This might be the most fun $45 I've ever spent on camera stuff.

Last month, Godox launched its first-ever camera: the Godox C100 "transparent viewfinder camera". Over half of its tiny 104 x 71.7 x 19.1mm frame is taken up by an "intelligent transparent display" that's basically a see-through LCD screen with a UI that shows your image frame, battery and shooting mode.

Basically, it's like taking pictures with a credit card that has a hole in it. And it is ludicrously good fun – definitely one of the best screen-free digital cameras you can buy right now.

I took it for an outing recently to put together a quick video, so below is a whistle-stop guided tour of the camera with some samples. (Yes, I know that my hands are shaky. I had mild dehydration and sunstroke from running around in the 90°F heat so I could post this video as soon as possible.)

So, you aim through the giant optical finder and do your best to frame your composition – which isn't quite as hit-and-miss as you might expect.

We've seen cameras like this before – namely the Canon Ivy Rec and the Instax Pal, both of which have fairly clumsy optical finders that give a vague approximation of your image frame (given that they are so far away from the camera itself) and, crucially, no feedback as to where your fingertips are!

The G100 is much more accurate, given that the camera is positioned literally just above the finder. In addition, it can be set to shoot 16:9, 4:3, 3:2 or 1:1 images – essentially cropping down the base 1920 x 1080 image each time.

Changing the aspect ratio superimposes a different frame on the display, to help you compose your shots. I haven't experimented too much with this, yet, as it seemed better to shoot "full frame" 16:9 and just crop later on.

Image quality is surprisingly good, given that this is just a 2MP camera with a tiny sensor. It's certainly better than other sub-$50 screen-free cameras like the Kodak Charmera, where images feel very lo-fi and crunchy.

You still wouldn't exactly shoot a wedding on this, but take a look below – with a touch of editing, the images are perfectly respectable:

The C100 also shoots 1080p video, which as you can see above registers all the jitters of sunstroked hands – so I'll do a couple more tests now that I'm not cooked by the heat. The audio is still pretty blown out and the image quality isn't remotely going to rival your camera or phone, though.

But I think the C100's coolest party trick is the fact that it also doubles as a light meter, which is a stroke of genius and might make this an essential pickup for film photographers. This week I'm going to test its accuracy against my trusty Sekonic meter to see how it performs. Either way, it's a cool little bonus feature to have.

Of course, as noted in my original story, the elephant in the room is that the Godox C100 takes "a great deal of inspiration" from the Escura InstantSnap – an almost identically functioning camera that debuted at CP+ 2025.

Escura's camera is only 1.3MP (with correspondingly inferior image quality), only shoots 480p video and doesn't have a light meter – but still, it's important to note that it likely served as the blueprint for Godox's device.

I'll have my full Godox C100 review up very soon, but in short I had low expectations for this camera – and yet it's been the most fun I've had taking pictures in forever. I also think that this is a brilliant camera for kids, as it's tiny, loads of fun and also cultivates patience, as you have to wait to get home to see what you shot. Not bad for 30 bucks!

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I’m a sucker for retro cameras, so I couldn’t pass up the chance to wax lyrical about the OM System / Olympus OM-D E-M10 Mark IV, which is now being sold at a temptingly low price. Both the black and silver variants have been discounted, plummeting to the tantalizing sums of just £511.43 and £550.19, respectively, with the 14-42mm slimline zoom.

The E-M10 Mark IV is an ideal first interchangeable-lens camera or an everyday beater for the commute or day trips. It is a camera we have been recommending for years as a great choice for beginners, and it is once again at a great price. Plus, I’m sure you’ll agree, it looks absolutely gorgeous! Here’s what you’re getting for your hard-earned cash…

First up, it’s worth mentioning just how small this little camera really is. It’s built around a 20MP Micro Four Thirds sensor, which provides a 2x crop factor. As such, MFT systems tend to feature smaller camera bodies and lenses than their APS-C and full-frame counterparts. The Olympus OM-D E-M10 Mark IV is no exception; the body is 383g and the lens is 91g. To put that into perspective, combined it’s a lighter setup than the Fujifilm X100VI.

As you’d expect from a camera within this price range, you get 4K 30p video – but what I do love about the E-M10 Mark IV is its in-body image stabilization, compensating for up to 4.5 stops. The camera also features Live Guide and Scene Modes that will give beginners a helping hand.

Otherwise it’s fairly standard fare, but when you consider that you’re getting a great-looking, compact, capable stills camera and kit lens from a reputable brand, for just over £500 with lens, the OM-D E-M10 Mark IV is an attractive prospect. I think it’s a fantastic first, everyday, street or travel camera and would gladly use one on my daily commute.

Want a memory card to go with your purchase? Here are the best Amazon Prime Day memory card deals.

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

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

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

Pro body, enthusiast price point

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

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

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

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

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

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

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

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

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

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

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In the summer of 2006, I had the privilege to be a pre-production tester and reviewer for Leica’s then-new M8. Introduced later that fall, the M8 is thought of by many as the first digital rangefinder camera. But was it really? Not quite.

The first commercially produced digital rangefinder camera was the Epson R-D1, launched a couple of years earlier in March 2004. As it arrived well before Panasonic’s Lumix G1 of 2008, it became the world’s first interchangeable-lens mirrorless digital camera – long before that term was ever used!

[Many in the industry, myself included, don't class the R-D1 as a true mirrorless camera due to its lack of live view or electronic viewfinder. But technically speaking, it is the first! – Ed]

The R-D1 was developed in partnership with Cosina, which modified its well-made and well-respected Voigtländer R-2 Bessa body for the purpose. Epson provided the electronics, while Cosina had the task of fitting it all into the R-2 chassis. Great effort was made by both firms to preserve the film “feel” in the R-D1.

The resulting camera had a Leica M lens mount and a 6.1MP, APS-C sized Sony CCD sensor. This same sensor was used in the 2003 Pentax *ist D. Because CCDs consumed more power than modern CMOS sensors, battery life was noticeably shorter than that of newer digital cameras. But, for the era, it was pretty good.

Photos were stored on SD cards, though the FAT16 file system limited them to 2MB of storage – which works out to roughly 100 RAW and JPEG images or 200 RAW files per card. Later Japan-only versions added SDHC support, which offered higher capacities.

Use of the Leica M mount (long out of patent protection by that point) meant that hundreds of lenses could be used with the R-D1.

However, Leica's Visoflex series of reflex adapters would not fit the Bessa / Epson bodies, so without “live view” (which only arrived years later, the Lumix G1), R-D1, photographers were pretty much limited to the three main focal lengths (28mm, 35mm and 50mm) marked in the finder. For most, this was not a great problem.

The R-D1 mimicked an analog camera a closely as possible, using the rapid wind lever to cock the focal-plane shutter – although there was no film to wind.

And it featured a rather nifty “Seiko watch-inspired” analog indicator on the top plate to show the shots remaining, image quality, white balance and so on. This “inspiration” is not surprising, as the Seiko Epson Corp also makes Seiko watches!

Unlike a film camera, however, the R-D1 had a fold-out 2-inch (diagonal) reversible screen that featured 235,000 dots. Later models increased this to 2.5 inches, though the resolution remained the same.

For those who wanted the classic film experience and preferred not to “chimp”, the display could be reversed and folded inwards to protect the screen. Doing so then revealed a Leica-like ISO reminder dial, but in fact it was a small conversion table between the three focal lengths and their equivalents on the APS-C sensor.

An interesting wrinkle is that the “rewind knob” is the jog dial, for reviewing images. You simply pressed the “monitor” button and rotated the dial to move between the images. To see the information on a particular shot (EXIF data, histogram and such) you pulled it up and rotated it.

In 2006, the R-D1s arrived. Physically unchanged, it had upgraded firmware for RAW + JPEG mode, the ability to shoot in Adobe RGB as well as SRGB, and a few other perks. Owners of the original R-D1 could upgrade to the latest standard. The 12-bit RAW files could be captured at ISO200-1600.​

Production continued until 2014, with some 10,000 cameras produced. The later models, with the 2.5” fixed rear screen, were sold only in Japan.

There is one more interesting wrinkle to the R-D1 story. In November 2021, while Epson was reorganizing its warehouse, it discovered 30 brand-new, in-box R-D1 cameras that had been sitting there for 12 years! (I have seen similar situations with other suppliers, over the years.)

The company refurbished them and then offered them via lottery to verified, Japanese R-D1 owners rather than discarding them.​

The reason for limiting the lottery to previous owners was that the batteries in the “newly discovered” R-D1’s had not withstood the test of time and new ones were no longer available. So the winners needed to be able to use their existing R-D1 battery.

The winners got to purchase an otherwise-new camera for ¥2,000 (about $18 USD). It was an unusual, but wonderful way to end the series!

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

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Sony has now brought back its popular super zoom bridge camera from the dead, reviving the discontinued series with the launch of the new Sony RX10 V. The super zoom has the same sensor and processor as the discontinued RX10 IV, but brings Alpha-series level autofocus smarts.

But the super zoom category is unusual in that it tends to find its way into the hands of photographers across every skill level – and across multiple generations. Inspired by the super zoom’s beginner-friendly design, I decided to do something I don’t normally do with a four-figure priced camera: I put it in auto mode and handed it to my eleven-year-old daughter.

The only instruction I offered (besides “please don’t drop this”) was what button to press to take a photo and how to use the toggle to zoom in and out. (She is a photographer's daughter with a hand-me-down DSLR, so she kept trying to twist the lens to zoom).

I walked the lake shore with my pre-teen as she photographed a loon, a dragonfly and a rabbit. Despite the camera being in auto mode, this is what she captured:

Did she also take some photos with motion blur and missed focus? Of course. But the camera’s auto mode simplicity speaks to the lower bar of entry for the bridge camera.

With the same sensor and processor as the previous version, the Sony RX10 V isn’t a major overhaul, but the upgrades enhance what I already love about this kind of camera: how easy they are to use. Sony has brought its Alpha series wizardry into the super zoom, which brings several subject detection autofocus modes. The camera is essentially smart enough to focus for you (most of the time).

Animal eye detection autofocus is one of my favorite wildlife photography tools, so to see Sony boost the feature in a camera made for multiple skill levels is refreshing. Those simpler autofocus capabilities are paired with a 30fps burst to help budding photographers increase the odds of getting a perfectly timed shot.

The super zoom category is one that is meant for a wide range of hands, in both skill levels and ages. I can’t in good conscience call the RX10 V a “compact” camera, but the camera is both far smaller and far simpler to use than a mirrorless camera with a 600mm lens.

I’ve recommended super zoom cameras to everyone from kids interested in wildlife photography to Baby Boomers who are more serious about birds than about photography. That’s why I’m particularly excited that the RX10 series that Sony previously discontinued has been brought back to life.

The RX10 V, of course, isn’t the only super zoom camera available – there’s the Nikon P1100 with its massive 125x zoom, for example.

But, the super zoom is a category that seems to be slowly diminishing at a time when, based on the compact camera trend, I feel like it should be doing the opposite. Give a camera a massive zoom range, and there aren’t a lot of types of photographs that it can’t capture.

The bridge camera is a casual and enthusiast camera that touches on multiple genres. Outside of wildlife photography, the RX10 V also has close focusing for macro, a wide 24mm for landscapes, and a bright f/2.8 aperture for portraits.

The same zoom and focus that boosts the camera for wildlife also means the RX10 V should be a good choice for photographing kids' sports games without the complexity of pro sports cameras.

The RX10 V isn’t made exclusively for beginners. There’s a full manual mode, and camera geeks will appreciate the larger 1-inch sensor and the f/2.8-4 aperture capabilities on the lens.

I was worried that the pocketable camera trend may kill the beloved super zoom that suits a wide range of genres and photographers – which is why I was so excited to see Sony announce the RX10 V.

But there is one feature that may discourage casual users and enthusiasts: the price. The RX10 V’s larger sensor and brighter aperture lens make it a premium bridge camera option with a price that reflects that. The camera is set to retail for $2,299 / £2,200 / AU$3,499.

That’s more than the list price of the earlier version. But it’s worth noting that, since Sony discontinued the RX10 IV, 'like-new' cameras from reputable used dealers have sat closer to the $3,000 mark.

Still, that price puts the camera at a similar cost to picking up a larger sensor Sony A6700 with a 70-350mm (105-525mm equivalent) or an 18-300mm (27mm-450mm equivalent) lens. The choice is yours, but I for one am glad that the choice exists.

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The Leica SL3-P is the third full-frame mirrorless camera in the SL3 range – so what does it offer that its relatively recent siblings don't? In short, it tries to outperform both of them, with a set of specifications that make it the first can-shoot-anything camera that Leica has ever produced.

It comes with a new speed of AI-assisted autofocus and burst rate that puts it right up there in contention with the likes of Canon, Nikon, and Sony. It is also the most video-centric camera that Leica has ever produced – with 8K RAW open gate video shooting being the headline feature that outguns some of its better-known hybrid rivals.

In terms of resolution, it takes a middle ground between the existing Leica SL3 and SL3-S – offering a BSI sensor with a 44MP resolution (compared to the 60MP and 24MP of its siblings). It is a sensor that we believe has been used on the Panasonic S1R II, which offers a similar specification, but with some significant differences.

But what does this camera actually deliver? We have extensively field tested it and put it through our lab to find out…

Leica SL3-P: Specifications

Price

The Leica SL3-P is now on sale at $6,690 / £5,150 for the body on its own.

Three kit versions of the camera are also available with a choice of either one or two zooms from Leica's SL lens range:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH. - $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. - $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. - $10,995 / £8,560

It is not a cheap camera – but given its specification and the usual luxury price tags you expect from Leica, one of our team commented that it was not as expensive as she thought it would be. There are certainly hybrid mirrorless cameras from Japanese manufacturers that cost as much.

In terms of Leica's own range of full-frame mirrorless cameras, it is priced to sit in the middle. The lower-resolution SL3-S body costs $5,665 / £4,500 and the 60MP SL3 body is priced at $7,485 / £5,920 – compared to these, the SL3-P certainly looks like by far the best value for your money.

Leica SL3-P: Design & Handling

Curiously, the Leica SL3-P makes do without the iconic red dot Leica logo on its front – giving it a visual distinction from the SL3 and SL3-S, which, from the outside, look almost exactly the same as the new model.

The three all-metal bodies share the same size, weight, LCD screen, viewfinder, monochrome status panel, twin card slots, battery and more – so having this as a distinguishing mark for this new poster boy of the Leica range makes some sort of sense.

However, the "P" designation has historically been used for stealth, less-branded versions of existing models (such as the M11-P). However, the SL3-P is much more than a minor, cosmetic update of an existing model.

Sure, the minimalism continues on the camera itself. Only four of the buttons or dials on the SL3-P have any type of label to suggest their purpose - and that's the Play, Function, Power and Menu buttons on the rear. This, however, is exactly the same as found on the SL3 and SL3-S.

The simplicity, of course, means you are given the ability to customize practically every button and input to the way you want to use the camera – although these choices do run the risk that you will end up with your camera being harder to use rather than easier, if you don't know what you are doing (and harder to pass to someone else to use).

Leica has worked hard on the UX of the camera, however, and the menu system takes a subtle, monochrome approach to the layout which keeps everything looking impressively clean as you scroll through the options.

There are some clever implementations - such as being able to toggle quickly between video and photo options. Also, as you toggle between video settings, for instance, it gives you a headline number of options you have with that setting – so as you select 8K settings, the unavailable options simply aren't shown.

Again, this is a boon when you know what you are doing and what is available - but not necessarily helpful for the first-time user.

One thing I love is the big diopter control for the electronic viewfinder – its mechanical dial isn't fiddly to use in the way that eyesight adjustment is on other models, and you can even see where it is set (so you can quickly set it to where you need it if you lend your camera to someone else).

Another big plus point is the app. I get rather tired of camera apps that are not reliable and difficult to use. Leica has obviously spent a lot of time getting Fotos so that it looks good and works without any fuss.

I was impressed at the speed at which I was able to set up the SL3-P with the app, and download images that I had taken, and review the settings I had used

Leica SL3-P: Performance

I shot some 3,500 photos with the SL3-P. shooting in a range of different shooting scenarios, including street portraits, studio fashion, garden flowers, travel and motorsport. It gave me a thorough chance to put the camera through its paces.

I was impressed with the improvements to the autofocus system. With portraits and motorsports, in particular, providing strong proof that the AI detection options work well – with eyes being reliably in focus, and 150mph racing cars looking sharp in every frame.

There are only six AF detection modes to choose from, two each for people, cars and animals – so not as many options as with some rival cameras (there are no options for planes or insects, for instance).

I was also able to test out the camera's remarkable 40fps burst mode on the Nurburgring track. This worked well - but was perhaps overkill for the subject in hand, as the movement through the frame is not as great as the track speeds suggest.

Part of the issue here is with the buffer. The maximum frames it can shoot at 40fps which is just 70 RAW files - so just over 1.5 seconds' worth, which is not enough time for the vehicles to enter the frame and pass you. In this instance, a 15fps setting would have been more appropriate - but even then I would still have only got 70 frames before the buffer filled up.

The most impressive part of the camera is the quality of the images... It could be the color science, or a secret sauce created between the way the DNG RAW files are handled and the SL lenses – but the image looked much better straight out of camera than I would have expected. That's a quality that we should all be willing to invest more money in than most of us actually do.

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

This review does not do a deep dive into the video performance of the SL3-P, but the video clips shows the performance and in particular shows the excellent stabization that the camera can provide when using heavy zoom lenses with it (the SL 24-90mm and 90-280mm).

It is worth noting that the SL3-P combines two seemingly incompatible features – open gate and weatherproofing.

The IP54 water protection rating is unusual for system cameras (of its rivals, only OM System offers this). But shooting 8K open gate means that the camera is more likely to overheat – and the standard solution for this would be big vents to help the cooling.

It is extremely impressive that we get both in the same camera. Leica quotes typical recording times at 25°C for 8K/30 fps as approximately 20 minutes (25mins for 6K/30 fps, and 30mins with 4K/30 fps).

Although Open Gate recording is impressive, it is limited to shooting at 24p – and if you want to shoot RAW open gate you need to use an external recorder. Nonetheless, the video specs are impressive for a manufacturer that has always been photo-first.

Leica SL3-P: Lab results

We compared the SL3-P to its older brother the Leica SL3-S, as well as to its cousin the Panasonic S1R II in our standard lab tests. Into the mix, we've also thrown in the popular Canon EOS R5 Mark II – which has a similar resolution and specification.

We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.

Signal to Noise Ratio

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Signal to Noise Ratio Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	41.46	44.64	43.48	46.75
2	38.03	42.08	39.59	43.47
3	36.5	39.06	36.94	41.24
4	34.29	36.17	33.8	38.6
5	31.05	33.63	31.3	35.6
6	27.51	30.66	28.26	32.84
7	24.01	28.38	26.57	30.11
8	21.39	25.37	23.3	27.61
9	17.89	22.21	20.18	24.64

Dynamic Range

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Dynamic Range Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	12.3	12.82	12.54	12.49
2	12.31	12.82	12.25	12.4
3	12.01	12.46	12.23	12.47
4	12.12	12.46	12.25	12.47
5	11.16	12.07	11.78	12.48
6	9.95	11.26	10.91	12.29
7	8.95	10.62	10.47	11.71
8	7.98	9.76	9.49	10.88
9	7.01	8.95	8.8	10.06

Resolution

ISO

Canon EOS R5 IILeica SL3-PPanasonic S1R IILeica SL3-S

Resolution Data

Timestamp (ISO)	Canon EOS R5 II ()	Leica SL3-P ()	Panasonic S1R II ()	Leica SL3-S ()
1	39	34	40	28
2	39	34	40	28
3	39	34	40	28
4	39	34	40	28
5	39	34	40	28
6	38	34	40	28
7	38	32	38	28
8	35	30	35	26
9	32	28	33	26

The SL3-P performs better in terms of dynamic range and signal-to-noise ratio when compared to the other two 45MP cameras, but can not quite compete with the SL3-S with its larger-sized photo sites.

Despite the new Leica performing better than its cousin the Lumix S1R II in these two tests, the Panasonic does provide a higher resolution across the ISO range.

Verdict

There is a lot to like about the Leica SL3-P. Part of its appeal should be the way that Leica has not changed everything, but simply upgraded major internal components to bring us the latest and greatest member of the SL3 family.

I also salute the way in which Leica – a small player in the global mirrorless market – has successfully collaborated with other companies.

The L-mount Alliance means that there is a great range of lenses available for the camera – even if the SL range itself is relatively small. It also has obviously worked with Panasonic on the source of the sensor, to ensure that the camera can be produced profitably.

But there are smaller cooperations embedded in the camera to. It is Leica's latest C2PA camera – enabling you to add content credentials to your files so that you can prove they are not created with AI. It supports Frame.io for cloud collaboration on work projects – and offers in-body de-squeeze when used with Sirui anamorphic lenses.

What I particularly loved about the camera was the photos that it delivered. I think there are three ways to fall in love with a camera. The first is the specifications and looks. The second is in terms of the way it feels in your hands and its general ergonomics. The third is in terms of the results that it delivers. It is the last of these that is the most persuasive for picking the SL3-P.

Alternatives

Check out our full guide to the best full-frame mirrorless cameras

We all know that DSLR sales have declined, but they have far from flatlined. In fact, Canon still sells up to 620,000 of them each year – which is an astonishing number, when you consider the current market in terms of both trends and overall sales figures.

Moreover, Canon – one of the last three brands still making these cameras – has no plans to abandon them, telling me that it will support DSLR customers as long as they are out there.

I was fortunate to talk to Canon's senior management earlier this year at CP+ 2026, where we discussed some of the more traditional segments of the camera industry – including the fact that Canon is the only company still supporting beginner photographers with a true entry-level body.

I also wanted to take the opportunity to ask the Canon brass about the tenacious nature of the DSLR market – which still makes up a significant amount of the company's business.

As Go Tokura, executive vice president and head of Imaging Group at Canon, explained to me, "90% of the market is dominated by mirrorless cameras; DSLR cameras only account for 10% of the market, and currently it is about 700,000 unit shipments."

That figure is the total number of DSLRs shipped in 2025, which according to market overseer CIPA was 690,911 – of which Canon sold between 600,000 and 620,000 units.

Which means, despite it 'only' accounting for 10% of the market, 700,000 sales is still a considerable figure – meaning that there is a considerable user base still buying and using this kind of camera.

"In other words, we have that many customers still there!" smiled Tokura. "So as long as there are still customers for DSLRs, we would like to continue to offer our products."

Currently, the company still sells three DSLR models: the flagship Canon EOS-1D X Mark III, the workhorse Canon EOS 5D Mark IV and the entry-level Canon EOS Rebel T7 / 2000D. And there are still 27 current Canon DSLR lenses listed on the Canon USA store.

The company said in 2020 that it had officially shifted its focus to RF-mount development, while also noting that "should the market demand it, we are ready to create new EF lenses."

While that seems implausibly unlikely in 2026, it's reassuring to know – and speaks very highly of the company – that Canon is still supporting both its existing DSLR customers, as well as newcomers who are still buying into the EF-mount system.

But how long will DSLRs keep selling? Before I could get the words out of my mouth, Tokura added: "Now, your question is until when? We cannot even imagine that!"

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I once shot with two different Ricoh GR IV compact cameras in each pocket – the HDF and Monochrome variants – and after pulling them out of the box, differentiating between the two felt like one of those “Spot the Difference” puzzles that I used to do as a kid. Now, the Ricoh GR IV is getting a limited edition makeover this fall, and in a nod to subtle, minimalist design, fans may be hard-pressed to spot the difference.

The Ricoh GR IV 30th Anniversary Edition, teased today, July 09 in Japan, looks like this:

Compared to the original Ricoh GR IV:

Did you spot the difference?

The Ricoh GR IV 30th Anniversary Edition – which Ricoh Japan says is only a tentative name – refinishes the camera’s shutter button and rear controls to a metallic gray that’s a nod to the color of the very first camera in the series released in October, 1996, the Ricoh GR1.

The special edition camera will also ship with a metal hotshoe cover with a 30th anniversary design and a finger strap, both of which will also be sold separately, so fans who already have a GR series camera can add a subtle new update.

The 30th Anniversary Edition is a subtle change, but that minimalism ties directly into the Ricoh GR series design history. The camera is well-loved by many specifically for the fact that it doesn’t look like a camera hiding an APS-C sensor; it looks like a basic black point-and-shoot.

Inspired by the minimalist anniversary design, I dug up photos and specs of the 1996 Ricoh GR1, and my first thought was that the camera’s design hasn’t really gone through a radical change, considering the fact that the first camera was 35mm film and the current camera is an APS-C digital sensor.

Yes, there are, of course, significant changes – the digital camera doesn’t have a viewfinder, for example. But the Ricoh GR has stayed surprisingly loyal to the original design inspiration. The grip looks similar, the mode dial and shutter release have the same placement. Even the size of the camera hasn’t changed much, with both the GR1 and the GR IV measuring 2.4 inches / 61mm high, and the depth and width only a few millimeters off.

But, most importantly, the GR series has stayed loyal to the purpose of the original – to put a high-end camera made for serious photographers into a pocket. While 35mm film may have become a digital APS-C sensor, even the lenses are similar – a 28mm f/2.8 on the original, renowned for its sharpness, and a 18.3mm – which is 28mm in 35mm equivalent, f/2.8 lens on the current model.

The Ricoh GR series, 30 years later, is a lesson in the longevity of a well-loved design – so a subtle refresh feels entirely appropriate. The Ricoh GR IV 30th Anniversary Edition is planned for the fall of 2026. The price has not yet been announced, but Ricoh says only 6,000 of the special edition cameras will be available worldwide, which makes a price increase over the base model expected.

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Just 12 days after release, Panasonic has done it again. The company's new Lumix L10 has gone straight to the top of Yodobashi's latest compact camera sales rankings in Japan, becoming the second Panasonic compact in recent weeks to debut at number one.

The result gives Panasonic another chart-topping launch, following the travel-focused Panasonic Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK), which achieved the same feat in Yodobashi's second half of May rankings.

It also pushes long-time favorites such as the Canon PowerShot G7 Mark III and Fujifilm X100 VI further down the rankings, despite their continued popularity.

Unlike the zoom-focused ZS300 / TZ300, the Lumix L10 takes aim at photographers and content creators looking for higher-end stills and video performance.

My colleague Gareth Bevan described the camera as "a handsome fixed-lens compact with a fantastic Leica zoom and excellent in-camera LUTs" in his Panasonic Lumix L10 review, although he noted that it doesn't feel quite as premium as the X100 VI.

Yodobashi's top selling compacts (2nd Half Jun 2026)

1. Panasonic Lumix L10 | Silver | Black
2. Canon PowerShot SX740 HS / Lite | Silver | Black (backordered)
3. Canon PowerShot G7 X Mark III | Black | Silver (backordered)
4. Fujifilm X100VI | Silver | Black (backordered)
5. Sony ZV-1 II | Black | White
6. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
7. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
8. Panasonic Lumix TZ99 / ZS99 | Black / White
9. Kodak Pixpro C1 | Brown | Black
10. Ricoh GR IV (backordered)

Panasonic does it again

The Lumix L10 joins the growing premium compact camera market with a 20.4MP Micro Four Thirds sensor paired with a Leica-branded 24-75mm equivalent f/1.7 zoom lens.

Even before the L10 reached store shelves, Panasonic Japan warned that demand had exceeded expectations. With pre-orders far higher than anticipated, the company said some customers might not receive their cameras on release day before later temporarily suspending new orders in Japan due to supply constraints.

Its success continues Panasonic's recent momentum in the compact camera market.

After debuting in the top spot for the latter half of May, the travel-focused Lumix ZS300 / TZ300 slipped to third in the first half of June chart and sixth in the latest rankings.

The Lumix L10 has now repeated that impressive debut, giving Panasonic two different compact cameras that launched straight into the numberf one spot within just a few weeks.

Compact demand outpaces supply – again

Yodobashi's latest rankings also show that supply continues to lag behind demand.

In the beginning of June ranking, three of the top ten compact cameras were listed as backordered.

That number has since risen to four, with the Canon PowerShot SX740 HS / Lite, Canon PowerShot G7 X Mark III, Fujifilm X100VI and Ricoh GR IV all currently unavailable at Yodobashi.com.

Whether the Lumix L10 can hold onto the top spot in the next ranking remains to be seen, but Panasonic has already achieved something special – launching two different compact cameras that both debuted as Japan's best-selling model within the space of just a few weeks.

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

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

Nikon D800 vs Nikon D810

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

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

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

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

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

Amid the compact camera craze, there’s one camera category that I’ve been hoping for a revival: the shoot-every-genre-with-one-lens bridge camera. Now, Sony has brought its larger sensor super zoom camera back from the dead. The Sony RX10 V brings back the same sensor and 24-600mm equivalent lens, but borrows the speed and autofocus smarts from the brand’s mirrorless cameras.

Announced on July 9, shortly after a teaser confirmed its existence, the Sony RX10 V is the first time the imaging giant has launched a super zoom since the RX10 IV in 2017. While Sony hasn’t touched its popular super zoom in nearly a decade, the RX10 V arrives with the same 20.1MP one-inch sensor and a 24-600mm equivalent, 25x zoom lens with a maximum f/2.8-4 aperture.

Instead, the new super zoom focuses on bringing the speed and autofocus capabilities that have arrived on Sony’s Alpha series, thanks in part to the new Bionz XR processor with an integrated AI processing unit.

The RX10 V can shoot burst speeds as fast as 30fps with a blackout-free viewfinder – matching the speed of cameras like the A7R VI. Like the A7R VI, the RX10 V also allows photographers to assign a shortcut button to temporarily boost the burst speed, easing the storage demands of such a fast burst speed.

The RX10 V also borrows another key feature that pairs well with the 600mm equivalent lens – subject recognition autofocus. I found the subject detection to work fairly well for birds and bugs – though birds already in flight were sometimes more misses than hits. That autofocus system performs 60 calculations per second, using 575 phase detection points across about 70.6 percent of the frame.

The updated processor also improves noise reduction and colors compared to the 2017 camera, Sony says. The battery life has also been boosted to the tune of about 50 percent at a 630 shot rating.

The bridge camera’s video capabilities also get a boost, as the RX10 V now uses the full width of the sensor to shoot 4K 60p, but can also shoot cropped 4K 120p. The camera also supports S-Cinetone, S-Log3, and LUT imports.

The super zoom camera is one that I reccomend often to birders who want to snap photos without the weight or complexity of a mirrorless camera and telephoto lens. But the RX10 V lens can also get in fairly close, falling just under half macro capabilities at .42x at 24mm and .49x at 600mm. That, paired with a lens stretching from 24-600mm, creates a fairly versatile camera, considering its unswappable lens.

Bridge cameras aren’t exactly compact, but the RX10 V’s 1,111g / 39oz weight is a far cry from a kit full of mirrorless lenses that includes 24mm, 600mm, and macro capabilities. That zoom lens retracts into the camera somewhat when off, leaving the RX10 with a depth of about 151.3mm / 5.95 inches.

The RX10’s design is completed with a more Sony Alpha-like grip and a multi-select joystick. The camera design also includes a tilting touchscreen, 3.686 million dot electronic viewfinder, a single UHS-I and UHS-II compatible SD card slot, and a multi-interface hot shoe. The RX10 V is weather-sealed.

Another key change, however, is the camera’s price point. At launch, the earlier RX IV sat at about $1,700 / £1,500 / CA$2,200 / AU$2,599, but after Sony discontinued the previous RX10 IV, the price from reputable used camera dealers approaches the $3K mark for like-new options.

The list price for the new Sony RX10 V sits somewhere between the RX10 IV’s original price and the older models' used price, sitting at $2,299 / CA$2,899. UK and Australia pricing have not yet been announced, but that converts to about £1,716 / AU$3,316. Shipping is expected to begin in early August.

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

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

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

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

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

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

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

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

... ... ...

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

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

My DSLR camera made me a better photographer?

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

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

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

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

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

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

Looking at major retailers’ best sellers is often the first sign of an emerging trend in the camera industry – but a number of the best-selling cameras on Amazon sit in an unusual category: kids cameras.

Two of Amazon US’s top ten best-selling cameras right now are kid cameras, but shift to the instant camera category, and eight out of ten are built for kids. Amazon UK shows a similar trend, with one kid camera making the top ten, but the instant camera category is overwhelmingly filled with kid cameras.

Amazon's best-seller lists tend to lean more towards cheap cameras than photo retailers, but the number of kid cameras on the list is still an interesting insight.

As both a pro photographer and a parent, my kids started with camera-shaped teethers and worked their way up to fully functioning cameras. Yes, giving my kids cameras has meant a lot of lo-fi shots of toes, blurry photos of the dog, and lots of photos that I lovingly call “abstract art.”

But giving a kid a camera isn’t about getting high-quality photos that hang on a wall. Photography is the art of noticing things – and giving a kid a camera helps teach the next generation to slow down and observe their surroundings. When I gave my 6-year-old a compact camera inside a botanical garden, he photographed “all the pretty things” which, in his mind, included dandelions and shadows.

Beyond teaching my kids observation and sharing one of my biggest passions with them, I love kid cameras for a much more practical reason – kids are less bored with a camera in hand. When I take my kids on a short hike or a walk outside, I tend to hear less whining about boredom and tired feet when said walk is a photo walk.

Kid cameras don’t have to be expensive. In fact, kid cameras probably shouldn’t be super expensive because, well kids tend to drop things and leave toys on the floor. The cost of the cameras that I hand over to my kids increases slightly with age and responsibility and range from a screen-free cheap compact camera to my old entry-level DSLR (read: a free DSLR).

The most expensive camera that I bought for kids was for my son who was a pre-teen at the time – the previous generation of the OM System Tough TG-7 – and the camera was a waterproof, drop proof compact camera that I knew I would also borrow for beach days.

The other thing I love about the kid camera trend? Many of the best-selling kid cameras are instant cameras that also print out photos. My pre-teen decorates her room with Instax prints on a string light clip and while the cheap thermal printer variety seems to be the most popular, real instant film teaches a bit of patience and delayed gratification too.

(My only word of warning on those cheap kid cameras with thermal printers? Give them a place to keep those photos, or you’ll end up with receipt paper photos littered throughout the house, which is almost as bad as the time I thought it would be a good idea to buy a toddler not yet capable of picking up his own toys a ball pit.)

There are a lot of things that I regret buying for my kids – loud toys and toys with 1,000 pieces included. But I haven’t yet regretted buying my kids a camera – or recycling a hand-me-down camera either.

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If you want to shoot maximum image quality, with a compact and lightweight setup, you might want to check out "the most compelling compact camera on the market", recently honored as the Best Professional Fixed Lens Camera at the TIPA World Awards 2026.

The Sony RX1R III is now available for only £3,899 at Wex. With this deal, you save £300 off its original price of £4,199!

The RX1R III somehow squeezes a 61MP full-frame sensor and a Zeiss 35mm f/2 lens into a body that's smaller than almost anything else on the market.

It's lighter than you expect, sharper than it has any right to be, and its 693-point autofocus system is, frankly, leagues ahead of most fixed-lens rivals.

Yes, it lacks IBIS. Yes, the rear screen doesn't tilt. And yes, it costs the same kind of money as a luxury compact like the Leica Q3 – but here's the thing: nothing else gives you this combination of size, resolution, and AF performance in one sealed unit.

The 61MP sensor also enables clever digital crop modes, giving you effective 35mm, 50mm, and 70mm focal lengths at the tap of a screen. It's like carrying three primes in your jacket pocket – without carrying three primes.

If you want the smallest, most powerful everyday camera you can buy right now, this is it. It's as close to a "perfect carry" as compact cameras get.

The compact camera trend has brought a number of price hikes as demand exceeds supply, but a popular compact camera series has jumped in price due to the cost of raw materials. The Ricoh GR series, including the Ricoh GR IV and GR IIIx, has jumped in official list price in multiple regions.

Last month, Ricoh Japan announced that the list price of the popular series would increase in July due to a rise in raw materials and manufacturing costs. However, it wasn’t clear at the time if the announcement was meant only for Japan or if other regions would follow suit.

Now that the date has passed, photographers finally have the answer: that GR series price increase wasn’t just for Japan, as the price of the popular compact camera has now increased across several regions, including the US, the UK, Australia, and Canada.

The list price increase spans several models from the GR series, including the base model GR IV, the longer lens GR IIIx, and the HDF variants.

In the UK, the GR IV Monochrome has also increased in price, but the US, Canada, and Australia list prices appear to have remained the same.

US 🇺🇲

• Ricoh GR IV: Was $1,499, now $1,599
• Ricoh GR IV HDF: Was $1,599, now $1,699
• Ricoh GR IIIx: Was $999.95 (September 2021), now $1,249
• Ricoh GR IIIx HDF: Was $1,149, now $1,349
• Ricoh GR IV Monochrome: Unchanged

UK 🇬🇧

• Ricoh GR IV: Was £1,199, Now £1,299
• Ricoh GR IV HDF: Was £1,299, Now £1,399
• Ricoh GR IV Monochrome: Was £1,599, now £1,699
• Ricoh GR IIIx: Was £999, now £1,099
• Ricoh GR IIIx HDF: Was £1099, Now £1199

Australia 🇦🇺

• Ricoh GR IV: Was AU$2,099, now AU$2,199
• Ricoh GR IIIx: Was AU$1,779 at launch, dropped to AU$1,599 in 2024, now AU$1,699
• Ricoh GR IIIx HDF: Was AU$1,899, now AU$1,999
• Ricoh GR IV HDF: Unchanged
• Ricoh GR IV Monochrome: Unchanged

Canada 🇨🇦

• Ricoh GR IV: Was CA$1,899, now CA$1,999
• Ricoh GR IV HDF: Was CA$1,999, now CA$2,149
• Ricoh GR IV Monochrome: Unchanged
• Ricoh GR IIIx: Unchanged

The compact camera trend has created a rise in demand that means several trendy options are hard to find in stock, the Ricoh GR IV series included. However, Ricoh Japan said that the reason for the cost increase was due to a rise in the cost of materials and manufacturing.

Ricoh may not be alone in facing rising costs of manufacturing cameras. AI’s pressure on digital storage has caused the price for digital storage components to increase, not just for SD cards and hard drives but for camera components as well.

Other brands have also recently discussed an increase in manufacturing costs, including Canon and Nikon. Fujifilm also noted not only the rising costs of memory, but the increase in cost for silver as well.

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

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

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

1-inch sensors are sooo last year?

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

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

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

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

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

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

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

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

Nikon D700: Aging specs, premium build

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

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

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

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

Nikon D700 as a cheap lens platform

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

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

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

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

Compact cameras are enjoying a huge resurgence, but the Canon PowerShot SX740 HS never really went away. Since launching in July 2018, Canon’s travel zoom has remained one of the brand’s most sought-after compact cameras, proving its popularity isn’t simply driven by today’s retro camera boom.

In 2024, Canon introduced the PowerShot SX740 HS Lite, a lightly updated version of the original camera. Despite changing just one small feature, the model has proven just as popular, recently claiming the No.1 spot in Yodobashi’s latest sales rankings in Japan.

While manufacturers often use refreshed models to introduce hardware upgrades, the PowerShot SX740 HS Lite remains almost identical to the original camera released seven years ago. That unchanged formula continues to win for buyers looking for a genuinely pocketable camera with a powerful zoom lens.

Yodobashi's top selling compacts, 1st half June 2026

1. Canon PowerShot SX740 HS / Lite | Silver | Black
2. Sony ZV-1 II | Black | White
3. Panasonic Lumix TX3 / ZS300 / TZ300 | Black | Graphite Silver
4. Canon PowerShot G7 X Mark III | Black | Silver
5. Canon IXY 650 / Powershot Elph 360 HS A / Ixus 285 HS A | Black | Silver
6. Fujifilm X100VI | Silver | Black
7. Kodak Pixpro C1 | Brown | Black
8. Panasonic Lumix TZ99 / ZS99 | Black | White
9. Leica Q3 43
10. Sony RX100 VII

Why the PowerShot SX740 HS Lite is high in demand

Remarkable capable yet genuinely pocketable, the PowerShot SX740 HS Lite stays true to what compact travel cameras have always done best. It combines a 20.3MP 1/2.3-inch-type CMOS sensor with a body that’s small enough to slip into a jacket pocket.

Its standout feature remains the impressive 40x zoom lens, covering an equivalent focal range of 24-960mm – giving reach smartphones can’t match.

That reach is the camera’s defining strength, making it an excellent choice for travel, wildlife and everyday photography.

Lite vs original

Canon made just one notable change to the Lite edition: it removes USB charging.

The change comes after Europe introduced USB-C charging requirements for many electronic devices. Canon has not said whether the decision to remove USB charging was related to those rules.

There’s no larger sensor, longer zoom or new shooting modes – just the same travel-zoom formula that has remained popular for nearly a decade.

Panasonic's brief time at the top is over

Just a few weeks ago, Panasonic’s newly launched Lumix TX3 (aka the Lumix ZS300 in the US and Lumix TZ300 in the UK) reached No.1 in Yodobashi’s rankings shortly after its release.

But the latest rankings see the PowerShot SX740 HS Lite reclaim the top spot, while Sony’s ZV-1 II creator camera also moved ahead of Panasonic’s travel zoom.

Interestingly, Panasonic’s premium L10 doesn’t appear anywhere in the current Top 10, despite attracting attention ahead of launch thanks to its larger sensor and stronger stills and video capabilities.

For now, photographers in Japan prioritize portability, long zoom ranges and proven models over newer premium alternatives.

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

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

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

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

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

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

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

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

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

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Producing a screen-free digital camera in 2026 is a wonderfully eccentric idea. Which is precisely why it appeals to me.

Of course, aside from the gimmick factor, omitting an LCD keeps production costs down. It’s allowed for a growing number of cheap and cheerful, low-effort point-and-shoot digicams like the popular Camp Snap 2 and Flashback One35 V2 to be brought to market and find engagement with an audience of younger, fledgling photographers.

For both seasoned shooters and newcomers alike, however, the inability to ‘chimp’ at captured images via a rear LCD (as there isn’t one) enables users to be more present and in the moment. Like we were in the analog film era, without even realizing it.

This form of ‘digital detox’ is something that, increasingly, we all seem to value – whatever our age or skillset.

At the higher end of screen-free photography options, there’s the Leica M11-D, which its maker argues allows for users to engage in a ‘purer’ form of photography. Even Fujifilm’s X Half compact has a Film Camera Mode that enables us to shoot ‘blind’.

It’s another way to rewind the clock to the perceived innocence of the analog era and get teens off their screens – something that, even without the bans on under-16s in the UK and Australia accessing social media, some were already gravitating toward.

Screenless digital compacts aside, pocket-money priced disposable film cameras like Fujifilm’s QuickSnap have also recently seen their own stock rise among the young. Surprisingly, today the single-use / disposable camera market is worth $1.15 billion is and expected to keep rising to $2.6 million within a decade.

The downside for users is that developing a roll of 27 snapshots can cost as much as buying the plastic, screen-free disposable unit in the first place.

Better, then, to invest in a screen-free digital camera on which an infinite number of shots can be taken without spending a small fortune – and then select only the best for print.

Like Instax and Polaroid instant cameras, there’s the anticipation of waiting to see how my captured images look when I’m shooting only with an optical viewfinder – and then having to connect the camera to a computer or smartphone to see them.

With these screen-free cameras, I’m automatically thinking less about the gear and more about the image – and that can only be a good thing.

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Dycam Inc was an American technology company based in Chatsworth, California. It was best known for developing and manufacturing the Dycam Model 1, which is widely recognized as the world's first commercially available digital camera.

Fujifilm had created and shown its Fujix DS-1P digital camera in 1988, in cooperation with Toshiba, but it was never commercially available – not even in Japan.

When the Dycam was released, in November 1990, $995 bought you a camera capable of taking 32 black-and-white, 8-bit images, each one just 376 x 240 pixels or 0.09MP. They were stored as highly compressed JPEG images, so as to fit all 32 into a single megabyte of memory.

And that memory was volatile, meaning that if the batteries went flat you lost your photos. But assuming your photos were still there, they could be uploaded to your computer using a cable.

The lens was a fixed-focus, 8.5mm (35mm equivalent), f/4.5 optic. It had a built-in electronic flash and an electronic shutter with speeds from 1/30sec to 1/1000sec (1/25sec when using flash), all packed into a very modern-looking, landline telephone-handset-style case in black plastic.

Power was supplied by two nickel-cadmium AA-sized rechargeable batteries, under the hood. Battery drain was fairly high, thus they batteries needed frequent recharging, so the camera came with a nifty recharging dock/stand.

Once charged, before you could take any photos, you had to connect your camera to a computer to download the software that made it run. Another reason to keep the camera charged!

The whole affair was pretty basic by today’s standards. But it beat the competition – because there was no competition!

The computer accessory company, Logitech, wanted to market a camera. It saw cameras as the next big thing in computer peripherals, so it licensed the basic technology from Dycam for one million dollars and set about creating its own software to run the camera.

The Logitech Fotoman-1 came out in mid-1991 with very similar specs to the Dycam, but a few differences. Because Logitech was originally a Swiss firm, rather than having it made under contract by Dycam, the Fotoman was made by the Swiss watch-making firm that had made its first mice.

The big, visible difference was that the Fotoman cameras came in an off-white shell, rather than Dycam’s black. Essential specs were identical to the Dycam, but Logitech offered improved firmware and software that offered additional features. The software was more frequently updated, too.

More importantly, though, Logitech had worldwide distribution channels, while the Dycam models were made and sold in the USA only. Thus, the Logitech sold a lot more than the Dycam and is often thought to be the first consumer-level digital camera. And it’s almost true!

Logitech’s brand recognition and aggressive marketing (free camera bag sent when you registered your purchase and similar promotions) also helped with sales.

Both cameras were classed as “consumer” cameras, but the high price (£499 in the UK) meant limited uptake. So, in the beginning, both were aimed at businesses such as real estate agents and insurance adjusters, who needed a quick turnaround.

Following the Model 1, Dycam continued to refine its technology with subsequent versions including Models 2, 3 and 4, before eventually expanding into more conventional designs.

Eventually the firm gave up on cameras and evolved into Tetracam Inc, which continues to operate as a specialist in multi-spectral imaging systems – particularly for agriculture.

Logitech abandoned the digital camera market after the Fotoman series, to concentrate on peripherals like mice and keyboards. It later became a leader in webcams, but never made or marketed a standalone digital camera again.

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

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

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

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

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

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

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

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

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

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

Best Kodak keychain camera

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

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

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

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

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

Best film-style keychain camera

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

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

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

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

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

Best Kodak keychain camera for filters

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

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

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

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

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

Best keychain camera for creators

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

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

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

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

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

Best cheap keychain camera

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

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

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

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

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

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I normally don't go anywhere unladen with camera gear, but on a recent trip to New York City I decided to leave my trusty Nikon Z6 II at home and take a pocket-sized compact camera in its place. So why would I go to a city that cries out to be photographed without my regular photo kit and caboodle?

I had three days in the city that never sleeps, and I wasn't planning on sleeping much either. I was going to be out and about from breakfast until eventually turning in in the early hours. I was going to be riding the subway, navigating the hustle and bustle of Times Square late at night, and taking plenty of refreshment breaks in bars.

So I really didn't need the worry of keeping an eye on my expensive camera kit all day long.

In the few days I was in the city, the mercury was hitting in excess of 90ºF (32ºC), so being laden down by a backpack filled with heavy gear wasn't too attractive a proposition, either.

In addition to my Z 24-70mm f/4 S, which isn't exactly the most svelte of kit lenses, I wouldn't be able to help myself but bring along the Z 14-30mm wide-angle for when the situation demands it. And if I'm bringing that, I might as well pack a tripod, just in case…

No, traveling light with something I could easily slip into my pocket was the way to go. And the Yashica Tank seemed like the ideal solution. It weighs next to nothing, costs under a hundred bucks, has a flip-up screen for selfies, and the model I chose looks pretty smart, too, with its leatherette-and-chrome retro look.

But the important thing is: how easy is it to use and what are the pictures like?

As a point-and-shoot camera, it's pretty simple. Turn it on, point it at whatever you want to photograph, and tap the shutter button. There's no focusing to worry about. You can zoom into your subject by up to 8x, though it's a digital zoom that merely crops into the fixed image. And you can fiddle with the exposure by pushing the zoom toggle in.

The LCD screen takes up most of the back of the camera, but I have to say that, as someone used to shooting through a viewfinder, I found composing via the screen not at all easy. It's pretty low-res and not very bright, making it tricky to see exactly what's in your shot or judge how good the exposure is.

As for the photo quality, well, you can judge for yourself by flicking through the gallery below.

Okay, so it's not going to replace my S-line Nikon Z lenses glass any time soon, and I really wasn't expecting too much for the price, but for snaps rather than 'proper' photos, it was just fine.

Not to mention that I felt quite unencumbered, being able to take photographs without the weight and the worry of my regular kit. But in all honesty, my camera phone takes better photos, the screen is easier to use and it's in my pocket anyway.

The next time I need to travel light, I think I'll stick to just that.

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UPDATE: All has now been revealed - read our news story on the launch of the Sony RX10 V - and see our full review of the Sony RX10 V review which we have been using (under embargo) for the last couple of weeks.

Miracles do happen! We have just got the news that Sony is reviving is RX10 line of bridge cameras – known for their huge built-in zoom lenses.

And unlike other bridges currently left on the market, these use a sensibly-sized 1-inch sensor offering much better image quality than the 1/2.3-inch sensors of current models can possibly achieve. The 1-inch sensor is four times bigger than the 1/2.3in sensor.

Sony has just teased on social media the imminent arrival of the next version of the RX10. "The wait is over" we are told, with the news that we will get full details on July 09 at 10:00 ET / 15:00 BST (that's midnight AEST).

ABOVE: Watch the Instagram teaser for the next Sony RX10 bridge camera

The RX10 IV was discontinued in early 2025 after almost a decade in production – but even then it had been in desperately short supply. With many major manufacturers giving up on compact cameras, it was thought that was the end of the line. Panasonic likewise had tapped out with its FZ1000 range of 1-inch bridge cameras a couple of years earlier (its current Lumix FZ80D/FZ82D bridge camera uses a 1/2.3in sensor).

So is it safe that the new RX10 will be called the RX10 V? We can't know that for certain, as the teaser gives us no details. Similarly, we don't know what specifications – if any – will change from the Sony RX10 IV, which boasted a 20MP 1-inch sensor with a 25x optical zoom, giving an effective 24-2000mm range.

The original RX10 was launched back in 2013, and this Cyber-shot series became particularly popular with bird enthusiasts and wildlife watchers who wanted telephoto reach without the fuss or bulk of an interchangeable lens system – but who appreciated the extra detail offered by the Type1 1-inch sensor.

The RX10 Mark II followed in 2015, with the RX10 III and RX10 IV fast on its heels in 2016 and 2017 respectively.

You can read the incremental changes made in the series in our Sony RX10 vs RX10 II vs RX10 III vs RX10 IV guide.

We will bring you full news of this exciting launch as soon as the details are announced on July 09 – and will aim to have a full test as soon after that as we can.

Check out our guide to the best bridge cameras currently available

Leica has officially unveiled the brand-new SL3-P, and it is already shaping up to be one of the most exciting and capable full-frame cameras the company has produced.

Designed for professional photographers and filmmakers who need speed, resolution and reliability in a single body, the SL3-P combines a new 44MP full-frame sensor with Leica’s most advanced hybrid autofocus system to date. It can shoot continuously at up to 40fps with autofocus, capture 176MP images using its Multishot mode and record 8K open-gate video, making it a serious all-rounder for everything from sports and documentary work to portraits, commercial photography and high-end filmmaking.

For anyone hoping to get their hands on one, you are in the right place. Below, I have gathered the best places to buy the Leica SL3-P from retailers across both the US and the UK.

The Leica SL3-P is priced at $6,690 in the US and £5,150 in the UK for the body only. It is available now through Leica Stores, Leica’s online store and authorized retailers, following its official release on June 25, 2026.

Where to pre-order?

At the heart of the Leica SL3-P is a newly developed 44MP back-illuminated full-frame CMOS sensor, without a low-pass filter, which feels like a very deliberate middle ground between outright resolution and the speed demanded by professional photographers.

That already puts it in an interesting position within Leica’s SL range. Rather than chasing the enormous files produced by the 60MP Leica SL3, the SL3-P offers 44MP and 26MP recording options, up to 14 stops of dynamic range, and an ISO range extending from 50 to 200,000. The result should be detailed files with plenty of flexibility, refined tonal gradation, and the sort of natural color rendering photographers expect from Leica.

When maximum resolution is required, the camera’s Multishot mode can produce enormous 176MP images. That will naturally be best suited to more controlled subjects, but for studio, architecture, product, and landscape photographers, it offers another level of detail without requiring a separate high-resolution camera.

Autofocus and speed are arguably the real headlines here. The SL3-P introduces an improved hybrid autofocus system that combines phase detection, contrast detection and depth mapping, with 819 phase-detection points spread across the frame.

Machine-learning-based subject recognition can identify people, animals, and vehicles, while continuous shooting reaches an impressive 40fps with continuous autofocus. That is a significant leap for the SL-System and immediately makes the SL3-P feel far better prepared for sports, wildlife, events, and documentary work where the moment will not wait for the camera to catch up.

Five-axis in-body image stabilization provides up to five stops of compensation, which should make handheld shooting more dependable when working in lower light, with longer lenses or at slower shutter speeds. Combined with the expanded ISO range, this feels like a camera designed to keep working when conditions become less than perfect.

The body design is also a major part of the appeal. Manufactured in Germany, the SL3-P uses a robust full-metal construction with IP54 protection against dust and water splashes. It is unmistakably a Leica, but the presentation is deliberately restrained, with black controls and no red Leica badge on the front.

That more discreet appearance suits the camera perfectly. The SL3-P is not trying to look like a special edition or collector’s piece; it looks like a serious professional tool designed to be used every day, whether that means working in a studio, covering an event or standing beside a racetrack in difficult weather.

Leica has also placed a strong emphasis on making the camera adaptable to the photographer using it. The controls, dials and on-screen Control Centre can be customized, while photo and video modes are clearly separated using Leica’s red and yellow color coding. The interface also rotates automatically when the camera is held vertically, helping settings remain clear and easy to read regardless of how you are shooting.

Composition is handled through a 5.76-million-dot OLED electronic viewfinder, which can operate at up to 120fps, alongside a 3.2-inch tilting touchscreen with 2.33 million dots. There is also a top status display for quickly checking essential settings without needing to look through the viewfinder or open the main menu.

For anyone working with fast bursts or demanding video formats, the SL3-P includes both a CFexpress Type B slot and an SD UHS-II card slot. That combination gives professionals the speed needed for high-data-rate recording, while retaining the convenience and wider compatibility of standard SD cards.

There is a serious amount of video capability here, too. The SL3-P can record up to 8K in an open-gate 3:2 format, using more of the sensor and giving filmmakers far greater freedom to produce horizontal, vertical, or square versions from the same footage.

It can also capture 5.9K video at up to 60p and 4K slow motion at up to 120p, with internal Apple ProRes recording available at up to 5.8K. Support for L-Log, HLG, Leica Pure and Leica Cine LUTs, False Color, anamorphic desqueeze and HDMI RAW output makes it clear that this is not simply a stills camera with a video mode added as an afterthought.

Professional workflow features have not been overlooked, either. Native tethering is available for Capture One and Adobe Lightroom Classic, while Adobe Frame.io Camera-to-Cloud support allows images and video to be transferred directly into a production workflow. Leica Content Credentials can also attach secure authorship and origin information to images, which feels increasingly important as photographers look for ways to distinguish authentic work from generated or manipulated content.

In a market filled with cameras that tend to prioritize either speed, resolution, or video, the Leica SL3-P looks like a remarkably well-judged combination of all three. It is fast enough for serious action, detailed enough for demanding commercial work, and equipped with the video tools needed for modern hybrid productions.

More importantly, it still feels like a Leica: beautifully restrained, built to withstand professional use and designed around controls that should encourage photographers to concentrate on the image rather than the camera. The SL3-P may not be the cheapest professional hybrid camera available, but it could prove to be the most complete and convincing SL camera Leica has made so far.

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Check out guide to the best Leica SL lenses, and to the best L-mount lenses

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

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

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

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

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

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

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

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

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I’m a pro photographer with a bag full of mirrorless gear, but the daily snapshots that I take end up being from the camera that’s always with me: my iPhone. But there's an unusual new trend growing amid the craving for slower, analog tech without the cost of film: screen-free digital cameras.

Annoyed at my iPhone’s endless stream of notifications, I decided to take photos completely screen-free for a week – but I loved it so much I lasted nearly two weeks instead.

I didn’t take a photo (or video) on my iPhone for nearly two weeks, instead trying out an assortment of screen-free cameras to snap photos of everything from my kids to the sunset. I didn't miss what I had expected – the screen – but I did find I missed two key features that many screen-free compact cameras don't have: zoom and video.

For the challenge, I used a handful of different cameras, including the Camp Snap CS-Pro and the disposable camera dupe from Flashback. I allowed myself one camera that technically has a screen – the Fujifilm X Half – but locked the screen and shot entirely in the camera’s film mode, which displayed only camera settings on the screen and didn't allow me to actually view any images.

Shooting screen-free felt more like film

I didn’t miss what I’d expected to miss: that screen. Shooting without a screen meant I wasn’t looking to see whether or not I had captured the shot just as I had envisioned. Did I mess up some shots that were too bright or shots with a crooked horizon? Yes. But I also didn’t feel pressure to make the memory seem perfect. (Because memories are not, in fact, perfect.)

Removing the ability to view the photos also gives the digital cameras a little of the surprise feel when developing a roll of film. Admittedly, I don’t look back on many of my iPhone photos often, but shooting screen-free, I had to take the time to sit down and look through the photos.

One of the reasons that I loved using the screen-free cameras had nothing to do with a screen at all. As a pro photographer, my “photos to be edited” pile is often daunting, and my own personal photos tend to sit for weeks (Case in point: I still haven’t edited the spring portraits that I took two months ago.)

Several screen-free cameras are also designed with film-inspired presets applied in-camera, and while imperfect, they left me feeling like I didn’t have to edit my daily snapshots. My favorite for this was the Fujifilm X Half, because it has a larger sensor and the same film simulations from its mirrorless cameras. But it also has two of my favorite "happy accidents" from film: light leaks and halation.

But, most screen-free compact cameras don't have zoom

One of the camera features that I did miss, however, was zoom. The compact cameras that I used for the challenge are all fixed focal length cameras, many designed to mimic the feel of a disposable film camera, so extras like optical zoom aren’t part of the shooting experience. There were a handful of times I wished the screen-free camera could get in a little closer.

Most screen-free compact cameras also don't really have a macro mode, as they use fixed focus lenses like disposable film cameras. The X Half is an exception, and I was able to snap a handful of close-ups as well as portraits and landscapes.

The experiment also reminded me of the reason why I take so many photos with my iPhone: it’s always with me. I didn’t grab a screen-free camera when I took my dog for a walk one evening, expecting the incoming rain to make it a short trip. Instead, I was greeted by a spectacular double rainbow.

Not wanting to break my screen-free challenge, I headed back for a camera, but by the time that I returned, the rainbow was almost completely faded. Lesson learned: Sometimes the best camera is the one that’s with you when the moment presents itself.

The feature that broke me wasn't what I expected: Video

But the thing that broke me, the feature that had me pull out my iPhone camera for the first time in thirteen days, wasn’t what I expected at all: Video. I’m a photographer, not a videographer, but some personal memories are just better in moving pictures.

I had come across the most butterflies that I had seen in one place, and, after nearly two weeks, almost twice my original goal, I pulled out my iPhone to take a video. (I had pulled out my mirrorless camera a few days before that, ironically, to take photos of screen-free cameras for this article. But, in the spirit of continuing the challenge past the original week, I even disabled that screen by flipping it closed.)

Most screen-free cameras just take still photos. There is the video-only Camp Snap CS-8, but it’s an oversized camera that’s not at all pocketable (and it doesn’t take still photos). The X Half can take videos too – but not in the film camera mode with the locked screen.

I wasn’t sure what to expect going into my screen-free challenge, but I found I loved the compact cameras that don’t come with built-in distractions. Yes, I’ll probably continue to take the occasional snapshot with my iPhone, but when I’m headed out to make memories and don’t want the weight of my mirrorless or the distraction of my iPhone, I'm going to slide a screen-free compact camera in my bag instead.

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I took my experience and ranked the best screen-free digital cameras based on experience, quality, and price.

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

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

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

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

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

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

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

Looking for a waterproof camera that can survive your next hiking trip, ski holiday, or beach adventure? While retro compact cameras are having a moment, rugged compacts remain the better choice for photographers who need a camera that can handle drops, dust, and water.

Unlike fashionable point-and-shoot cameras, the Pentax WG-8 ($426.95 / £429) and OM System Tough TG-7 ($549.99 / £449) are designed for use where camera phones and conventional compacts struggle.

Waterproof, shockproof, and freeze-proof, they're built for demanding adventures. Better still, both offer optical zoom lenses, dedicated macro modes and 4K video, making them far more versatile than an action camera alone.

Pentax WG-8

A real Captain Scarlet of a compact camera

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it.

It's perfect if you want a camera that's truly adventure-proof, without spending big. With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms).

It shoots decent photos and 4k video at 30fps. It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail.

It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

OM System Tough TG-7

Indestructable camera, impressive results

The OM System Tough TG-7 is built to be a companion on any adventure. It's waterproof, shockproof, and dustproof, so you never have to worry about weather or terrain.

Sure, its 12MP sensor is smaller than some other cameras, but that actually helps underwater photos by capturing more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments.

The TG-7 has a handy 4x zoom (approx. 25-100mm in 35mm terms) with a bright aperture and a standout macro mode that lets you snap amazing close-ups and 4K video.

It's simple, durable, and versatile – the perfect point-and-shoot to toss in your bag when you need a reliable camera that won't quit.

Discover more and browse the best travel cameras, best compact cameras and best point and shoot cameras

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

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

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

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

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

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

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

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

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

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

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

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Conservationists in Honduras have published the results of an agricultural camera trap survey, revealing the true culprits for crop raiding and potentially saving the lives of an endangered mammal species that had previously been blamed and killed by angry farmers.

The study was carried out in Mavita, a rural farming community located in the La Mosquitia region of northeastern Honduras. Here conservationists were responding to claims from local farmers, indigenous Miskito people, that the Baird’s tapir was eating their yuca (a potato-like vegetable).

The Baird’s tapir is Central America’s largest land mammal, but it is listed as endangered on the IUCN (International Union for Conservation of Nature and Natural Resources) Red List. Scientists estimate that fewer than 5,000 mature individuals remain in the wild, following a 50% plummet in their population over the last 30 years.

Scientists from the Wildlife Conservation Society Honduras Program and the Association for Sustainability and Scientific Research in Honduras responded by setting up three trail camera in and around a yuca field.

The footage, which was captured between September 2024 and February 2025, documented 27 unique events. The video evidence revealed that, in fact, seven species – including Honduran cottontail rabbits, ocelots, jaguarundis, agoutis, opossums as well as tapirs – were consuming the farmers’ crop, with the rabbits being mostly responsible.

Miskito farmers in the region have previously killed tapirs in retaliation for suspected crop raiding, but the footage from the survey now proves that the endangered mammal is only responsible for a small amount of lost yuca production.

The conservationists now plan on using the footage as a basis for developing crop management strategies in collaboration with the farmers in order to stop locals taking actions into their own hands.

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

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

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

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

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

Old tech, trendy soul

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

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

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

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

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

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

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

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

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

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

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Godox has just launched its first-ever camera – and it looks brilliant. But it's also very similar to another camera that was launched by another company last year.

This is the Godox C100 – a "transparent viewfinder camera" with a large "intelligent transparent display" that performs multi-aspect ratio shooting (16:9, 4:3, 3:2 and 1:1) for both stills and video.

It's obscenely cheap at just ¥199, which is about $29 / £22 / AU$42. It weighs just 65g and measures a mere 104 x 71.7 x 19.1mm – half of which is screen, with the finder being 60.8 x 47.8mm.

"The C100 is equipped with a transparent display screen with a light transmittance of >50%, which can display information such as the composition frame, parameters and battery status, balancing aesthetics and practicality."

It charges (and transfers or displays files) via USB-C and accepts microSD cards up to 128GB for bountiful shooting. And obviously, the design is extremely compelling – especially given the burgeoning market for screen-free digital cameras.

But here's the thing. See if you can spot the difference between these two pictures:

On the left is the Godox C100. On the right is the Escura InstantSnap, which debuted at CP+ 2025 and looks… how can I say this charitably, like it "heavily inspired" Godox's new camera.

Of course, these kinds of screen-free cameras with a body that acts like a viewfinder aren't new. There was the Canon Ivy Rec, for starters, and more recently the Instax Pal – neither of which I was particularly enamored with.

However, the Godox camera comes with a secret weapon that might make it irresistible for film photographers: it also acts as a light meter.

"The C100 features metering capabilities, allowing it to read the brightness of the central area and automatically calculate the optimal exposure value. It is simple, reliable and meets the shooting needs of film photography enthusiasts."

This is the bit that might actually sell me on the C100. I'm a big proponent of incident light meters, because I grew up in the film era, but unless you're using supplemental light they're pretty unnecessary in the digital age.

However, with a device like the Godox C100 – which slips into a pocket, acts as a fun little snapper and can also meter exposure – it could be an indispensable companion for anyone who uses a film camera. Indeed, it might even act a bit like "taking a Polaroid" before firing your expensive film exposure back in the day.

The C100 launched first in China, and doesn't appear to have hit the big international retailers yet, so keep your eyes on the official Godox website for more information. Honestly, for 20 bucks you probably can't go wrong!

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

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

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

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

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

Nikon Z50 vs Canon EOS R100

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

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

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

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

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

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

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

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

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

Despite mirrorless cameras getting more advanced than ever, we know that retro cameras are more popular than ever. In particular, cheap compact cameras (including crappy digicams from yesteryear) have surged in sales, while disposable cameras continue to prove popular.

All these things combined to lay the groundwork for screen-free digicams – a completely new category that emerged in the past few years and has taken the market by storm.

I'm willing to bet that your Instagram feed has been filled with ads for brands like Camp Snap and Flashback – arguably the best screen-free digital cameras available right now. But are these plastic fantastic cameras actually any good, or are they just hype?

This is something we discussed on the latest episode of our Bokeh Face podcast, a snippet of which you can watch below.

We looked specifically at the latest models from the brands powering the trend: the Camp Snap 2 and Camp Snap CS-Pro, along with the Flashback One35 V2. And it has to be said everyone on the team who has used them is a big fan.

Camp Snap started the trend, largely as a solution for the trend towards screen-free summers in the US – particularly at summer camps, where devices with screens are prohibited.

As a new parent myself, and as someone in general who wants to spend less time looking at screens but also really loves taking pictures, I think the Camp Snap is a stroke of absolute genius: stick a half-decent (8MP 1/3.2") sensor inside a camera with a 26mm equivalent lens and an optical finder. Job done.

Take hundreds of pictures all summer long, with no chimping or checking or other distractions, just staying present and capturing moments as they happen – rather than micro-managing memories to be as perfect as possible.

The other great thing about this is that it's super-friendly for kids; my colleague Hillary gave the Camp Snap to her six-year-old and he had an absolute blast taking pictures (and in so doing, taught her a lesson about what is "worth" taking pictures of).

My personal favorite is the Flashback series, which adopts a slightly different approach. This company takes the appeal of disposable cameras – that same screen-free, stay-in-the-moment mentality, with a fixed lens and optical finder, and crucially the limited number of shots and delayed gratification before you get to see them.

You "load" your camera with your chosen "film" (choosing from various styles of color or black-and-white) and then you're limited to 27 exposures, all in that film stock. Once you've taken them all, you then beam them to your phone – and this is where the magic is.

On the original Flashback One35, you had to wait 24 hours for your images to "process" – just like dropping off a roll of film at a lab and waiting for it to be developed. That was the entire point: the magic of patience, cultivating the joy and anticipation of seeing what you've shot – like a mini Christmas morning of looking at your memories.

Of course, that's an experience that Gen Z has no real concept of – only boomers, Gen Xers and Xennials truly have that experience of waiting for a roll of film to be processed. So, for the Flashback One35 V2, there's a Digicam Mode where you can send the shots to your phone and view them right away. Which kinda misses the point, to me, but I see why people want it.

But are these just gimmicks? My colleagues and I all agree: no, there's actual substance here. These cameras truly change the way you take photographs – or, perhaps more accurately, change the attitude you have towards taking them. Taking a snap becomes part of enjoying the moment; it doesn't override and become the moment.

You can watch the full discussion in the video I've embedded above (which is cued up to the start of the conversation) and come to your own conclusions.

Crucially, what they offer is a unique way to take pictures at an amazing price point – the Camp Snap 2 in particular being just $70 / £55 / AU$130. Compare that to the price of a disposable camera these days – about $25 in the US and £23 in the UK, and that's before processing – and these are brilliant ways to achieve the old analog experience without breaking the bank (or the planet).

If you're someone who wants a slower pace of shooting, who misses the magic of giving your kids or the rest of the family a disposable camera for a vacation or a wedding, or you're just sick of screens and want a break from staring at electronic readouts, picking up one of these might be the best thing you can do for your photographic enjoyment.

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Check out the best screen-free digital cameras from all the brands – including, if you want a bigger brand option, one of the best Leica cameras and one of the best Fujifilm cameras.

360-degree cameras mean you can capture the whole scene, then decide what to focus on later. The DJI Osmo 360 has got a massive discount even though it has some of the best tech – so it's definitely time to check the deals:

Personally I’d say that the era of the 360-degree camera has truly come. If you only have one action camera, you should probably get a 360-degree one.

Why? Because they let you do anything a traditional ‘GoPro’ or equivalent can, but can record footage in every direction at once OR act as a traditional camera. You can choose.

If you opt to record every direction in the moment it saves worrying about where the camera is pointing, and allows you to crop in on and re-direct the footage later.

DJI was not the first company to sell a 360-degree camera; Insta360 has 5 generations of its leading model under its belt, while GoPro is also in the game. The OSMO 360, however, is right up there with the latest and greatest when it comes to specs.

It also has some significant advantages. It has relatively large image sensors, so it’s great in low light. It is at the premium end of resolution with 8K (4K from each side). And, for the many DJI-users out there – it is compatible with DJI OSMO batteries.

The quality of the video was very evident when I tested it for my review.

One of my two main complaints was the price – and of course this deal more than resolves that. My other worry is that DJI’s software isn’t quite as good as the more established Insta360. Now since then there have been some revisions and the features are definitely easier to use and more complete.

And they were always good anyway – especially in the phone app, which also has the advantage of being very fast to download files wirelessly from the camera to.

In other words, this camera was always a tempting choice for someone wanting to start a 360-degree photo / video journey. (And I think you should, by the way.) Now it is even more so.

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

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

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

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

Best screen-free digital cameras

Best screen-free digital camera overall

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

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

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

Read my full Camp Snap CS-Pro review

Best "screen-free" digital camera for image quality

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

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

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

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

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

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

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

Read our full Fujifilm X Half review

Best screen-free digital disposable camera

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

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

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

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

Read my full Flashback One35 V2 review

Best screen-free digital camera for kids

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

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

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

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

Read my full Camp Snap 2 review

Best screen-free digital video camera

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

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

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

Read my full Camp Snap CS-8 review

Most compact / best waterproof screen-free digtial camera

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

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

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

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

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

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

Best screen-free mirrorless camera

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

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

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

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

Read Seb's full Leica M11-D review

How we tested screen-free cameras

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

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

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

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

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

How to choose the best screen-free camera

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

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

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

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

Among the 21 RF-mount Canon cameras launched since 2018, newest among them is the Canon EOS R6 V – with the V indicating a ‘video first’ approach and mindset.

The camera has as many similarities with the Cinema EOS range, specifically the Canon EOS C50 – but this is smaller and lighter.

But one thing, however, that the ‘V’ in the camera’s nomenclature doesn’t indicate is the presence of a ‘viewfinder’. It has none – just a 3-inch, 1.62 million-dot rear LCD screen.

Yes, its maker will argue that this full-frame camera is designed to be used handheld, possibly at arm’s length, by influencers, and therefore an eye-level viewfinder wasn’t a development priority. But there’s not even an option to add an external viewfinder as an accessory, should users wish to do so, which feels like an opportunity overlooked.

More positively, a basic boxy shape may more readily fit a variety of camera cages and rigs. And, staying with practical concerns, the space usually reserved for an EVF has given way to a cooling fan to enable extended recording times without interruption.

And yet, thanks to the generous 32.5MP sensor at its heart – inherited from the C50 and R6 Mark III – the Canon EOS R6 V is also a very capable stills camera. Photos can be captured at full resolution up to 40fps, partly because it uses an electronic, as opposed to mechanical, shutter.

The lack of a mechanical shutter will also gaslight some photography purists.

Given that the R6 V could justifiably be considered a hybrid device, it does underline my question as to why Canon has limited its appeal by not providing an eye-level viewfinder for those who prefer to shoot that way – or at least want to have the option, on occasion.

The body-only price is still considerable, even for those who do want to primarily luxuriate in 7K 60p video recording, 4K 60p oversampled or up to 120p slow-motion footage.

Canon’s promotional tagline for the EOS R6 V is "loved for handheld creative brilliance". So why limit that creativity? I can’t help but feel it would have been adored if only, like the R6 Mark III, it had provided a viewfinder as well – even as an optional extra.

GoPro’s 360 action camera is now capable of capturing more detailed shots, thanks to a new firmware update that unlocks 200Mbps bit rates. Announced today, June 25, the firmware update v1.30 for the Max 2 opens up higher bit rates, along with more options for color grading.

The higher 200Mbps bit rate helps reduce compression artifacts, GoPro says, along with helping the camera record finer detail. The new maximum bit rate will be available in the 8K 360 video mode, as well as using the 4K single lens shooting mode.

While the Max 2 already had 10-bit color for serious videographers looking for control over color grading, those options are now available for time lapses. The 10-bit and GP-Log options are now available inside Time Warp, Night Effects, Time Lapse, and Night Lapse modes.

The addition of 10-bit allows GoPro’s different time-lapse modes to capture more color depth, while GP-Log encoding across those same modes allows for more flexibility when color grading in post.

The firmware also brings the blur reduction setting previously available for 360 shots into the GoPro Max 2’s single lens mode.

The update also gives creators a toggle to switch between 60z and 50Hz shutter speeds. This helps eliminate screen flickers when traveling to different countries with varying NTSC and PAL standards.

The firmware update is available directly from GoPro's website or through the GoPro mobile app.

The firmware update comes at a time when the GoPro Max 2 has dropped to its lowest price yet in some regions during the Amazon Prime Day sale.

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Take a look at the best 360 cameras to see where the GoPro Max 2 falls on the list!

There was a lot of noise about the Panasonic Lumix S9 when it launched – and not all of it was positive.

From the complaints that it was a bigger version of the compact Lumix camera we really wanted (sound familiar?), to laments over its lack of EVF and hot shoe, to criticism of it trying to be a Fujifilm X100 VI, to blowback over the lens it launched with… the noise was hard to ignore.

And my colleagues and I were definitely part of that noise.

"Sorry, Panasonic, I don't want the S9 – I want the camera you made 11 years ago" I wrote, lamenting that it wasn't the Lumix GM1.

"The Lumix S9 hit all the right marks – until you attached a lens, said Gareth, our Reviews Editor, regarding the poorly-received 26mm launch lens. "Honestly, I didn't enjoy using the camera because of it."

Most damning of all was DCW contributor Rod Lawton, who wrote, "I saw Panasonic's Lumix S9 for the first time at a show and I just kept walking. That’s bad!"

Well, fast-forward two years from its launch, and Gareth and I both have a Lumix S9 – along with a lot of young creators who absolutely love it.

(The Lumix S9 is currently enjoying massive discounts in the Amazon Prime Day sale, particularly with the 18-40mm kit which has hit its lowest ever price in the US as well as its lowest price since January in the UK.)

So what turned us around? Well, for starters, there was plenty to love about the S9 from day one that had already won us over.

The body is absolutely tiny for a full-frame camera. Being about the same size as an X100 VI, it offered the most compact full-frame offering on the market.

Its 24.2MP sensor delivers brilliant stills at up to 30fps (though it's limited to 8fps with continuous autofocus) as well as 6K 30p open gate video.

Best of all, you can employ Realtime LUTs for both photo and video – which is essentially Fujifilm's Film Simulations on steroids, fully customizable and enabling you to perform your exact editing style and post-production looks in-camera at the point of capture.

The Crop Zoom and Hybrid Zoom functions were always big winners, too, enabling you to extend the focal range of your prime and zoom lenses by seamlessly adding a scaling digital zoom. With Hybrid Zoom on the Lumix 20-60mm lens, for example, keep turning the zoom ring and it becomes a 20-187mm!

As far as what changed, well, I have to take my hat off to Panasonic because significant improvements were made right from the off.

Firmware version 1.1 unlocked the much-maligned recording limits, which previously restricted filming to 10 mins in 6K, 15 mins in 4K and 20 minutes in FullHD. Of course, the camera is still limited by temperature build-up, as it lacks an active cooling system, but disposing of the artificial limits was incredibly welcome.

We also got the ability to display multiple frame markers when shooting open gate, which is a godsend for framing shots for multiple outputs.

The autofocus also got a serious improvement, including the addition of two new subject detection algorithms, and we received multiple quality of life improvements to everything from the startup speed to deeper integration with smartphone apps like Lumix Lab.

Perhaps most importantly, we now have lenses that actually suit the S9's size. I've often said that compact full-frame cameras are an act of folly, because there aren't enough compact lenses to go with them – and the S9 was deathly guilty of this for. However, the L-Mount Alliance stepped up.

Panasonic gave us both the Lumix S 18-40mm zoom and the Lumix S 40mm f/2 prime, amazingly both the same size. Then TTArtisan dropped a 40mm f/2 of its own, but my favorite is the Viltrox AF 28mm pancake – which is the lens that the Lumix 26mm wishes it was.

Honestly, if any of these lenses were available at launch, I think the reception to the S9 would have been completely different.

Of course, some of our core complaints remain. Until Panasonic (or a third party) releases an external EVF add-on, the lack of viewfinder still hurts. And the omission of both a hot shoe and a mechanical shutter means that flash photographers are still SOL.

But as a true hybrid camera aimed at creators on the go, the Lumix S9 has finally become the camera that Gareth and I both hoped it would be when we first saw it. It's not often that cynical journalists admit they were wrong or put their money where their mouth is, but as S9 owners we're both very happy to have seen the light!

🇺🇸 Lowest ever price

🇬🇧 New low price

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Take a look at the best lenses for the Panasonic Lumix S9 as well as the best L-Mount lenses from the entire range.

Leica has just launched the third member of its SL3 family of full-frame mirrorless cameras. The Leica SL3-P makes big improvements to both the stills and video capabilities of the range with headline features including the ability to capture stills at 40 frames per second, and a video capability that can shoot open gate 8K.

At the heart of the new L-mount camera is a 44-megapixel backside-illuminated sensor that is said to hit a sweet spot that, in terms of resolution, places it between the 60MP sensor of the original SL3, and the more affordable, faster 24MP SL3-S that was launched last year. It will also fit neatly between the two in terms of price.

The new SL-3P aims to be the Leica mirrorless camera that appeals to the majority of photographers and videographers - and offers some best-in-class features that put it ahead of its two older siblings. Unlike the other two, it does not have the distinctive Red Dot logo on the front (as on some other models, such as the M11-P)

A new hybrid autofocus system combines phase detection (PDAF), depth mapping (object detection AF) and contrast detection AF – to make it suitable to use for fast-moving subjects with six automatic detection modes, for people, animals and cars.

It boasts a dynamic range of up to 14 stops, with an ISO range of 50 to 200,00. A Multishot mode can capture extremely 176 megapixel high-resolution images.

Specifications

As you'd expect, the full-metal body comes with IP54-certified weatherproofing, support for Content Credentials, and the ability to connect with the excellent Leica Fotos app. There are two memory card slots - both CFexpress Type B and SDXC UHS-II

The headline video feature is that it can now shoot 8.1K Open Gate in 3:2 ratio at up to 30p - but also capture in HDMI RAW at 8K in Open Gate. At 60p, you can capture in 5.8K, and if you need 120p for slow-motion you still get 4K recording.

Additionally, the SL3-P offers use of the Apple ProRes codec at up to 5.8K. Two new in-camera LUTs – Leica Pure and Leica Cine – are provided for the camera's L-Log color space.

Pricing & availabilty

The Leica SL3-P goes on sale from today at $6,690 / £5,150 for the body on its own.

Three Vario kit options will also be available:

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH -  $7,790 / £6,100
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. -  $8,390 / £6,480
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. and Vario-Elmarit-SL 70–200mm f/2.8 ASPH. -  $10,995 / £8,560

Leica launched its latest full-frame mirrorless camera earlier today - the Leica SL3-P - and I had a chance to use for three days in a variety of shooting scenarios on location in Germany, shooting over 3,000 images

I put this together while working on my full Leica SL3-P review. This 45 megapixel camera offers features that have not been seen on a Leica before - including a 40 frame-per-second electronic shutter burst mode, and 8K open gate video. But as I complet my full test, I thought I should share some of my favorite photos I have shot with the camera.

They say the proof of the pudding is in the eating – and for me the proof of a great camera is in the pictures. Three days using a camera is not long, but on the basis of the pictures I was able to take this is an extremely impressive camera.

Shooting fast cars on the famous Nürburgring was a great way to put the autofocus and the camera's buffer to the test - and it passed this with flying colors (even despite my motorsport skills being very rusty).

The beautiful coloration of the portraits that I took at a medieval fayre in Koblenz blew me away – and again the autofocus seemed to be able to focus with precision, finding the subjects eyes effortlessly.

So here are my favorite shots from those I have edited so far…

Above: a gallery of more images shot on the Leica SL3-P - swipe through to see them all

Hand on heart, this camera is my daily driver – it goes everywhere with me. I've just noticed that it has dropped in price at Amazon, making it a great deal for anyone who wants a pocketable mirrorless camera that is a stylish retro beauty.

Why do I love the Olympus PEN E-P7 (review) so much? In short, it's incredibly small and sleek – and, more importantly, so are its lenses. While APS-C (and even full frame) bodies can be small, their optics will simply never be as small as they can be on a Micro Four Thirds system.

Take the M.Zuiko 14-42mm EZ Pancake lens, which comes as part of this bundle: it's the size of a pocket tin of Vaseline, yet I think it's the best pancake lens ever made. I always bring a tiny prime with me (usually the M.Zuiko 45mm f/1.8) but I shoot 90% of my E-P7 shots on this pancake, with its useful 28-84mm equivalent focal range. It makes an unbeatable compact – yet absolutely capable – package, perfect for street, travel and everyday shooting.

The 180° flippy-down screen makes this a great option for shooting from high or low angles, or when I want to take a selfie with better quality than my phone. I can even control the camera from my phone, for remote shooting or video, then zip my files back to it via WiFi in an instant. It's a genuinely viable replacement for the immediacy of my phone camera.

Crucially, with a 20.3MP sensor backed by 4.5 stops of in-body stabilization, this camera doesn't compromise on quality. Is there as much detail or dynamic range or depth of field as there is on my Canon EOS R5? No – but I don't need there to be. Photos from this camera are more than good enough for double-page spreads in magazines. And they're certainly more than good enough for Instagram and Facebook.

The E-P7 is one of the best Micro Four Thirds cameras, so check out the best Micro Four Thirds lenses – many of which are the best Olympus lenses (OM System).

UPDATE: Specifications continue to leak for the Sony FX5 – and it's looking more and more like a camera that's gunning for Canon, featuring technology appearing for the first time in a Sony camera.

We already knew that the FX5 would shoot 5K open gate video, but the latest report reveals that it will also possess triple-base ISO – both features making their Sony debut.

Of course, Canon introduced open gate with the Canon EOS C50 – a hybrid camera that was squarely positioned as an FX3 rival. And the company also introduced triple-base ISO to the industry with the Canon EOS C400, a high-end cinema camera.

For Sony to jump on the bandwagon with both technologies shows that it really is firing back with all guns blazing.

"Three sources confirmed the Sony FX5 has a triple-base ISO which is a first on Sony cameras," reported Sony Alpha Rumors. "It also records internal RAW," adds the site, noting that it possesses X-OCN (extended tonal range Original Camera Negative) internal RAW, Sony's 16-bit linear encoding.

UPDATE (Jun 30): There appears to be some disagreement over two key points: whether this camera will be called the Sony FX5 or Sony FX4, and whether or not it will have a global shutter sensor.

While Sony FX5 is the name that has been "confirmed" by Sony Alpha Rumors, rival camera rumors site Photo Rumors has been claiming that it is actually the Sony FX4 – a report that seems based largely on a post by sometimes-reliable X.com leaker, how2fly.

Both sites do seem to be describing the same camera but, given the nature of these kinds of leaks, it's also possible that there's a Sony FX4 and FX5 on the way. It's still most likely that they're both the same model, but we shouldn't discount the unexpected launch of a new product (a la the Sony FX2) that is causing the streams to get crossed.

As far as the sensor goes, after initially reporting that the camera would feature a global shutter affair, Sony Alpha Rumors is now unsure "whether the camera uses a new 5K global shutter sensor or something entirely different."

A user on the site's forums insists that, "We have the leaked roadmap that has shown itself to be very accurate. The IMX01A is there, 16MP, 5K 240p, fully stacked, 'high sensitivity', full sensor dual pixel AF… It's basically the dream sensor as an FX3 upgrade."

UPDATE (Jun 26): It has been reported that the Sony FX5 will indeed be an open gate camera – and, fittingly enough, it will record in 5K resolution in the 3:2 aspect ratio.

The report also notes that the global shutter image sensor will be different to the one featured in the Sony A9 III.

The addition of open gate represents something of an about-turn for Sony, which for years insisted that there wasn't sufficient consumer demand.

"On multiple occasions, Sony managers said they didn’t believe it was a feature users really needed," writes Sony Alpha Rumors.

"But it looks like they’ve finally changed their mind: the upcoming Sony FX5 is expected to feature full open gate support. Specifically I have been told the camera has open gate 5K 3:2 support!"

ORIGINAL STORY (Jun 24): A new report "confirms" that the Sony FX5 will be announced in July, featuring bleeding-edge features like a global shutter sensor (previously seen in the Sony A9 III) and specs from the Venice cinema line.

The report also hints, with a wink and a smile, that highly requested features from users will also be included on the FX5. Could this be the long-desired introduction of open gate video?

For years we have heard camera rumors about a successor to the Sony FX3. However, while both Nikon (with the Nikon ZR) and Canon (with the Canon EOS R6 V and EOS C50 in particular) have eclipsed the original model, Sony hasn't brought an FX3 II to market.

Instead, Sony Alpha Rumors writes that we will see an FX5 next month.

"While everyone else was convinced that a new FX3 II was on the way, I can now confirm through trusted sources that Sony will announce a new Sony FX5 in July!"

We know from Weibo outlet E8M_8888 that Sony has registered a new FX model, having spotted the filing with Chinese certification bodies. So a new model is definitely on the way – and Sony Alpha Rumors is confident that it will be a "mini Venice" in terms of capability.

"It's a substantial upgrade over the FX3. It gets a new name because it's more like a compact Venice camera than an Alpha camera with cine features," adding that, "button and menu layout take over many aspects of the professional Venice camera".

E8M_8888 had previously reported that it would be "a modular camera that adopts an FX3-like style but moves away from standard Alpha camera design language.

"Its body layout and button configuration are more professional," with modularity supporting cinema peripherals and expansions such as XLR handles, external EVFs and SDI connectivity.

Crucially, due to its hybrid Alpha / Venice nature, the FX5 looks like it could shake up the hierarchy of Sony's cinema camera lineup – much as Canon did with hybrid bodies like the EOS R6 V and EOS R5C.

Should Canon be worried? The company already debuted global shutter sensors in its Cinema EOS lineup (with the Canon EOS C700 PL), so that in and of itself isn't new.

But Sony has invested heavily in the tech and will surely be doubling down on its advantages – and if that does cross the streams with open gate, this could be a very big deal…

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See where the biggest gaps are that the FX5 might close, with these Canon EOS C50 vs Sony FX3 and Nikon ZR vs Sony FX3 comparisons.

Buying your first "proper" camera is an absolute minefield. Which brand should you buy? Which lens should you get? What kind of memory card do you need? And then comes the cost, as you quickly discover that cameras aren't as cheap as you thought they were.

I used to teach photography, so I've been recommending "first cameras" for years. And if you're looking for the best beginner camera for you or someone else, I think the Canon EOS R100 is the best place to start – especially bundled with its kit lens, the Canon RF-S 18-45mm f/4.5-6.3 IS STM.

I'm going explain what all that means, why it matters and why it's the camera you should start your photographic journey with.

(If you're interested in this camera, there's currently an amazing Amazon Prime Day deal in the US where you get the camera, lens, memory card and bag for just $499.)

Is the Canon EOS R100 a good starter camera?

The first thing that makes the R100 perfect for newcomers to photography is the price: this is the only camera on the market with a truly entry-level price tag.

I know that $499 might not seem "entry level", but in the context of cameras – which typically cost thousands and thousands just for the body – trust me, $499 for a camera and lens is an absolute steal.

It achieves this price point by omitting everything but the essentials for learning photography. So there's no touch control, the rear screen doesn't tilt or articulate, and the 4K video has some compromises.

But as a pure photographic device, for learning how to use a camera and take great pictures, it's brilliant.

It has a high-resolution, 2.36 million-dot electronic viewfinder, which is the best way to learn how to "see" and compose your shots. It also reflects your camera settings in real time, so you can see what happens as you adjust the dials, making it a fantastic way to learn things like the exposure triangle.

It has a powerful 24.1MP APS-C image sensor, much bigger than the one in your phone, able to render crisp detail and beautifully shallow depth of field (aka blurry backgrounds). It also offers a burst rate of 6fps (frames per second), enabling you to fire off continuous frames when shooting moving subjects.

The menus are guided, too, helping you understand how these features work and how to achieve creative effects.

And the camera is also extremely compact and lightweight, making it easy to carry with you everywhere – whether you hang it off your neck or shoulder with the camera strap, or throw it in a bag or your glove compartment.

However, the biggest appeal of the R100 is that it gets you into the world of interchangeable lenses. You know that feeling when you use your phone to take a picture and you can't get close enough, or you can't get enough of the scene into your frame? Being able to change camera lenses liberates you from this problem.

Is the Canon RF-S 18-45mm a good starter lens?

The Canon EOS R100 often comes in a kit, or a bundle, with the Canon RF-S 18-45mm f/4.5-6.3 IS STM lens – which is why it is described as a "kit lens". What do all those letters and numbers mean?

'RF-S' is the lens mount employed by the R100. It means that the camera can mount any of Canon's RF lenses, but the 'S' denotes that the R100 has an APS-C image sensor (you can find out more in our What is sensor size? article). Because APS-C sensors are smaller than full-frame sensors, you have to apply a crop factor of 1.6x to the focal length of a given lens.

So in this case you multiply 18-45mm by 1.6x, which gives you an "equivalent" zoom range of 28.8-72mm. That's an incredibly versatile range that's perfect for everyday shooting, street and travel photography, and even some light landscape (at the "wider" 28.8mm end) and portrait (at the "longer" 72mm end) shots.

The 'f/4.5-6.3' refers to the lens' aperture range (how "wide" the aperture blades open, which dictates how much light reaches your sensor and how shallow your depth of field is). This isn't the "fastest" lens in the world (the lower the f-number, the "faster" a lens is) but it's perfect for starting your journey, with excellent center sharpness throughout the range.

Finally, the 'IS' stands for 'image stabilization' (meaning this lens offers shake compensation for handheld shots) while 'STM' refers to Canon's precision 'stepper motor' that delivers smooth, near-silent autofocus.

Does the Canon EOS R100 have good image quality?

Some people will tell you that beginner cameras are only good for beginners, but these shots illustrate the kind of image quality that the R100 is capable of. Yes, there are "better" cameras and more powerful image sensors out there – but I've taken shots on this sensor for portfolio and even paid client work, and never had any issues or complaints.

The Canon EOS R100 gives a newcomer everything they need to start mastering photography, but in professional hands it can deliver sensational shots.

The next model up, the Canon EOS R50, offers some very welcome improvements (not least an articulating touchscreen and full-fat 4K) but they come at a higher price tag – and I don't think a burgeoning photographer needs them.

So if you're considering which camera to get, for this price I simply don't think there's a better beginner camera and lens combo than the Canon EOS R100.

Get a great deal

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

If you've been thinking about getting into full-frame photography or becoming a Sony shooter, then this is the sort of deal I wish was on offer years ago when I bought my Sony A7 III.

In Amazon's Prime Day sale, you can get the A7 III with the 28-70mm standard zoom for just £1,077 - which looks like the lowest price ever on this long-time favorite of this site.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Canon PowerShot V10 Vlogging Starter Kit has dropped to just £199 in the Amazon Prime Day camera deals. That’s a welcome saving of over £130, making this compact vlogging camera kit far more appealing for creators looking to start producing content without investing in a larger camera setup. But do note the sale ends at midnight!

• See all of today's best cameras deals in the Prime Day sale

Designed specifically with vloggers and content creators in mind, the Canon PowerShot V10 offers a compact, pocketable design that makes it easy to record video anywhere. Its all-in-one concept combines a camera, lens, microphone, and stand into a single device, allowing users to quickly set up and start filming without additional accessories.

At the heart of the camera is a 20.9MP sensor paired with a wide-angle lens designed for handheld recording. This makes it particularly suited to vlogging, livestreaming, and casual video creation, where a wider field of view helps keep both the creator and their surroundings comfortably in frame.

The PowerShot V10 also features a built-in stand, making it easy to place on a desk, table, or flat surface for stable recording. Canon has also equipped the camera with high-quality stereo microphones and a wind filter, helping ensure audio is clear and usable straight out of the camera.

Connectivity is another key strength, with the camera supporting direct livestreaming and simple smartphone integration. This allows creators to quickly transfer footage, share clips, or broadcast content online with minimal setup.