom that is pin-sharp across its entire image frame, more comprehensively weather-sealed than the previous lens, and yet, somehow, is also 20 per cent lighter and 18 per cent smaller than the previous version. That's really very remarkable.

Handling has been revamped and is better than ever; the optical layout is completely revamped, and the lens boasts a new floating autofocus system powered by four XD (eXtreme Dynamic) linear stepping motors. It's incredibly precise, as we extolled in our review, and the technical quality is unimpeachable. Our exacting lab tests revealed a basically faultless lens across its zoom range.

Of course, all this quality comes at a cost. While I firmly think that the Sony FE 24-70mm f/2.8 GM II is worth its price tag, if your budget doesn't stretch that far, I'd recommend the Tamron 28-75mm f/2.8 Di III RXD G2 as an excellent cost-cutting alternative, which only costs about a third of the price.

Read more: Sony FE 24-70mm f/2.8 GM II review

• Back to the top ⤴

Best wide-angle zoom for the A7R VI

Naturally, Sony makes some excellent wide-angle zoom lenses but of the two top choices, the FE 12-24mm f/2.8 G Master is a little overly wide for my liking and the FE 16-35mm f/2.8 G Master II doesn't go quite wide enough. I was a big fan of Sigma’s 14-24mm F2.8 lens for DSLRs, and this E-mount version is even better. It’s redesigned from the ground up to make the most of Sony mirrorless cameras. Optical highlights include three aspherical elements, including a high-precision, large-diameter one at the front, an FLD (‘Fluorite’ Low Dispersion) element, and no less than five SLD (Special Low Dispersion) elements. A significant addition is the use of NPC (Nano Porous Coating) as well as Sigma’s more conventional Multi-Layer Coating.

In practical terms, I’ve found that the lens delivers superb sharpness and clarity, even when shooting wide-open at f/2.8, throughout the zoom range. Color fringing is entirely negligible, and there’s excellent resistance to ghosting and flare. Barrel distortion can be noticeable in the shorter half of the zoom range, but there’s less reliance on automatic in-camera correction than with many recent lenses designed for mirrorless cameras.

Like most other recent Sigma Art and Sports lenses, this one has really solid build quality and is extensively weather-sealed. I like that the AF-L (Autofocus Lock) button is featured and that I can customize it for other uses via in-camera menus. All in all, this Sigma looks, feels, and performs like a fully pro-grade ‘trinity’ zoom, but for about half the usual price. Bargain!

Read more: Sigma 14-24mm F2.8 DG DN Art review

• Back to the top ⤴

Best telephoto zoom for the A7R VI

My first impression of this Mark II Sony lens was how much lighter it is than the original, as well as beating most other ‘trinity’ telephoto zooms in this respect. Despite the lightened load, there’s no shortage of high-end handling extras, including switches for auto/manual focus, full-time DMF on/off, autofocus limiter, stabilization on/off switch, and stabilization mode. On the opposite side of the lens, there’s a switch to turn the aperture ring on and off.

Performance is everything I’d expect from a next-generation Sony G Master lens, combining excellent image quality with fast autofocus and effective stabilization. The only real sticking point is the price; then again, most camera manufacturers’ 70-200mm f/2.8 command the big bucks, so the Sony isn’t unusual in this respect.

Read more: Sony FE 70-200mm f/2.8 GM OSS II full review

• Back to the top ⤴

Best street prime for the A7R VI

I’ve come to expect a lot from Viltrox lenses, and for comparatively little outlay compared with equivalent own-brand Sony lenses. Even so, the Viltrox AF 35mm f/1.8 Evo II really comes up trumps with excellent all-metal build quality despite its compact and lightweight construction, along with advanced handling characteristics that include a click/de-click aperture ring and a customizable function button.

More importantly, as far as I’m concerned, the autofocus mechanism is fast, near-silent, and consistently accurate, while image quality is superb in terms of sharpness and clarity, smooth bokeh, and a minimum of unwanted aberrations. Everything’s packed into a compact and lightweight package that helps with remaining inconspicuous when you’re out and about, shooting on the streets.

Read more: Viltrox AF 35mm f/1.8 Evo II review

• Back to the top ⤴

Best standard prime for the Sony A7R VI

The Sony FE 50mm F1.2 G Master is a spectacular nifty-fifty, boasting impressive sharpness right the way through its aperture range – yes, even at f/1.2. Sony has built this lens from the ground up with sharpness in mind, and its optical path includes three XA (extreme aspherical) elements; remarkably, these have been engineered to an accuracy of 0.01 microns (or one hundred-thousandth of a millimeter).

What this means, as I found in my testing, is that the lens performance is absolutely stellar – blowing away its rivals from the likes of Canon and Nikon. Our lab tests reported basically nothing in terms of imperfections, except for some pincushion distortion, and a little vignetting at f/1.2.

The handling, too, is excellent. It's a heavy lens, as it needs to be with specs like these, but not exceptionally so in the pantheon of 50mm f/1.2 lenses. This is an all-around fantastic optic, and if its asking price isn't too dear for you, it'll deliver nothing short of spectacular performance.

Alternatively, the Sony FE 50mm f/1.4 GM is more affordable, captures very good center-sharpness, and is relatively light and compact.

Read more: Sony FE 50mm f/1.2 G Master review

• Back to the top ⤴

Best portrait prime for the A7R VI

Like many portrait photographers, I swear by the 85mm short telephoto focal length, and if you're looking to shoot compelling images of people, the Sony FE 85mm f/1.4 GM II lens is one of the smartest buys you can make. Something that's critical in portrait photography is being able to produce images with smooth, attractive bokeh (the defocused areas of an image), and the G Master lens delivers that in spades thanks to its 11-bladed aperture.

Sharpness and image quality are exceptional, as I discovered when I tested the lens, and the high-grade construction means that handling is perfectly on point. If you need a cheaper alternative, the Viltrox AF 85mm f/1.4 Pro is a terrific money-saver.

Read more: Sony FE 85mm f/1.4 GM II review

• Back to the top ⤴

Best macro prime for the A7R VI

Sony’s time-honored FE 90mm macro lens has been looking a bit old and tired for some time now. Enter the new FE 100mm, which is everything I’d hope for (and more) in a top-end macro lens. For starters, it goes extra-large on maximum magnification, boasting 1.4x magnification at its minimum focus distance, instead of the more usual 1.0x. And if that’s still not enough, you can boost it to as much as 2.8x for revealing near-microscopic levels of detail, if you add a 2x teleconverter.

While the maximum magnification is highly impressive, there’s a lot more to this lens than just acting as a magnifying glass for your Sony A7R VI. There’s a smorgasbord of handling exotica, including a calibrated manual focus scale (I typically prefer manual focusing for macro shooting), an AF/MF switch, focus range limiter, stabilizer on/off and an iris lock switch to go with the aperture control ring.

High-performance glass includes two ED (Extra-low Dispersion) elements and two XA (eXtreme Aspherical) elements, along with a particularly well-rounded 11-blade aperture diaphragm. Nano AR Coating II and fluorine coatings are also applied. The lens isn’t a one-trick pony either. Great for portraiture or just as a short telephoto prime, it has no less than four XD (eXtreme Drive) linear motors to power its fast and virtually silent autofocus system.

Read more: Sony FE 100mm f/2.8 Macro GM OSS review

• Back to the top ⤴

Best super-telephoto zoom for the A7R VI

Even though this lens is now up against a new constant-aperture version that Sony has subsequently released, it remains one of my all-time favorites. I was hugely excited to see the coveted G Master line-up of lenses getting a 100-400mm optic, and the Sony FE 100-400mm f/4.5-5.6 G Master OSS lives up to all of my expectations.

Blending superb sharpness with well-pitched handling that supports hand-held shooting, this is an ideal lens for long days capturing sports or wildlife on an A7R VI camera.

Indeed, in my tests and in our review, we couldn't say enough good things about this lens. Its impressively complex optical path gives it excellent image quality across the board, while the handling is nothing short of impeccable. The focus operates smoothly, the three customizable buttons give you real customizability, and the ‘zoom smoothness’ ring lets you adjust the torque required to move the zoom in accordance with your preferences.

Read more: Sony FE 100-400mm f/4.5-5.6 G Master OSS review

• Back to the top ⤴

Best ultra-telephoto zoom for the A7R VI

A complete redesign of the already excellent DSLR lens, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is a great lens for bird photography, airshows, and all manner of different sporting occasions.

The autofocus system is excellent, able to take advantage of the latest AF subject-detection and tracking facilities of Sony cameras. The build quality of the lens is also impressive – while no one is going to pretend this is a lightweight lens, it handles well, with tactile zoom and focus rings and a series of on-body controls for functions like AF speed, stabilization intensity, and, as an addition for the mirrorless version, Zoom Torque control to adjust the resistance of the zoom ring.

Read more: Sigma 150-600mm f/5-6.3 DG DN OS Sports review

• Back to the top ⤴

How we test lenses and lab test comparisons

The lens experts in our testing lab run a range of tests under controlled conditions. We take photos of Imatest SFR (spatial frequency response) charts, then use the Imatest Master testing suite to analyze for sharpness, distortion, and chromatic aberrations at the centre of the image frame, corners, and mid-point distances across the range of aperture settings (up to f/22).

For zoom lenses, we repeat our test at the widest and longest ends of the zoom range, plus intermediate 'mid-wide' and 'mid-telephoto' settings. Use the dropdown menus to select between them (for primes, the same data appears on all the graphs for comparison purposes).

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. You’ll see that the Sony FE 85mm and FE 50mm G Master primes rule the roost for sharpness, but the Viltrox 35mm runs them extremely close, especially for such a comparatively low-budget lens. Color fringing and distortions are generally pretty low, although the Sigma 14-24mm relies more heavily on automatic in-camera correction for distortion, at the short end of its zoom range.

For more detailed graphs of each lens's performance that give the full picture, check out the graphs in our standalone lens reviews.

Center sharpness

Use the dropdown menu to select between wide-angle, mid-wide, mid-tele, and telephoto zoom settings (prime lens data is replicated across all charts for ease of comparison)

Wide-angleMid-wideMid-teleTelephoto

Wide-angle

f-stop

Sony FE 24-70mm f/2.8 GM IISigma 14-24mm f/2.8 DG DN | ASony FE 100-400mm f/4.5-5.6 GM OSSSigma 150-600mm f/5-6.3 DG DN OS | SViltrox AF 35mm f/1.8 Evo IISony FE 50mm f/1.2 GMSony FE 85mm f/1.4 GM IISony FE 100mm f/2.8 Macro GM OSS

Wide-angle Data

Timestamp (f-stop)	Sony FE 24-70mm f/2.8 GM II ()	Sigma 14-24mm f/2.8 DG DN | A ()	Sony FE 100-400mm f/4.5-5.6 GM OSS ()	Sigma 150-600mm f/5-6.3 DG DN OS | S ()	Viltrox AF 35mm f/1.8 Evo II ()	Sony FE 50mm f/1.2 GM ()	Sony FE 85mm f/1.4 GM II ()	Sony FE 100mm f/2.8 Macro GM OSS ()
0	N/A	N/A	N/A	N/A	N/A	2691	N/A	N/A
1	N/A	N/A	N/A	N/A	2655	2758	2678	N/A
2	N/A	N/A	N/A	N/A	2759	2981	3161	N/A
3	2500	2233	N/A	N/A	3226	3014	3086	2759
4	2726	2207	N/A	2065	2883	3018	2893	2982
5	2562	2186	1810	2146	2765	2766	2942	2993
6	2465	2061	1792	2142	2624	2517	2481	2668
7	2133	1921	1655	1946	2358	2203	2046	2207
8	1790	1659	1461	1660	1828	1735	1612	1763
9	1430	1244	1178	1329	N/A	N/A	N/A	1365

Mid-wide

f-stop

Sony FE 24-70mm f/2.8 GM IISigma 14-24mm f/2.8 DG DN | ASony FE 100-400mm f/4.5-5.6 GM OSSSigma 150-600mm f/5-6.3 DG DN OS | SViltrox AF 35mm f/1.8 Evo IISony FE 50mm f/1.2 GMSony FE 85mm f/1.4 GM IISony FE 100mm f/2.8 Macro GM OSS

Mid-wide Data

Timestamp (f-stop)	Sony FE 24-70mm f/2.8 GM II ()	Sigma 14-24mm f/2.8 DG DN | A ()	Sony FE 100-400mm f/4.5-5.6 GM OSS ()	Sigma 150-600mm f/5-6.3 DG DN OS | S ()	Viltrox AF 35mm f/1.8 Evo II ()	Sony FE 50mm f/1.2 GM ()	Sony FE 85mm f/1.4 GM II ()	Sony FE 100mm f/2.8 Macro GM OSS ()
0	N/A	N/A	N/A	N/A	N/A	2691	N/A	N/A
1	N/A	N/A	N/A	N/A	2655	2758	2678	N/A
2	N/A	N/A	N/A	N/A	2759	2981	3161	N/A
3	2711	2293	N/A	N/A	3226	3014	3086	2759
4	2978	2254	N/A	N/A	2883	3018	2893	2982
5	2868	2030	1714	2339	2765	2766	2942	2993
6	2545	2012	1752	2137	2624	2517	2481	2668
7	2228	1835	1652	1850	2358	2203	2046	2207
8	1768	1654	1423	1573	1828	1735	1612	1763
9	1389	1318	1175	1243	N/A	N/A	N/A	1365

Mid-tele

f-stop

Sony FE 24-70mm f/2.8 GM IISigma 14-24mm f/2.8 DG DN | ASony FE 100-400mm f/4.5-5.6 GM OSSSigma 150-600mm f/5-6.3 DG DN OS | SViltrox AF 35mm f/1.8 Evo IISony FE 50mm f/1.2 GMSony FE 85mm f/1.4 GM IISony FE 100mm f/2.8 Macro GM OSS

Mid-tele Data

Timestamp (f-stop)	Sony FE 24-70mm f/2.8 GM II ()	Sigma 14-24mm f/2.8 DG DN | A ()	Sony FE 100-400mm f/4.5-5.6 GM OSS ()	Sigma 150-600mm f/5-6.3 DG DN OS | S ()	Viltrox AF 35mm f/1.8 Evo II ()	Sony FE 50mm f/1.2 GM ()	Sony FE 85mm f/1.4 GM II ()	Sony FE 100mm f/2.8 Macro GM OSS ()
0	N/A	N/A	N/A	N/A	N/A	2691	N/A	N/A
1	N/A	N/A	N/A	N/A	2655	2758	2678	N/A
2	N/A	N/A	N/A	N/A	2759	2981	3161	N/A
3	2760	2220	N/A	N/A	3226	3014	3086	2759
4	3017	2266	N/A	N/A	2883	3018	2893	2982
5	2862	2190	1795	1921	2765	2766	2942	2993
6	2624	2136	1758	2015	2624	2517	2481	2668
7	2203	1865	1641	1943	2358	2203	2046	2207
8	1777	1612	1463	1625	1828	1735	1612	1763
9	1372	1320	1179	1291	N/A	N/A	N/A	1365

Telephoto

f-stop

Sony FE 24-70mm f/2.8 GM IISigma 14-24mm f/2.8 DG DN | ASony FE 100-400mm f/4.5-5.6 GM OSSSigma 150-600mm f/5-6.3 DG DN OS | SViltrox AF 35mm f/1.8 Evo IISony FE 50mm f/1.2 GMSony FE 85mm f/1.4 GM IISony FE 100mm f/2.8 Macro GM OSS

Telephoto Data

Timestamp (f-stop)	Sony FE 24-70mm f/2.8 GM II ()	Sigma 14-24mm f/2.8 DG DN | A ()	Sony FE 100-400mm f/4.5-5.6 GM OSS ()	Sigma 150-600mm f/5-6.3 DG DN OS | S ()	Viltrox AF 35mm f/1.8 Evo II ()	Sony FE 50mm f/1.2 GM ()	Sony FE 85mm f/1.4 GM II ()	Sony FE 100mm f/2.8 Macro GM OSS ()
0	N/A	N/A	N/A	N/A	N/A	2691	N/A	N/A
1	N/A	N/A	N/A	N/A	2655	2758	2678	N/A
2	N/A	N/A	N/A	N/A	2759	2981	3161	N/A
3	2542	2218	N/A	N/A	3226	3014	3086	2759
4	2604	2376	N/A	N/A	2883	3018	2893	2982
5	2723	2240	1783	2022	2765	2766	2942	2993
6	2533	2126	1742	1961	2624	2517	2481	2668
7	2268	1824	1618	1873	2358	2203	2046	2207
8	1807	1631	1415	1504	1828	1735	1612	1763
9	1408	1295	1160	1275	N/A	N/A	N/A	1365

Sharpness is measured at different apertures at the center of the frame. We shoot a test chart, and Imatest outputs a figure based on line width divided by picture height – high numbers are better

Fringing @ f/8

Use the dropdown menu to select between wide-angle, mid-wide, mid-tele, and telephoto zoom settings (prime lens data is replicated across all charts for ease of comparison)

Wide-angleMid-wideMid-teleTelephoto

Sony FE 24-70mm f/2.8 GM II

0.2

Sigma 14-24mm f/2.8 DG DN | A

0.17

Sony FE 100-400mm f/4.5-5.6 GM OSS

0.15

Sigma 150-600mm f/5-6.3 DG DN OS | S

0.08

Viltrox AF 35mm f/1.8 Evo II

0.32

Sony FE 50mm f/1.2 GM

0.48

Sony FE 85mm f/1.4 GM II

0.14

Sony FE 100mm f/2.8 Macro GM OSS

0.12

012

Wide-angle Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	0.2
Sigma 14-24mm f/2.8 DG DN | A	0.17
Sony FE 100-400mm f/4.5-5.6 GM OSS	0.15
Sigma 150-600mm f/5-6.3 DG DN OS | S	0.08
Viltrox AF 35mm f/1.8 Evo II	0.32
Sony FE 50mm f/1.2 GM	0.48
Sony FE 85mm f/1.4 GM II	0.14
Sony FE 100mm f/2.8 Macro GM OSS	0.12

Sony FE 24-70mm f/2.8 GM II

0.09

Sigma 14-24mm f/2.8 DG DN | A

0.1

Sony FE 100-400mm f/4.5-5.6 GM OSS

0.18

Sigma 150-600mm f/5-6.3 DG DN OS | S

0.1

Viltrox AF 35mm f/1.8 Evo II

0.32

Sony FE 50mm f/1.2 GM

0.48

Sony FE 85mm f/1.4 GM II

0.14

Sony FE 100mm f/2.8 Macro GM OSS

0.12

012

Mid-wide Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	0.09
Sigma 14-24mm f/2.8 DG DN | A	0.1
Sony FE 100-400mm f/4.5-5.6 GM OSS	0.18
Sigma 150-600mm f/5-6.3 DG DN OS | S	0.1
Viltrox AF 35mm f/1.8 Evo II	0.32
Sony FE 50mm f/1.2 GM	0.48
Sony FE 85mm f/1.4 GM II	0.14
Sony FE 100mm f/2.8 Macro GM OSS	0.12

Sony FE 24-70mm f/2.8 GM II

0.1

Sigma 14-24mm f/2.8 DG DN | A

0.24

Sony FE 100-400mm f/4.5-5.6 GM OSS

0.14

Sigma 150-600mm f/5-6.3 DG DN OS | S

0.38

Viltrox AF 35mm f/1.8 Evo II

0.32

Sony FE 50mm f/1.2 GM

0.48

Sony FE 85mm f/1.4 GM II

0.14

Sony FE 100mm f/2.8 Macro GM OSS

0.12

012

Mid-tele Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	0.1
Sigma 14-24mm f/2.8 DG DN | A	0.24
Sony FE 100-400mm f/4.5-5.6 GM OSS	0.14
Sigma 150-600mm f/5-6.3 DG DN OS | S	0.38
Viltrox AF 35mm f/1.8 Evo II	0.32
Sony FE 50mm f/1.2 GM	0.48
Sony FE 85mm f/1.4 GM II	0.14
Sony FE 100mm f/2.8 Macro GM OSS	0.12

Sony FE 24-70mm f/2.8 GM II

0.29

Sigma 14-24mm f/2.8 DG DN | A

0.11

Sony FE 100-400mm f/4.5-5.6 GM OSS

1.18

Sigma 150-600mm f/5-6.3 DG DN OS | S

0.39

Viltrox AF 35mm f/1.8 Evo II

0.32

Sony FE 50mm f/1.2 GM

0.48

Sony FE 85mm f/1.4 GM II

0.14

Sony FE 100mm f/2.8 Macro GM OSS

0.12

012

Telephoto Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	0.29
Sigma 14-24mm f/2.8 DG DN | A	0.11
Sony FE 100-400mm f/4.5-5.6 GM OSS	1.18
Sigma 150-600mm f/5-6.3 DG DN OS | S	0.39
Viltrox AF 35mm f/1.8 Evo II	0.32
Sony FE 50mm f/1.2 GM	0.48
Sony FE 85mm f/1.4 GM II	0.14
Sony FE 100mm f/2.8 Macro GM OSS	0.12

This test measures the occurrence of chromatic aberration. We shoot a specialist chart and then analyze the photos using Imatest. The results are expressed in pixels, with lower numbers being better.

Distortion

Use the dropdown menu to select between wide-angle, mid-wide, mid-tele, and telephoto zoom settings (prime lens data is replicated across all charts for ease of comparison)

Wide-angleMid-wideMid-teleTelephoto

Sony FE 24-70mm f/2.8 GM II

-1.92

Sigma 14-24mm f/2.8 DG DN | A

-3.63

Sony FE 100-400mm f/4.5-5.6 GM OSS

0.53

Sigma 150-600mm f/5-6.3 DG DN OS | S

1.4

Viltrox AF 35mm f/1.8 Evo II

-0.35

Sony FE 50mm f/1.2 GM

1.41

Sony FE 85mm f/1.4 GM II

0.56

Sony FE 100mm f/2.8 Macro GM OSS

0.28

-4-3-2-1012

Wide-angle Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	-1.92
Sigma 14-24mm f/2.8 DG DN | A	-3.63
Sony FE 100-400mm f/4.5-5.6 GM OSS	0.53
Sigma 150-600mm f/5-6.3 DG DN OS | S	1.4
Viltrox AF 35mm f/1.8 Evo II	-0.35
Sony FE 50mm f/1.2 GM	1.41
Sony FE 85mm f/1.4 GM II	0.56
Sony FE 100mm f/2.8 Macro GM OSS	0.28

Sony FE 24-70mm f/2.8 GM II

0.67

Sigma 14-24mm f/2.8 DG DN | A

-2.28

Sony FE 100-400mm f/4.5-5.6 GM OSS

1.52

Sigma 150-600mm f/5-6.3 DG DN OS | S

1.54

Viltrox AF 35mm f/1.8 Evo II

-0.35

Sony FE 50mm f/1.2 GM

1.41

Sony FE 85mm f/1.4 GM II

0.56

Sony FE 100mm f/2.8 Macro GM OSS

0.28

-4-3-2-1012

Mid-wide Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	0.67
Sigma 14-24mm f/2.8 DG DN | A	-2.28
Sony FE 100-400mm f/4.5-5.6 GM OSS	1.52
Sigma 150-600mm f/5-6.3 DG DN OS | S	1.54
Viltrox AF 35mm f/1.8 Evo II	-0.35
Sony FE 50mm f/1.2 GM	1.41
Sony FE 85mm f/1.4 GM II	0.56
Sony FE 100mm f/2.8 Macro GM OSS	0.28

Sony FE 24-70mm f/2.8 GM II

1.75

Sigma 14-24mm f/2.8 DG DN | A

-0.13

Sony FE 100-400mm f/4.5-5.6 GM OSS

1.53

Sigma 150-600mm f/5-6.3 DG DN OS | S

1.6

Viltrox AF 35mm f/1.8 Evo II

-0.35

Sony FE 50mm f/1.2 GM

1.41

Sony FE 85mm f/1.4 GM II

0.56

Sony FE 100mm f/2.8 Macro GM OSS

0.28

-4-3-2-1012

Mid-tele Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	1.75
Sigma 14-24mm f/2.8 DG DN | A	-0.13
Sony FE 100-400mm f/4.5-5.6 GM OSS	1.53
Sigma 150-600mm f/5-6.3 DG DN OS | S	1.6
Viltrox AF 35mm f/1.8 Evo II	-0.35
Sony FE 50mm f/1.2 GM	1.41
Sony FE 85mm f/1.4 GM II	0.56
Sony FE 100mm f/2.8 Macro GM OSS	0.28

Sony FE 24-70mm f/2.8 GM II

1.81

Sigma 14-24mm f/2.8 DG DN | A

0.85

Sony FE 100-400mm f/4.5-5.6 GM OSS

1.53

Sigma 150-600mm f/5-6.3 DG DN OS | S

1.53

Viltrox AF 35mm f/1.8 Evo II

-0.35

Sony FE 50mm f/1.2 GM

1.41

Sony FE 85mm f/1.4 GM II

0.56

Sony FE 100mm f/2.8 Macro GM OSS

0.28

-4-3-2-1012

Telephoto Data

Product	Value
Sony FE 24-70mm f/2.8 GM II	1.81
Sigma 14-24mm f/2.8 DG DN | A	0.85
Sony FE 100-400mm f/4.5-5.6 GM OSS	1.53
Sigma 150-600mm f/5-6.3 DG DN OS | S	1.53
Viltrox AF 35mm f/1.8 Evo II	-0.35
Sony FE 50mm f/1.2 GM	1.41
Sony FE 85mm f/1.4 GM II	0.56
Sony FE 100mm f/2.8 Macro GM OSS	0.28

This test measures the distortion caused by the lens. We shoot a simple, lined chart and then output an accuracy percentage in Imatest. Positive numbers indicate barrel distortion, while negative numbers indicate pincushion distortion. The closer to zero, the better.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments. We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to autofocus speed and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

• Back to the top ⤴

How to choose the best lens for the A7R VI

The A7R VI, like all Alpha 7 cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names. All of them work on the A7R VI but FE lenses are designed for use with full-frame Sony cameras, so these should be your first choice. If you're buying a third-party E-mount lens, check that the lens is designed for use with full-frame cameras.

Sony lenses with an E (rather than FE) prefix are designed for APS-C format cameras such as the A6000 series. You can therefore only use them effectively in APS-C 'crop mode' on the A7R VI, which gives you a 1.5x magnification factor but only utilizes a smaller area of the full-frame image sensor.

Check out our guide to the best Sony lenses if you want to know more

• Back to the top ⤴

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

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

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

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

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

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

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

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

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

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

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

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

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

Wearable and not much bigger than your thumb, the POV camera is a new sub-category of action camera that is exciting for vloggers and anyone who wants to capture their lifestyle with as little interruption as possible.

If the traditional boxy GoPro-style action camera is too big, then wearable POV cameras are the solution. Some are small enough to be known as pill cameras (but not for medical reasons). Most designs now include the very practical magnetic clip – so much so that "magnetic camera" is another term for them. They are worn as easily as modern wireless microphones, and sport a range of different solutions to control.

Like the traditional action cameras, these cameras compete on their compact nature and low weight, their ability to capture high-resolution (and store it), and the ability to get stable video despite being worn on clothing. Desirable features also include waterproofing, a good battery life, and some form of remote control – via case, app, or both.

Image stabilization takes processing power, but there is no way that you can wear a camera on a hat, your chest, or handlebars without it picking up some movement. I've already picked all the best action cameras; here I've looked closely at the best tiny POV cameras and put them to the test myself.

Best for most people

Coming with a battery housing (”Action Pod”) that boasts a folding 2.5-inch touchscreen, from which the detachable 4K 60fps camera pops out, even without the ‘tiny camera’ option, this would be a compelling action camera with the vlogger’s favorite benefit of a good-sized fold-up display. A nice touch is that a MicroSD card can be added to the Action Pod to increase storage options, though video is initially recorded to the camera’s internal memory.

The camera has a 1/1.28-inch image sensor, making it ever so slightly bigger than any of the competition. The result is a camera that has very little in the way of compromise, and even has an acceptable low-light mode.

As camera-only, it can be worn in two main ways – clipped onto a hat or, thanks to the magnet, worn on a pendant. Typically, you'd hang the chain around your neck and the other side of the magnet behind your clothes, so you can pop the camera on and off very discreetly. Cleverly Insta360 has also designed the pendant to be twisted to set the camera angle up or down – a very useful touch.

Insta360’s image stabilization does seem to have the edge, and includes a horizion balancing mode which many find useful. There is also support for Insta360's microphones for vloggers.

Read my full review of the Insta360 Go Ultra and see sample video

Best for pro quality

Offering creatives the benefit of a The 1.9-inch display isn’t the biggest in this list, but it is a crisp OLED touchscreen which I found great to use (it's responsive) and it’s worth remembering that it is easily detached from the camera so you can keep it nearby if you are worried about the size. The design also means you can point the camera away from or toward the 'screen side' when it is attached to the "Multifunctional Vision Dock" as DJI call it.

The camera’s other big plus point is the 4K120fps slow motion (though this comes at the cost of the stabilization, but 4K60 can be captured with DJI's impressive digital stabilization – which, like Insta360's, can balance the horizon if you want). Another nice touch is pre-roll (hit record after the moment!), though this feature is never quite as good as I hope – because you do need the lens pointing the right way!

The key advantage, though, to this camera is the 10-bit recording in DJI's D-Log M, which allows a lot of flexibility for those who like to preserve color and brightness information until the edit.

DJI has also built in a receiver for the company’s own microphones, as well as cramming stereo mics into the frame. Included with the camera 9either 64GB or 128GB versions) you'll find a hat clip and a magnetic lanyard, as well as a protective case and a ball joint mount with a suction cup (to, perhaps, sticck the camera on a dashboard?)

See my full DJI Osmo Nano review for a sample video

Best cheap

This is a super-cheap camera without a screen, small in design so it looks a lot like the Insta360 Go 3, or 3S, cameras. It it also worn with a magnetic lanyard so it appears to float on the fabric of what you are wearing but is held in place firmly enough for activity.

Unlike that camera, though, there is no separate wireless controller. There is a TF card slot (compatible with a MicroSD card) in the camera, and it records 4K video directly to this. Simple operation is via a start-and-stop button. It is incredibly compact and remarkably robust, constructed from a sturdy plastic composite that easily survives accidental drops. It also skips a display entirely to keep its footprint as small as possible, making it a very simple, no-nonsense point-of-view shooter.

In low light the camera will look a bit less than ideal – the noise or grain is a factor – but the 120-degree field of view has decent (if not perfect) clarity across the whole image.

The camera offers respectable battery life for an action cam, providing around 90 minutes of 4K recording or up to three hours if you drop the resolution down to 1080P (fine for action, not ideal for the kind of people who might have bought one of Boblov's body cams). Ultimately, for a starter camera or an affordable way to capture memories on vacation without worrying about premium low-light performance, it exceeds expectations at its bargain price.

See our full Boblov W4 review for sample videos

Best for low weight

The Insta360 Go 3S was the first 4K camera in this form factor (though the even cheaper Go 3 came before it if you're happy with 2.7K). It's light enough to clip nearly anywhere and go unnoticed, yet it retains the benefit of the magnetic pendant that many of the other cameras on this list offer.

Insta360 has not left this camera alone since launch, either. Retro chic fans will love the unique 3S Retro Bundle with old-style housing, with prism-and mirror framing device much like an old 110 camera.

In lower light, a camera this small will inevitably experience some "noise" (look a bit grainy), and the battery life is only 30 minutes when you're not inside the 'Action Pod' housing, but the housing can top it up fast. The housing also boasts a flip-up display which, again, makes this a handy vlogging tool.

The camera also has good image stabilization – including horizon balancing, and a 'kids mode' that enables you to let the kids wear the camera while you control it remotely (and they don't press anything that'll ruin your POV capturing of their future memories).

Read my full review of the Insta360 Go 3S with samples

Best glasses

An alternative to a clip-on or body-worn camera is a pair of sunglasses with a built-in camera – controlled from your phone. That is what Meta, the owners of FaceBook, created jointly with Ray-Ban (a brand you just might have heard of). The result is a very convenient in a lot of POV shooting situations.

Smart camera glasses work by connecting to your phone wirelessly, and you can command them from the touchpad on the arm, the app on your phone, or using the built-in microphone with an instruction beginning "Hey Meta...". For example "take a picture," but the AI can also take advantage of the camera to see from your POV, so you could also ask, "What does that sign mean?"

There are hidden speakers over your ears in the arms, which you can use to listen to music and take calls – though the sound is audible to anyone very near you.

Incidentally, here is a cost-saving option: The Gen 2 model that I have chosen here is the better quality option for photo/video with 3K recording but I'll freely admit to being the camera nerd. Just as good (as it uses exactly the same camera system and software) are the Oakley Meta smart glasses.

If you're looking for a cheaper way to capture the fun from your POV, and the specs don't matter the original RayBan Meta smart glasses are still Ray-Bans, so you still look cool, but will have enough left over for a nice holiday drink or ten too.

Read our full review of the Ray-Ban Meta (Gen 2)

Cheap alternative

How we test POV cameras

Like everything, the best way to get to know something is to try it out in the real world, so this list includes products that we at Digital Camera World have hands-on personal experience with. That also means that if you want to know even more, you can tap through to a full detailed review.

See how we test cameras at Digital Camera World

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

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

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 Mark III

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

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

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

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

What does this mean, in real terms?

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

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

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

🏆: Tie – Canon EOS R6 V / C50

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

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

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

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

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

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

🏆: Canon EOS R6 Mark II

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

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

It depends.

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

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

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

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

You might also like…

Take a look at the best lenses for the Canon EOS R6 Mark III

The OM System Tough TG-7 underwater compact camera and its predecessors, such as the Olympus Tough TG-6, have built up a substantial ecosystem of accessories.

Some of these add increased damage protection, while others improve the cameras’ capability for particular types of photography (such as macro or underwater) or provide scope to be more creative.

In this article, I’m going to take a look at the most popular Tough accessories from OM System. I’ll give an outline of what they do and my opinion on how useful they are.

Probably the biggest-selling underwater housing for a camera ever made, the PT-059 increases the depth to which you can safely take your TG-7 from 15m to 45m (from 50ft to 150ft) – making it much more useful for scuba divers.

It's worth bearing in mind that, to maintain the waterproof rating of your Tough camera, OM System recommends getting the internal seals serviced every year – which isn’t cheap. So keeping it safe inside an underwater housing, even when using it in shallow water, makes sense.

The OM System PT-059 is also supported by a substantial range of third-party accessories, such as lighting trays and wide-angle wet lenses. As underwater housings go, it’s light, relatively low-cost, well-made and comfortable to use. That’s why they are the underwater housing I recommend most often to TG-7 users.

See my full OM System PT-059 review

If you’ve owned a conventional compact camera before getting a TG-7, something that you will notice early on is that there isn’t a lens cover that closes when you turn the camera off.

The surface of the lens is exposed, which isn’t ideal if you want to pop it in your pocket when not in use. You will find you get fingermarks on the lens and there is an greater risk of scratching the lens surface than with other cameras.

The LB-T01 deals with this by fitting onto the camera in place of the original removable lens ring. You then have a manually operated lens protector that opens and closes with a twist of its outer ring.

It won’t fit inside an underwater housing but, as TG accessories go, it’s bordering on a must-have.

Like the lens barrier, this adapter replaces the removable lens ring on any TG camera from the TG-1 to the TG-7.

Fitting the CLA-T01 opens up a big range of extra accessory options for increasing the capabilities of your Tough. The adapter has 40.5mm screw fitting to accept the TCon-T01 Teleconverter and the FCon-T01 or T02 Fisheye Converters.

You can also use it to fit filters such as protective UV filters, like the OM System PRF-D40.5 Pro, or third-party options with a 40.5mm thread such as circular polarizing and ND filters.

If that wasn’t enough, it will also accept a 40.5mm lens cap such as the ones made for the OM System 14-42mm kit lens – so you can keep the lens protected despite not being able to have a lens barrier fitted.

If you have the CLA-T01 adapter, then you can fit the TCon-T01 x1.7 teleconverter, which ups the TG’s 100mm maximum equivalent focal length to 170mm.

For wildlife and sports photography, it will give valuable extra reach, but bear in mind that increasing the focal length will make camera movement more likely to cause blur in your pictures.

While this lens can be used underwater, I don’t recommend it as it’s best to reduce the distance to a subject whenever possible to help keep images sharp and colorful.

This converter screws onto the CLA-T01 adapter and gives an exceptionally wide angle of view to your Tough. With the camera zoomed to its widest, you get the circular fisheye effect; zooming in removes that, but you will have some barrel distortion.

This lens can be used for underwater photography when on the camera without an underwater housing. It will give a narrower angle of view, because everything appears closer underwater.

You can also use this lens with an Ikelite underwater housing that can be fitted with a domed port to accommodate the lens. The dome port corrects for the effect of water, giving an angle of view the same as in air, but you are tied to shooting wide-angle pictures for a whole dive when using it – because the lens is within the airspace of the housing.

Like many accessories, this circular diffuser fits onto your TG using the fitting that the removable lens ring occupies. It carries the light from the built-in LED to give a close-up light source.

Without the Light Guide in place, you can use the LED as a focusing light when light levels are low and you are still able light subjects with the built-in flash. Adding the Light Guide means that you have to use the LED as the light source to achieve your exposure.

Where subject and camera movement aren’t an issue, that will be fine. But for most still macro photography, if you need even light from all directions, I’d go with a ring flash diffuser.

In my view, where the LG-1 would be useful is in shooting macro video. You can set the LED to be on constantly and then, with the TG-7 or TG-6, use Super Macro Focusing to get very close to your subject.

The LG-1 can be used underwater, but only when using the camera without a housing.

Similar to the LG-1 Light Guide in appearance, if you want to take macro images this is definitely the better option of the two. It will give you an even light at a short distance from the camera, with the movement-freezing benefit of flash.

While ring diffusers and flashes do have a tendency to reduce texture in images, the light is also softer and doesn’t produce as much glare from shiny surfaces (such as beetle carapaces) that I’ve found the bare built-in flash of the TG camera often does.

This is one of those accessories that some people will find absolutely essential – in particular people using the TG for scientific or medical photography – while a lot of the folk who bought the camera for its toughness when doing outdoor activities won’t need at all.

Like the LG-1 Light Guide, the diffuser can be used underwater when the camera isn’t in a housing. I would suggest you take care when using them, because they aren’t anywhere near as robust as the camera itself.

This silicone rubber cover for the TG-7 adds considerable extra protection. While the TG-7 has a drop-proof rating, hitting rocks or concrete from even a fairly short height is likely to put some scratches on it – and unless you are very lucky, it’s likely to end with a trip to the repair shop or an insurance claim.

This cover gives you access to the controls, including having gaps for the dials and zoom, but adds some extra padding to much of the camera.

It does make it bulkier, and you’ll have to remove it to fit some accessories.

This a wrist strap that is buoyant enough to keep your TG camera floating at the water surface. Obviously it’s attached safely to your wrist, you don’t need it to keep your camera floating.

However, if you should accidentally let your camera go or drop it in the water, the CHS-09 will stop it plummeting into the depths. It’s also a well-padded wrist lanyard that would be nice to wear when using your camera for snorkelling.

And for people doing other water activities like kayaking, or using the Tough in everyday situations where they don't want it attached to their wrist all the time, the float feature is helpful.

As someone who’s accumulated a multitude of cameras, lenses and other equipment, individual cases aren’t something I tend to go for. But if your TG is your one and only piece of camera kit, this case might be for you.

I’d suggest that it’s more suitable for storing and travelling, rather than for when you want it ready to use. The TGs are quite weighty little cameras and they do have an impressive ability to find their way to the bottom of a bag, where a hard drop can cause damage if the padding isn’t sufficient. I’m speaking from experience on that one.

This case would definitely prevent damage in transit but, as someone who can’t stand having things bouncing around on the outside of a backpack, I probably wouldn’t use the built-in carabiner to clip it on.

Likewise, having a substantial hard case attached to a belt or the waist strap of a rucksack probably isn’t going to be comfortable.

I’ll be honest, I was completely unaware of this accessory before I started writing this article! It’s a relatively new piece of kit released for the TG-7 that gives you a protective cover/holder that can be attached to a belt or backpack strap, combined with a carabiner attachment and a spiral cord.

The spiral cord means that you can take the camera out of the holder, but still have it attached to you to prevent it from being dropped.

I can see this being useful for those doing outdoor sports such as climbing, hiking and kayaking, where they want the camera easily accessible with one hand but dropping it would be a disaster.

See our guides to the best waterproof cameras and to the best underwater housings

I remember when I first tested a DJI Osmo Pocket camera. The idea was unusual, but now it's a camera type the world can't get enough of, and other manufacturers are racing to catch up to the standard set by DJI – especially by the Osmo Action 3, the edition which really seemed to take off.

Part action camera, part vlogging tool, this device brings everything DJI has learned about keeping video stable even in shaky drones and puts it into anyone's hand – almost like a tiny film rig. With the arrival of the Osmo Pocket 4, DJI hasn’t reinvented the formula, but it has refined it in ways that matter.

So how does the new model stack up against the already excellent Pocket 3? That camera took some big leaps (new image sensor size, big rotating touchscreen). This time there are serious questions – from asking is the (inevitably cheaper) Pocket 3 now better value, through to should you upgrade?

Comparison table

Build and handling

There is very little to tell the two devices apart. Both are simple and easy to use and can be extended at the base with a handle or a battery handle depending on your need. Rotating the screen acts as a switch, though it can also be asked to remain on in portrait mode for social-media creators.

The additional physical buttons do make for easier usability because there is less need to navigate the touchscreen menus which, in turn, have been slightly refined. A minor win for ergonomics – especially people who make regular use of the digital zoom – but no reason to buy a new device if you have a Pocket 3.

Video

If you're out shooting video during the day you will not see a huge distinction between the two cameras. They both comfortably capture 4K60 with good-looking color and even offer good slow motion, though only 120fps on the Pocket 3. It has to be said 240fps is more impressive, and I enjoyed trying this out.

For those more into the subtleties of color and editing, the option of a flat 10-bit D-Log HDR color profile, as well the HLG the Pocket 3 was limited to. Assorted filmic tones in the app is a definite improvement.

The difference in the actual quality in low light isn't all that much, as the sensor is the same, but DJI has managed to eek out 14-stops of dynamic range rather than 12.7-stops in the newer model.

Stills

The Pocket 4 can shoot significantly higher resolution images, at 37 megapixels (and correspondingly bigger panoramic images by automatically turning the gimbal and stitching shots).

In both cases (and in video) the camera handles lower light well thanks to the combination of a larger image sensor than some action cameras, and image processing algorithms.

In no case is the Pocket 4 going to be your main 'stills' camera, but if you have nothing else it'll leave you slightly happier than the Pocket 3. Both leave you a RAW file to tweak though.

Features

The arrival of a generous amount of internal storage does make the Pocket 4 camera easily grab-and-go, but it's not the only thing Vloggers will appreciate. Many will also notice the power for on-board handling of beauty modes and the slight but noticeable improvements to the subject tracking.

Microphone connectivity exists on both models, so it's easy to connect one of DJI's bluetooth mics – and while the Pocket 4 can theoretically record more channels so gets a slight win, the working process will likely be the same.

The Pocket 4 does boast the option of a clip-on fill light which rotates with the camera, however, which is handy for a lot more scenarios than you might imagine (especially if you want sparkling eyes in your vlogs).

Battery life

Although the battery life is a little better on the Pocket 4, both cameras can shoot around two hours or more (in 1080P), so it doesn't feel like a massive leap to add an extra 20 minutes, especially since the camera can also be charged to 80% in that time and it is easy to swap the battery handle for high users.

Overall verdict

My advice is this. If you can get hold of it, the best advice is to get the Pocket 4 for the built-in memory, better slow-mo, and processing capability (hey, we'll all need beauty tools someday).

Yes, the Pocket 3 was the revolutionary device in this category, while the Pocket 4 is a refinement, but who wouldn't want refinements if they could have them?

However those refinements are very definitely non-essential – especially if you already have a Pocket 3 because, lets face it, you'll also already have a memory card!

If, for any reason, you can't get the Pocket 4, then a Pocket 3 and a good memory card or two can will not seriously hold you back as a creative tool. And you will also benefit from a significant price saving if going for the older of the two models.

Are you after the best budget binoculars for the total solar eclipse that is coming up this summer? If you've ever seen a solar eclipse, you will know how fiddly solar eclipse glasses can be.

Sure, protecting your eyes from dangerous infrared light, UV light, and bright sunlight is imperative while looking at the sun. However, simple solar eclipse glasses get easily damaged, and they obviously don't offer any magnification.

Cue solar binoculars, which have built-in solar filters on their objective lenses to allow in only safe levels of sunlight so you can observe the sun directly and magnified to a size where you can see it in more detail.

On August 12 this year, parts of Spain, Portugal, Greenland, and Iceland will be able to witness the 'once in a generation' spectacle of a total solar eclipse – the last in continental Europe was back in 1999. But there won't be such a long wait for the next one, which will be visible on August 2, 2027, from countries including Spain, Gibraltar, Morocco, Algeria, Tunisia, and Egypt.

With Lunt having discontinued its SUNoculars range, Celestron is now the only real choice for those who want a safe way to get a magnified view of the sun, without investing in a telescope or a telephoto camera lens, both of which will need to be fitted with a solar filter.

Happily, the products available cover all kinds of magnifications, from portable and pocket-sized 10x25 binoculars (that’s 10x magnification and 25mm aperture objective lenses) to heavier, more powerful 20x50 binoculars.

Within the small range available, you’ll find both roof prism (for small, portable binoculars) and Porro prism (for large yet affordable) designs. Crucially, the solar filters used all conform to the ISO 12312-2:2015(E) international safety standard.

Although solar binoculars make it safe to view the sun, it pays to know an extra safety technique. After all, when bringing solar binoculars up to your face, it’s all too easy to look at the sun – and that goes double if you have problems locating it through the otherwise very dark optics. A good technique here is to wear a wide-brimmed hat, which will instantly block the sun from getting in your eyes while you find the sun and adjust the binoculars.

The best solar eclipse binoculars

Best value

Light enough to hold steady while also offering decent magnification, these binoculars are excellent for watching the progress of an eclipse while also being good for studying the surface of the sun.

Low-priced and with just the right amount of magnification for stunning close-ups of sunspots while also being easy to hold steady, the Celestron EclipSmart 10x42mm offers the perfect balance for those wanting something impressive without being too big and bulky. Crucially, it’s easy to find and focus on the sun, with a nice, bright, and sharp view, although we did notice both a blue and yellow line around the limb, telltale signs of color fringing.

Although it’s the most impressive of Celestron’s three Porro prism binoculars in its EclipseSmart range – including a slightly better build quality – the Celestron EclipSmart 10x42mm has a lot in common with both the 12x50 and 20x50 models, both good and bad.

All have thumb pads underneath the barrels that make it easy to grip and offer plenty of eye relief. However, the shoulder case included is of very basic quality, as is the neck strap, while the separate lens caps on both the lens caps and eyecups are easy to lose. What this model does lack is an adaptor for attaching a tripod, though that’s something that simply isn’t required at this easy-to-handhold 10x magnification.

Best portable

If you just want to keep track of the progress of the moon across the sun during an eclipse and you’re not interested in seeing sunspots, then the Celestron EclipSmart 10x25mm roof solar binoculars are for you.

A tiny pair of binoculars not much bigger than the footprint of a smartphone, these roof prism binoculars offer 10x magnification, but only 25mm objective lenses. That means a small bluish-white image of the sun that lacks brightness, though the wide-angle of view makes it very easy to locate the sun quickly. In my test, I could just about see some sunspots, though not nearly as many – and not as clearly – as larger, higher magnification, brighter solar eclipse binoculars.

It’s a no-frills package, with a simple string for a neck strap, but since they’re so lightweight, the Celestron EclipSmart 10x25mm roof solar binoculars can hang effortlessly around the neck during an eclipse. Also in the box is a pouch that has a belt loop, but they can just as easily live in a pocket. The only real downside to these travel-friendly solar binoculars is the lack of eye relief.

Best for tripods

Many people find binoculars that magnify 10x or higher quite difficult to hold steady, and that certainly applies here. Although almost identical to the 10x42 and 12x50 Celestron models, this 20x50 binocular is just too heavy to hold for longer periods of time.

What’s more, the narrow field of view makes it very hard to quickly find the sun. This is why the tripod jack between the barrels of this Porro prism binocular is so useful. When held steady on a tripod, the Celestron EclipSmart 20x50 offers fabulous close-ups of sunspots on the surface of the sun amid a blueish-white view of the solar surface. I also didn’t notice many traces of blue and yellow color fringing around the sun.

Impressive when mounted on a tripod, the Celestron EclipSmart 20x50 is best thought of as a travel-friendly alternative to taking a small telescope to see an eclipse rather than as solar binoculars for hand-holding.

As with the others in the range, the Celestron EclipSmart 20x50 comes with thumb pads underneath the barrels and lots of eye relief, but with loose lens caps, a thin neck strap, and a basic shoulder case.

Best high-magnification

If you want as much magnification as possible for finding sunspots on the solar surface, then the Celestron EclipSmart 12x50 is a tempting proposition. With 12x magnification and solar filters permanently attached to its 50mm objective lenses, these Porro prism binoculars offer a bright, blueish-white view of the sun with only a trace of blue and yellow color fringing.

It’s easily possible to find sunspots and even split sunspots in dense areas of activity, but there are some caveats. The main issue is that while it is possible to hold the Celestron EclipSmart 12x50 in the hand to use at an eclipse (or just for sunspot viewing), it’s a wobbly affair.

The weight of these binoculars is such that it’s better to mount them on a tripod (using the built-in tripod jack and an L-shaped binocular adaptor) or, at the very least, sit on a reclining chair when you use them.

By using either a tripod or yourself to support some of the weight, it becomes easier to keep them steady. That’s if you can find the sun with them, something that takes a little practice at this magnification – it’s certainly something you should master before eclipse day.

Other binocular guides

Best binoculars
Best binoculars with cameras
Best image-stabilized binoculars
Best binoculars for kids
Best binocular harness

Compare prices

A 360-degree drone boasts an entirely different kind of camera, offering a complete, uninterrupted view of the world around the aircraft, which can be redirected and have its perspective or crop changed in post, after the flight, just like the best 360-degree cameras.

As a drone expert, I've tried both the 360-degree camera drones out there (including the different control options), and I've got a lot to say about them both, but don't worry – I'll keep it to the important bits! I've also thoroughly tested many more of the 360 cameras that can't fly, like the DJI Osmo 360 and the Insta360 X5.

Crucially, the two first-ever 360 drones have distinct designs, bringing advantages and disadvantages of their own, so if you're looking at joining this exciting new bandwagon, it's definitely worth taking a moment to look at the differences. I will explain which is best for you, depending on what you want to do (and how much you want to spend).

The Quick List

The best 360 drones

Best 360 drone for creatives

This drone is a fine choice for anyone keen to get into 360-degree drones, flying drones in general. It looks like a slightly bigger version of the Avata 2 (DJI's most recent acrobatic FPV drone), but this can be flown without any FPV skills – and still get the results.

All that is needed is to put a bit of time in following the flight with or DJI Studio to simulate a roll or other clever piloting trick, and all those are included in the software. Not to mention so many more reframing features.

It isn't perfect – you will still see stitching lines occasionally in the exported video, an issue with all 360-degree cameras – but DJI also offers a solution. You can tell the drone to operate in 1-camera mode and a whole lens points forward; by surrendering the possibility of re-framing, you can get

All this makes for a very smart drone, and the camera's capabilities

If you've got the latest DJI Goggles 3 / Motion Controller / RC2 – perhaps from the DJI Avata 2 or DJI Neo series drones – then there is an opportunity to add the 360 to your setup at only the cost of the drone.

Read my full DJI Avata 360 review, including sample video

Best lightweight 360 degree drone

The first-ever 360-degree drone also happened to be from a brand incubated by the biggest brand in 360-degree cameras: Insta360 (a consistent winner in my best 360-degree camera guide for good reason).

The cunning design is small and light – under the crucial 250g threshold that sidesteps a lot of rules – which is quite an achievement. It uses tiny automatic landing gear to protect the lens, and this worked in my testing.

I found flying it with the Grip controller profoundly satisfying. The maximum speed is good given the weight category,

The Antigravity A1's cool steampunk-looking goggles also solve an issue that many places have; that any friends or colleagues accompanying you can't see anything. Given it's often a requirement to have a 'spotter' with you when you fly using immersive FPV goggles, you want the world to be as interesting as possible when you invite them out.

Antigravity's solution – an outward-facing screen in one of the 'eyes' – is novel and useful, though the fact the goggles are essential make the drone less affordable than the Avata as you need three devices (you can buy the Avata with a standard two-stick controller, which is still fine for collecting 360-degree content).

This drone has the advantage that Insta360 provided its slightly more refined Studio app, making life a little easier when post-processing, which is useful for beginners.

Read my full Antigravity A1 review, including sample video

Which is best?

In this case, it isn't a simple answer because both drones are better at different things. The video quality from the DJI Avata 360 is slightly better, and it can be flown that bit faster (with a little bit more confidence) thanks to its extra weight and "cinewhoop" frame design.

The Antigravity A1, however, comes in below the 250g limit, meaning you can use it in more places, with less or no paperwork or fees. The marginal speed difference seems less of a problem there, and the place list seems even longer, given how small the drone folds up.

If you want the 360 FPV experience in a way that most people can enjoy it – in fact, if you want the FPV experience in perhaps the most impressive way there is – then I'd recommend the A1. The content you create will also be very striking.

However, if you're thinking more about the after-the-fact content generation, then the Avata 360 does have a better camera (60fps 10-bit beating 30fps 8K), and the ability to be operated more flexibly. It might also be cheaper.

So, my instinct is to suggest the DJI Avata 360 is the choice for YouTubers, TikTokers, and Instagrammers – and the Antigravity A1 is more for drone enthusiasts.

All can slightly change with the software, however; in the land of 360 post-processing tools really matter as you'll need to use them. Here, actually, while both have good tools, Antigravity has a slight edge on usability.

Creators, though, will still be at home with DJI's features, so I doubt it's a huge issue, but if anything, this situation supports my creators v hobbyists distinction between these two amazing drones.

The best Canon camera bag is an essential purchase if you've just invested in one of the best Canon cameras. We've compiled a list of some of the best bags to carry your kit, regardless of whether you have a compact system such as the Canon G7X Mark III or one of the best mirrorless cameras such as the Canon EOS R5 and need space for lots of kit. 

Sometimes you may just want to have a bag big enough to fit your camera in but there will be times where you need room for additional Canon RF lenses, Speedlites and other accessories such as ND grad filters. You'll want a bag that has lots of well-padded compartments to keep your kit safe and if you plan on walking long distances you'll need a bag that is comfortable too!

Here is a selection of my favorites, at a variety of different prices, and with varying capacities…

Best Canon camera bag

One of Lowepro’s bigger backpacks, the Lowepro ProTactic 450 AW can hold one or two pro-grade Canon DSLRs and up to eight additional lenses or other accessories, so you don’t need to leave anything behind that you might need when hiking into the hills for a landscape shoot, touring the city for architectural photography, or just about anything else. Access to kit is quick and easy, thanks to four separate access points on the top, rear and both sides of the backpack. For negotiating tricky terrain and climbing over obstacles, there’s a waist band that adds stabilising support as well as providing extra storage for small items, but you can remove this if you need a more streamlined approach. Lowepro’s ActivZone System design ensures a really comfortable fit.

You can also get the ProTactic in a smaller size - the Lowepro ProTactic 350 AW II which is perfect if you need to carry less kit and have a smaller stature.

The Billingham Hadley Pro shoulder bag is a class act, with its fully waterproof canvas-look outer, coupled with full-grain leather and brass fixings. For a photographic shoulder bag, the design is refreshingly slim, and yet there’s enough room inside for a full-frame DSLR body like the Canon 5D Mark IV with an attached 24-70mm f/2.8 lens, plus a 70-200mm f/2.8 zoom (without tripod collar) and a pro-grade flashgun like the 600EX II-RT. 

Two additional front pockets enable extra gear to be stashed away, and the rear zippered pocket is big enough for a tablet. For heavier collections of kit, the optional shoulder pad is worth buying, and additional ‘AVEA’ pockets that can attach to both ends are also available in two sizes. This is easily one of the best bags you can buy for your Canon camera.

Whether you’re on your daily commute, going for a day out, or just off for a coffee, the Peak Design Everyday Messenger  is a really handy messenger bag for stashing your Canon camera kit. Available in 13-inch and 15-inch options, it’s ideal for carrying a medium-sized Canon DSLR or mirrorless kit, plus either a 13-inch or 15-inch laptop, respectively. 

Innovative design elements include quick-action MagLatch closures, plus a zippered top flap for even faster access to your camera, without opening the whole bag. FlexFold dividers are said to be origami-inspired and, while they work very well to cosset your kit, they can seem a bit unintuitive at first. The Version 2 editions have enhanced weatherproofing and their small inner pockets are made from a more durable fabric.

Think Tank’s TurnStyle sling-back bags are available in three sizes and two colour options: blue/indigo and charcoal. The Think Tank TurnStyle 20 V2.02 is the largest, but all three have one shoulder strap rather than usual two, and are designed to be worn across the body. A particular bonus is that you can swivel the bags around on their strap, enabling you to get access to your camera and accessories without needing to take the bag off and lay it down. There’s enough room for a full-sized Canon DSLR and up to four additional lenses or other accessories. The 10 edition takes one less lens, and the 5 edition is better suited to mirrorless Canon EOS-M outfits. Each bag has an additional tablet pocket, and an extra front compartment. if you're looking for a sling bag for your Canon camera, these options are top-class.

Over the last few years, many enthusiast and professional photographers have been shifting their emphasis to ‘hybrid shooting’, encompassing both video and stills. Meanwhile, ‘content creators’ have been majoring on video, and in both camps, ‘open gate’ has been one of the biggest buzzwords of late. But what exactly is an open gate camera?

Simply put, an open gate camera records video using the entire surface area of its image sensor, rather than just a 16x9 letterbox cutout in landscape orientation. But what’s so good about that? Utilizing the whole sensor gives you much more room for maneuver at the editing stage. A key advantage is that you can crop video for portrait or upright orientation, ideal for social media platforms and whenever anyone’s going to be consuming content on a smartphone. And that’s not all. You can also crop video to a bunch of other square and rectangular aspect ratios, as well as being able to creatively crop and zoom to home in on smaller areas of the image frame.

Given that open gate is such a massively useful feature for content creators and videographers, it’s perhaps surprising that relatively few digital cameras enable shooting in this way. The main reason is that recording video from the whole sensor requires capturing and processing a big bunch of extra data, and many cameras simply don’t have the capacity, or would run into overheating problems sooner rather than later. As it stands, Panasonic and Fujifilm are leading the charge with open gate, and Canon has just come to the party with the EOS R6 Mark III.

If you feel that open gate is for you, join me as I pick out the best cameras to suit wide-ranging needs and budgets.

The best open gate cameras

Best affordable full-frame open gate camera

The Panasonic Lumix S9 brings high-quality imaging in a compact, user-friendly design, making it a great option for content creators who need full-frame performance without the bulk. With a 24.2-megapixel full-frame sensor, the S9 produces beautifully detailed footage that is rich in color and depth and is ideal for capturing portraits, landscapes, and low-light scenarios. Its portability and ease of use set it apart for going out on the road, when you want to travel light.

While the S9 offers exceptional image quality, it does come with a few trade-offs. Notably, it lacks a viewfinder, but that's more of an issue for shooting stills rather than video. Autofocus recognition lags behind some of the top competition, and battery life, though adequate for casual use, might not fully satisfy those hoping for extended shooting periods. You might well need to buy and pack some spares. There's also only a single memory card slot, of the SD type.

Despite these limitations, the Lumix S9’s strengths make it a top choice for users who value portability, quality, and simplicity. It’s best suited for videographers, photographers and content creators who want a high-quality camera they can carry all day without feeling weighed down. However, those looking for a more feature-packed, action-ready model might explore other options in Panasonic’s lineup, such as the Lumix S5 series, which balances portability with a broader range of features.

Read more: Panasonic Lumix S9 review

Best 8K open gate camera

Panasonic’s new flagship makes no compromises, fusing high-resolution stills with class-leading video in a body that’s smaller, lighter and markedly faster than the 2019 S1R it replaces. A 44.3MP full-frame CMOS sensor and updated Venus engine deliver 40 fps electronic bursts (9 fps mechanical) with 8-stop Dual IS stabilisation, while the latest phase-detect AF finally brings sticky, AI-assisted subject tracking for people, animals, and vehicles. Lab tests show the S1R II resolving more detail and retaining more dynamic range than the Canon EOS R5 II or Nikon Z8 across the ISO range, with impressively clean high-ISO noise performance.

For videographers, the upgrades are even more dramatic. The camera records internal 8.1K/30p or 5.8K Apple ProRes HQ, offers 14-plus stops of dynamic range, and 8K open gate. Dozens of recording combinations, SSD direct-to-record, and a new cropless electronic IS mode make it one of the most flexible hybrid tools available. Heat management is handled by an internal fan borrowed from the S5 IIX, yet the magnesium-alloy body is 20% smaller than the first-gen model and only 2 % larger than the S5 IIX. A fully-articulating 3-in vari-angle screen, 5.76 M-dot OLED EVF, and dual CFexpress B / UHS-II SD slots round out a truly pro-grade spec sheet.

At $3,299 / £2,999 body-only, the S1R II undercuts rival flagships, leaving little room for complaint beyond its modest 340-shot battery life and the slight drop in pixel count versus its predecessor. Those who only need 6K video may still find the cheaper Lumix S5 IIX sufficient, but for creators who demand both 44 MP stills and uncompromised 8K cinema, the Lumix S1R II is the strongest, most future-proof Panasonic yet.

Read more: Panasonic Lumix S1R II review

Best value open gate camera

The Fujifilm X-M5 is an impressively compact and stylish camera that feels perfectly tailored to content creators and vloggers. Its 26.1MP X-Trans CMOS 4 APS-C sensor and X-Processor 5 deliver stunning image quality, and I was particularly impressed with its 6.2K open-gate video recording. As with other cameras in my guide, this opens up creative possibilities for cropping and for reframing to different aspect ratios.

While the camera’s small size and top-plate control dials make it highly portable and user-friendly, I missed having a built-in viewfinder, but really more for stills than for capturing open gate video. The reliance on digital image stabilization is another compromise, as it introduces a noticeable crop factor, meaning you’ll need to use wider-angle lenses. However, the autofocus system is excellent, with reliable subject detection, including animal eye AF, and touch-tracking autofocus for video.

Audio quality is another standout. The X-M5’s internal directional microphones, combined with improved wind filtering, deliver noticeably better sound, which is a big plus for content creators. In lab tests, the camera’s resolution and dynamic range really impressed me, outperforming rivals like the Canon EOS R50 and Nikon Z30, especially with its cleaner images at higher ISOs.

Although it lacks a viewfinder, the 3.0-inch vari-angle touchscreen is bright and responsive, making it easy to compose shots. Overall, the X-M5 offers a compelling mix of portability, power, and features, making it a strong contender for creators who value performance in a compact package.

Read more: Fujifilm X-M5 review

Best affordable hybrid open gate camera

There's fierce competition among cameras in this class, especially at around the $2000/£2000 price point. The Lumix S5 II stands out as offering unbeatable value but for a few dollars more, the S5 IIX introduces some fantastic extra possibilities, especially for content creators and videographers.

What's really remarkable about the S5II X is that it doesn't compromise the S5 II's existing features to incorporate additional video capabilities. In fact, it comes equipped with fab features straight out of the box, like improved autofocus and a Live View Composite mode, previously available on the S5II only through a firmware update.

For creators or filmmakers seeking a high-end hybrid camera that's both compact and capable of seamlessly integrating into professional workflows without sacrificing image quality, the Lumix S5 IIX is hard to resist. Even if RAW video capabilities aren't an immediate priority, features like ALL-I compression, direct shooting to SSDs, and streaming functionality would be enough to tip the scales in its favor, compared with similarly priced competitors.

Read more: Panasonic Lumix S5 IIX review

Best all-rounder open gate camera

Whereas previous EOS R6 incarnations have been decidedly mid-range, the Mark III is a pure powerhouse. A hybrid tour de force, it marries the performance of a top stills body with the tech of a cinema camera. For my money, it's the best hybrid camera on the market.

The 32.5MP full-frame sensor delivers crisp images and the option for rapid 40fps stills with the electronic shutter. Paired with the superb 8.5 stops of in-body image stabilization and Canon's improved Dual Pixel AF II autofocus (which latches onto subjects even more tenaciously than its predecessor) it's a stills monster.

Yet its video specs are perhaps even more immense. Not only can this camera capture 7K 60p internal RAW, it can also shoot 7K 30p open gate video. Better still, you can simultaneously shoot a 16x9 video to the CFexpress B card and a 9x16 video to the SD card, so you don't even need to do any work in post!

The caveat is that the R6 Mark III doesn't have an active cooling system, so there are limits to how long you can record without overheating (about 25 minutes at these extreme resolutions). If you want to shoot longer, the sister EOS C50 has a fan and so is a better choice for longform video.

Read more: Canon EOS R6 Mark III review

Best stacked sensor open gate camera

The X-H2S is the fastest camera in the Fujifilm X-mount range, making it a standout choice for professional and enthusiast sports and wildlife photographers. It excels when keeping up with the action is paramount. The X-H2S can shoot at 40fps with minimal screen blackout, alongside its in-body image stabilization to keep those big telephoto lenses even steadier.

However, this camera isn't just great for action-packed stills. The X-H2S can also capture 6K video or 4K at up to 120p, and covers all of the open gate bases to great effect. It also has a handy flip-out vari-angle screen, in addition to its 5.76m dot electronic viewfinder.

I love the 1.5x crop factor of APS-C sensors for their ability to get a little closer to the action with smaller-sized optics, and Fujifilm has a well-built-out lens collection with options for every situation from wide to tele, as well as a choice of zooms and primes, so no matter how and what you like to shoot, you're covered.

Although compact, the camera has professional handling, with a big chunky grip that suits use with larger lenses. There's also an ergonomic button and dial layout for quick control, in preference to the retro dials featured in many Fujifilm cameras.

Read more: Fujifilm X-H2S review

Lab data and comparisons

You can see the lab data below for each open gate camera we test as part of Digital Camera World's review process. You can find out more about what each score means at the bottom of the graph.

It's no surprise that the Panasonic S1R II leads the way for resolution, thanks to its 44MP full-frame image sensor. The newly developed sensor of the Canon EOS R6 Mark III puts it in second place, while there's not much to choose between the rest of the field in terms of resolution.

Dynamic range is very similar in all of the cameras in the group, and the same goes for signal to noise ratio. That's particularly impressive for both of the Fujifilm cameras, considering that they're APS-C format models rather than full-frame.

How to choose the best open gate camera

Here are a few things to bear in mind when choosing the open gate camera that best suits your needs…

How we test open gate cameras

Open cameras typically come in full-frame and APS-C formats, but we fundamentally test them in the same way – both in real-world shooting scenarios and in carefully controlled lab conditions.

Our real-world testing takes into account the intended use of the camera – we test high-speed cameras on fast-moving subjects or high-resolution cameras on subjects with lots of detail. We also test how open gate cameras perform in everyday shooting situations by shooting with them over several days or weeks.

Our reviewer reports back on their experiences using the camera, how the camera feels and works, any issues they encountered, and their subjective opinion on the camera performance separate from the lab results.

Our lab tests measure resolution, dynamic range, and signal-to-noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera's ISO range.

The real-world experience and lab results are combined to inform exactly what we select for inclusion in our buying guides.

Find out more about how we test and review at Digital Camera World

Deals

What a camera! As I’m tapping out this buying guide on my computer keyboard, the Sony A7 V has just outsold all other cameras at a top Japanese photographic store for an entire month, outnumbering all four of the next-placed cameras – combined! What makes it so special?

Well, a new partially stacked image sensor, AI-powered subject-detection autofocus and a blistering burst rate spring to mind, straight off the bat. But as with its recent forebears in the A7 line, it’s the camera’s sheer versatility that makes it so appealing to massed ranks of photographers. Its broad remit stretches to travel, sports, landscapes, portraits, weddings and pretty much every other photographic genre, the A7 V taking them all in its stride.

With that in mind, I’ve picked out a selection of nine different lenses to suit pretty much any and every category from walkabout shooting and street photography, through sports and wildlife, to macro and astrophotography. As a mid-range camera however, it’s not the body that the most big-spending buyers will choose. And with that in mind, I’ve kept one eye on the budget when earmarking the best-buy lenses for this camera. Let’s get into it…

Best lenses for the Sony A7 V

Best standard zoom lens for the A7 V

It hasn’t escaped my attention that Sony updated and upgraded its long-standing kit zoom lens, to do justice to the performance increases in the A7 V. Even so, the replacement FE 28-70mm f/3.5-5.6 OSS II remains a relatively slow, variable-aperture standard zoom.

Back in my DSLR days, the original Sigma 24-70mm Art was my go-to lens for everyday shooting, and I loved it. The first edition of the replacement ‘DN’ zoom for mirrorless cameras was a marked improvement and this revamped Mark II is even better. It has a redesigned optical path for greater edge-to-edge sharpness, as well as reducing sagittal coma flare, so pinpricks of light don’t take on irregular shapes. Along with excellent sharpness, the lens delivers smooth bokeh, the quality of which is enhanced by a particularly well-rounded 11-blade aperture.

I really like the handling of this lens. Additions over the previous incarnation include an aperture control ring, which comes complete with a click/de-click switch and a locking switch to avoid accidental operation. The de-click option is great for shooting video, and the lens has also been designed to minimize focus breathing. That’s another box ticked for shooting video, ideal for cameras like the A7 V which is tailor-made for 'hybrid shooters'. The Mark II also doubles up on customizable function buttons, catering to both portraitand landscape orientation shooting, and they can be customized for other functions in camera menus.

Autofocus is about three times faster than in the original lens, and well able to keep pace when tracking moving subjects, based on an HLA (High-response Linear Actuator) motor. That's another tick in the box for use with the A7 V. All in all, it’s a brilliant lens for everyday shooting and I’d go as far as to say it’s pretty much as good as the Sony FE 24-70mm F2.8 G Master II which costs about twice as much to buy. This Sigma is a steal at the price.

Read more: Sigma 24-70mm F2.8 DG DN II Art review

• Back to the top ⤴

Best wide-angle zoom for the A7 V

Sony’s G Master lenses have a reputation for optical quality, so it’s no surprise that this second-generation version of Sony’s 16-35mm f/2.8 zoom comes with a hefty price tag. If this is your favored focal range for stills and video, this lens will be your dream buy; otherwise, take a look at the Sony FE PZ 16-35mm f/4 G, which is less than half the price.

You might also want to check out third-party alternatives. The Sony FE 16-35mm f/2.8 G Master II justifies its cost, however, with no fewer than four Linear XD focus motors and suppressed focus breathing. It really is quite a lens with stunning pictorial quality and all-round performance, and a lens that you'll probably want to keep for a lifetime.

Read more: Sony FE 16-35mm f/2.8 GM II review

• Back to the top ⤴

Best telephoto zoom for the A7 V

I have very happy memories of the DSLR version of this lens. I firmly believed it was one of the very best 70-200mm ‘trinity’ zooms on the market, paid good money for it, and it served me very well indeed through many weddings and events, sports and wildlife shoots, and more besides. As with the Sigma 24-70mm, the ‘DN’ version of this telephoto zoom is completely redesigned, revamped and revitalized for mirrorless cameras, also being available in L-mount as well as Sony E.

Well able to keep up with the Sony A7 V’s super-speedy and ‘intelligent’ autofocus system, the Sigma has really rapid yet virtually silent AF, driven by two HLA (High-response Linear Actuator) motors. Sharpness in practical terms is boosted by a highly effective optical image stabilizer, worth 7.5 stops at the short end and 5.5 stops at the long end of the zoom range, complete with switchable static and panning modes.

Quality glass includes with three aspherical elements, two SLD (Special Low Dispersion) elements and six top-grade FLD (‘Fluorite’ Low Dispersion) elements. The resulting image quality is superb, combining impressive sharpness and clarity with beautifully smooth bokeh. What’s more, while the original DSLR lens was very hefty at 1,805g, the DN version for mirrorless cameras takes a huge 470g off the weight, making it much more easily manageable.

Read more: Sigma 70-200mm f/2.8 DG DN OS Sports review

• Back to the top ⤴

Best super-telephoto zoom for the A7 V

I’ve been impressed by the Sony FE 100-400mm f/4.5-5.6 G Master OSS super-tele zoom for E-mount mirrorless cameras, but the newer 200-600mm really boosts telephoto reach, with only a minimal narrowing of the aperture rating. It’s also considerably less expensive, has similarly refined handling, and delivers superb performance and image quality

Handling is excellent, with a switchable triple-mode optical stabilizer, an autofocus range limiter, and customizable AF-on/AF-lock buttons. Unusually for this type of lens, the overall physical length remains fixed throughout the zoom range.

The Direct Drive Super Sonic Motor autofocus system is fast, accurate, and ultra-quiet. The optical stabilizer works best in conjunction with in-body stabilizers featured in recent Sony cameras, and sharpness is both scintillating and consistent. It feels a bit hefty on the A7 V but well worth the weight.

Read more: Sony FE 200-600mm f/5.6-6.3 G OSS review

• Back to the top ⤴

Best standard prime for the A7 V

I reckon that this Sony standard prime is the best fit for for the A7 V. It's impressively light and compact, but doesn't compromise one bit on optical quality. It's practically perfect in terms of center-sharpness and only has a small falloff towards the edges of the frame, along with some vignetting when shooting wide-open, which is only to be expected.

The 50mm focal length delivers an entirely natural perspective, and it is definitely a lens that can be left on your camera for wide-ranging shooting scenarios. If you don't need the extra aperture stop, or the added size, weight, or considerable cost of the FE 50mm f/1.2 GM, then the Sony FE 50mm f/1.4 will suit you to a tee.

Unfortunately, the downside is the lens is expensive when compared to similar rivals, with much cheaper third-party glass out there that will achieve similar visual results. However, few have quite the same lightning-fast autofocus and solid, moisture-resistant construction that this lens offers.

Read more: Sony FE 50mm f/1.4 GM review

• Back to the top ⤴

Best portrait prime for the A7 V

Sony's gorgeous G Master lenses have garnered a reputation as being among the finest optics you can buy, and this long-awaited update to the 85mm f/1.4 follows suit. It manages to improve on what many people thought was a near-perfect lens, delivering a configuration that's ideal for most portraiture scenarios.

Where you need sharpness, it's sharp as a tack. Where you need dreamy, bokehlicious softness, it gives it to you in spades. It achieves this by doubling the complement of XA (extreme aspherical) elements included in the optical construction.

Autofocus speed has also been upgraded, driven by two XD (extreme dynamic) linear motors that Sony promises will deliver a seven-fold improvement in tracking of moving subjects. Somehow, even with all this, the weight has been reduced from the previous version, making the lens easier to use handheld. The aperture ring has a de-clicked option, and there's an Iris Lock switch to prevent it from being knocked out of place. It's undeniably a considerable investment but for portraiture, it rules the roost.

Read more: Sony FE 85mm F1.4 GM II review

• Back to the top ⤴

Best street prime for the A7 V

Like other manufacturers, Sony makes premium lenses that are really rather big and heavy. That's par for the course. But it's the last thing you need for street photography, where you want to be inconspicuous and avoid drawing attention to yourself.

Going hand in glove with the slimline A7 V, this lens is a relatively small, lightweight prime, but there's a lot shoehorned into its diminutive build. The FE 40mm f/2.5 G also has an ideal focal length, being a little wider than a 'standard' 50mm prime and squeezing more into the frame, again ideal for street photography. As a G Master lens, it's very impressive in terms of image quality, with standout sharpness throughout the aperture range, and right across the frame.

This lightweight lens is perfect to attach to your A7 V and just walk around with for hours on end. The balance and feel is so much better than with a hefty zoom or prime, and the autofocus is fast and accurate enough to catch pretty much anything. Sony has done a great job here, and any Alpha-using street photographer should definitely make this lens a prime consideration in every way.

Read more: Sony FE 40mm f/2.5 G review

• Back to the top ⤴

Best macro lens for the A7 V

Sony’s time-honored FE 90mm macro lens has been looking a bit old and tired for some time now. Enter the new FE 100mm, which is everything I’d hope for (and more) in a top-end macro lens. For starters, it goes extra-large on maximum magnification, boasting 1.4x magnification at its minimum focus distance, instead of the more usual 1.0x. And if that’s still not enough, you can boost it to as much as 2.8x for revealing near-microscopic levels of detail, if you add a 2x teleconverter.

While the maximum magnification is highly impressive, there’s a lot more to this lens than just acting as a magnifying glass for your Sony A7 V. There’s a smorgasbord of handling exotica, including a calibrated manual focus scale (I typically prefer manual focusing for macro shooting), an AF/MF switch, focus range limiter, stabilizer on/off and an iris lock switch to go with the aperture control ring.

High-performance glass includes two ED (Extra-low Dispersion) elements and two XA (eXtreme Aspherical) elements, along with a particularly well-rounded 11-blade aperture diaphragm. Nano AR Coating II and fluorine coatings are also applied. The lens isn’t a one-trick pony either. Great for portraiture or just as a short telephoto prime, it has no less than four XD (eXtreme Drive) linear motors to power its fast and virtually silent autofocus system.

Read more: Sony FE 100mm f/2.8 Macro GM OSS review