Super zoom cameras have long been the go-to for photographers who want extreme telephoto reach without spending five-figure sums on pro-grade lenses.

Now, the Nikon Coolpix P950 has been listed as discontinued by major Japanese and UK retailers, signalling that one of Nikon's most accessible ultra-zoom bridge cameras is reaching the end of its production cycle.

With its 83x optical zoom – equivalent to 24-2000mm in full-frame terms – the P950 offered something very few cameras could: the ability to shoot everything from wide-angle scenes to distant subjects without ever changing or investing in lenses. That made it particularly popular with bird and wildlife photographers at a beginner or enthusiast level.

An all-in-one shooting solution

Now six years from its release, the P950 is being discontinued, with stock expected to decline in the coming months.

While it was never aimed at professionals, it carved out a clear niche. It offered a budget-friendly, ready-to-shoot package with a huge zoom range that would otherwise require far more expensive and bulky gear.

While its reach is undeniably impressive, its image quality already felt slightly dated at launch in 2020. That said, the P950 was designed to balance versatility and reach, delivering solid results in good conditions while prioritising zoom above all else.

Packing that level of reach into a relatively compact body inevitably means relying on a small sensor, and with it comes compromises in image quality.

With early signs of discontinuation already driving discounts across retailers in the US and UK, this may be one of the last chances to pick up brand-new at a reduced price – before being dependent solely on the second-hand market: you can save up to $100 and £245.

What's left in Nikon's lineup?

With the P950 on the way out, Nikon's superzoom range is now reduced to a single model: the Nikon Coolpix P1100.

This camera pushes things even further, with a 125x optical zoom offering extreme telephoto reach. But it also comes at a higher price of $1,146.95 / £1,049, making the barrier to entry steeper for beginners who previously looked to the P950 as a more affordable option.

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Kodak is about to launch a new bridge camera, that has a built-in optically-stabilized 65x zoom that can cover an equivalent focal length range of 24–1560mm. Originally teased last year, the Pixpro AZ653 will now go on sale from April 2026.

The DSLR-shaped compact camera has a 20.68MP 1/2.3" BSI CMOS sensor and can record video at 1080P (so not 4K).

The new model joins Kodak's existing bridge camera line-up offering photographers a huge telephoto reach which appeals to those who want to shoot subjects such as sports and wildlife without the bulk and investment needed from a mirrorless or DSLR camera system.

The AZ653 offers the benefit of both a fixed 3in 460k-dot rear LCD, as well as an electronic eyelevel viewfinder. It also comes with a built-in pop-up flash. It also offers a built-in 15MB memory, in addition to an SDXC card slot.

Although all settings can be automated, the AZ653 provides a wide range of manual overrides for creative control. As well as program exposure, you can opt for shutter priority, aperture priority or manual mode use. ISO can be manually set from ISO 100 to 1600. And there is exposure compensation offering ±3 EV in 1/3 steps adjustment. There are also a range of 'intelligent' shooting modes to suit different subjects, as well as a 360° panoramic mode.

A burst made can fire off sequences at five frames per second, and there is a shutter speed range that stretches from 1/2000sec – 30 seconds.

Weighing 568g, the rechargeable battery claims to offer you 400 shots or 90 mins of video @1080/30p (based on CIPA standard testing) between charges, and can be recharged via a USB-C socket.

The Kodak Pixpro AZ653 will cost $449.99 / £349.99 / AU$750.99.

See our rundown of the best bridge cameras currently available, and our rundown of the best Kodak cameras

The point-and-shoot, once thought to be killed by the smartphone camera, is back with a vengeance. But as trends revive compact cameras, I’m left wondering about the point-and-shoots' bulkier sibling: the superzoom bridge camera.

The bridge camera earned its name from “bridging” the gap between the point-and-shoot and the DSLR. Bridge cameras tend to still focus heavily on user-friendly auto modes, but the bulkier format means the category can often fit a much longer zoom lens inside, which is why bridge cameras are also sometimes called superzoom cameras.

But as the point-and-shoot has exploded in popularity in recent years, I haven’t seen quite the same enthusiasm for the bridge camera. Which begs the question – why not?

Bridge cameras are much larger than point-and-shoots. While meant to bridge the gap between compact cameras and DSLRs, the bridge camera looks more like a DSLR than a compact camera. If pocketability is the reason why point-and-shoots have made a comeback, then, well, then there's a very obvious reason why the bridge camera hasn’t made a comeback.

But while the bridge camera doesn’t share the same portability as a point-and-shoot, the format uses a built-in lens. Because bridge cameras aren’t afraid to be big and bulky, the format is known for its superzoom lens. Cameras like the Nikon Coolpix P1100 have a lens so long that you can photograph the craters on the moon.

That zoom lens is the bridge camera’s biggest advantage in an era where smartphone cameras are so readily accessible. Despite the advances, smartphones still can’t fit a very long superzoom lens into a pocket. I've recommended bridge cameras to birders who want to take simple pictures – and I've seen a ten-year-old wildlife photographer start out with a bridge camera.

While bridge cameras may not have the pocketability of a compact camera, that longer lens makes the format a better option for genres like wildlife photography on a budget – which is why I’d love to see the format make a comeback alongside the point-and-shoot.

As sales and trends slow, so too do new launches. Bridge cameras still exist, but manufacturers are prioritizing mirrorless cameras. A particularly devastating blow to the category is the discontinuation of the Sony RX10 series. The RX10 series used a one-inch sensor, while the bridge cameras that are still easily available favor the smaller 1/2.3-inch sensor.

While bridge cameras with a built-in superzoom lens seem to have slowed, the superzoom lenses designed for mirrorless cameras have not. There’s a wide range of different superzoom lenses that go from wide to telephoto, ready to pair with a mirrorless camera.

The larger sensor of a mirrorless camera paired with an all-in-one zoom lens will deliver better results compared to a bridge camera’s smaller sensor. And that’s likely to be the best alternative to a bridge camera – a beginner-friendly mirrorless camera with a budget zoom lens.

But mirrorless tends to be the pricier option compared to bridge cameras. Even cheap mirrorless cameras are getting impressively good at superzoom genres like wildlife photography. But, there’s still a major price gap between a cheap mirrorless with a superzoom and something like the Panasonic Lumix FZ80D / FZ82D.

I’m curious to see what the continuing trend for compact cameras will do to the bridge camera category.

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I dubbed the Nikon Coolpix P1100 my worst camera of 2025, only to claim that it was a guilty pleasure. And that’s because I secretly love this camera. As I explained in the article, the only grievance I have with it is that it’s – more or less – the same camera as the Nikon Coolpix P1000, with a USB-C port and a couple of very small upgrades. I want a proper successor to the most barmy bridge camera ever made, gosh darn it!

The reason I love the P1000 and P1100 is that they’re quite unlike anything else on the market: an all-in-one bridge camera with a whopping 125x zoom, resulting in an equivalent 24-3000mm zoom range. Oh, and you can double that with the digital zoom (although I wouldn’t recommend it).

Photography rivet counters (guilty!) will bemoan the small 1/2.3-in. type CMOS sensor, 16MP, and the AF (which really isn’t all that). But this isn’t the camera you purchase if you want to win Wildlife Photographer of the Year or carve out a career in wildlife photography. It’s a hobbyist's camera through and through. But more than that, it’s a casual hobbyist’s camera.

I’ve said many times before that the Nikon P1100 is a bit of an underrated gem for those individuals who aren’t photographers first. By that, I mean bird watchers, wildlife enthusiasts, and casual stargazers. If you want a one-and-done camera that doesn’t cost the Earth to record the birds that you see – not create visual masterpieces – I can hardly think of a better camera on the market. If you’re going on a once-in-a-lifetime safari and want to document the animals along the way, this camera is small enough to travel with and will get you close enough to the action.

The Nikon P1100 is the non-photographer’s camera. It’s a utilitarian tool that’s built for one thing: getting you close to your quarry. The sad thing is, I fear that it’s one of those cameras that only the hardcore photography fraternity really knows about…

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Want more content on Nikon's far-reaching bridge camera? I photographed the moon with a monster Nikon P1000 bridge camera. If you're looking for more of my ramblings on other Nikon cameras, the Nikon D800 is old, cheap and still takes gorgeous photos. And if you're looking for up-to-the-second camera tech, stay up to date with the latest camera news.

The Nikon Coolpix P1100 has just dropped to its lowest-ever price, now available for only £962, down from £1,049. That’s a saving of £87 on a camera that already offered plenty of value for money.

For those looking for a powerful bridge camera without stepping into the world of interchangeable lenses, this discount makes the P1100 more tempting than ever.

The Coolpix P1100 stands out for its extraordinary zoom range, a hallmark of Nikon’s premium bridge cameras. With the ability to shoot everything from sweeping landscapes to distant wildlife with ease, it’s a versatile tool for those who want one camera to cover all scenarios. Its long-reaching lens is paired with Nikon’s stabilisation technology, ensuring shots stay sharp even when you’re fully zoomed in.

Alongside its lens, the P1100 brings a host of useful features for both casual and serious photographers. Its large sensor and intelligent processing deliver images with vibrant colour and solid detail, while advanced shooting modes give you room to experiment creatively. Whether you’re shooting fast-moving subjects or capturing atmospheric low-light scenes, the P1100 handles it with confidence.

Video performance is also a strong suit here. The P1100 can record in crisp 4K, making it a capable hybrid option for those who like to switch between stills and motion. Built-in microphones capture clear sound, while its handling makes it easy to keep shots steady without the need for additional gear. For travel vlogging or documenting family events, this is a camera that pulls double duty effectively.

Ease of use is another reason the Coolpix P1100 has proven so popular. The camera is designed to be intuitive, with a straightforward menu system and controls that are easy to access even for newcomers. Yet, for more experienced photographers, there’s the option to take manual control, giving you the flexibility to fine-tune your shots. Its balance of simplicity and control makes it a genuine all-rounder.

At £962, the Nikon Coolpix P1100 is more attractive than ever. For a bridge camera with this level of reach, stability, and versatility, it’s a worthwhile investment for anyone who wants to travel light without sacrificing performance. With this being its lowest price to date, now is the perfect time to pick one up.

I have recently started to buy cameras that I reviewed decades ago. This is partly because they bring back great memories from earlier in my career as a camera journalist – but also because these 'classics' are just so cheap.

This Ricoh Mirai bridge camera was launched back in the late 1980s – and I remember how much I loved the futuristic design, and its innovative approach to camera handling.

The design was so out there that the camera made a cameo appearance in the classic Batman movie directed by Tim Burton – the one where Jack Nicholson plays The Joker.

Incredibly (to me at least) I managed to get one that looks in great shape and still works – for under $25 / £20 on eBay. The seller had even thrown the optional flashgun that was designed for the Mirai in with the deal.

At launch in 1988, it sold for £360 in the UK – which is equivalent to nearly £1,000 today – which I definitely wouldn't have been able to afford at the time.

The Mirai was one of the first bridge cameras – a new camera type that literally bridged the gap between the early autofocus SLR film cameras and the increasingly popular zoom compact.

But what Ricoh did was not mimic the handling of an SLR – instead, it created a camera where you held the camera with a chunky handle that also functioned as the battery compartment.

Just like an SLR, you viewed your subject through the lens itself via an eye-level optical viewfinder. Through this, you could read the shutter speed and aperture that had been set.

The zoom range was modest by today's bridge camera standards, featuring a built-in 35-135mm f/4.2-5.5 lens. An optional teleconverter was available, if you wanted to stretch your optical reach to 200mm.

Mirai is the Japanese word for the future – and Ricoh obviously had high hopes for its futuristic camera. The company reportedly spent four years and ¥2 billion (approximately $16 million / £10 million) on its development.

One of my biggest criticisms of the camera, when I first reviewed it, was its handling – even though it felt great in the hand.

"Try turning the pistol grip to take an upright photo, and it's not only uncomfortable to hold, but some of the controls become difficult to reach," I wrote at the time.

Today, my main criticism would be the autofocus. AF technology has moved on light years in the last three decades – so the focus is literally pedestrian, albeit accurate for static subjects. You wait for the lens to chug to the right distance, and it feels that it would be just as quick to focus manually.

I would also question more vehemently Ricoh's decision not to provide an aperture priority exposure mode – here you have to make do with program shift and exposure compensation to exercise a modicum of creative control.

Nevertheless, as compact cameras continue to make a comeback, I'd love to see the launch of a big sensor bridge camera today. Perhaps not a full-frame one to rival the Mirai – but maybe one with a Micro Four Thirds sensor. Too much to wish for? Perhaps.

You can watch Batman on digital or physical media here.

Check out our guide to the best bridge cameras you can buy new today

Kodak is poised to launch the latest bridge camera in its range. The Kodak Pixpro AZ653 is set to be officially announced at the massive annual IFA electronics show in Berlin, which opens on September 5.

Ahead of the announcement, however, we have been told that the newest model in the Kodak bridge camera range will boast a 65x zoom lens with optical image stabilization, and will use a 1/2.3in 20-megapixel CMOS sensor. This would lead us to think this is an updated version of the discontinued Kodak AZ652, which offered the same zoom and resolution, when it first went on sale back in 2014.

However, we are told that the newer model has a fixed 3in 460k-pixel screen and does not have the articulated LCD of its predecessor. It will, though, retain a separate electronic eye-level viewfinder.

As you would expect, following recent EU legislation, the AZ653 will provide a USB-C charger socket (replacing the Mini USB socket found on the AZ652).

Despite the 20MP sensor, video recording will be restricted to Full HD - which will be disappointing for anyone looking for 4K resolution.

Other Kodak bridge cameras currently on sale include the Pixpro AZ255, AZ405, AZ425, and AZ528. 

We will bring you full details and pricing when the camera is officially launched in September.

See our rundown of the best bridge cameras currently available, and our rundown of the best Kodak cameras

The Nikon Coolpix P1100, which launched earlier this year, caused a stir thanks to its jaw-dropping 125x optical zoom, stretching all the way to an extraordinary 3000mm focal length!

Now, for the first time, this powerhouse bridge camera has seen its biggest price drop yet on Amazon, with a saving of around £72, it's now available for £976.99. It’s only a 7% cut, but for a camera like this, one that rarely sees much of a discount, even during major sales, it’s as good a time as any to grab it whilst it is at its best price ever.

The P1100 isn’t just about sheer zoom power. It’s designed to deliver sharp, detailed images even when you’re pushing the limits at ultra-telephoto lengths. Its bright f/2.8 Nikkor lens, combined with a 16MP backside-illuminated 1/2.3" type CMOS sensor and RAW shooting support, means you can capture clean shots in low light at a distance.

Nikon’s Expeed image processor keeps distortion under control, while the fast autofocus and 7fps burst shooting make it just as capable for capturing fast-moving subjects, whether that’s birds in flight or an air show far on the horizon.

This is a camera built for photographers who want to reach subjects that other compact cameras simply can’t touch. Bird photographers will love its ability to lock onto distant subjects without spooking them, while astrophotographers will find its 3000mm reach and ability to capture the moon’s surface downright addictive.

Wildlife watchers, plane spotters, and even casual travelers who want a single all-in-one camera for every scenario will find the P1100 delivers without needing a bag full of lenses.

With the lowest price it’s ever seen, this is the best moment to date to jump on Nikon’s ultimate bridge camera.

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I think the Nikon Coolpix P1100 is the perfect camera for the wildlife enthusiast who wants to complement their hobby with a little photography. It’s a budget-friendly and practical solution for those who simply don’t need enthusiast- or pro-level capabilities. It’s not just limited to wildlife enthusiasts; it’s a fine camera for photographing almost anything at a distance, be it the moon, fireworks, sports, and aviation.

Just be mindful that it doesn’t boast the processing grunt of Nikon’s higher-end cameras and can feel a little sluggish by comparison. The autofocus isn’t the best, either, but if you’re intent on capturing tack-sharp images of birds in flight, you’ll likely be looking for a higher-end setup anyway.

Ultimately, the Nikon Coolpix P1100 is a one-trick pony: it boasts a monster optical zoom range of 24-3000mm (35mm equivalent). That’s a frankly ridiculous 125x zoom! Sure, its 16.79-MP, 1/2.3-in CMOS sensor isn’t going to deliver jaw-dropping image quality, but image quality is superfluous if you can’t get anywhere near your subject. The Nikon P1100, then, is designed to get you as close as possible for as little as possible.

This all-in-one bridge camera retails for just $1,099.95 / £1,049 and its monster zoom range does it all. For starters, the closest you’ll get to 3000mm is an 800mm lens and a 2x teleconverter. 

Even with an extremely versatile zoom like the Canon RF 200-800mm f/6.3-9 IS USM (which retails for £2,299.99 / $2,099.), you’ll still need more lenses to cover the wider focal lengths, and a Canon RF 2x teleconverter doubles the aperture, so unless you’re using a fast prime, things can get real tricky if you’re not shooting in ample light.

It might be comically large when using the wide-angle end, but it’s positively small and light when compared to a kitbag full of lenses. Spend a day scanning the Serengeti with a supertelephoto lens and you might wish you had a little ol’ P1100, too. This bridge camera oddity might be a one-trick pony, but that 3000mm optic is one heck of a trick!

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Nikon Coolpix P1000 vs. P1100: what exactly has changed, and why – hint, not a lot. If you want to see one of these monster cameras in action, I photographed the moon with a monster Nikon P1000 bridge camera – here’s what I learned. And if you're not sold on the Nikon P1000, here are the best telephoto lenses.

OM System’s biggest advantages are the brand’s compact design and access to exceptional telephoto reach thanks to the Micro Four Thirds crop – but that’s also exactly why I think vintage digicams like the Olympus Stylus 1 need a modern remake.

Announced in 2013, the Olympus Stylus 1 was a compact camera with a 1/1.7-inch 12MP sensor that still managed to squeeze in a bright 28-300mm equivalent zoom lens, despite a slim design and a weight of around 14 oz / 402 g. But flash forward to 2025, and when I pick up an OM System (formerly Olympus) camera, it’s because I need a lot of zoom in a little camera.

Despite its age, the Olympus Stylus 1 still showcases some of the best features that the OM System brand still focuses on today: compact designs and long zooms. Micro Four Third’s crop factor makes the brand’s mirrorless system among my favorite choices whenever I need a telephoto lens with a lot of reach without carrying around something too heavy. The Stylus 1 also had a Super Macro mode, which is one of my favorite features on the brand’s current compact camera option, the Tough TG-7.

In the early heyday of digital compact cameras, bridge zoom compact cameras sacrificed a bit of the pocketable size in order to fit an exceptionally large zoom inside. Even with how much smartphone cameras have developed, even the best smartphones can’t compete with the long lenses of a bridge zoom camera.

But the Stylus 1, a flagship compact at the time, did more than the typical bridge zoom because that long 28-300mm equivalent lens offered a constant aperture of f/2.8. Fitting a long zoom into a compact camera is a challenge, but fitting a bright zoom into a small camera is even more so. As a result, many bridge-style zooms used narrower apertures, and few used constant f/2.8 apertures that didn’t narrow when fully zoomed in.

The Stylus 1 wasn't quite alone in its bright zoom lens – the Sony RX10 was launched around the same time with an 8.3x f/2.8 zoom lens. The modern equivalent is the Sony RX10 Mark IV, which uses a 24-600mm equivalent f/2.4-4 lens. But the RX10 Mark IV and similar cameras like the Nikon P1100 have weights better measured in pounds rather than ounces. The Stylus 1 maintained a slim build and a weight less than half that of cameras like the RX10 IV and P1100.

With compact cameras making a comeback and current bridge-style zooms rarely truly compact, I think a modern remake of the Olympus Stylus 1 could be exceptionally popular. If the Stylus 1 gained some of OM System’s modern features, like stabilization good enough for some handheld long exposures, high-res modes, and in-camera live composites, I think a modern Stylus 1 would encompass what OM System is best at: Compact camera systems that are still versatile and durable.

OM System is one of the few brands that continued making compact cameras even when the format wasn’t popular. I love taking the compact TG-7 on beach days and kayaking trips, and I think a durable compact camera with a 300mm reach and a bright lens would fit right in with the brand’s current fan base. While there are some used Olympus Stylus 1 cameras around, I'd love to see a modern take on the compact zoom camera.

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We were updating our guide to the best bridge cameras last week, and we came to an awful realization. There are no longer any bridge cameras on the market with a one-inch imaging sensor.

We had known that the Sony RX10 IV - arguably the best bridge camera ever made - was coming to the end of its life for some time and wouldn't be replaced.

A year ago, the death of the Sony Cyber-shot DSC-RX10 IV was just a rumor… and each time we have updated this buying guide since we had found enough stores with some stocks of this bridge camera to justify it still making it into our list of recommendations. But now supplies have run dry - and if you want this model, you will have to buy one secondhand. And if you do, don't expect it to be cheap, thanks to their popularity.

But as we weighed up the rest of the field, we then realised that with the loss of the RX10 that there are no longer ANY bridge cameras with a Type 1 one-inch sensor – as Panasonic and Canon had also stopped also making them. Now, all of the bridge camera contenders have a significantly smaller 1/2.3in sensor.

A bigger sensor means better image quality, and superior lowlight performance. So every bridge camera that remains is at a disadvantage, as it is around a quarter of the size.

There are some advantages of a smaller sensor, though. A small sensor is the only thing that makes the monster 125x zoom on the Nikon P1100 possible (and the camera is still huge). Similarly, it is the 1/2.3-inch sensor that allow the Kodak AZ405 to be so small, despite offering a 40x optical zoom.

The Sony RX10 IV had to compromise on its zoom range - offering a more modest 25x zoom range to ensure that the camera was a sensible size.

When we first published this guide to bridge cameras - around seven years ago - there was actually a choice of models with a one-inch sensor. It wasn't just Sony – Canon and Panasonic also offered what I would call a quality bridge camera.

Sony had a succession of models, with the RX10, RX10 II, RX10 III, and RX10 IV - and for years you could buy two or three of these different generations new at a range – providing a range of differently priced options from Sony alone.

Panasonic brought out three different models between 2014 and 2019 - and Canon had given us the Canon PowerShot G3 X.

There is an irony that this specialist class of compact cameras should be killed off now… just as other types of compact cameras are proving popular again (and the available bridge cameras are selling well).

So will one-inch sensor bridge cameras also make a comeback at some point? Who knows - but I think there is a need. These type of all-in-one cameras do something that a mobile phone will never be able to do, thanks to their huge telephoto zooms. And they also provide a solution, for bird photography, say, that would be much more expensive with an interchangeable lens system.

A colleague suggested the other day that it would be great to have a full-frame bridge camera… I pointed out that I already owned one – a Ricoh Mirai – one of the first generation of bridge cameras, launched in the 1980s. That shot 35mm film, of course, and almost certainly will never be seen in digital form. But only offering the modern photographer bridge cameras with 1/2.3in sensors is, surely, selling us short.

See our Sony RX10 vs Sony RX10 II vs Sony RX10 III vs Sony RX10 IV comparison, and check out our recommendations for the best bridge cameras you can actually buy new today

I own a Red camera which is meant to be the best in the business, but if I had to start over with my filmmaking I'd pick up this amazing deal on the Canon EOS R5 C that sees it plummet to just £2,929 this Black Friday - That's a £1,570 discount on this 8K powerhouse.

Now at its LOWEST-EVER UK price at just £2,929 at Wex Photo Video, following a second recent price drop, you can get your hands on this amazing camera to shoot an astonishing 8K video internally, while also being able to take stills at a razor-sharp 45-megapixels.

The Canon EOS R5 C might not be the first mirrorless camera to feature in the list of best Netflix-approved cameras, but it is the very first professional and best mirrorless camera that can shoot native 8K video, and in 12-bit 60p no less! - something that my Red can't do!

While the Canon EOS R5 C is, at its core, very similar to the standard Canon EOS R5, it is specifically a Cinema EOS product. Therefore, you can unleash the camera's full video potential, including the ability to shoot internal full-frame 8K video up to 60p in 12-bit Cinema Raw Light, optimized for HDR footage – though the camera must be connected to an external power source (including new Canon mains adapter, or a power bank) to shoot 8K 60p. Internally, it also shoots Super 35 up to 5.9K 60p and Super 16 up to 2.9K 60p, giving professional and amateur filmmakers alike a lot of production options for any size shoot.

Overall the Canon EOS R5 C is a true professional Cinema EOS product, that also has the benefit of being able to take 45MP stills when you need them, and now that it is officially approved by Netflix, I can see the Canon EOS R5 C being a great B-cam to bigger cinema cameras, or even being the main A-cam recording your next block-busting documentary or indie film for the streaming giant.

Dearly beloved, we're gathered to celebrate the Sony RX10 IV – a camera that Sony has just laid to rest, and that I will miss dearly.

Yes, it seems that the RX10 IV (or the Sony Cyber-shot RX10 IV, to give its full name) is no more. According to Japanese outlet Asobinet, all the big retailers have listed it as discontinued – and while there is still stock here in the west, Sony Alpha Rumors is reporting that there won't be a replacement once stock runs out.

It's a sad day, as the RX10 IV is still the best bridge camera you can buy for pure image quality despite being launched all the way back in October 2017.

Yes, its 24-600mm zoom range is eclipsed by the likes of the Nikon P1100 (with its ludicrous 24-3000mm zoom) but for me it's absolutely perfect. Here's what that range actually looks like:

I know that 600mm is a drop in the ocean compared to 3000mm, but the Sony camera has a nice big 1-inch sensor so you can actually pull good image quality from the long-range shots rather than getting muddy results.

I leave the RX10 IV by my window to watch the wildlife in the trees behind my house – and it's ideal for capturing things shots like the one below, when the squirrels chill out for a spot of sunbathing on the branches.

Use cases like this are common for bridge camera shooters, who love them for general wildlife spotting – which makes it all the more interesting that Sony is letting the RX10 line peter out.

Both Nikon (with the aforementioned P1100) and Panasonic (with the Lumix Lumix FZ80D / FZ82D) have launched new models, and they're proving popular with the public – so it seems that there's plenty of life left in bridge cameras.

Despite the resurgence in popularity, though, Sony seems to be sunsetting its RX10 range – much in the same way that its sister series, the RX100, is being left t slowly die despite the enormous Renaissance of compact cameras.

Anyway, I'm tipping a little beer on the curb for the Sony RX10 IV. We'll never see its like again (from Sony, at least… at least, for now).

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Are you looking forward to shooting at staggering distances with a 125x optical zoom from Nikon Coolpix P1100?

Well you've come to the right place as this page is dedicated to finding you the latest prices and availability for this powerhouse bridge camera.

Where to order

This powerful camera is equipped with a 16MP backside-illuminated CMOS sensor and features a built-in Nikkor lens with a 35mm equivalent focal length range of 24-3000mm.

For even greater reach, Nikon's 250x Dynamic Fine digital zoom extends the focal length to an incredible 6000mm. Despite these extreme zoom capabilities, the camera maintains sharpness and stability with Nikon's Dual Detect Optical Vibration Reduction, which provides four stops of optical image stabilization—ensuring that telephoto shots remain crisp and handheld shooting experiences minimal camera shake.

On the back of the camera, a 3.2" vari-angle, 921k-dot LCD monitor and an eye-level 2.36m-dot electronic viewfinder offer versatile composition options and a clear view of your subject. The P1100 is also capable of recording 4K UHD video at 30 fps, and for enhanced audio capture, it supports an external microphone via a 3.5mm connector. The backside-illuminated sensor delivers detailed images across a sensitivity range of ISO 100-6400 and now allows shooting in RAW (.NRW) format, offering greater post-processing flexibility.

The P1100’s impressive 24-3000mm (35mm equivalent) focal range ensures that few, if any, subjects are out of reach. When additional magnification is needed, Dynamic Fine digital zoom doubles the maximum focal length to a staggering 6000mm. Nikon’s Dual Detect Optical Vibration Reduction plays a crucial role in stabilizing shots at these extreme focal lengths, minimizing blur and improving handheld usability.

A variety of shooting modes make capturing different scenarios easier than ever. The P1100 includes modes for nightscapes, light trails, star trails, and the newly introduced fireworks show mode. The popular Moon Mode is perfect for photographing Earth's closest neighbor, while Bird Mode optimizes settings for capturing vibrant and fast-moving avian subjects. These specialized modes are easily accessible via the mode dial, ensuring quick selection for any shooting situation.

For added control, the COOLPIX P1100 features a front control ring that allows adjustments to focus, exposure, white balance, and ISO directly from the lens barrel.

Also located on the barrel is a zoom toggle and a dedicated Snapback button, which quickly zooms out if you lose sight of your subject at long focal lengths.

Releasing the button instantly returns the focal length to its previous position, making it easier to track moving subjects and maintain precise framing.

Crazy as it seems, the Nikon Coolpix P1100 is one of the hottest cameras around right now. And I'm glad, because I love the P1100 – and I especially love its party piece: its ludicrous 125x optical zoom, giving it an effective focal range of 24-3000mm.

That's just bonkers. And so is the fact that, only a few years ago, bridge cameras looked like they were going extinct. But today, the Nikon Coolpix P1100 is so popular that it's been on back-order since launch – and, just like the compact camera renaissance, there's new life in this brilliant camera category.

I still fondly recall the first time I ever used the Nikon Coolpix P1100's predecessor, the P1000. I was sitting outside a café in Cologne, Germany, with our lab manager Ben Andrews. He was reviewing the camera and brought it to the last ever Photokina, sacrificing precious hand luggage space to do so.

"Look at the moon," he told me, where I obviously craned my neck up at the sky. "No, look at the moon on this," he said, thrusting the camera in my direction. It was like he'd mounted a camera to a telescope – even in broad daylight, the amount of detail was jaw-dropping. And the Nikon Coolpix P1100, which is effectively the same camera, is every bit as bonkers.

Obviously they weren't reference-quality photos. After all, both the Nikon Coolpix P1100 and P1000 are built around a 16MP 1/2.3-in sensor that tops out at ISO6400. But that's not what this camera is about. Take a look for yourself:

See the incredible zoom reach…

Look at these images above, look at the utterly ridiculous zoom range – THAT is what the Nikon Coolpix P1100 is about. The zoom enables you to go from a panoramic view of the city, to a close-up detail of the abbey that is half a mile away (800m).

In a world where we're wowed by more conventional specs – megapixels, dynamic range, burst rate, image stabilization – we forget that the most useful thing on any camera is the ability to "get a bit closer". And that's exactly what the Nikon Coolpix P1100 does.

Camera snobs may turn their noses up at cameras like this, but it is targeted at very different user bases – parents who want to photograph their kids' soccer games, bird spotters who want to identify animals, general purpose shooters who just want a camera with the longest reach possible. Heck, it's aimed at people who don't own a camera at all – not the sniffy Nikon Z9 user.

And that's where bridge cameras like the Nikon Coolpix P1100 come into their element. They may not win you many photo awards, but they'll get you the photos that no other camera can.

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You won't get the same range or reach, but take a look at the best Nikon cameras and the best superzoom lenses for Nikon cameras for an interchangeable lens equivalent!

Last week’s Nikon P1100 announcement revived the bridge camera with the most versatile zoom range in a category that has seen relatively few updates over the last few years. Well, photographers are about to see just how ready the market was for a new super zoom. A post from Nikon Japan seems to suggest the new Nikon P1100 superzoom is already in high demand, suggesting the demand for compact cameras isn’t exclusive to tiny cameras or retro-styled options.

According to the translated Nikon P1100 page from Nikon Japan, as spotted by Nikon Rumors, the new bridge camera “has received many more orders than expected, so it may take some time for delivery.” At launch, Nikon said it expected to begin shipping orders by late February.

Don’t panic just yet though – while the manufacturer is expecting delays in Japan, that may not be the case in every market. In the US, both Adorama and B&H are listing February 27 as the ship date for the first orders. Amazon UK is also listing a February 27 ship date.

The delay in Japan is just the latest in rising demand that has made many compact cameras hard to find, including the Fujifilm X100VI, Leica D-Lux 8, and even older cameras like the Canon G7X III. But unlike those three trending cameras, the Nikon P1100 is a bit of an oddball. Yes, it’s not an interchangeable lens camera, but it's also not a compact camera. The only way to describe the Nikon P1100 as compact is to call it compact compared to an interchangeable lens camera with a telephoto zoom lens on it. It also doesn’t have the retro style that is part of the X100VI’s success.

But the new Nikon Coolpix P1100 comes just a few months after I wrote that the superzoom category deserved a comeback just as much as the compact. Zoom is still something that smartphones can’t really compete with. I’ve long recommended superzooms to bird and wildlife enthusiasts who don’t have thousands to spend on a mirrorless camera and telephoto lens. But, I’m always hesitant to recommend a camera that hasn’t been updated in several years, so I’m glad to see the Nikon P1000 series – and others like the Panasonic Lumix FZ80D and Leica V-Lux 5.

If the delay spreads to other markets, those who don’t want to wait could consider the older and more affordable Nikon P950, which has a shorter but still excellent 83x zoom reach. Or, browse other top picks on our list of the best bridge cameras.

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For more inspiration, browse the best compact cameras or the best lenses for wildlife photography.

Canon will be replacing the Canon PowerShot SX70 HS, the last remaining bridge camera in its lineup, later this year, according to a new report.

It's the latest development in a fascinating series of trends for the industry. First it was compact cameras that experienced a Rennaissance, thanks largely to TikTokers and Gen Z nostalgia, and now there is a renewed demand for the best bridge cameras to make a comeback – and the Canon PowerShot SX70 HS will lead the charge for Canon.

If you're unfamiliar with the term, a bridge camera is an all-in-one camera with an integrated lens boasting a massive zoom range. They look like DSLRs on steroids, thanks largely to the zooms that have a frankly ludicrous reach – up to an eye-watering 125x optical zoom.

Panasonic was first to breathe new life into the segment, with the Lumix FZ80D / FZ82D – the first new bridge camera in years. That was followed this month by the Big N revealing the Nikon P1100, with its astonishing 24-3000mm(!) zoom range. But despite being launched in 2018, the Canon PowerShot SX70 HS has continued to be a popular product since – despite its relatively modest 21-1365mm range.

So it's fitting that the company will apparently follow it up with some sort of successor this year – though whether it will be an all-new model or simply a lightly refresh with a USB-C port (as was the case with the FZ80D / FZ82D and P1100) is unclear.

"We have been told that there will be another PowerShot camera in the second half of 2025 and it will be some kind of replacement for the PowerShot SX70 HS," reported Canon Rumors, though the outlet questioned whether it would retain the 1365mm reach as its predecessor.

"We are told not to expect that kind of range. I doubt we’ll see something as silly as 1300mm, especially if it comes with a larger than 1-inch sensor. I think you’ll be fine in the 600mm-800mm range on the long end."

While many self-proclaimed 'proper photographers' are sniffy about bridge cameras, I think they're brilliant fun and I enjoy using them within their context. For a trip to a zoo, safari park or airshow, for example, they're ideal. And with the sustained appetite for the long-in-the-tooth Canon PowerShot SX70 HS even today, I expect there to be an eager audience for its replacement.

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Check out the best Canon cameras in other categories and, if you want bridge camera-like reach on your DSLR or mirrorless camera, take a look at the best telephoto lenses.

Everyone here at Digital Camera World loved the old Nikon Coolpix P1000 for its sheer outrageousness. A camera with a 3000mm-equivalent lens and a 125x zoom range is simply so incredible that it's impossible not to be won over. We were therefore dismayed to learn of its demise, but thankfully it didn't take Nikon long to release an updated version: the Coolpix P1100.

While we're thrilled that Nikon hasn't stopped making the most awesome bridge camera ever, don't go thinking the new P1100 is an even bigger, badder or madder update of the P1000. The P1100 is essentially the same as the P1000, just with a few subtle tweaks. If you already own a P1000, there's really no need to upgrade.

Here's a quick-reference table of everything that's different between the P1000 and P1100. We'll go into more detail about these changes below.

Regarding those last two differences: stabilization, and flash power. Both cameras share the exact same VR system and pop-up flash. The only reason the P1100 appears to have reduced performance is due to revised CIPA rating standards. Both cameras actually perform identically - the P1100 is not inferior.

Nikon P1000 vs. P1100: the differences explained

So why did Nikon bother to discontinue the P1000 and then re-release almost the same camera? Two letters: EU!

Since the EU mandated that by the end of 2024 all mobile phones, tablets and cameras sold in its member states must be equipped with a USB Type-C charging port, camera manufacturers have had to comply. This is why the P1000 was withdrawn from sale in 2024, and why its replacement, the P1100, now features a USB-C connection instead of the P1000's old Micro-B port.

We've seen Sony do the same thing with its a6100A and a6400A cameras. But where those really are exactly the same as the old a6100 and a6400, just with the newer USB port, Nikon has taken the opportunity to make the P1100 better than its predecessor in a few other areas, thereby justifying the new P1100 model number.

These improvements include:

Fireworks Show mode

A Fireworks option has been added to [Multiple exp. Lighten] scene mode. Users do not have to worry about the blown-out highlights that often occur when shooting long exposures and can more easily capture impressively clear scenes of fireworks displays in which the brightness of the foreground or the background differs.

Long exposure noise reduction control

The ability to set long-exposure noise reduction to [Auto] or [Off]

Selectable AF-area mode

The AF-area mode used in Bird-watching mode can now be selected from [Center (spot)], [Center (normal)], or [Center (wide)]. Greater flexibility in framing and more precise focusing enable the capture of sharper images of birds' small eyes or their entire bodies.

ML-L7 remote Fn button compatibility

When the optional accessory ML-L7 Remote Control is connected to the COOLPIX P1100 via Bluetooth, the same functions that can be assigned to the camera's Fn button, for example white balance and AF area mode, can now be assigned to the Fn1/Fn2 buttons on the ML-L7 Remote Control.

Wi-Fi

While both cameras have Wi-Fi connectivity, Nikon has improved the P1100's wireless security with the more secure WPA3-SAE authentication

Bluetooth

Moving from Bluetooth 4.1 in the P1000 to version 5.1 for the P1100 should result in significantly improved speed and range.

Nikon P1000 vs. P1100: similarities

The Nikon P1100 retains the same monster 125x zoom lens from the P1000, which is still the largest in the world. The zoom range is 4.3 to 539mm, but factor in that tiny sensor and this translates to a whopping 24-3000mm (in 35mm terms). And that’s before you’ve digitally doubled it, via Nikon’s Dynamic Fine Zoom, to a frankly ridiculous 250x (6000mm).

Optically, the lens has the same variable aperture of f/2.8 to f/8 and comprises 17 elements in 12 groups, which includes 5 Extra-Low Dispersion lens elements and a Super Extra-Low Dispersion lens element. It also retains the very useful snap-back zoom button, so you can quickly widen the frame if you lose your subject.

Internally you’ll find the same 1/2.3-in 16.79MP CMOS sensor, and an unchanged video spec delivering up to 4K 30p.

The exterior and design of the two cameras is also largely identical, though the P1100 is all of 5 grams lighter - likely due to the change of USB port.

So there you have it: each and every difference between the Nikon Coolpix P1000 and P1100. Whichever camera you choose, you can be assured of simply breath-taking zoom and the ability to see further than with any other bridge camera ever made!

The Nikon P1100’s launch sequence has begun and, in a world where the best bridge cameras are all but extinct, I’m over the moon that the Big N is keeping this unique superzoom’s exceedingly long legacy alive. However, the core specs remain largely unchanged – with the same lens, sensor, burst speeds, and video capabilities.

But with the previous Nikon P1000 now discontinued and prices reaching for the stars, the Nikon P1100’s small price increase of $99.95 / £49 / AU$200 on an RRP that was set 7 years ago, makes this charming oddity accessible for a whole new generation of birders and budding astrophotographers.

First, let’s delve into what remains the same. The Nikon P1100 retains that monster 125x optical zoom, which is still the largest in the world. The zoom range is 4.3 to 539mm, but factor in that tiny sensor and this translates to a whopping 24-3000mm (in 35mm terms). And that’s before you’ve digitally doubled it, via Nikon’s Dynamic Fine Zoom, to a frankly ridiculous 250x (6000mm).

Optically, the lens has a variable aperture of f/2.8 to f/8 and comprises 17 elements in 12 groups, which includes 5 Extra-Low Dispersion lens elements and a Super Extra-Low Dispersion lens element. It also retains that very useful snap-back zoom button, so you can quickly widen the frame if you lose your subject.

Internally you’ll find the same 1/2.3-in 16.79MP CMOS sensor, and an unchanged video spec delivering up to 4K 30p. As far as I can tell the form factor is identical, too, with the same button placement, mode dial options, 3.2-inch TFT LCD vari-angle screen and pop-up flash.

So, what’s changed? Well, for starters the Nikon P1100 weighs in at 3lb 1.8oz / 1,410g, which is slightly lighter than the P1000’s 3lb 2 oz / 1,415g. But the biggest differences are quality-of-life upgrades that look set to improve the camera’s usability.

Nikon explains that the AF-area mode in Bird-Watching mode is now selectable, enabling you to cycle between Center (spot), Center (normal), and Center (wide). Nikon has also included a new Fireworks mode within the camera’s multiple exposure settings, designed to mitigate blown-out highlights.

Nikon has also revealed that any function the camera’s Fn button can perform can be assigned to the ML-L7 Remote Control’s Fn1 / Fn2 buttons. And you’ll also find a new USB-C port.

One area of interest is the image processor. Nikon hasn’t disclosed exactly what generation of Expeed it is, something it repeated during the release of the P1000. However, it’s since come to light that the older bridge camera used the Expeed 4 – so the P1100’s could be the same or a later generation.

But perhaps the most baffling difference isn’t actually a difference at all. Both the P1100 and P1000 feature Nikon’s Dual Detect Optical Vibration Reduction, but the eagle-eyed will notice that the P1100 features 4 stops of VR in comparison to the P1000’s superior 5 stops.

Thankfully, this perceived reduction in VR is actually to do with CIPA’s new 2024 standards. Rest assured, both cameras feature the same Vibration Reduction, even if the spec sheet suggests otherwise.

The Nikon P1100 is set for release in late February and will retail for $1,099.95 / £1,049.00 / AU$1,699.95.

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If you're into wildlife photography, take a look at the best lenses for bird photography. If you're a Nikon fan, here are the best Nikon cameras. And if you like the look of the P1100, I photographed the moon with a monster Nikon P1000 bridge camera – here’s what I learned…

Rumormongering website Nikon Rumors has made its predictions of the Nikon cameras it expects to see launched in 2025, based on a roundup of the rumors and reports it has received, and top of the list in a Nikon Coolpix P1100 – a replacement of the discontinued but ever-popular Nikon Coolpix P1000, one of the best bridge cameras the world has ever seen.

As we reported recently, prices of the P1000 have skyrocketed of late, so there is clearly a demand for a camera with a built-in lens that has a gargantuan zoom range. The P1000 had an utterly bonkers 24-3000mm equivalent range and this, combined with its 5-stop VR, made it a popular choice with bird photographers and shady surveillance types alike.

A Nikon Z9 replacement is also "definitely coming" according to Nikon Rumors, and will undoubtedly be badged the Nikon Z9 II. However, the website does concede that it may not happen in 2025 as the original Z9 is still selling well as Nikon's flagship camera for pros.

The website also reckons we'll see some sort of Z-series video camera that follows the ethos of the RED line of high-end video cameras, with a modular brick-shaped design and lacking a pentaprism, which would be no big surprise after Nikon's acquisition or RED last year.

One previously rumored camera where the trail has gone cold, though, is a Nikon Z5 replacement, the website having recently heard nothing but deafening silence about a Z5 II aside from a solitary (and unreliable) tip.

Of course, while Nikon Rumors prides itself in sorting the wheat from the chaff of the hearsay to make its predictions, they are still just rumors and may not come to fruition at all – or Nikon might surprise us all and blindside us with something else entirely.

The Nikon Coolpix P1000 was discontinued last year, with Nikon Rumors suggesting that a replacement for one of the best bridge cameras could be released in the middle of this year. Unsurprisingly, as stock has thinned, the Nikon P1000’s price has inflated. And now, things have gotten a little bit silly. At the time of writing, I’ve seen new units listed for over double the RRP. Yikes!

A quick look at Amazon’s price history reveals it reached a high of $2294.95 at the beginning of January, with Nikon Rumors even highlighting a renewed model that was priced at a whopping $2844.95. I don’t care how big your lens is, who’s paying that for a six-year-old plus camera with a 1/2.3-inch sensor? If that happens to be you, stop it, just stop it!

But beyond the ridiculousness of it all, the fact remains that the Nikon P1000 is an incredibly popular camera. Why? Because there’s nothing else like it. Ever. A 24-3000mm optical zoom (35mm equivalent), that can reach an eye-watering 6000mm via its digital zoom. Sure, to a large variety of photographers, its frankly absurd form factor is laughable. But if you’re into wildlife and lunar photography exclusively and don’t want to lug around or spend out on an interchangeable-lens setup, the Nikon P1000 is a great option. Or at least it was, before the price hikes.

The Nikon P1000 is a fantastic enthusiast, casual camera or occasional amusement. I photographed the moon with this monster camera and had an absolute blast. Sure, don’t expect the very best image quality in the world, but if you’re looking for something to scratch a very specific itch, it can certainly excel.

For a camera that was never anything more than an oddity to the vast majority of photographers, the Nikon P1000’s absence has left a fittingly giant hole in the market. It might have been a one-trick pony, but my goodness, what a trick.

If Nikon does indeed launch a P1100 (or some such successor) this year, I'll be champing at the bit to get my hands on one.

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If you've got a Nikon P1000 then take a look at our astrophotography in January 2025 guide. Alternatively, you might like to learn how to photograph birds in flight. And if you're a Nikon fan, make sure you keep up to date with the best Nikon cameras.

The smartphone camera brought death predictions for the compact camera – and yet the cameras that are hardest to find in stock right now are point-and-shoot cameras. While compact cameras deserve the revival, there’s one more category of fixed lens cameras that I hope to see back in the spotlight: Bridge cameras.

Bridge cameras offer a key feature that even the priciest smartphone cameras can’t offer: Zoom. Sometimes called superzooms, the bridge camera is the point-and-shoot but with a bazooka of a lens on the front, with zoom ranges from 20x to even 125x. Even the best smartphone cameras and camera binoculars pale in comparison compared to the far-reaching powers of a superzoom.

One of the questions I get asked most is what camera to buy – a question that only makes sense for someone who has been reviewing cameras for more than ten years. But I no longer have a great answer prepared for the hobbyist birders that want to photograph wildlife or parents hoping to capture a kids soccer game without the complexity or cost of a mirrorless camera system. Why? Because bridge cameras have largely been ignored the past few years.

Photographers will want to stick with mirrorless, but bridge cameras offer both zoom and simplicity that appeal to non-photographers that just can’t get close enough with a smartphone. Just look at all the influencers raving about the small zooms on compact lenses like the Canon G7 X because they’ve realized how much more flattering a zoom lens is over a wide angle. The lens matters and is one of the reasons compact cameras are trending.

Bridge cameras have seen relatively few releases over the last five years

While there are plenty of super zoom cameras still available, most of them are starting to show their age. The Sony RX10 IV, the current leader on the list of best bridge cameras, launched in 2017. Despite the age, it tops my recommendations because of a larger sensor and a 24-600mm zoom range.

The bridge camera with the most powerful zoom lens, the Nikon P1000, offers an incredible 3,000mm equivalent, 125x zoom lens. I’ve personally used it to take close ups of the craters on the moon, the lens is that good. But again, the P1000 is aging quickly as a 2018 launch. The only bridge camera on our list of the best bridge cameras that has been updated in the last five years is the Kodak Pixpro AZ528, and that’s a limited feature budget pick.

The bridge camera category hasn’t been totally ignored, with the Panasonic FZ80D (called the FZ82D in Europe) launched mid-way through 2024. But the FZ80D uses the same 18MP 1/1.23 inch zoom lens of the predecessor launched in 2017, updating things like ports and 4K video. That lack of new hardware led reviewer Mathew Richards to describe the camera’s images as “lackluster.”

Yes, you could pick up a mirrorless camera and a zoom lens, but even with a cropped Micro Four Thirds sensor, a 150-600mm (300-1,200mm equivalent) will run about $2,000 / £1,597 / AU$3,202, and that doesn’t even include the cost of an actual camera body to go with it.

While a MFT camera and zoom is a great option for serious budding wildlife photographers, those browsing for a bridge camera are typically birding enthusiasts, not photography enthusiasts, that essentially want binoculars that take pictures to share on social media or record those rare sightings.

Age means many bridge cameras miss out on key features

One of the key features for novice bridging photographers launched in recent years is animal eye autofocus. This feature automatically finds the animal and focuses on their eyes, saving time and serving as a big help for those new to wildlife photography. But Animal Eye AF didn’t start to trickle out until 2019 and 2020. That means many of the cameras that are the most affordable wildlife options for beginners don’t have some of the best features for learning to photograph animals. (The Sony RX10 IV, which launched in 2017, did later get animal eye AF through a software update).

I would love to see a bridge camera with a solid zoom range, 20MP or higher sensor, and animal eye detection. Are hobbyist birders too niche to support such a launch? Perhaps. But I know one of the running jokes among Millennials like myself is that we’ve picked up the hobbies typically enjoyed by older generations far earlier, like gardening and birding.

I love that the compact camera is making a comeback – but I think bridge cameras deserve to return right alongside the pocketable point-and-shoot.

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Panasonic needs no introduction as a photographic manufacturer, or indeed as a maker of anything and everything from hairdryers to microwave ovens, televisions, computers and more besides. But in the digital camera solar system of Panasonic’s wider electronics galaxy, I feel they’re best known for their high-performance Micro Four Thirds Lumix cameras and lenses, along with the newer Lumix S system full-frame fancies.

Bridge cameras are a bit more out on the fringe, a kind of fully-grown, chunky body but with the compact camera ethos of having a built-in rather than interchangeable lens. And typically, the Lumix FZ80D (USA) or FZ82D (Europe) has the kind of integral mega-zoom lens that defines the breed, in this case with a humungous 60x optical zoom range. As such, it vies for a place as one of the best bridge cameras in today’s marketplace.

Panasonic Lumix FZ80D / FZ82D: Specifications

Panasonic Lumix FZ80D / FZ82D: Price

There’s no such thing as a free lunch, as the saying goes. Sold as the Panasonic Lumix FZ80D in the USA and the FZ82D in Europe, the camera comes at a price of around $477/£429. That seems almost too good to be true.

For comparison, the Nikon Z 28-400mm f/4-8 VR ‘superzoom’ costs way more at $1,297/£1,399, and for just the lens with no camera attached. And it only has a ‘paltry’ 14x zoom range compared with the humungous 60x zoom range of the Panasonic.

On the face of it, the Panasonic looks a bargain but as it turns out, there really is no such thing as a free lunch. As a ‘bridge camera’, image quality is compromised by design, as I’ll come to next, and there are cheaper, albeit more basic alternatives on the market, like the Kodak PixPro AZ255, which only costs around $137/£179.

Panasonic Lumix FZ80D / FZ82D: Design & Handling

I’m gonna go for another cliché. You can’t fit a quart into a pint pot. The lens fixed to the front of this camera has a whopping 60x zoom range, equivalent to using a 20-1200mm lens on a full-frame camera. Just try to picture that, if you can. A 20-1200mm full-frame zoom would be so big and heavy that you’d have trouble lifting it off the ground and would probably need a wheelbarrow to carry it around.

By contrast, the lens on the FZ80D/FZ82D complete with camera weighs in at just 1.41lb (640g), and that’s also including the battery and a memory card. Sure, the lens physically extends at longer zoom settings (and a little bit at the most wide-angle setting) but the camera and its fixed lens measure just 5.13x3.71x4.93" (13.03x9.42x12.52cm).

The seemingly impossible is achieved by the inclusion of a typically tiny 1/2.3-inch MOS image sensor, featured in many bridge cameras. It has 18.1 megapixels on tap but is physically smaller than the sensors used in most mobile phones these days. It’s the only way of getting such a big zoom range while keeping the camera and lens to a manageable size.

Like other bridge cameras, the design isn’t particularly compact and the Panasonic has a chunky feel to it. Indeed, it feels like a ‘proper’ camera. Up on top, there’s a shooting mode dial with ‘intelligent’ Auto and PASM modes, plus a generous range of Scene and Effects modes, and even two Custom user settings. You also get two Function buttons, a video record button, zoom lever for the motorized zoom mechanism and a shutter release button. In a nutshell, there’s everything up top that you’d expect to find on this grade of camera.

Moving around to the rear of the camera, there’s again a typical selection of buttons and dials to play with. These include the time-honored 4-way pad with a Set button at its center, and a rotary dial up towards the top. It all makes for fairly quick access to important shooting settings, along with intuitive adjustments. I like that the camera features an electronic viewfinder as well as a rear screen. I’m less keen that you have to press a button to swap between the two, rather than the camera sensing your proximity to the viewfinder and making the change automatically. Similarly, I like that the rear screen is a touchscreen but am less enamored that it has no tilt or vari-angle facility.

Not just for stills, the camera can shoot video at up to 4K UHD 30p, for as much as 15 minutes. There’re also a 4K photo mode, accessible via a function button on the top panel. Trick modes include ‘post focus’, based on taking a rapid-fire sequence of stills throughout which the focus distance is automatically shifted, so you can choose the ideal shot from the results. There’s also a facility for extracting 8MP still images from a 4K movie clip.

Notable updates over the previous version of the camera (without the ‘D’) are that the rear LCD and viewfinder both have higher resolutions. The FZ80D/82D also ushers in a USB-C socket which can be used for charging the camera’s Li-ion battery pack as well as for transferring stills and video clips. Indeed, the camera lacks Wi-Fi or Bluetooth connectivity, so wireless transfer is off the menu. There’s also an HDMI socket for video output. Battery life is pretty modest, rated at 240 shots when using the electronic viewfinder, rising to 330 shots based on using the rear screen.

Moving from the bottom of the camera back up to the top, there’s a pop-up flash module. Dual stereo microphones are built into the lid of the pop-up flash and, to raise it, you simply press the Flash button on the rear left of the camera. I like that the Panasonic also features a proper hot-shoe for use with dedicated flashguns, rather than relying solely on the typically low-powered pop-up flash.

Panasonic Lumix FZ80D / FZ82D: Performance

I love the monster zoom range, which you can double up with ‘digital zoom’, although I wouldn’t go there for the following reason. The Achilles heel of the Panasonic is its image quality, which is governed by the physically small size of its 18.1MP 1/2.3-inch MOS sensor. Even towards the low end of its ISO 80-6400 sensitivity range, images tend to look grainy and lacking in resolution. Push the ISO setting to higher values and things go downhill pretty rapidly.

On the plus side, there are some high points to the camera’s performance. It can shoot stills in both RAW and JPEG modes and, as I’ve mentioned, 4K UHD movie capture is available. Back in stills mode, shutter speeds of 1/2000^th to 4 seconds are available with the mechanical shutter, rising to 1/16,000^th to 1 second with the electronic shutter option. The burst rate for stills is also pretty swift, at up to 10 frames per second.

Exposure metering works well, and I found the camera gave consistently reliable results in all of its matrix, center-weighted and spot metering options. There’s also a good range of ‘photo styles’ on offer in the menu system, including the likes of standard, vivid, portrait, scenery, monochrome and more besides. As I’d expect, a live preview of the different styles is delivered on the rear screen and in the electronic viewfinder.

Panasonic Lumix FZ80D / FZ82D: Lab results

Historically we haven't tended to lab test bridge cameras, as they usually score badly. Consequently we don't have test data for many current bridge cameras with which to compare the FZ80D/FZ82D. The Sony RX10 IV is the closest rival we've lab tested, though it packs a larger image sensor. We've also tested the most outrageous bridge camera ever, the 125x Nikon P1000, however it's now been discontinued. We include it here for reference purposes. Finally, a Canon EOS R100 kit isn't too dissimilar in price to the FZ80D / FZ82D. Save up for a telephoto lens in future and you could get close to the Panasonic's versatility, but with a far larger APS-C image sensor and the promise of significantly better image quality.

Resolution (line widths/picture height):

The Lumix FZ80D's combination of a (now) relatively low pixel count, combined with its physically small sensor, means it struggles to resolve fine detail. It's especially bad at higher ISOs, where its susceptibility to image noise means detail gets obscured. The Sony's resolution is only marginally higher than the Panasonic's, but because the RX10 IV's sensor is so much bigger, its images are cleaner and detail doesn't get corrupted by grain. The APS-C EOS R100 is better still, although surprisingly not by much. Unfortunately we don't have resolution scores for the Nikon P1000.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

Inevitably with its small image sensor, the Panasonic isn't able to capture anything close to the amount of dynamic range that you'd get from the RX-10 IV or EOS R100. At least it puts in a noticeably better performance than the P1000, though.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

Small sensor cameras tend to struggle in this test, as their tiny sensors are more susceptible to producing noise. The Lumix FZ80D is no exception, though it does manage to produce cleaner images than the old Nikon P1000. The Sony and Canon cameras, with their much larger sensors, are in a league of their own.

Panasonic Lumix FZ80D / FZ82D: Verdict

I feel that the extravagant zoom range makes the Panasonic Lumix FZ80D / FZ82D a very versatile camera, its motorized zoom facility delivering everything from generous wide-angle coverage to ultra-telephoto potential. Other facets of performance are also good, from consistently accurate autofocus and metering to fast burst rates for stills and the availability of 4K UHD movie capture. But for me, the lack of outright image quality is this camera’s fatal flaw. Images tend to look grainy and lacking in resolution and, at the end of the day, I can get much better looking images from my mobile phone.

Alternatives

It’s fair to say that the best camera phones have all but killed off the compact camera in 2024, but there are still some segments of the market that are showing signs of life. 

One such type is the bridge camera, which is appealing for giving you the form factor of a “real” camera, an extensive zoom, and things such as manual control via dedicated buttons and dials, too – all of which you won’t get from your smartphone. 

The Kodak PixPro AZ255 has a 16MP 1/2.3-inch CMOS sensor – that’s actually smaller than some you’ll find in smartphones now – but it pairs it with a 25x optical zoom. That’ll give you an equivalent of 24-600mm in 35mm terms. The aperture ranges from f/3.7 at the wide angle to f/6.2 at the telephoto end. 

It’s unlikely that a model like this would end up near the top of our list of the best bridge cameras, but one thing it has going for it is its rock-bottom price. At $179 / £179 / AU$349, you won’t find much available for cheaper of this type brand new.

Arguably therefore, this could make a good purchase for those new to photography, or who are looking for something a little bit different from their phone, but without the expense and complexity of a typical “proper” camera.

Kodak PixPro AZ255: Specifications

Kodak PixPro AZ255: Price

You can buy the Kodak PixPro AZ255 now worldwide for $179.99 / £179.99 / $349. You may find some deals in various locations, some of which are time-limited. Shipping costs will also vary depending on location. 

The camera was launched in December 2022, so it’s a couple of years old now. It remains on the cheap side for a bridge camera, with it being very difficult to find much else for under £200 brand new. Of course, you might find some similarly priced deals on second-hand gear of comparable, or even better quality. 

If you’re just starting out in photography or looking for a camera for family trips and outings, something at this price can be very tempting – but it’s worth considering whether spending a little bit more might be better value in the long run. 

Kodak PixPro AZ255: Design & Handling

Perhaps one of the reasons for the continued appeal of the bridge camera is the form factor. The essence here is that the Kodak AZ255 is like a miniaturized DSLR or mirrorless camera, with a chunk grip and a traditional control layout. 

Despite being reasonably small and light, the AZ255 feels quite solid in the hand, with a textured section around the grip, which is also molded to fit your middle finger snugly – with your index finger sitting atop the shutter release button.

Around that shutter release is the zoom rocker switch, which you push left or right to extend the camera’s zoom. If you keep on pushing it once you’ve reached the full 25x of the lens, you will enter digital zoom. The amount you’ve zoomed is displayed on the screen.

The lens itself has a faux lens ring around it – it’s only there for aesthetic purposes and doesn’t turn or rotate. When fully zoomed, the lens sticks out quite a bit but not so much as to make the camera unbalanced.

On the top of the camera, you’ve got an on/off switch, a drive mode button and an exposure compensation button. The mode dial contains automatic and scene modes, as well as semi-automatic and manual modes, plus room for custom settings and video. 

The general operation of the camera is pretty slow, with start-up taking about 2.5-3 seconds before it’s ready to shoot, and even switching between modes you’ll need to wait a second or two. 

If you want to use the flash, you’ll need to manually lift it up from the housing on the top of the camera, and snap it back into place when you’re done.

Flip to the back of the camera and you’ve got the screen plus a selection of other operation buttons. All of the buttons are grouped together on the right-hand side, which is a bonus for one-handed shooting. Some notable buttons include the macro button to enable closer focusing, a video record button, and a menu button that takes you to various settings, including metering, HDR, and a deeper menu for things like choosing the quality of changing the date.

Menus are a little bit on the clunky side, and it takes some getting used to find where all the settings are kept. For example, if you wanted to change the aperture in aperture priority or manual mode, you need to press the exposure compensation button, then move between the different options presented and use the up and down arrows to make changes. It’s also worth noting at this point that there are only two apertures selectable at any one given time anyway.

There’s no viewfinder for this camera – which is to be expected at this price point. The screen is a good enough size at 3 inches, and although it’s got a pretty average resolution for the cost, it’s not particularly bright so it can be difficult to view in bright and sunny conditions. On occasion, I essentially had to take a guess at what I was composing.

A quick note about the battery – or batteries in this case. The AZ255 takes 4x AA batteries. The good thing about that is that you can buy them pretty much anywhere, and it’s easy enough to always have spares, but the bad thing is that unless you invest in a rechargeable set, you can end up spending a lot of money. On the plus side, battery life is fairly reasonable – you can certainly expect it to last you at least a couple of days of fairly heavy shooting, probably closer to a week if you’re using it more sparingly.

Kodak PixPro AZ255: Photo Performance

Cameras like this used to be recommended for those looking to upgrade from the quality found on their smartphone. However, in 2024, you’d probably be hard-pressed to find a smartphone that had such poor general image quality as the Kodak AZ255.

When the light is perfect, you can get some pleasing shots. By perfect, I mean bright, but not too bright, and with pleasant conditions (blue skies). Otherwise, if the light is even marginally low, or the sky has a lot of white in it, then you shouldn’t expect high image quality. The lens displays lots of chromatic aberration in high contrast situations, while detail isn’t particularly good for doing anything large with – if you only want to display photos on your phone then it’s not so bad. In even lower light, such as indoors, images lack even more detail and if there’s even the slightest subject movement you’ll be left with a blurry shot. You can turn on the flash, but the results then are on the harsh side.

On the plus side, colors are generally quite good. That is, unless you’re shooting in artificial light and using automatic white balance – then you’ll be left with yellowish tones. You can sort that out by moving to a manual white balance setting though. 

Now, I’m talking about general image quality here – so what about the USP of this type of camera? The zoom. Images are still not amazing, with quite a bit of smudginess, but, if you’re patient, hold the camera really still, and mainly shoot static objects, you can get better shots at very long distances than you would do with an average smartphone, most of which would generally only give you only digital zoom beyond 10x. If you need or want to take record shots of distant buildings, for example, then this could be a viable option for you. I was even able to capture some reasonable shots of fairly placid swans and geese in my local park – again good for record shots, but are unlikely to win any awards any time soon.

The reason I reference patience and shooting static subjects is due to the focusing – the camera takes a little while to lock onto focus, so if the subject is moving, even slightly, it can ruin your shot – especially at very long focal lengths. You can choose between a single AF point in the center of the frame, or “multi-AF”, where the camera will decide for you – it doesn’t always get this exactly right, but with a small sensor like this, it’s not generally critical for the focus to be perfectly nailed in the right place. There is a “tracking focus”, but it struggles to keep up with even very, very slow-moving subjects, so I would generally ignore this setting.

Kodak PixPro AZ255: Video Performance

You can record Full HD video with the Kodak AZ255. Again though, you’re almost certainly going to get better results from your smartphone. 

Detail is lacking, stabilization is poor and autofocus has a hard time keeping up if you zoom in. If you just want to make quick video clips then it’s fine, but for anything where quality is of the utmost importance, then I’d probably avoid using this camera for video.

Kodak PixPro AZ255: Verdict

In many respects, it’s difficult to recommend a camera like the Kodak PixPro AZ255. 

It’s quite frustrating to use, especially if you’ve been used to working with anything better, which as a professional camera reviewer – I am. However, I’d also venture a guess that if you’re new to photography and this is your first “proper” camera it’ll likely frustrate you compared with the ease, speed, and quality of using your smartphone. 

Aside from the grippable form factor, there’s not a huge amount going for this camera - there are real buttons, but there are no dials, while some settings can’t really be changed in any meaningful way (such as aperture). 

Then there’s image quality. On the whole, the pictures are at best mediocre. If this was a camera from 20 years ago, they might be acceptable, but in today’s climate, where even budget smartphones do a better job, it’s hard to be too impressed here. That said, if you do want a very long zoom for photographing distant subjects, so long as they’re either still or reasonably static, then you can get some half-decent record shots. So, it might be worth it if you have a particular need for that kind of thing.

Of course, there’s the price. At under $/£200, it’s very cheap. Certainly a lot cheaper than most cameras, and cheaper than most smartphones too. If you really want a “real” camera and have very little budget to play with, then it could be worth thinking about. However, I’d generally advocate for spending a little more, saving a bit longer, or perhaps going down the second-hand route to avoid a case of “buy cheap, buy twice”. 

Alternatives

Although the best camera phones have done irreversible damage to the compact camera market as a whole, there are still some sectors that continue to perform fairly well and are even bringing out new models from time to time. 

The bridge camera is an example of that. Generally, they have the classic form factor of a “proper” camera, while also giving you a much longer optical zoom than any smartphone, as well as traditional handling and manual control.

With the Kodak PixPro AZ405, you get a 20.6MP 1/2.30-inch CMOS sensor. Many smartphones nowadays actually have bigger imaging sensors, but, the key differentiator here is the AZ405 offers a 40x zoom. That’s equivalent to 24-960mm in 35mm terms. The corresponding apertures are f/3 at the wide-angle end and f/6.8 at the telephoto end.

While it’s true that this camera is unlikely to end up on our list of best bridge cameras, it does have a lot of appeal considering its super-low price point. It’ll set you back just £199 / $199 / AU$399, making it a bit of a bargain in camera terms.

Perhaps if you’re brand new to photography, or looking for something to extend the capabilities of your smartphone, it could be a tempting proposition. But let’s find out how well it works…

Kodak PixPro AZ405: Specifications

Kodak PixPro AZ405: Price

The Kodak PixPro AZ405 is available to buy in multiple territories right now for $199 / £199 / AU$399. There are sometimes deals and discounts to be found in various locations, which are usually time-limited. Shipping costs vary depending on your location. 

Launched in 2022, the AZ405 is a couple of years old, but it’s still a current model in Kodak’s line-up. You’ll struggle to find much else new for under £200, except for others in Kodak’s range, including the AZ255. You might be able to find other comparable bridge cameras for a similar price second-hand.

For those just starting out in “proper” photography, something like this can feel like a tempting idea at its low price. However, it might also be worth considering spending a little bit more to get something that you won’t outgrow so quickly if you can.

Kodak PixPro AZ405: Design & Handling

As is the way with bridge cameras, the AZ405 uses a ‘miniaturized’ DSLR type form factor, which is probably one of the reasons why this sector of the market continues to appeal. It has a chunky grip and employs a traditional control layout.

It’s not what you’d call heavy, but it feels solidly built and sturdy in your hands. The grip has a textured coating with moldings to fit your fingers appropriately. 

The shutter release is found at the top of the grip, with a zoom rocker switch around it. With this you push left to zoom out, and right to zoom in. If you carry on pushing in the right direction, you’ll use digital zoom once you’ve reached the full 40x optical option.

Around the zoom lens is a textured ring. However, this is static and doesn’t do anything – it’s there for looks only, which is a shame. At its full extension of 40x, the lens sticks out quite a bit from the camera body, but it’s fairly light so it doesn’t make it feel unbalanced.

Buttons on the top of the camera include an on/off switch, a button for changing the drive mode, and an exposure compensation button. There’s also a mode dial, where you can choose between different automatic and scene modes, as well as manual and semi-automatic modes like aperture priority. A flash is released by pushing a button on the side of the flash housing.

On the back of the camera, all of the buttons are grouped on the right-hand side for easy one-handed use. There’s a video record button, a menu button, a macro button, and others that are mostly self-explanatory. The menus themselves are a bit tricky to get to grips with – at least at first. Some aspects of operation are also a bit odd, for example, to change the aperture in aperture priority requires a press of the exposure compensation button, then moving between the different options presented, and finally using the up and down arrows to make a change. Besides this, there are only two apertures to choose from at any given focal length, too.

Using the camera in other ways is quite a laborious process at times. Switching it on you’ll find you need to wait 2-3 seconds before it is ready, and there’s also a short delay between pushing the shutter release button and the image being taken.  

There’s no viewfinder, but I wouldn’t really expect to find one at this price point. The screen is a decent size, but it has an average resolution and it’s not particularly bright. In sunny conditions, it can be difficult to see the screen well for composition, so you may often find yourself shooting ‘blind’. 

The batteries used are AA, which on the plus side means you can pick them up anywhere – that can be useful when traveling for example. However, it can also add a lot of cost to the operation of the camera, unless you invest in some rechargeable AAs. The ordinary batteries I used as part of this review lasted a couple of days of reasonably heavy use though, which is a positive.

Kodak PixPro AZ405: Performance

In general, image quality from the Kodak PixPro AZ405 is worse than that which you’d find from even a mid-range smartphone in 2024, much less one of the flagship models. However, when it comes to zoom, it still beats even high-end smartphones, so really it depends on what you’re looking for – and what you’re willing to work with to get it. 

When the light is very good you can get some lovely pleasing shots. When light is either too dark or too bright, the results aren’t great, with blown-out highlights and loss of detail a common problem. The lens also shows a fair degree of noticeable chromatic aberration when shooting in high-contrast situations. If you want to look at, or print, your images at A4 or above, you’ll notice these problems, but if you tend to only look at them at small sizes, it’ll be less of an issue. 

In indoor and very low light situations, detail is even worse, and although you can turn on the flash, that will leave you with very harsh and garish tones which aren’t particularly appealing. 

When not using the flash and shooting in a pleasing light, colors are otherwise pretty good in most situations. You might find that you get yellowish tones when shooting under artificial lighting, but you can adjust the white balance manually if you’re finding that to be a problem. 

With the zoom, you can get some half-decent shots at mid-range focal lengths. Perhaps even sometimes at the full reach of the zoom. To do this, you’ll need to have a lot of patience, hold the camera as still as possible, and hope that your subject isn’t going to move very much, preferably at all. Oh and of course shoot in good, but not too bright, light. It’s good for buildings and other static subjects, but anything that moves is very tricky. I did manage to get a couple of reasonable shots of some calm geese at the local park, but I stood no chance with my erratic dog. There is a tracking focus option, but this couldn’t keep up with anything at all so it essentially may as well not be there. 

Above: you can see the full zoom range of the Kodak PixPro AZ405.

Digital zoom is not worth using, not unless you really do want to get closer than 40x – which is unlikely in most cases. Macro performance is not too bad, with the possibility of capturing some nice frame-filling shots, again, so long as the subject remains still and you steady yourself too.

Full HD video recording is possible with the AZ405, but, as with images, in many situations, you’ll get better results with your smartphone.

Detail isn’t great, stabilization doesn’t work too well and autofocus struggles to keep up if you zoom in (or out again). For quick video clips it might be OK, but if you want anything of any kind of quality I wouldn’t use the AZ405 for video.

Kodak PixPro AZ405: Verdict

Overall, there’s not a huge amount to like about the Kodak PixPro AZ405, except for the price, which makes it very appealing. 

It’s slow to use, doesn’t have particularly good image quality in a lot of scenarios, and can be clunky to get to grips with. If you’re used to anything better it will definitely feel second-rate, but even stepping up from a smartphone it’s likely to underwhelm compared to the ease and high performance of modern devices.

The form factor is pretty solid, and the chunky grip does give you the feeling of shooting with a “real” camera more than your smartphone will give you. But the fact that you can’t properly change settings, such as aperture, will perhaps leave those looking for a step up in their photography pretty disappointed.

Albeit not at this price point, there are much better alternatives to the PixPro AZ405. If you’re prepared to accept low image quality it’s something you might consider, but, generally, I’d recommend saving up for a little longer and spending more on something that will produce much better results. Don’t forget to check out the used market if the budget is tight.

Alternatives

According to SonyAlphaRumors, Sony's last remaining bridge camera, the RX10 Mark IV, could be discontinued in a matter of weeks. What's more, the source of this rumor also claims that Sony has no plans to replace it with a new model.

On the one hand, the RX10 IV has been around for nearly seven years, where the preceding three versions of the RX10 were on sale for less than two years each. The Mark IV has therefore had a lengthy production run and its retirement is long overdue, but it's surprising that Sony may not choose to replace it with a Mark V revision.

Read more:
Sony RX10 IV full review
The best bridge cameras

While it's no secret the camera phone has decimated even the best compact cameras, I'd argue there's still a compelling case to be made for bridge cameras, especially premium models like the RX10 IV. See, unlike some bridge cameras, this isn't just a mediocre compact camera that had a huge lens stuck to the front. Sony instead carefully engineered the RX10 IV to be a balanced camera that'd perform well across the board.

Firstly, it's capable of decent image quality thanks to its relatively large 1-inch Exmor RS stacked image sensor. Inevitably by fitting a big sensor, Sony wasn't able to pair it with a lens offering gargantuan zoom range, but the RX10 IV's 24-600mm-equivalent (equating to 25x optical zoom) lens gives a broad enough focal range for just about any real-world use case, and by being a little more modest with the overall zoom, Sony was able to make the lens fast. The RX10 IV boasts a maximum aperture of f/2.8-4 - something that's far more useful for everyday photography than just adding extra telephoto zoom to satisfy the marketing department. Finally, recognising that such a camera would be a hit with wildlife and sports photographers, Sony gave the RX10 IV plenty of processing power, enabling super-fast autofocus (lock-on speeds as rapid as 0.03 seconds were quoted in the marketing material) and up to 24fps burst shooting speed.

Of course such a powerful all-rounder was never going to be cheap, and with the RX10 IV still retailing for around $1700/£1500, it's undoubtedly a lot of cash to drop on a camera with a sensor equivalent in size to something you can find in one of the best camera phones. However, to get the same blend of image quality, big zoom and fast performance, you'd have to spend thousands more on a camera like the Sony A7 IV teamed with at least three fast lenses to cover the equivalent focal and aperture range as the RX10 IV. And then you've got the extra hassle of transporting all that gear around.

So even at its lofty price, the RX10 IV is actually a bit of a bargain, and despite now being seven years old, there's little to rival it. The Panasonic Lumix FZ2000 comes close, but its lens is no match for the Zeiss Vario-Sonnar T* optic on the RX10 IV. The Panasonic is also slower than the Sony, though it is significantly cheaper, so really there's a place in the market for both cameras.

The continued popularity of our best bridge cameras buying guide is proof that there's still a substantial demand for bridge cameras, and we rate the RX10 IV as the best of them all. So please, Sony, if you're going to discontinue this great camera, don't just leave a gaping hole in the market it currently tops: please recognize its unrivaled versatility and replace it with an even better model!

Panasonic has unexpectedly launched a new bridge camera - updating the seven-year-old Panasonic Lumix FZ80 (sold as the FZ82 in Europe). The new version will be called the Lumix FZ80D in North America, and as the Lumix FZ82D in the UK and Europe.

Many of the key specifications of the newer version are the same as those of the 2017-vintage original - including the design, the 60x built-in zoom, and the 1/2.3-inch 18-megapixel sensor. However, some new features are being added to the mix.

For starters, there is now a USB-C socket for simpler charging - and the eyelevel electronic viewfinder has been upgraded. The new EVF uses a 2,360k-dot OLED with 0.74 magnification - doubling the resolution of the existing model.

The rear 3-inch LCD display also gets an image quality boost, upping its resolution to 1,840k dots, compared with the 1040k-dot screen on its predecessor.

A completely new feature is the Zoom Compose Assist button on the top plate, which "lets you quickly zoom out with a single press of a button when you've lost your subject while telephoto shooting". This could prove handy if as the lens gives you an effective focal length range of 20-1200mm.

Panasonic has been one of the few companies to continue making bridge cameras, which offer a big built-in zoom lens in a camera with similar handling characteristics to a traditional DSLR. However, many of its bridge cameras have been in short supply in the last few years, so they have often been hard to find in stock. Hopefully, the new model will ensure better availability.

Other key features of the new model include 4K video recording, optical image stabilization, 10fps burst mode, and a full range of exposure modes (including manual, program and aperture priority).

The Panasonic Lumix FZ80D/FZ82D will go on sale in July for $479/ £429/AU$849.

Check out our guide to the best bridge cameras

Taiwanese company Inswan has made three document cameras to date. INS-2 was the much-improved successor to INS-1, so you might think that the INS-3 continues this pattern. But actually, the INS-3 is something else entirely.

The secret sauce to the INS-3 is that it features a detachable camera, which resembles a tiny torch. You can either affix it to the stand or detach it, to make it easier to point at exactly you want. 

This allows you to use the INS-3 as both a traditional overhead camera for capturing documents, books and other printed material and a handheld camera for viewing objects and models from any angle. 

This innovative design makes the INS-3 incredibly versatile for educators looking to bring lessons to life with immersive, multi-angle visuals. But how well does it work in practice? I've spend a few months using one to find out.

Inswan INS-3: Specifications

Inswan INS-2: Build & Handling

The INS-3 has a sleek, modern design consisting of the camera module itself along with a weighty base and flexible arm/stand. The stand looks pretty similar to that of the INS-2, only it's a little smaller and almost half the weight (0.6kg to the INS-2's 1kg).

The headline here is that camera can be easily detached from the a In its handheld form, it weighs practically nothing and provides easy access to the autofocus, brightness, and lighting controls via four red buttons and a switch on the side. 

When mounted on the stand, meanwhile, it provides a solid base with the arm able to extend and position the camera over a decently-sized workspace.

I can think of a number of scenarios in which the detachable camera could be useful. If you were giving science classes, for example, you'd be able to view specimens such as plants, rocks, insects, chemical reactions, and so on up close from multiple angles. 

Architects, meanwhile, might find it handy when showing design prototypes and mockups, or presenting architectural models and plans from different perspectives. Or consider how DIY instructors could use it to display the step-by-step assembly of kits or models. I could go on, but you get the idea.

My only slight criticism here is that you need to tug quite strongly to detach the camera from the stand. Every time I do so, it feels like I'm about to break it. From experience, I know logically that I'm not... but it still feels a little unnatural.

Inswan INS-2: Setup & Connectivity

I found that getting the INS-3 up and running was a simple plug-and-play affair. Just as with the INS-2, you connect it to a computer or laptop via the supplied USB cable. And for me, it was compatible with Windows, Mac, and Chrome OS right out of the box, with no need to download any drivers. I also found it integrated seamlessly with popular video conferencing and streaming apps including Zoom, Google Meet, and Microsoft Teams.

Note, though, that you can only connect to a computer via USB-A, so if you only have USB-C ports, you'll need an adapter. Also be aware that you can't directly connect to a TV, monitor, or projector. The only way to do so would be to connect to a computer and then mirror your computer display to a bigger screen. So technically it's possible, but you are making things complicated for yourself. So if you expect to do so more than once in a blue moon, I'd suggest getting another document camera.

Inswan INS-2: Performance

In use, I've found the 5MP image sensor on this document camera delivers good overall picture quality, with the ability to capture video at resolutions up to 2560x1920 at 30fps and reasonably clear still photos/document scans. You are taking a small hit on quality, though, compared to the 4K capture and maximum 60fps frame rate offered by the INS-2's 13MP sensor. 

On the plus side, you're getting the same proprietary Documate software, which provides a full array of annotation tools as well as OCR scanning. Note, though, that as with the INS-2, you can't output scans as editable PDFs.

As a webcam, I found the video quality to be pretty decent in practice, once I'd made a few adjustments to settings such as exposure. It's certainly good enough for most virtual classroom and conferencing scenarios, although be aware that the onboard mic sounds a little muffled at times and so I wouldn't be using it if I were, say, a professional YouTuber.

Inswan INS-2: Verdict

The INS-3 has three main advantages over the INS-2. First, it's currently significantly cheaper. Second, it's lighter and more portable. And thirdly and most importantly, it comes with a detachable camera that works very well in practice.  

In other words, the option to easily switch between document scanning overhead and capturing objects/models from any angle handheld makes it a potentially strong option for teachers and others looking to take their visual presentations and instruction to the next level.

At the same time, if you can't see yourself using the detachable camera, just want a static document camera, and portability isn't super-important to you, we'd recommend the INS-2 instead. Ultimately, you'll get superior image quality (4K vs QHD) for not a lot more money.

Alternatives

Nikon has a rich history of producing some incredible lenses. Legendary optics like the 1970 Fisheye-Nikkor 6mm f/2.8, and the 1994 Zoom-Nikkor 1200-1700mm f/5.6-8P IF-ED. But there's a much more recent lens that I'd argue belongs in the same league; a future classic, the likes of which we may never see again, and one which even comes supplied with a camera.

Turn the clock back to the mid 2010s and the bridge camera zoom wars were in full swing. Canon, Nikon, Sony and Panasonic were going all-out to release cameras with ever-increasing optical zoom ranges, smashing through 50x, 60x and even 70x. Then in 2015, Nikon set what should have been an unbeatable benchmark: 83x optical zoom, courtesy of the Coolpix P900. That equates to a full-frame equivalent range of 24-2000mm, and no digital zoom cheatery was involved. With that kind of reach, surely, SURELY the bridge camera zoom wars were over - who could possibly need any more zoom that that, and even if there was such demand, could a lens even be made with a greater zoom range?

Fast forward three years to 2018. Other bridge camera manufacturers were clearly willing to give up the zoom fight as that 83x benchmark had not been beaten. But in one last triumphant flick of the middle finger to the competition, Nikon decides to create the biggest, maddest, most audacious bridge camera ever made. A camera that didn't just beat the P900's old 83x record, it absolutely obliterated it. With an unbelievable 125x optical zoom (equating to a full-frame-equivalent 24-3000mm focal range) the Nikon Coolpix P1000 instantly became a legend. A camera seemingly built purely to demonstrate Nikon's lens-making prowess. A concept camera made real. 

At the time of its launch I was tasked with reviewing the P1000. Actually that's not quite true, it wasn't a 'task' - I jumped at the chance to review it. Back then such distinctive, boundary-pushing cameras were rare, so I wasn't going to miss out on sampling this one.

The obvious initial talking (laughing) point about the P1000 was its sheer size. Bridge cameras were already bulky beasts by this point, but the P1000 was next-level giant. Its 181mm length was immense for a bridge camera, but crank that zoom ring and the lens would extend... and extend... until at the maximum 125x zoom the overall physical length of the P1000 was almost double that initial 181mm figure. Sure, you could argue that a DSLR with a 70-200mm f/2.8 attached would be similarly sized, but this was different. Even a novice photographer could see that this was no DSLR, while the extending power zoom lens made the whole contraption resemble a zoom-lens compact camera, but one stuffed with steroids, and a bunch of socks down the crotch for good measure.

It so happened that my time with the P1000 coincided with the 2018 (and last ever) Photokina photographic trade show in Cologne, Germany. The P1000 was a completely inappropriate camera to take travelling when you're restricted to Ryanair's matchbox-sized definition of hand luggage, but I managed it, and it was worth it. I could have taken a Nikon D5 kitted out with any number of lenses and I'd have blended right in, but brandishing the P1000 bazooka made me an instant superstar, at least amongst the camera enthusiasts in attendance. Strangers from various European countries would come up to me to ask what on Earth this monstrosity was, only to be rendered speechless when I showed them them how far this thing could zoom (useful, as foreign languages really aren't my speciality).

When I returned from Germany and wrote up my findings, I was more reserved about my admiration for the P1000. While it undoubtedly scores five stars for cool factor and its awesome lens, at its heart is still a tiny 1/2.3-inch sensor that you'd have found in any hum-drum Coolpix compact from the time, so image quality was never going to win any prizes. I did a few comparison shots with my phone of the day - an original Google Pixel - and the phone's image quality trounced that of the big Nikon, at least at a comparable wide-angle focal length. Then there was the small issue of price. The P1000, fittingly, cost 1000 dollars. That's a lot for a small-sensor compact camera, even if it is strapped to a lens the size of a drainpipe, that can double as a telescope.

I couldn't therefore recommend people actually go out and buy the P1000 with their hard-earned cash, at least not when other bridge cameras offered similar performance, still with enough zoom for any eventuality, in a more compact package, and for a lot less money. However, six years down the line, and with the P1000 seemingly at the end of its production, I would recommend snapping one up now. Not as a rational, practical, or value-driven proposition, but as a unique piece of history.

RIP, Nikon Coolpix P1000. I for one will lament your passing.

Bridge cameras – once so-called because they formed a ‘bridge’ between a compact point-and-shoot and the operability of a fully blown DSLR with telephoto lens – used to be a must-have in the ranges of any self respecting camera manufacturer. And up until around five or 10 years ago, when smaller, lighter mirrorless cameras began to steadily replace DSLRs, they were. 

However, nowadays such bridge units, also known as super zooms or all-in-ones, because of their generous lens reach, are pretty thin on the ground and we’re more likely to find one secondhand than new.

Still listed in its manufacturer’s online store, some five years since it was originally announced, is the Leica V-Lux 5. 

Even in an era where compact mirrorless cameras and equally compact telephoto lenses are king, we feel cameras like this still have a place. Because, as was the case when bridge cameras were being sold as alternatives to DSLRs, buying a body plus separate lens approaching anything like the 35mm equivalent 25-400mm reach, or 16x optical zoom, offered by Leica here would be much more expensive still.

So what else does the Leica V-Lux 5 offer to deserve a place in today’s camera bags? Read on to find out.

Specifications

Key Features

While the 16x optical zoom is the main selling point for the Leica V-Lux 5, this is married to a 20-megapixel resolution from a larger-than-average one-inch sensor. Images and 4K video are composed and reviewed via an eye-level electronic viewfinder with a life-like 2.36 million dots resolution, and/or a flip-out and rotating 3-inch touch screen LCD, which can be fully turned to face whatever is in front of the lens. The latter monitor still offers a more than respectable 1,240,000 dots of resolution and once again 100% field of view, while the camcorder-like flexibility of how we can angle the screen proves particularly effective for video. 

As noted in our intro, this camera offers a Leica Vario-Elmarit 9.1-146mm f/2.8-4 aspherical lens delivering a creatively versatile 25-400mm equivalent reach in 35mm terms, and, as indicated, the brightest aperture setting of f/2.8 at its widest point.

While the top plate buttons here resemble what we’d expect to find on a DSLR, the smaller, inset rear plate buttons more closely resemble those of a mirrorless camera or premium-level compact. So operation will not daunt either category of user.

The camera is powered by a removable lithium-ion battery that can also be charged on-the-fly, while still in the camera, via USB lead. Unfortunately, no mains plug or standalone charger is provided. We found a full charge of the battery takes around 180 minutes, with industry body CIPA confirming that a fully juiced up cell will last for up to 440 stills or 220 minutes of moving footage, which is respectable when compared with the mirrorless camera body we could alternatively buy for a similar outlay.

A vacant hotshoe atop the camera signals that this one is compatible with accessory flash, while a spring-loaded pop-up integral flash is alternatively offered just forward of the EVF and directly above the lens. It would seem therefore that the Leica V-Lux 5 has most bases covered in terms of the sort of feature set we’d expect.

Design & Handling

The design of the Leica V-Lux 5 is chunky and industrial looking, and with that whopper of a lens bolted on the front isn’t actually that much smaller than a beginner-level DSLR, or indeed a premium mirrorless camera body. 

Unlike those alternatives, the lens here isn’t removable/swappable, so the fact that we can quickly jump from an ultra-wide angle setting to a super telephoto one with a flick of its zoom lever is a real boon. Top plate mode wheels detailing the shooting modes available, as well as continuous and single shot options, will be familiar to anyone who is more at ease with a DSLR, as will command dials at the front and back of the handgrip. These ergonomically fall under the forefinger or thumb respectively.

Overall the camera feels robust and sturdy in the hand, if a little heavy at just under a kilogram. Like a DSLR or mirrorless camera, this is built for two-handed use, with the left hand encircling and steadying the lens barrel as the right holds the grip and squeezes the forward-angled shutter release button. Fortunately, a shoulder/ neck strap is supplied so we don’t have to carry it around in our hands. Too big to fit into a jacket pocket, a dedicated camera bag or backpack will alternatively be required.

The V-Lux 5’s zoom lens can in fact be operated in a couple of ways. Via a flick of the lever encircling the shutter release button, which will be familiar to most compact camera users already, or via a twist of the ridged ring encircling the lens barrel, which will feel more familiar to anyone who’s owned or used a DSLR or mirrorless alternative. For more precise incremental adjustments we’re better off favoring the use of the lens ring, as an on-screen distance bar is provided along the bottom of the LCD for guidance, in addition to markings on the lens barrel itself, its focusing range stretching from a minimum 30cm to infinity.

In summary the angular, almost brutalist build feels like it would withstand the odd accidental knock in the heat of the action, though we wouldn’t want to drop or knock it when the lens is fully extended and the camera therefore at its most vulnerable.

Performance

With its obvious audience being travel photographers, wildlife watchers, and photo enthusiasts collectively, on the Leica V-Lux 5 we get the ability to shoot Raw files either in preference to, or in tandem with, standard, maximum fine quality JPEGs. If we choose to shoot Raw and JPEG together, rather than just the latter separately, we’re happy to report there’s barely, if any, noticeable slowdown.

While results may not stand up to direct comparison with what is achievable with a full-frame DSLR or mirrorless camera in terms of razor-sharp image quality, it delivers better performance than we could have hoped for in the most challenging low light or nighttime conditions, as long as we have a flat surface onto which to further steady it. 

While a maximum f/2.8 aperture might not sound groundbreaking on paper, in practice here it proves sufficient. The 25mm to 400mm is also creatively useful, enabling us to squeeze most subjects into our frame without having to physically shuffle our feet forward or back to achieve the framing we desire. Convenient and versatile, with the V-Lux 5 it’s easy to quickly zoom in and capture the moment before it passes, meaning a greater average hit rate for the photographer using it.

In terms of colors, these are as punchy as we’d expect from a camera this close to Panasonic’s own, and as regards manually selectable light sensitivity settings, it’s only really when we nudge up to ISO12800 that we’re noticeably seeing image degradation, without needing to enlarge areas to actively check for it. Inevitably a huge and versatile zoom range at our fingertips requires a degree of compromise in knowing that a one-inch sensor camera isn’t going to be a match for an APS-C or full-frame DSLR or mirrorless chip. But to give it its due, the Leica V-Lux 5’s quality comes near enough to the former to make it worth our consideration.

Verdict

In being a chunky Leica bridge camera with generous 16x optical zoom equivalent to 25-400mm in 35mmm terms, this ‘super zoom’ is eminently suitable for capturing everything from wide-angle landscapes to wildlife close-ups, slotting the equally common pursuit of portraiture in between. 

While some observers may grumble that the V-Lux 5 is basically a re-badged Panasonic Lumix FZ1000 with a higher price tag, others will relish the fact that they can own an all-subjects-encompassing Leica and its covetable red badge without having to survive on soup for the rest of the year.

Alternatives

If you’re checking out the Leica V-Lux 5 then it’s a must to compare and contrast it with Panasonic’s FZ2000 cousins – so close in identity they could almost be the proverbial kissing cousins. 

However, like someone sizing up a Rolls-Royce car, if you’re considering a Leica then you probably definitely know that you do want a Leica and are prepared to pay the premium to realize that dream.

I had used Nikon since my college days, back in the early Eighties. Everyone who I ever assisted used the same combination of Nikon, Hasselblad, and Sinar. It’s what the pros of the time used, and who was I to buck the trend? Obviously, as a student, Hasselblad and Sinar were way out of my budget, but I was able to afford a used Nikon F2A and a couple of second-hand Nikkor lenses. 

I then remained with Nikon for the rest of my career. I was privileged to represent it as a brand ambassador in 2016-17, shooting the launch brochure for the Nikon Df. I have always enjoyed using Nikon cameras and lenses; the bodies have always suited me ergonomically, and the lenses – of course – were of the highest quality available. From the F2A and F4S through to the D2X and onto the D850, I have loved the handling and usability of the Nikons.

So, why change? There are two main catalysts for change, both personal. I just didn’t like the feel of the new, mirrorless Nikons – the Z6 and Z7. I felt that Nikon had lost something, that "Nikon feel". The cameras could have come out of any old factory, and looked and felt like just about any other mirrorless camera on the market. I also disliked the electronic viewfinder.

The second reason I was looking to change was that I no longer wanted to carry large amounts of camera equipment around with me, in an even larger and very heavy rucksack. I looked at what I was shooting – landscapes, panoramas, and architecture – and looked at the focal lengths I was using; 20mm, 35mm, and 50mm were the mainstay, with the occasional use of a longer lens.

A funny thing then happened. A friend of mine showed me his Leica M3, made in 1956. I handled it and fell in love with it. A camera, it’s just a camera, but my god, what a camera. Within two weeks I had bought one with a 50mm lens, just to shoot the occasional roll of film as a bit of fun. 

A short time later Leica introduced the digital M10, based on the original M3. It had a shutter release, shutter speed dial, ISO dial, and an aperture ring on the lens. So beautifully simple; no modes, no auto-this, that, and the other – just wonderful simplicity.

I bought a second-hand M10 and a 50mm lens to run alongside my Nikon kit, more for occasional use than anything, but I found myself going out with just the Leica and 50mm. I loved using it. The M10 was replaced by the M10-R which was then replaced by the M11, which I think is stunning. My lenses are 21mm, 35mm, 50mm, and 90mm – and they all fit neatly into a Billingham bag with the M11 body and two or three filters. Do I miss longer lenses or extreme wide angles? Not really. Having limited focal lengths makes me go and look harder for images that will work.

I have now sold all my Nikon kit, apart from my original F2A. Other than that, the sum total of my camera kit is now the Leica M11 and 4 lenses.

It is hard to explain why using an old-fashioned rangefinder camera and manual lenses is so much fun. It is inspiring to use but it is, after all, just a camera. But there is something about it; it oozes quality, the solid feel. It is just so wonderfully tactile and incredibly well-built. The lenses are stunning as well, and small, provided you don’t go for the f/1.4s.

Since switching to using just the Leica, I carry a camera with me wherever I go, and it has opened new horizons. I am still shooting mostly landscapes, for which I am known, but I now shoot a lot of architecture and what I would call ‘urban’ scenes (though I am certainly not a ‘street’ photographer, and I hate the phrase).

I love my Leica M11, but here’s the sad thing. Nikon once made a series of rangefinder cameras in the film era, and they too were superb. It’s such a shame it never brought out a digital version.

If you're interested in the best Leica cameras and the best Leica lenses we've got you covered – and if you're not feeling as flush we also have a best Leica alternatives list (which might include a Nikion!).

I have been road-testing the Fujifilm X-S20 recently, which is another reminder that Fujifilm has never been a camera-maker that paid much heed to convention. That it’s the more mainstream of the current Fujifilm offerings tells you something…the X100V, X-Pro3 and X-T5 are all the current iterations of a fair amount of free thinking that originally gave us the X100, X-Pro1 and X-T1. All are highly individualistic in one way or another…and then there’s the GFX series of mirrorless medium format  cameras which were essentially born out of Fujifilm’s desire not to just follow the full frame pack. A bit confusingly, it calls its 33x44mm sensor “large format”, but you certainly get the message with tag line “more than full frame”. 

Frankly, I was a bit surprised that the RF-style GFX 50R didn’t sell better than it did – so it’s now discontinued – but here, arguably, was the most daring of the G mount cameras; unmatched in its combination of portability, performance and price. If anybody at Fujifilm is listening, I’m thinking that a GFX 100R might work better now…100 megapixels res in a camera not all that much bigger than the X-Pro3. Well, OK, it’d be bigger, but not massively so. And now that we have the Phase One XC fixed-lens “travel camera” at a price getting close to $100,000, but minus many everyday conveniences such as an EVF.

But I digress. Fujifilm has form in thinking outside the square – literally – with medium format cameras. The GX680 6x8cm SLR system and the panoramic 6x17cm G617 are great examples, but there are many even more… shall we say eccentric designs… among Fujifilm’s long line of medium format rangefinder film cameras. Fujifilm’s key objective was to combine “carrying ease” with “handling speed” hence the decision to package the 6x9cm film format in a 35mm-style rangefinder body. This was the Fujica G690 which was launched in early 1968 and had interchangeable lenses. It had a coupled rangefinder and the viewfinder also incorporated frame lines which not only adjusted for parallax as the lens was focused, but also the field-of-view. Even Leica didn’t offer this facility on its contemporary 35mm RF cameras. An updated version, the GL690 Professional, was launched in 1974 along with a 6x7cm camera called the GM670 Professional.

However, in 1978, Fujifilm decided to adopt a fixed-lens configuration which, along with a switch to GRP bodyshells, resulted in significant weight savings. The original GW690 and GW670 both had a 90mm f3.5 lens which was equivalent – in 35mm format terms – in focal length to a 35mm on the 6x9cm format and a 42mm on 6x7cm. These models subsequently evolved through series II (1985) and III (1992) and an ultra-wide GSW version of the 6x9cm model was introduced in 1980. It had a 65mm f5.6 lens which was equivalent to a 25mm.

A line of 6x4.5cm format RF cameras was introduced in 1983 to enable even more compact and lightweight designs. While the early models were fully manual (but with built-in light metering), in 1995, Fujifilm launched the next-generation GA645 Professional which caused almost as big a stir as the original X100 digital camera did in 2010. It pretty much went ‘all the way’ with automation – autofocus, program exposure control, motorized film transport and a built-in, pop-up flash. It was a medium format point-and-shoot camera which is quite a novel concept at the time. The GA645 had a 60mm f4.0 lens, but a wider-angle version, called the GA645W was fitted with a 45mm f4.0 lens. 

In 1998, Fujifilm introduced the last-of-the-line GA645Zi model which had a 55-90mm f/4.5-6.9 zoom lens (equivalent to 35-55mm) and a modernized body with a more pronounced handgrip. As it happens, none of these cameras sold particularly well, but all have a cult following now and are pretty hard to find on the secondhand market.

It’s a reward – albeit almost certainly unintentional at the start – of daring to be different in camera design and specs sheets. It won’t make you fat profits, but it will earn you an enduring reputation, a lot of respect and the assurance – very much the case with many of Fujifilm’s current cameras – that they will also become classics in due course. 

Check out our guides to the best Fujifilm cameras right now, and the best film cameras you can still buy 

I've ALWAYS wanted this camera but never wanted to pay over a grand for it, so I told myself that I'd buy it ONLY if it was on offer during the Amazon Prime Big Deal Days sale.

Well… the Nikon Coolpix has been slashed to just £819, so I guess I'm about to buy myself a new camera! Camera snobs, turn up your noses if you will – but there is no other camera on Earth that can do what this bad boy does.

I fell in love with this camera the day I took it to Longleat – and promptly got the best zoo pics I've ever taken! For my money this is the best bridge camera there is; its truly unbelievable 24-3000mm zoom range is an absolute game changer for anyone who wants ultimate flexibility when shooting. Check out what that looks like in real terms below:

Yes, it has a small 1/2.3” CMOS sensor that's only 16MP in resolution, and the ISO100-6400 sensitivity isn't going to set the world on fire. But it packs 4K 30p / FullHD 60p video and is absolutely perfect for day trips and family events. 

Images like the one below offer more than enough quality for what I want from this camera – I can't wait to take it out with me again!

You might also be interested in the best Nikon cameras, the best telephoto lenses and the best budget telephoto lenses available right now.

Back when I was shooting 35mm film, I flirted with medium format for quite a while before buying a secondhand Hasselblad 500C/M and, a bit later, adding the motorized 500EL/M to my kit. I was mostly shooting 35mm Kodachrome 64, so I’m not really sure why I thought I might needed medium format, but the mantra then was bigger is better. 

As it happens, I only ended up using the ’Blads on a couple of jobs, then decided they weren’t worth the bother, although I went on using them for a long time to shoot landscapes for my personal work. Here the slowness and greater involvement were good things... although whether 120 rollfilm Ektachrome or Fujichrome 100 delivered a far better image quality than 35mm K64 – given the latter film’s unique structure – is debatable.

Fast forward to today and there is again the lure of medium format cameras, courtesy of the mirrorless systems from Hasselblad and Fujifilm, plus the DSLRs from Leica and Pentax. 

Of course, there’s also Phase One’s XF and the eye-wateringly expensive IQ4 series capture backs, but this really is a professional system and it’s very hard for any amateur – beyond those with very deep pockets – to justify the cost when there’s much more affordable alternatives. 

The Pentax 645Z is still excellent value for money – as were its rollfilm forebears – but there’s now competition from Fujifilm with its mirrorless GFX models which all come in at under $6,000/£5,000/AU$10,000... even the 102MP GFX 100S. 

The 51.4MP GFX 50S II is currently priced at around $3,999/£4,499/AU$6,999 with a lens, the compact GF 35-70mm zoom (equivalent to 28-55mm). Lenses are a major consideration when contemplating jumping up to medium format – always have been – because they’re typically quite pricey due to the need to cover a wider imaging circle, and the systems are much smaller than those for full frame or the cropped sensors.

But digital medium format, especially the mirrorless cameras, has changed some things. Fujifilm’s GFX cameras, for example, pretty much have the same feature sets and capabilities as the higher-end X-mount APS-C models, so we’re no longer talking slow and clunky in terms of how they operate. Likewise, Hasselblad’s X- series camera, especially with the improvements made to the X1D II 50C and the recently-arrived X2D 100C.

The ‘medium format’ sensor size we’re mostly talking about here is close to 33x44mm in area (the Leica S3’s is slightly different, but still essentially the same size, while Phase One’s is bigger again and closer to the old 6x4.5mm film format) which is around 1.7x larger than full frame. 

The big deal about a big sensor is the bigger pixels, especially at a resolution of 50MP, but they will be pretty much the same size at 100MP compared to, say, a full-frame sensor at 61MP, as in the Sony A7R IV... 3.75 microns versus 3.76. 

Bigger pixels mean increased sensitivity, a higher signal-to-noise ratio and a wider dynamic range which translates into less noise overall and better high ISO performance in particular. Then there are the benefits of the higher resolution – including the potential for cropping without significant loss of image quality – and the fact that the bigger the sensor, the shallower the depth of field.

Can you notice a difference? Frankly, I think you can, although my rather nebulous description is the “medium format look”. This is, however, more concretely related to the particular combination of definition and depth. With medium format photography more accessible than ever, I believe there’s a stronger argument for thinking bigger than was ever the case with 120 rollfilm. It is better.

Medium format film cameras: a complete history

Best Hasselblad cameras

Best Fujifilm GF lenses

Best Hasselblad lenses

I recently read a very interesting article about the three key elements of Italian car design... the concepts that have produced many of the world’s most beautiful cars, but also turned everyday vehicles into cult classics. The original Fiat Cinquecento – the 500 – is one very obvious example, but there are more.

The first of these design principles is expressed in Italian as “la bellezza é lo splendour del vero”, which translates as ‘beauty is the splendor of the truth’, but can be distilled right down to one word ‘honesty’. A design has to have integrity to be meaningful –and it’s about form and function in equal parts.

This leads to the second concept, which is “il coraggio della semplicità” or ‘daring simplicity’. This is as much about the clarity of intent as the simplicity of the styling or, specifically in automotive terms, the shape that is so often perfectly balanced and proportioned. 

Finally, there’s “sprezzatura”, which is an Italian word from medieval times and describes the art of making the difficult look deceptively easy or effortless. In other words, there is more to than meets the eye, although what meets the eye is beautiful or, at the very least, distinctive and original. Evaluating the candidates for the 2023 Australian Camera Magazine Imaging Awards – which are announced in this issue – I started wondering how these design principles might be applied to cameras... products that share some similarities with cars in that there’s often an emotional (or even psychological) aspect to the purchasing decision and the subsequent relationship can be both deep and long-lasting.

If we’re talking fundamentally about integrity, simplicity and mystery, then we can see some very clear examples of how this has worked with great success in the past – the Leica M3, Hasselblad 500C, Nikon F, Olympus OM-1 and Polaroid SX-70 spring immediately to mind. It also helps to explain their enduring desirability which turned usability into collectability over the decades.

But what about today’s camera designs? As in the automotive world, technology has brought with it a degree of uniformity that makes individualism harder to achieve, but it is still possible to evidence both the integrity and intent. I think it can be very clearly seen in the likes of the Fujifilm X-Pro3 where daring to be different has produced a camera that is totally involving and rewarding. 

Likewise, Hasselblad’s X-series medium format cameras, behind which is a deliberate attempt to express an essence of Swedishness... the simple but also coolly sophisticated styling is visually irresistible and surely the embodiment of both ‘sprezzatura’ and ‘il coraggio della semplicità’. 

It’s also evident in the OM System OM-1 which is quite remarkable in a design that technology demands conform in so many areas, but it also exhibits a quite distinct character that is surely ‘la bellezza élo splendour del vero’ where, also, the form harmonizes in complete unity with the function. 

It’s interesting that the Japanese sense of style and harmony – evident in everything from food to floral arranging – does not seem to manifest itself in its cars (although, of course, some are designed by Europeans).

The Italians did have a few goes at designing and building cameras, and managed to find style in simplicity quite a few times. A great example is the Ferrania Rondine from 1948 which is, in essence, a basic box camera, but still manages to
look sophisticated with its chromed edges, colored leather inserts (there was a choice of green, red, burgundy and blue), and all-metal construction. The styling is restrained, but distinctive and... truly delightful. Significantly, it still appeals today – the blue example illustrated above is from my collection and inevitably attracts attention even when sitting on a shelf with 20 or 30 other cameras. I love just handling it, enjoying its solidity and the way it just sits so perfectly in the hand.

Undoubtedly ‘la bellezza é lo splendour del vero’ and ‘il coraggio della semplicità’ mixed with just a little ‘sprezzatura’ – the Italian recipe for great design.

• This column first appeared in the September/October edition of Australian Camera magazine

The best professional cameras
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Bridge cameras give you the all-in-one convenience of a compact camera and the handling of a DSLR, with the added bonus of a big-old built-in zoom lens. Bridge cameras tend to cover massive focal ranges, from wide to ultra-mega-telephoto, beyond what's even possible on a traditional camera system. As such, they offer something unique to the photographer and videomaker.

Bridge cameras are typically solid day-to-day choices for shooting a bit of everything – from wildlife and sports to landscapes – and are popular holiday cameras for this reason. The trade-off tends to be a much smaller sensor than those in the best DSLRs and best mirrorless cameras, which impacts image quality and low-light performance.

Nonethless, bridge cameras can be incredibly useful and provide impressive value for money to photographers and videographers alike…

The Quick List

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Best bridge cameras

Biggest zoom

For me, the all-in-one zoom range is the most important thing on a bridge camera – it's their USP, and the key reason why you'd go for a bridge rather than a smaller compact or an interchangeable-lens system camera (where getting an equivalent zoom would be a lot more expensive). As such, the Nikon Coolpix P1100 is my pick as one of the most impressive bridge cameras you can buy, purely on the strength of its bonkers zoom reach.

At its max zoom, the Nikon P1100 has an astonishing 3000mm focal length. Even if such a lens were available for a mirrorless camera (and even if it was affordable), the ability to go from shooting at 24mm all the way to 3000mm in a matter of seconds, without having to switch lenses, is simply incredible.

When shooting at the telephoto end, you do lose 3 full stops – taking the aperture down from a solid f/2.8 to a less impressive f/8. And at longer focal lengths, there is a noticeable softness in images, even with the best camera technique (aided by impressive image stabilization). This isn't helped by the sensor being a relatively small 1/2.3-inch affair, and just 16MP at that.

Still, the P1100 boasts a high-resolution electronic viewfinder, 4K video capabilities, and it shoots in raw – and did I mention that its maximum zoom is three thousand millimeters? Okay, it's a high price for not a lot of sensor, but if range is your top priority, then there's nothing better out there.

Read our full Nikon P1100 review

Best for beginners

One of the more recent bridge cameras to be released, the Panasonic Lumix FZ80D (or FZ82D in the UK, EU, and other territories) is a solid option for beginner photographers – easy to use, but offering a few more sophisticated shooting options that give beginner photographers and videographers room to learn and grow.

Its 60x zoom covers an equivalent range of 20-1200mm in full-frame terms – while that's not a patch on the P1100, it's pretty broad, and still gives you a lot of legroom for capturing different scenes and subjects (and some users may prefer having a little more play at the wide end, with 20mm as opposed to the P1100's 24mm).

The Lumix FZ80D offers consistently accurate autofocus and metering, with the option to use Panasonic's clever 4K Photo modes, with tricks like 'Post Focus' (setting the focal point after capture). Its burst mode is a sprightly 10fps, it offers a range of pleasing picture styles for giving your images specific looks, and being able to shoot 4K UHD is no bad thing for videographers.

Where it falls down is where most bridge cameras do – image quality is just fairly lacking, as it will be when you cram all those pixels on a 1/2.3-inch type sensor. Granted, this is necessary for getting such a long zoom onto a body of a manageable size, but it does still mean that in anything other than bright light, the camera struggles.

Read our full Panasonic Lumix FZ80D / FZ82D review

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Best budget

Kodak continues to play to a niche but potentially still a sizeable audience of photographers who competing brands have moved on from, with the Pixpro AZ528 all-in-one ‘superzoom’, while others have abandoned the area.

The huge 52x zoom still comes in very handy, not just for budding wildlife photographers but also for casual sports photography fans, which makes this an incredibly versatile camera. However, it’s still saddled with a small-ish sensor, and any camera like this means softer results when shooting handheld, especially as we creep further towards its maximum zoom setting.

Read our full Kodak PIXPRO AZ528 review

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Best overall value

The Coolpix P950 was a successor to the P900, and showed Nikon's ambition to have the biggest zoom on a bridge camera – a record-breaking baton now held by its bigger brother, the Coolpix P1100 (above). Nonetheless, the lens on the P950 remains impressive, boasting 83x optical zoom with an equivalent focal length range of 24-2000mm, and if this somehow isn't enough for you, it can be digitally extended to 4000mm.

The P950 added a lot of features that people felt were missing or subpar on the P900: it improves the viewfinder, adds raw capture, and ups the maximum video resolution to 4K. The only reason it's not further up the list is its small sensor size – and that it now stands somewhat in the shadow of the P1100.

Read our full Nikon P950 review

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Cheapest option

What's the appeal of the Kodak PixPro AZ405? Why, it's the economy, stupid – or to be more accurate, the fact that it's the cheapest bridge camera on the market by quite a margin. If you want to get hold of a superzoom camera and want to spend as little as possible, this is how you do it. The camera costs just $199 / £199 (and discounts are not infrequent), and it's powered by cheap AA batteries. The PixPro AZ405 is the definition of no-frills.

Part of a battery of low-cost cameras released under the Kodak name over the past few years, the PixPro AZ405 has some pretty standard specs on paper for a bridge camera. A 1/2.3-inch sensor is paired with a 40x zoom lens, resulting in image quality that's comparable with what you'd get from a smartphone, but zoom range that far outclasses it. If the light is very good, you will get decent shots. If it's too dark or too bright, you will quickly start to lose detail. The stabilization isn't brilliant, and autofocus struggles to keep up.

The PixPro AZ405 also does away with the electronic viewfinder that's common to bridge cameras, relying solely on the LCD screen for image playback and composition. Ultimately, the Kodak PixPro AZ405 is exactly what you'd expect from a camera at its price point. If your budget has a hard upper limit, it will do the job – hence its inclusion on this list. But if you can justify even a little more outlay, you'll get much better results from other models.

See our full Kodak PixPro AZ405 review

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How to choose the best bridge cameras

Firstly, you need to decide on how to balance the size of the camera you want to carry to the range of the zoom.

Depending on what you plan on shooting most often will determine what should be more important. If you are investing in a bridge camera to take on safari, for example, it might be a good idea to opt for something with the biggest zoom range possible. But if you want something more affordable and more portable, a smaller zoom range is your answer.

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Best bridge cameras: FAQs

How we test the best bridge cameras

We test bridge cameras in real-world conditions – using the camera to shoot images in a range of different lighting conditions to see how they perform. Our team of reviewers has collectively tested hundreds of different models and benchmarked performance against results from current rivals and previous models. We pay particular attention to overall image quality – and to the detail captured in particular throughout the zoom range. These cameras are designed to be easy to use, so we also pay special attention to the ergonomics and handling of each of the models we test.

See more on how we test products at Digital Camera World

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Today's prices compared

A special James Bond limited edition of a Leica Q2 has just sold for over £30,000 at Christie’s, 60 years of James Bond Charity Auction. The camera first went on sale in September 2021 but sold out fast as there were just 250 available. 

Included in the special edition James Bond-themed Leica Q2 is a unique black paint finish on the camera casing, a bespoke ocean green, Globe-Trotter covering and carry case, the iconic 007 logos painted on the top of the camera, the limited edition number engraved under the rear display, a metal lens cover with 007 gun barrel logo engraving, a handgrip with green leather to match the camera, a black fabric shoulder strap, a certificate of authenticity and of course, a Leica AQ to the same technical specifications as the standard version. All this would’ve set you back a cheeky $7,995 – but only if you were one of the lucky ones who got one new. 

The best Leica cameras can become coveted collector's pieces by those who are a fan of the brand. According to Leica Rumors, the seller of the sought-after Leica intends to donate 100% of the profits from the sale of the 007 camera to the National Arts Collection Fund – a registered UK charity. Christie’s has also vouched to donate its entire buyer’s premium (minus costs incurred in selling the lot) to the charity.

It was originally thought the camera would go for anywhere between £7,000 and £10,000 so both the seller and Christie's must be over-the-moon and its final sale price - almost triple the estimated value. 

The Leica Q2 is without a doubt one of the best compact cameras – it may not be the cheapest but it certainly delivers outstanding image quality. It features an impressive 47-megapixel sensor, a fixed 28mm f/1.7 lens, and an OLED viewfinder. 

A standard Leica Q2 is much easier to get hold of than the rare 007 version but it will still set you back nearly £5,000 so it's no surprise the limited edition one tested over £30,000 at auction. Leica lovers are if nothing else extremely brand loyal and apparently flashed with cash. 

The Sony RX10 IV is the fourth generation of Sony’s premium-build bridge camera, and although it's been a popular and well-rated model, it's now five years old, having been launched back in 2017.

An update to the Sony RX10 IV in the form of fifth-generation RX10 V has been making its way around the rumor mill for some time, but the latest reports are suggesting that it could be released at the end of 2022 – that's if supply chain issues don't cause any disruptions.

We've yet to report on this potential new bridge camera in the Sony section our camera rumors guide, but as specifications have been circulating we were interested to find out more about what the camera could hold, and whether it might be similar to the best Sony cameras currently on the market.

Rumored specs of a Sony RX10 V are thin on the ground, but they suggest the new iteration could have some build and design improvements over its predecessor that make for more ergonomic and overall more pleasant handling. The flash could also go, while the same lens as the RX10 IV (a 25x optical zoom) might stay.

Although rumors point towards a "significant technological upgrade" this gives us no clue as to the sensor that would be used inside the RX10 V. The current Sony RX10 IV manages to combine extreme zoom range – thanks to the 24-600mm lens – with fast autofocus and a lightweight form. We'd hope that any new model would still include these features, but would definitely like to see an improvement on the video specifications, to keep up with the needs of today's premium compact audience.

We'll keep our eyes peeled for more information on the Sony RX10 V. Could it make it into our guide to the best bridge camera? For now, the Sony RX10 IV is still a very good superzoom and the best Sony RX10 IV deals make it an even more tempting prospect if you're looking for a premium bridge camera.

Confused about RX10 models? You're not alone! Here's a guide to the Sony RX10 vs Sony RX10 II vs Sony RX10 III vs Sony RX10 IV. Since you're here, you might also like to see the Best Sony lenses.

Looking to trade in that DSLR and lens collection for just the one camera that can, in theory, do it all? Sony’s RX10 super zoom bridge camera series has been running for nearly a decade at the time of writing. During that period the electronics behemoth has produced four models, with the one we’re examining here being the latest. While the original and Mark II RX10 cameras twinned their 1-inch sensors with an acceptable 8.3x optical zoom, the Mark III and Mark IV iterations stepped things up in the lens department by bolting a 25x optical zoom on the front, even if this increased overall weight and bulk. 

• Sony RX10 vs Sony RX10 II vs Sony RX10 III vs Sony RX10 IV

Like its predecessors the RX10 IV is still very much a premium priced, premium feel enthusiast’s camera. It offers an alternative to a DSLR, or even high-end mirrorless, for those seeking one camera with a similar feel and operability that does it all, without the need to carry around a variety of swappable lenses. Yes it came out in 2017, which is an age when it comes to digital technology, but it still holds up remarkably well – even if its heft will come as something of a shock to those more used to smartphone photography. Its larger sensor, bigger lens, and so, in theory, better light-gathering ability will, however, deliver imagery noticeably sharper and more detailed than the average phone snap. 

Well that’s the theory anyway, so how does the Sony RX10 IV deliver in practice?

Key features

The Sony RX10 IV is as much of a monster when held in the palm as its externally identical Mark III forebear. This is because it not only features the same sensor as its predecessor but also the same 25x optical zoom lens reach and f/2.4 to f/4 aperture range. 

It’s no surprise therefore that when we glance at its list of specifications we discover the dimensions and weight of both cameras are exactly the same. A promised faster auto focus performance and touch focus facility on the Mark IV – this model introduced on-sensor phase detection autofocus, with a total of 315 phase detection points covering 65% of the frame – obviously hasn’t added any extra heft. 

Furthermore the RX10 IV is Wi-Fi and Bluetooth equipped, with a stereo mini jack provided for an external microphone, if required. Like the prior model we also get the convenience of a pop up flash, plus a vacant hotshoe for optional accessory flash. Conveniently, the camera also takes a regular SD memory card, with a single media slot provided under a flap secreted just behind the large and generous handgrip.

Versus

Again, the nearest rivals for the Sony RX10 IV’s feature set and performance are its similarly specified predecessors, with the Sony RX10 III being the closest by virtue of it also featuring a 25x optical zoom, which was the biggest step up from the 8.3x optical zoom RX10 and RX10 II models, with the series originating in 2013.

While externally it’s clear the RX10 cameras come from the same lineage, like most new models these days, auto focus speed and accuracy is the key thing manufacturers are always looking to improve. Here one of the under-the-hood adjustments is that focusing speed is claimed to be twice as fast as on its third iteration. 

Newly implemented on this model at the time of release was on-sensor phase detection autofocus. The claim at least is that the Mark IV can focus as near instantly as 0.03 seconds. Speed will also benefit sports and nature photography lovers as it boasts a continuous burst shooting speed of up to 24fps, which may for some give it the edge over the three generations of RX10 models before it. 

Handling

Sony has not tinkered at all with the looks or the layout of the RX10 IV when compared with the closest model in the RX10 III. So again that means prominent raised and ridged shooting mode and exposure compensation dials (here +/- 3EV), a top plate display window, plus an eye level viewfinder and adjustable LCD. Said display window is unusual on a consumer-level DSLR, much less a bridge camera, again marking out this one as a cut above, thereby in part justifying the premium price point. At just over a kilogram with rechargeable battery and media card inserted it also feels far less plastic-y than competing super zooms from other brands, especially entry level ones.

On the Sony RX10 IV we not only get an enthusiast pleasing eye level viewfinder, meaning we can shoot with the camera held up to our eye, but also, as on the RX10 III, an angle adjustable LCD screen. On the Mark IV, however, it’s a touch sensitive version of the latter, with users being able to manually move the camera’s focus point around the screen and thereby bias certain objects in the frame. This feels like an obvious thing to be able to do now that was perhaps not quite so obvious five years ago when it was first released.

Performance

In terms of operation and performance, once again with this RX10 series camera we’re getting a one-inch stacked Exmor RS CMOS sensor, as used in all but the very first generation of the camera, plus use of a 25x optical zoom. 

The zoom is controlled either via the right hand courtesy of a lever encircling the power button or the left hand via a ring on the lens itself.  Rear panel LCD resolution does seem to have crept up from 1,228,800 dots to 1,440,000 between Mark III and Mark IV of the RX10, not that that’s demonstrably noticeable. As an alternative compositional aid, the view through the eye-sensor equipped EVF is so life-like we can be fooled into thinking we’re looking through an optical viewfinder. Here it’s exactly the same dimensions and resolution – 2.3 million dots – as on the Mark III model.

Battery life isn’t quite as good as the RX10 III; it’s dropped down to a maximum 400 shots from its predecessor’s 420, but that slim difference is hardly a deal breaker.

Ideally we’ll want to feel that results are ‘good enough’ here for us to be able to leave any existing DSLR at home for most general purpose image-making, and broadly that proves to be the case. Though the generous focal range obviously makes this one well suited to wildlife, sports and action photography, likewise surreptitious street photography and portraits is another possibility given the ability to enjoy a wide range of compositional choices on the fly. That said, the camera’s DSLR-style looks means it’s not really ideal for anyone looking to go unnoticed, especially as most others in the vicinity will be using smartphones for photography. 

Sony RX10 IV: Verdict

At the time of writing the RX10 IV was often retailing for the same as, or even less than the older RX10 III. The more recent version gives you the operational speed and touch focus as well as the shared one-inch sensor,  and 25x optical zoom. But the price differential may change when the two models are more widely in stock - so although the Mark IV is the better camera, do check for bargain deals on the Mark III model.

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Available in no-nonsense matt black or shiny maroon red, the headlines here of the Nikon Coolpix B600 a 16 megapixel back-side illuminated CMOS sensor and lens-shift Vibration Reduction. Both these help users achieve steadier, blur free photography towards the telephoto end of the camera’s lens or in lower lighting conditions. In fact the Nikon Coolpix B600’s 60x optical zoom offers the 35mm equivalent of a generous 24-1440mm along and f/3.3 maximum aperture, with images composed and reviewed via the 3-inch, 921K-dot resolution LCD screen on the backplate. Unlike a DSLR or mirrorless camera there is no separate eye level viewfinder; the location where one would usually sit instead houses the B600’s built in speaker.

If there’s a disappointment here it’s that the budget priced super zoom offers a ‘mere’ Full HD resolution video capture rather than the now more commonplace 4K, and that the LCD itself isn’t of the tilt and swivel variety. Three years old at the time of writing, unusually the camera features a modest built in memory, along with a smattering of in-camera creative modes that will appeal to those more used to selecting a filter effect for images on a smartphone. The lithium ion battery provided here is good for up to 280 shots and can be charged in camera via USB cable. There is no standalone mains charger alternatively provided.

Nikon B600 specifications

Sensor: 1/2.3-inch CMOS

Sensitivity range: ISO125-1600 (extendable to 6400 in Auto mode)

Video: Full HD at up to 30fps

Lens: 24-1440mm equivalent in 35mm terms, 60x optical zoom

Monitor: 3-inch, 921K dot resolution

Viewfinder: No

Battery life: 280 shots or approx. 1 hour of 1080p video

Dimensions: 121.6x81.5x99.2mm

Weight: 500g including battery and SD card

Nikon B600 rivals

The fixed lens compact camera is a rare breed in the age of the smartphone, so it makes sense for manufacturers to offer customers a compelling reason to buy one – namely a device that in the case of the Nikon Coolpix B600 does what their phone cannot. The carrot dangled here is a gargantuan zoom range from something that will fit in a messenger type bag, or, with lens fully retracted, a roomier jacket pocket.  In terms of other models out there, Nikon offers one itself in the previously-released 16 megapixel Coolpix B500, which boasts a lesser specified 40x optical zoom, compared with the 60x B600, but does feature a tilting LCD screen, should users find that advantageous. Unsurprisingly it was also less expensive than its B600 successor was on launch. 

If neither of those zoom ranges are quite enough for you, also check out the 125x optical zoom Nikon Coolpix P1000, which is particularly suited to astrophotography and shooting the Moon, or the Nikon Coolpix P950, an 83x optical zoom alternative. Be prepared to pay a premium for these models in comparison however, as attendant features for the latter two examples include 4K resolution video and vari-angle LCE screens, both improvements on the basic spec of the B600.

Build and handling

While it may resemble something of a shrunken DSLR there’s nothing complicated or fussy for newcomers when it comes to using the Nikon Coolpix B600; operation is pretty much point and shoot all the way. Shooting mode settings are controlled via a familiar ridged dial on the top plate, adjacent to a power button that is recessed into the bodywork to avoid accidental activation. The main shutter release and zoom lever are located on the tilted front edge of the camera’s handgrip, which is small yet feels comfortable to hold.

Images are composed and reviewed with the aid of the LCD screen, which offers 99% frame coverage. This being a budget priced super zoom, as noted in our intro the screen here is fixed rather than angle adjustable, and we don’t get touch screen control either – making the B600 feel overall quite ‘old school’ in design and operation. 

A clip-on lens cap is provided out of the box for protection from scratches. Despite this being the size of a digestive biscuit we can see it getting mislaid in our camera bag, so it’s worth tethering it to one of the camera’s lugs via the loop of thread provided.

Performance

With a nudge of the zoom lever that ergonomically encircles the shutter release button, it takes around four seconds for the Nikon Coolpix WB600’s lens to travel from maximum wide angle to full telephoto setting. Unusually, a second side-mounted zoom lever is located on the left of the lens barrel itself, should users wish to operate it with their left hand. 

For a point and shoot camera we’d have to conclude that image quality is pretty good, with a decent degree of contrast visible in the images and plenty of detail, even when shooting handheld towards the extremity of the zoom range, which is after all what anyone will be buying this camera for. In practice we found it’s best to take two or three shots if shooting towards maximum telephoto setting in order to be in with a better chance of a shake-free image and also one that is correctly framed, as holding the camera rock steady is, unsurprisingly, tricky, yet not impossible.

Nikon B600: sample images

Nikon Coolpix B600: verdict

This Nikon Coolpix B600 big zoom compact offers a very broad scope for image taking and at a reasonable price thanks to the 60x optical, 24-1440mm equivalent lens bolted onto the front. Its ease of use furthers the impression that this all-in-one compact is best suited to family users, for whom the ability to quickly zoom in or out and re-frame their shot when chasing kids or pets around will come in useful, while it also afford day-trippers, people watchers, or travel photographers with the chance to leave the bulky DSLR and zoom lens at home yet still be able to achieve the shots they require.

Read more
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The switch from an APS-C format or Micro 4/3 camera – essentially any ‘crop-frame’ sensor – to a full frame model is often seen as the standard upgrade path for enthusiasts and professionals to take. The physically larger sensor area enables pixels with a greater light capacity, enabling both improved low light performance and a wider dynamic range over an APS-C body, or dramatically increased resolution. These improvements might not be fully appreciated by casual photographers, but in the professional arena these are qualities which come into play regularly. 

Event and landscape photographers for example, the latter also encompassing property photography and architecture, will undoubtedly encounter blown highlights and image grain, during the course of a shooting session. On a one-off basis these might be possible to correct in software, through exposure blending or noise reduction respectively, and are failings which can be forgiven when weighed against the cost savings of APS-C. 

When you are capturing thousands of similar images however, the benefits of superior out-of-camera tonality and detail become exponentially more critical. This makes the larger sensor an attractive option, especially when the main benefits of a smaller sensor become less important, namely portability and greater lens reach. 

The best full frame mirrorless camera in 2021

Beyond absolute image quality there are other reasons to consider a switch to the larger sensor format of full frame cameras. Now more than ever, APS-C offers true professional quality, with many pros remaining faithful to the format, so dynamic range and noise control are not the whole picture. For portrait shooters, the shallower depth-of-field afforded by full frame enables the style of image many of the buying public might call the ‘pro look’. The difference in focus depth when using the same lens on cameras of both formats is surprising at first, and is often considered to be reason enough to switch on its own.  

Naturally full frame isn’t without its drawbacks, so the choice to adopt it as the baseline for your entire camera system should come down to whether the aforementioned image characteristics are a benefit to your photography or a hindrance.

Full Frame pros and cons

Full frame cameras typically bring professional features 

Generally, because of the added cost of the larger sensor, full frame cameras are aimed at photographers with a pro budget. This means these models tend to have more professional features and a more solid build quality too.

Full frame cameras offer maximum field of view

As lens technology improves we can now access 14mm focal lengths and less on full frame lenses, meaning these offer the widest possible field of view of any commercially available camera lenses. This is ideal for interior and event photographers.

Full frame gives better low light performance or resolution

Larger sensor area means larger pixels, which allows superior noise performance in low light. Higher resolutions are also possible without significantly compromising the signal-to-noise ratio, creating a new breed of ‘all-rounder’ cameras, combining speed, resolution and noise management.

You tend not to get both. A full frame sensor will give better low light performance and dynamic range than an APS-C sensor of the same resolution, OR a full frame sensor can offer a much higher resolution while equalling the noise performance and dynamic range of a lower-resolution APS-C sensor.

Full frame cameras are bigger and heavier

Larger bodies and larger lenses equal greater weight and external dimensions. When combined with an all-metal build you get some very big and heavy camera setups. The EOS 1DX III and Nikon D6 are anything but travel friendly, for example.  

Higher resolution cameras produce larger files

Greater data capture and higher pixel counts result in increasingly large file output. With a pro full frame camera of over 30MP, raw file sizes increase considerably, creating storage and archival challenges.

Full frame cameras have less 'reach' for long-distance subjects

While landscape shooters might gain at the wide end, users of telephoto optics will lose out. The effective focal length of a lens will be reduced when swapped from an APS-C body to a Full Frame model, so teleconverters will be required to compensate. 

Upgrade examples

While most new cameras are mirrorless there are still some fantastic pro DSLRs available. The following upgrade is one which was standard for enthusiast photographers turning pro for many years. Similar steps are available within mirrorless systems. We’ve also provided some similar cameras users of similar models might want to look at. 

Generally, your upgrade path is simpler when you already know what you're looking for, for example upgrading an APS-C sports camera to a full frame sports camera.

Like for like: from Canon EOS 7D Mark II...

A representative semi pro APS-C DSLR, the EOS 7D Mark II was built mainly for sports and wildlife devotees, with an impressive frame rate of 10fps at 20.2MP. It is equipped with 65 cross-type AF points and a top ISO of 16000. It also features a tough body and built-in flash, for wireless speedlight control.

...to Canon EOS 1DX Mark III

The monster camera which arguably topped the DSLR tree. The EOS 1DX Mark III has a rather modest pixel count of 20.1MP but possesses a blistering max frame rate of 20fps (16fps mechanical shutter) and 191 AF points. It also features a top native ISO setting of 102,400, with ridiculous extended settings. Also present are 5.5K Raw video shooting, a built-in vertical grip, full weather sealing and integrated GPS. Essentially it offers everything a pro photographer could want, except huge resolution.

Similar upgrade cameras to consider: Nikon D6, Sony A9 II, Panasonic Lumix S1R

Change of style: from APS-C to high-res full frame

Sometimes you're not simply trying to get a camera that does the same as your APS-C model but with a full-frame sensor; sometimes you want something that only a full frame camera can do. Typically, that comes down to one thing: resolution:

Here's another upgrade example along those lines, swapping from an APS-C Sony mirrorless camera to a full frame model.

The Sony A6000-series cameras have 24MP sensors, but by upgrading to the Sony A7R IV you can take a huge leap to 61 megapixels. You can even use your old APS-C lenses on this camera directly in 'crop' mode and still get the same resolution as the APS-C model.

Read more:

• The best Canon cameras
• The best Nikon cameras
• The cheapest full frame cameras

If you are looking for a present for the birdwatcher in the family, then we have just spotted this great deal that could just be perfect for them. The Panasonic Lumix FZ82 is one of our favorite budget bridge cameras - but now that Amazon has knocked £50 off its regular price, it now its best price ever.

Bridge cameras aren't for every one - and the very best can be eye-wateringly expensive. But what this one does is offers an amazing 60x zoom lens range - which gives you enough scope to crop in really close into small birds in a distant tree or hedgerow. This allows a birder to record the species that he or she has spotted - or have a means of helping to identify it at a later stage.

It doesn't have the absolute image quality of a DSLR or mirrorless camera with a big telephoto zoom - but what this does give is a very portable package, all for just £249.99. What's more with 4K video shooting and an 18 megapixel stills capability, there is plenty of detail in the images for identification purposes. 

The 60x zoom gives the equivalent focal length range of 20-1200mm - so that is capable of zooming in much closer than most photographers are capable of. And it is this telephoto performance is not just useful to ornithologists - it can be a great benefit for other wildlife, for sports or for photographing the night sky.

A great bonus of this particular bridge camera is that it has a noticeably wider wide-angle setting that some other rival models, meaning that it can also be used for images of landscapes and architecture.

Check out other holiday camera deals available now.

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The Nikon Coolpix B500 attracts a lot of interest because it has a huge 40x zoom range and a lot of advanced controls – and it's really affordable! Obviously you get what you pay for, though, and there are bound to be things you miss out on at this price.

So we'll try to answer all your questions as you make your mind up,, including the big one: 'Should I buy a Nikon Coolpix B500?'

Looking for a camera that you can use to shoot pictures of the wildlife in your backyard, and anything else you can see? Then this neat Canon bridge camera could be just the thing to use as you sit in self-isolation. And it will be a great camera for travelling, as and when we are all free to roam the world again.

The big selling point of the Canon PowerShot SX540 HS is its huge 50x zoom... which offers an equivalent focal range of a 24-1200mm zoom. Now that is great for shooting wide-angle interiors – but also for getting close-up shots of that bird on a branch at the end of the garden. In fact, with so much optical power, it will give you jaw-dropping close-ups of the moon too. And there is built-in image stabilization too - so that you don't have to panic about camera shake.

The camera offers a decent 20.3 megapixel resolution for stills - but can also offer HD video shooting at up to 60 frames per second.

There is a full range of exposure modes and metering options for those who want to take control - but you can also leave things in auto if you just want to point and shoot. And the images you take can be shared easily with the rest of the world via your phone using a WiFi or NFC link.

Other key features include:

- 3 inch LCD screen
- built-in GPS
- minimum focus 1cm
- ISO 80 - 3200
- shutter speed range 15 secs - 1/2000sec -
rechargeable battery

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Nikon has announced that it will be updating its popular P900 superzoom bridge camera with the brand new Nikon Coolpix P950. With specs promising to be perfect for wildlife, motorsport and aircraft photographers, this bridge camera might just catch your attention. New features include RAW shooting, 4K video, an external mic socket, and an accessory shoe. 

Boasting an impressive 83x optical zoom, the P950 has an equivalent focal length range of 24-2000mm (the same as on the P900). However, if you really want to get even closer, the 166x Dynamic Fine Zoom is able to digitally extend the upper limit to an amazing 4000mm. 

Long lenses can often run the risk of increasing camera shake, but luckily the Nikon P950's fixed lens has a wide f/2.8 maximum aperture. It also offers Dual Detect Optical Vibration Reduction, which should help you prevent blurry shots.

Read more: Best Nikon camera

Meanwhile, video enthusiasts will be excited to hear that the Nikon Coolpix P950 can shoot 4K/ UHD 30p footage, or Full HD (1080p) video at frame rates of up to 60p. You can also record in stereo sound and manually adjust key exposure settings while you're filming. There's also a full-size hot shoe that can be used to accommodate a mic or dot sight, and a larger vari-angle 3.2in LCD screen monitor that can be tilted and twisted in almost any direction. The P950 also has an improved 1cm 2360k-dot OLED electronic viewfinder with eye-sensor.

Gabriela Januario, Commercial Planning Manager at Nikon UK, commented, "The Coolpix P950 is a feature-packed update to the Coolpix P900, which changed the market for superzoom cameras with its 83x optical zoom. This new camera keeps the impressive zoom range of its predecessor and adds many of the features people have been asking for, including: 4K movies, an improved EVF, RAW support, and a hot shoe for accessories." 

Some other interesting features include RAW file support, in-camera time-lapse and connectivity via WiFi, USB and Bluetooth. The Nikon Coolpix P950 is also able to sync photos to your smart device, or even use the smart device to shoot remotely via SnapBridge. Even more impressively, you can even transfer RAW files as well. 

The Nikon Coolpix P950 will be available nationwide from early spring 2020 at an RRP of $799/£799, and will replace the existing P900.

Preorder the Nikon P950 at B&H Photo

Preorder the Nikon P950 at Wex Photo Video

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Nikon mirrorless cameras and lenses, the new Nikon Z 50, and where it fits in
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Watch video: What is a bridge camera? 

It looks like a DSLR, but it has a fixed lens and the huge zoom range of a point-and-shoot. Meet the bridge camera – a specialist system that literally bridges the gap between all-purpose point-and-shoot convenience and the high-end features and functionality of a full-fat DSLR camera. 

• See the Digital Camera World A-Z Dictionary of photography jargon

Because it embraces the familiarity and simplicity of a point-and-shoot, a bridge camera is a great option for those wanting to experience more advanced aspects of photography without diving in at the deep end of the DSLR pool. 

Bridge cameras feature some of the physical controls and dials of a DSLR, and many of the same manual settings. 

This means you can benefit from things like shooting RAW images, which enables you to capture much larger image files with more information and scope for post production than standard JPGs. 

High end bridge cameras even boast features like phase detect autofocus – the advanced AF system found in DSLRs – as well as high frame rates for continuous shooting, making them suitable for capturing fast action like sports. 

Perhaps the biggest boon of a bridge camera is the enormous zoom range offered by their fixed lenses. It’s quite common for a bridge to offer a 35mm equivalent range of 24-600mm, which will cover you for everything from wide-angle environmental shooting to long-range telephoto work. Nikon even offers a bridge with a whopping 24-3000mm range! 

They even offer 4K video shooting, with fully articulating LCD touchscreens, enabling you to shoot cutting-edge footage whether you’re filming the kids playing football or you’re creating content for YouTube.

So these are the ultimate all-round performers, right? Well, while bridge cameras offer beginner-friendly ease of use unmatchable all-in-one focal ranges, they do compromise on one key area: the image sensor. 

Because lenses with these enormous zoom ranges wouldn’t be possible with larger sensors, bridge cameras have traditionally used the kind of 1/2.3-inch sensor that you find in smartphones. Cameras with these sensors produce noisier images with lower quality, but greater zoom capabilities. 

More advanced bridges now use 1-inch sensors, which result in better image quality but with less impressive zoom ranges. So choose a camera with a 1-inch sensor if image quality is more important, or a 1/2.3-inch sensor if versatility is your priority.

Bridge cameras are great all-in-one devices for families and amateur photographers, combining the simplicity of point-and-shoot cameras, the features of DSLRs, and the kind of focal range you’d usually need a pair of binoculars for!

Read more: 

What is a mirrorless camera?
What is aperture on a camera?
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Following a few leaks and rumors, Leica has confirmed the release of the V-Lux 5, a travel-friendly bridge camera with a long zoom and 4K video capability.

The reason it has these capabilities, of course, is that it’s not exactly a new camera, but a repackaged version of the Panasonic Lumix FZ1000 II, just as the Leica V-Lux (Typ 114) was a repackaged FZ1000 with a smooth finish, a red dot and a higher price tag.

This means that the V-Lux 5 comes sporting a 1-inch 20.1MP CMOS sensor and a 9.1-146mm f/2.8-4.0 lens – equivalent to 25-400mm in full-frame terms. Just as with the FZ1000 II, users of the V-Lux 5 will find they have a fast and capable camera that’s excellent in low light.

Like all contemporary Panasonic cameras, it can shoot 4K video and comes equipped with 4K photo modes for freezing the action, allowing the user to extract stills from 4K footage. This also includes Panasonic’s Post Focus mode, which allows for an image’s focal point to be set post-capture

At its rear it has a 2.36-megapixel OLED viewfinder with 0.74x magnification, as well as a 3-inch, 1.24-million-dot articulating touchscreen. The V-Lux 5 has fast autofocus, able to acquire focus in as little as 0.1sec.

So what’s actually different from the FZ1000 II? To be honest, not a whole lot other than the smart black design and the signature red dot. And of course, the price tag. The Leica V-Lux 5 will set you back a casual £1,050 / $1,250; the Panasonic FZ1000 II, by contrast, goes for about £750. That is quite a large premium to pay for a reskin, but if that’s the sort of thing you like, the Leica V-Lux 5 is available now.

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The first image has surfaced of the upcoming Leica V-Lux 5, the latest bridge camera from the luxury brand, suggesting that an announcement will be happening any time now. 

The leak comes courtesy of the Japanese rumor ninjas at Nokishita, who had no further specs of information to share. However, looking at the history of the camera, we probably have a very good idea of what will be under the hood. 

That's because its predecessor, the Leica V-Lux (Typ 114), was little more than a clone of the Panasonic FZ1000 – albeit with a higher price tag. 

It's all part of the "unique" relationship between the two companies, which sees Panasonic bridges and compacts being rebadged and sold as Leicas, Leica-branded lenses being made by Panasonic factories, and of course the manufacturers working together as part of the full-frame mirrorless L-Mount Alliance. 

So, both common sense and the leaked picture of the camera point to the Leica V-Lux 5 being a rebranded Panasonic FZ1000 II – which in turn is awkwardly similar in specs to the FZ1000 / V-Lux. 

The camera features a 1-inch, 20.1-megapixel sensor with a 9.1-146mm f/2.8-4.0 lens – which is an equivalent 25-400mm focal range in 35mm terms. 

In addition to the impressive 16x optical zoom, it also features a 5-axis Hybrid Optical Image Stabilizer, burst shooting of 12 frames per second, and records 4K video up to 30 frames per second. 

It possesses a capable 0.39-inch, 2.36 million-dot, 0.74x organic Live View Finder and a 3-inch, 1.25 million-dot fully articulating LCD touchscreen. Unless Leica does something radical and unexpected, it will retain the Panasonic's 136.8 x 98.5 x 130.7mm dimensions and 831g frame. 

No pricing or release information for the Leica V-Lux 5 has been hinted at, but the Panasonic Lumix FZ1000 II is available now for £749 / $897. 

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The 10 best bridge cameras in 2019: ultra-zoom cameras for far off subjects
Panasonic FZ1000 II announced: same 20.1MP, 4K video, 16x zoom as FZ1000
The 10 best Leica cameras in 2019

Bridge cameras, those models that span the gap between compact and interchangeable lens cameras have enduring appeal. They combine the relative simplicity of a compact camera with some of the more advanced features and handling of a DSLR. And many also bring a wide zoom lens for extra flexibility. The Canon PowerShot SX70, for example, has a 65x optical zoom, which could make it the best Canon camera for long range photography on a tight budget.

To no small part, this monster zoom is made possible by using a sub-APS-C format sensor. In this case, the 1/2.3-inch type back-illuminated CMOS chip enables the 3.8-247mm lens to produce an angle of view that’s equivalent to a 21-1365mm optic on a full-frame camera. That’s phenomenal reach and one that few DSLR photographers could ever imagine achieving with their lenses.

The SX70 HS has 20.3 megapixels, 25% more than its predecessor, the 16.1MP SX60 HS, that should produce detailed files that lend themselves well both to larger prints and to the rigors of post-processing. 

Sensibly, Canon has included a stabilizing element in the lens and it proves its worth. It’s not just useful for getting images sharp, it helps with framing shots of distant subjects at the telephoto end of the lens. The steadier view makes it much easier than it would be otherwise.

See also: Canon PowerShot SX740 HS review

Features

This sensor is paired with a Digic 8 processing engine which enables a sensitivity range of ISO 100-3200 and a maximum continuous shooting rate of 10fps in One Shot AF mode (5.7fps with continuous focusing).

Although there are just 9 selectable autofocus (AF) points, the SX70 HS’s AF system is actually pretty good. In decent light it gets most subjects sharp quickly. The Tracking AF system also manages to stay with slow-moving subjects well. It’s a contrast-detection system and not surprisingly, it starts to hunt when light or contrast levels drop.

Despite its extensive zoom range, the SX70 HS is very light. It’s largely constructed from polycarbonate (aka plastic) but it has a good-quality feel while the deep grip fits comfortably in your hand. 

Handling

A mode dial on the top of the camera gives the means to select aperture priority, shutter priority or manual exposure mode as well as a collection of automated shooting options. However, it’s worth keeping in mind that even at the shortest focal length, it’s only possible to adjust the aperture across 2 2/3 EV, from f/3.4 to f/8. At the longest focal length, there are just three aperture settings available, f/6.5, f/7.1 and f/8.0. That’s not unusual with a bridge camera, but it’s something to keep in mind if you’re looking for a camera that provides lots of control.

Both the 0.39-inch 2.36million-dot electronic viewfinder and the 3-inch 922,000-dot screen on the back of the camera provide a good, clear view with plenty of detail visible. It’s nice that the screen is on a variable hinge as that helps with composing images from creative angles, but it’s a shame that it’s not touch sensitive. It means that you have to press a button and use the navigation pad to set the AF point, a tap on the screen would be much quicker and more intuitive.

Sample gallery

Performance

At low sensitivity settings and in nice light, the SX70 HS produces good results but we’d recommend staying to ISO 800 or lower if possible. With a 20Mp 1/2.3-inch sensor the images are not going to challenge an APS-C format camera for quality, but they are good for that sensor type. If you pixel-peep you’ll see that the results at the shortest focal length are a little softer and that the edges of the frame can become a bit mushy, but on the whole they look fine at normal viewing sizes. 

Chromatic aberration is controlled well, only really being noticeable in extremely high contrast situations.

The video quality is also good with the continuous AF system managing to keep subjects acceptably sharp. A crop is applied to 4K video but with such a wide focal length range, that’s not much of an issue with the SX70 HS. 

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The Panasonic Lumix DMC-FZ1000 II has been officially unveiled at the Panasonic European Convention 2019 in Frankfurt. 

As with the Panasonic Lumix TZ95, specs had been released earlier in the week by reliable Japanese site Nokishita (via 43 Rumors). 

The new version of the versatile bridge camera looks surprisingly similar to the old version, which ranks as one of our best bridge cameras, though Panasonic is clearly trying to carve a reputation for the best 4K cameras too.

See also: Best Panasonic cameras in 2019

Aside from a minor cosmetic refresh, namely the repositioning of a few buttons, the two cameras seem almost identical in specs and dimensions, with a touchscreen and Bluetooth providing the main big difference between the Mark II and the four-year-old original. 

Here's the full line-up of specs:

• 1-inch, 20.1 million pixel sensor
• 16x optical zoom with equivalent 25-400mm focal range, f/2.8-11
• 4K30p video
• 4K Photo functions including Focus Select, Focus Stacking
• 12 frames per second burst rate
• Electronic shutter speeds up to 1/16000
• 0.39-inch, 2.36 million dots, 0.74x organic Live View Finder
• 3-inch, 1.25 million dots fully articulating LCD touchscreen
• 5-axis Hybrid O.I.S.+ (Optical Image Stabilizer)
• Wi-Fi & Bluetooth
• Photo Styles [filters] including L. Monochrome D
• Size: 136.8 x 98.5 x 130.7mm
• Weight: 831g

While it seems like fairly modest refresh, there is a bit of clever stuff going on under the hood. In particular, the newly added Zoom Compose Assist feature "assures, that you do not lose your subject when it suddenly leaves the frame," which if it delivers will be a bit of a coup for a camera with this focal range.

The original FZ1000 was so successful and well regarded that it may be a case of not fixing what ain't broke. It may also be a reflection of Panasonic's reduced R&D remit, given the focus on the full-frame technology and lenses behind the new Panasonic Lumix S1 and Panasonic Lumix S1R. 

The Panasonic Lumix DMC-FZ1000 II will be available from the end of March at a price of £769 / £899.

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The 10 best bridge cameras in 2019

What next for Panasonic? Read our Q&A with Mr Yosuke Yamane