The disposable camera was one of my earliest memories of photography. From family holidays to school outdoor residential trips, Mum would put the trusty disposable in my bag and tell me to fill it up with photos. Today, the Pocket Dispo promises to help recreate an authentic disposable camera and film look, but for the digital camera age.

It's made by taking the lens from a disposable camera and embedding it in a 3D-printed mount (available for Sony E-Mount, Fujifilm X-Mount, Canon RF-Mount, Nikon Z-Mount, Micro Four Thirds, L-Mount and EF-M Mount), has a focal length of around 28mm, fixed aperture of about f/11 and a minimum focus distance of approximately 1.5m. It’s not exactly the most versatile lens.

When this popped up as an ad on social media, I’d originally dismissed it, but with summer around the corner, I suddenly had a thought. Could this be my family holiday lens that could help to recreate my own childhood photos but with my own children now? At $49.99/£42/AU$82 (not including shipping), it wouldn’t break the bank, it would fit on my Sony A7 II and it could be fun.

Top tips for using the Pocket Dispo

1. Judge your distance

With a minimum focus distance of around 1.5m, the toughest thing is judging the distance between yourself and the subject. If in doubt, take a step back and crop in post-production rather than finding out later that the subject was out of focus.

2. Centre your subject

The lens can exhibit a heavy vignette, meaning anything around the outside of the frame is a lot darker. It can be a nice effect, but to ensure the subject is properly lit, center it in the middle of the frame for best results.

3. Let there be light

With a fixed aperture of around f/11, a good light source is essential. Although modern cameras generally handle ISOs up to 3200 well, this isn’t a sharp modern lens. Above ISO800 images tend to become too grainy even for emulating film.

And now let's see some of the results...

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If you're looking for more affordable optics, take a look at the best cheap lenses. And if you like to keep things simple, check out the best point-and-shoot cameras. And if you're looking for top-notch optics to put on your Alpha camera, browse the best Sony lenses.

Nikon has admitted that first-time camera buyers might be "underserved" by the company, conceding that it might not have "been able to offer the [right] options to them."

While the company has just celebrated the launch of the Nikon Z6 III, and before it the highly successful Z8 and Zf, these are all advanced and / or expensive cameras. Nikon's last entry-level models, the APS-C Z30 and full-frame Z5, came in 2022 and 2020 respectively – and didn't seem to particularly resonate with audiences.

"We have been expanding our lineup of high-spec cameras and lenses for customers who are seeking to pursue imaging expression. But maybe one underserved group is first-time camera purchasers. Maybe we haven’t been able to offer the [right] options to them."

Those words come from Yusuke Adachi, a section manager within Nikon's Imaging Business Unit, in an interview published by DPReview. 

It's a bold admission, but one that certainly isn't limited to Nikon – I think the entire camera industry is guilty of it. 

My colleagues and I have been lamenting the erosion of the traditional 'cheap beginner camera' segment for years. Admittedly, that segment has changed now that everyone has a camera on their phone; I wrote last year how vlogging cameras have now replaced entry-level cameras in this new landscape. 

Sony has done well to adapt to this change, with 48% of sales coming from its new vlogging camera line. And Canon is arguably the only manufacturer that still makes a true first-timer-friendly camera, in the form of the extremely affordable EOS R100. 

Other brands, though, have stated in their financial reports that they are focusing on high-value, high-end cameras rather than the lower end of the market – Nikon among them. So it's no wonder it has been unable to resonate with first-timers, but perhaps that is about to change.

"We can’t share information about our product development, but one of the factors we consider very important for this underserved but significant group of people is connectivity," continued Adachi.

Nikon, it seems, is zeroing in on one of the main points of friction with using a camera: "too many steps" involved in taking a photo, then connecting the camera to a phone, then transferring the file, then uploading it to social media. 

"That's the area where we can actually make an improvement and where we should make an improvement. And that’s just one example of a pain point customers have. We should really think about how we can improve the customer’s experience based on such use cases and identify what needs they have."

I'm glad that Nikon isn't giving up on the first-timers entirely. I understand it's hard to sell people a camera when they already have one on their phone. But I think it's way easier to get someone to upgrade to a high-end camera when they already own an affordable Z camera and a couple of lenses – I don't think many people are going to be upgrading from an iPhone to a Z9!

Check out the full interview at DPReview for Adachi's thoughts on everything from the state of the market to AI and computational photography. 

The best Nikon cameras have you covered for the top end of the market, but take a look at the best cameras for beginners for more appropriate kit for first-timers.

If you've been looking to upgrade your best DSLR to one of the best mirrorless cameras on the market and you want something powerful but compact then this latest news from Jessops will be music to your ears as the retailer now has the Fujifilm X-T50 in stock for £1,299!

This innovative camera is designed to captivate photography enthusiasts who are eager to explore Fujifilm's extensive and renowned range of film simulations. At the heart of this camera is a dedicated film simulation dial, allowing users to effortlessly access and experiment with the entire collection, including the latest addition, Reala Ace. This feature makes the X-T50 an ideal choice for photographers looking to recreate the distinct aesthetics of classic film with modern digital convenience.

The Fujifilm X-T50 is also a worthy contender to its bigger brother the Fujifilm X-T5, to find out more about how these two compare to each other, you should read our Fujifilm X-T50- vs X-T5.

The X-T50 also inherits many of the advanced features found in the esteemed Fujifilm X100VI, including the same powerful 40.2-megapixel X-Trans CMOS 5 HR sensor and the efficient X-Processor 5. This combination ensures superior image quality, remarkable color reproduction, and enhanced detail, meeting the high standards expected from FUJIFILM’s flagship models. 

However, the X-T50 sets itself apart by offering the flexibility of interchangeable lenses, providing users with greater creative freedom and versatility in their photographic endeavors. Despite its advanced capabilities, the X-T50 is lightweight and compact, making it exceptionally travel-friendly.

Its streamlined build does not compromise functionality or durability, allowing photographers to capture stunning images and videos on the go. This camera is a powerful tool for seasoned professionals and an inviting gateway for newcomers to explore the art of photography with Fujifilm’s signature charm and sophistication.

Photography is my hobby – in particular, flower and plant macro photography. Everyone is capable of taking good photos of plants and flowers, even with a camera phone, but how do you capture a really great photo, or produce an eye-catching image? 

I have a good quality but entry-level camera, a macro lens and some accessories. I sometimes enter my images into competitions but I find it daunting and challenging to produce an image that is different, perhaps unique, and that captures the imagination of the viewer. 

Post-processing software, such as Affinity Photo and Photoshop, offers a multitude of tools and creative filters that I can use to create beautiful and different images, which give me enormous pleasure and fun.

I use Affinity and Photoshop Elements, both of which are easy to learn if you approach them with a sense of curiosity. Simply by exploring the tools and filters in these programs, I have often stumbled across techniques that produce stunning and unique images – and which are easy to execute. 

Go ahead and explore the endless options available to you. You will have good fun producing great images – and, who knows, perhaps a competition winner.

1) The original image

My starting point was a nine-shot image of a dahlia from my garden, focus-stacked using Affinity Photo. It is underexposed and rather dull, but reasonably sharp from front to back.

2) Enhance the tones

Use the Exposure and Contrast sliders, along with the Clarity and Sharpening tools and filters, to enhance the image.

3) Black background

Using the Selection Brush Tool, select the flower, then invert the selection and turn the background black using the Luminosity slider in the HSL Panel. This produces an eye-catching, high-quality look and feel against the black background.

4) Enhance color

In the Adjustment Panel, select Warm under Black & White, then set the Blend Mode dropdown to Overlay. This produces the stunning final image.

You might be interested in the best cameras for macro photography, and the best macro lenses to get those super close-up shots.

In the last few days, DJI have delivered firmware updates for several key drones, from the relatively new (and pricey) FPV fun-fest that is the Avata 2 to the inexpensive entry drone the Mini 2 SE which we might have thought was effectively replaced by the Mini 4K.

Since the Avata 2 update has the potential to halve the price of the drone for some, we cover it separately, but the Mini 2 SE firmware is a boost for two reasons. Not only does it provide a new feature, but it shows continued love for what has long been one of the best cheap drones.

Right now, I'd recommend that anyone looking for an entry-level DJI drone opt for the newer DJI Mini 4K (which is more or less the same drone as the Mini 2 SE but with the option of 4K video rather than topping out at 2.7K). It is nevertheless very pleasing to see that DJI isn't simply abandoning consumers the second a product line moves on but continues to provide firmware.

The update in question – v01.00.0500 – resolves some 'known issues' (almost none of which are likely to have come up in normal flying), but – more importantly – adds support for the latest ADS-B or "Remote ID" system.

ADS-B is a longstanding tech in the aircraft world in which aircraft report their positions so that others nearby can avoid them.

The FAA in the USA, and the CAA in the UK (among others) are requiring that drones broadcast in the same way, and include user information (hence the term "Remote ID").

DJI Fly, the app, will need to be updated to v1.13.4 (and – depending on your phone settings – might well suggest this) in order to perform the firmware update. That update also comes with some extras, including an AI video editing tool to create one-tap videos.

There was a time when a certain phone manufacturer would release tame S versions of its flagship phones in between major numerical releases, both as a refinement of the previous model and to build momentum for the next big update. When Fujifilm opted not to call its last camera the X-T40, that is what the Fujifilm X-T30 II felt like, a refined but tame update to see Fujifilm through and harvest a bumper crop of updates for the next model.

With the launch of the Fujifilm X-T50, it's safe to say that this is not another simple refinement, and the X-T50 has received some big updates both inside and out, which should put this camera firmly back on the radar of anyone shopping for one of the best retro cameras. 

Traditionally, the X-T30 II, X-T20, etc has always featured tech from the flagship camera (X-T4, X-T3, etc), although with some significant compromises to the build quality and features available to keep the price as low as possible. There is some of that tradition again here, with the Fujifilm X-T5 being the pioneer for the X-T50’s updates, although that is where the X-Txx legacy ends. Fujifilm has instead opted for an improved build and a price that reflects that – I don’t think an X-Tx and X-Txx camera have ever been closer than these two.

When it comes to the fundamental core of a camera – actually capturing photos and video, it is hard to separate the two cameras, both featuring the latest 40MP sensor, the latest processor, IBIS, and 6K video. It is perhaps easier to focus on what separates them, with the X-T50 only getting a single SD card slot, having a slightly inferior viewfinder, a smaller battery, and missing out on weather sealing.

Therefore the X-T50 raises a few questions. With the X-T50 receiving a significant price and specs bump, is the X-T50 even a successor to the X-T30 II anymore, or is there now a third camera in the X-T range? And is there enough daylight between it and the X-T5 to make a clear case for itself? Let's dig in.

Fujifilm X-T50: Specifications

Fujifilm X-T50: Price

The X-Txx line was always Fuji’s affordable retro camera for the masses, a camera for those with slimmer bank balances but who aspired to the X-T3 or X-T4. Yet the price of the X-T50 has risen ~55% from the X-T30 II, putting the cost of the new camera at launch at $1,399 / £1,299 / AU$2,599. A not insignificant amount of money for the beginner photographer. 

The X-T30 II, at $899 / £899 / AU$1,499, is staying around as Fujifilm’s budget option, so for now, there is still an affordable way into Fujifilm’s system. But a big question is if the X-T30 II is the last truly budget camera from Fujifilm.

At full price, a not insurmountable $300 / £400 / AU$200 separates the X-T50 and X-T5. However the X-T5 has seen frequent discounts worldwide, and at the time of writing is just £1,449 for the body here in the UK from most retailers, and has been as low as £1,399. For a better EVF, weather sealing, two SD slots, and significantly longer battery life, I’d hold out for an X-T5 deal. 

Fujifilm X-T50: Design & Handling

Let's start with the elephant in the room – that new film simulation dial. I know this has divided a lot of early opinion online, and on reading the rumors, my initial reaction was that it is a little gimmicky, but after some time with the camera – well, my opinion hasn’t really changed. 

Yes, I would have preferred a drive dial as I use that far more regularly than switching film simulations. I honestly don’t know how many Fujifilm photographers change film simulations on a regular enough basis to require a dedicated dial for it. The drive modes have moved onto a button just below the film simulation dial, (similar to an X100VI). As a positive, I will say the dial with its little film canister symbols does look pretty neat.

As a film recipe user, which comes alongside a whole heap of other settings changes, the dial is also largely redundant. Casually flicking through the film simulation dial doesn't change other settings, so I still need to set custom slots, which actually gets a little more complicated with the addition of the dial. I think a dial that mixed a few custom slots and a few of the most popular drive modes might have pleased more camps, something akin to the only marked dial on the X-S20.

But to meet the retro-looking spec there needed to be a dial of some purpose on this corner – drive, film simulation, ISO, take your pick. At the end of the day, you can’t please everyone, someone is not going to be happy about the choice, but others will be, and I am sure there will be people out there excited by this new addition.

Aside from the film simulation dial, the X-T50 has undergone some major design revisions from the X-T30 II and is the biggest design departure for any X-Txx camera.

First up, the X-T50 now offers a substantially larger grip, with the hump extending to the front dial to add more cushion to your forefinger. Fuji has done a great job here, it makes the X-T50 much more comfortable to hold than the previous model and it is now more feasible to handhold the X-T50 with something like the XF 50-140mm f/2.8, where I wouldn’t really recommend it with the X-T30 and its shallow nub of a grip.

For overall size, the X-T50 sits in between the other models – larger and heavier than the X-T30 II, but smaller and lighter than the X-T5. Fujifilm has opted for a more rounded design, which is especially prominent on the right-hand side of the camera, where the reduced space forces the camera name to bend around the edge of the body, (which looks a little odd). This rounding is key to keeping the overall weight and size of the camera down, but it does make for a very slightly lopsided appearance with the improved grip.

The build quality of the X-T50 is actually very good, again sitting in the middle of the X-T30 II and X-T5. The quality feels far more robust than the X-T30 II, although the dials are not quite as solid as they are on the X-T5. The X-T50 also misses out on the weather sealing in its big brother. It is understandable that Fujifilm needs to cut corners somewhere, so it is not entirely unexpected for its lower price point, but still a shame for a camera that will see a lot of traveling to not give some peace of mind during a rain shower or at a sandy beach.

The X-T50’s electronic viewfinder (EVF) is also inferior on paper versus the X-T5, with a 2.39m dot EVF vs the 3.69m dot EVF. However, in real-world testing the X-T50 against my X-T5, it certainly wasn’t night and day between them. The X-T50 viewfinder was large and bright enough to compose through, for an APS-C camera anyway, although you miss out on the rubber eyecup from the X-T5, so it isn't quite as comfortable to use but does make the overall body smaller.

For storage, the X-T50 is limited to a single SD card slot. The fail rate for properly maintained SD cards from a reputable company is incredibly rare, so I really don’t subscribe to two SD cards being totally necessary. However, I miss the data management aspects of having twin slots as I love to be able to separate JPEGs and RAWs onto separate cards, or record images on one card and video on the other. But if sacrifices have to be made for cost, then this is one area I can do without.

Fujifilm X-T50: Performance

Fujifilm surprised me a lot with the X-T50. I was expecting more of a subtle update, perhaps keeping the same sensor as the X-T30 II, but updating the processor, adding IBIS, and holding back some top specs. Instead, Fujifilm has ripped the whole engine out of its flagship cameras. 

At 40MP, photos are as incredibly detailed as on the flagship Fujifilm X-H2 or X-T5, both of which share the exact same X-Trans V HR sensor. This sensor gives a lot of room for cropping images, with the X-T50 offering a 1.5x or 2x digital teleconverter built into the camera which creates 20MP or 10MP JPEGs respectively – a feature I love from the X100VI and its limited fixed lens.

Autofocus has been improved a lot over the X-T30 II and now comes with more subject recognition modes including animals, birds, insects, vehicles, and drones. This is powered by the new X-Processor 5, which now features in all of Fuji's current camera lineup except for the X-T30 II. In testing the camera I took a trip to a wildlife park, where the animal and bird subject recognition in particular got a real workout, and I am pleased to report that it performs as well as in any other Fujifilm camera. 

The focus on Fujifilm cameras is still not quite up to par with Canon or Sony, but it has made big strides to catch up with this latest generation of processor. The camera picked up and recognized quite a range of different animals, with the focus locking on quickly and staying locked. There was a few issues when trying to focus on animals with fences or trees in the way, where despite the animal taking up the majority of the frame, the camera still focused on the nearer object. I know from past experience that other systems don't struggle with this quite so much.

I will test the video from the X-T50 further in my full review, but from the initial samples I took during my brief time with the camera, the footage looks good. The X-T50 like the X-T5, X-H2, and X100VI has the option to record 6.2K or 4K oversampled, but these will be at a 1.23x crop to the focal length of the lens used (i.e. a 35mm lens becomes a 43mm lens), regular 4K though has no crop.

This probably isn't the first choice for a serious video camera in Fuji's lineup, with the X-S20 offering a better experience with open-gate video, and the X-H2S offering pro video features. However, for photo enthusiasts who want to do a bit of video on the side, the X-T50 is more than capable.

One major issue I have with the X-T50's performance is just with its longevity. The camera uses the NP-W126S battery, which is officially rated for 390 shots, which is shy of the 740 shots the X-T5 is capable of. In normal settings, I was getting through a battery in just a couple of hours, and that was without even shooting video. I have the same frustrations with my X100VI’s NP-W126S battery, yet the battery in my X-T5 seems to keep on going all day. Getting a larger battery into a smaller camera is a problem for physics, but battery life is a significant frustration for the X-T50.

Fujifilm X-T50: Sample Images

These images were all shot on a final version of the Fujifilm X-T50, paired alongside the brand new XF 16-50mm f/2.8-4.8 R LM WR lens and the XF 70-300mm f4-5.6 R LM OIS WR lens. All images are straight out of camera JPEGS shot in Provia (standard).

Fujifilm X-T50: Lab results

For our lab data comparison we pitched the X-T50 against its Fujifilm stablemate, the X-T5, along with the retro-styled Nikon Z fc and the Sony a6700, the latter being almost the same price as the X-T50.

Resolution (line widths/picture height):

Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.

As the two Fujifilm cameras share the same 40MP sensor, it's no surprise they resolve an almost identical amount of fine detail, with the lower scores from the Sony and Nikon cameras reflecting their 26MP and 20.9MP resolutions, respectively.

Dynamic range (EV):

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

All four cameras are capable of capturing excellent dynamic range - there's no clear 'winner' here, although the Nikon does perform slightly better than the others at higher ISOs.

Signal to noise ratio (decibels):

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

The two Fujifilm cameras deliver the clearest, least noisy image quality at lower ISOs, and this excellent performance continues right up to ISO 25,600, though the Nikon Z fc does close the gap at higher sensitivities.

Fujifilm X-T50: Verdict

The Fujifilm X-T50 is one heck of a camera, but a big departure from the traditions of the X-Txx lineup. Aimed at a much higher audience, this is not the affordable entry-level camera many were hoping for.

Photographically it is every bit as good as Fujifilm’s flagship X-H2 or X-T5. For stills, the 40MP sensor in the X-T50 shines, with lots of detail for cropping, and incredibly well-handled noise for its smaller pixels. For video, 6K and oversampled 4K offer plenty of resolution, with options for F-Log and internal 10-bit.

The body is the first major redesign we have seen for an X-Txx camera, and it is mostly better for it, with an improved build quality that feels much more premium than the X-T30 II, and a new rounder shape that somehow feels smaller despite being physically larger. The most notable new addition is the film simulation dial, which is a little gimmicky – great if you're really into film simulations, but I think there were better catch-all solutions. However, it's not all good news, there is no weather sealing, only one SD card slot, and a frustratingly small battery. 

The X-T50’s photo chops do come at a significant price rise though, and with the X-T30 II continuing to be sold, I feel overall the X-T50 is lost in the lineup between that and the superior X-T5. I would have preferred Fujifilm to have held back on the X-T50 and kept that clear division between the X-Tx and X-Txx range. 

With only an additional $300 (or often much less with discounts) needed for the X-T5, I think the extra money is worth shelling out for that camera – if you can. Though, if your budget can’t quite stretch, then the X-T50 still remains the best way to get a piece of the latest and greatest Fujifilm has to offer.

Alternatives

When I open a microscope box for the first time, I still get that spark of excitement I got as a child, knowing I was about to peek behind the curtain into a secret world. I have been fortunate enough to study and work in labs, where the quality of optics is never in question. But where the microscopic world was once limited to professionals and rich hobbyists, there are now plenty of cheaper models available, catering to the keen amateur. One such microscope is the Bresser Biolux NV 20-1280x.

Bresser is a German company that specializes in optics and sells a wide range of microscopes—the Biolux NV is part of their 'Student Microscope' range. Although they have a facility in Rhede for testing, construction, and evaluating products, this particular microscope began life in China.

The amateur market is already well served with some excellent microscopes, but few pack as much punch for the low price tag. Having a mechanical XY stage is a big plus, and the camera, while it has issues, is fun to play with and saves you from waving your phone's camera up against the eyepiece.

Features

• Microscope base and head
• MicrOcular HD camera with metal housing, 1280x720 resolution
• 2 eyepieces: 5x WF an 16x WF
• 3 objective lenses: 4x, 10x, 40x
• Barlow lens with 2x magnification
• 2x LED lights for transmitted and incident light
• Batteries
• Mechanical stage with XY control
• Color filter disc
• Prepared and blank slides
• Dimmer
• Tools: pipette and tweezers
• Prawn breeding plant
• Microcut
• Specimens: Yeast, Gum media, Sea salt, prawn eggs
• Dust cover and hard carry case

Specifications

Price

The Bresser Biolux NV can be picked up for around $200/£150. At this price you can’t really go wrong – there is little competition on the market at that price range. This microscope sits between basic beginner microscopes, such as the Celestron CM800 Compound Microscope and more accomplished, expensive devices such as the AmScope 40X-2500X Monocular LED Compound Microscope or the Swift microscope SW380T, which can be overkill for anyone just starting out. It stands out among budget microscopes by offering some of the features you would expect in lab-quality microscopes, while keeping to a low price.

Build and handling

The basic microscope setup does little in innovation, sticking to a tried and tested design. Putting it together was quick and intuitive, with the majority of parts being already installed and in place. It was a simple job to attach and tighten the adjustable mechanical plate to the stage, although the bar that keeps the slide in place was raised slightly off the surface of the body, meaning the slide sometimes slid off. The light source and objective lenses can be unscrewed, while other parts are held in by screws for which you may need a specialist allen key or screwdriver. The objectives do not adhere to the DIN standard, so it may be hard to replace or upgrade them down the line.

The body is primarily comprised of metal, with some plastic elements. For the most part these feel durable enough and allow for a lightweight design, making it easy to carry around. Sometimes a lighter microscope can suffer from stage drift, where the focus shifts when pressure is applied to the stage, but the only issue I noticed came at higher magnification when pressing down firmly on the stage. 

Alignment of the stage is good, level with the nosepiece, so focus is even across the whole view. The eyepiece head can be manually adjusted 360 degrees for more comfortable viewing. Some microscope eyepieces have a rubber ring around the eyepiece, which serves to block out ambient light, protect the lens and keep the eye at an optimal distance, however these come flush to the edge.

The kit comes in a sturdy black plastic box, which protects the parts and makes it portable. The two latches, while feeling a little cheap, do their job to keep it shut. Each half of the interior is filled with molded plastic, judged well to keep the parts tight and in place. 

There are two light sources, reflected and transmitted LED, powered by AAA. Using LED instead of halogen provides an even clear light, although there was a slight blue tinge to these. They last longer than halogen, are more portable, reduce eye strain and prevent long lasting damage from the light getting too hot. There is an 8-step dimmer, letting you control the strength of the bulb, though this was not strong enough for some of the higher magnifications and camera mode. The 40X lens tends to obscure the reflected light source, so a workaround might be needed.

One of the big misses is a condenser – this microscope comes with a ring of color filters and diaphragm sizes. This is a nice addition for beginners, letting you pick out different stains in the image, however lacks the control needed for professionals. There is no filter holder either, so requires some modding for further experiments, such as dark field or oblique filter.

The additional accessories are all welcome, letting you go from opening the box to viewing samples within minutes (no disappointed kids on Christmas morning). There are five pre-prepared slides of reasonable quality and five blank ones with cover slides to make your own.

Performance

Above: Video sample shots with  Bresser Biolux NV microscope's camera

The quality of objective lenses are generally sharp, becoming a little blurry at higher magnifications. They are achromat, meaning the centre is sharp, but you get a little aberration around the edges. Switching between them is smooth and they click into place comfortably. It should be noted that these lenses don't support immersion oil.

I found the parcentrality a little off when going between the 4X and the 10X, while the 10X to 40X was pretty much bang on. The parfocality was generally OK, there was a little refocussing between lenses.

Where other microscopes might utilise coaxial focusing (fine and coarse focusing), this has one large dial. The focus system moves the stage up and down and is quite smooth with almost no wobble when stopping. A finer control would be useful at higher magnification, especially where there's a danger of contacting the slide with the lens, but for the most part, you don't miss it too much. The X+Y controls that move the stage around have a little give in them, meaning it is sometimes a little unresponsive to smaller movements.

A unique feature of this microscope is the Barlow eyepiece, a retractable auxiliary lens inside the eyepiece tube, that lets you achieve up to 2x added magnification. This is a novel addition and a nice way to pack more magnification in easily, giving Bresser the 20x - 1280x boasted on the box. It would be nice if it could lock into place, rather than sliding up and down freely, but seems to stay in place so long as you don't shake it too much.

The filter ring is hard to use – it requires a lot of pressure to rotate, putting strain on the stage and meaning your sample is more likely to move around. There are no labels on any of the filters, so you’re basically left guessing what you're going to see on the next turn. The color filters had some effect in isolating particular stained objects, but the variable diaphragm options had little effect on contrast.

The camera is the one thing that lets this kit down. While it is a fun addition, allowing you to take pictures and video of the microscopic world, the quality is not in the same league as the rest of the kit. It is a cropped sensor so the image is more magnified from the view in the eyepiece. The images suffer for chromatic aberration and it is hard to get the necessary light from the LEDs to expose at the higher magnifications. On the plus side, the camera shares the same mount as telescopes, so could be used across multiple devices.

The accompanying software comes on a CD and can also be downloaded for Windows or Mac. It uses a USB connection, so I needed to use a dock converter to connect to USB-C, which lost connection at the slightest knock. It's great to have a live view on screen, meaning you no longer have to strain your eyes or suffer backache from leaning over the eyepiece.

The app was not the easiest to use, with basic color adjustments that were hard to use and what seemed to be an automatic color balance, rendering the colored filters in the ring obsolete. There are some genuinely useful tools that let you measure the size of objects on the screen and the distance between them, which will come in useful for school and personal projects.

Verdict

It has been great fun playing around with this microscope, which is part of a terrific kit. The main body and lenses are worth the price alone, but the added extras are all welcome. Although I have criticized the camera, the fact that there is a camera included at all should be celebrated, and I hope there will be plenty of budding scientists proudly showing their images off to friends and family.

Until today, DJI’s entry-level drone have stuck with lower video resolution than many of its budget rivals. The new Mini 4K - just announced - changes all that.

The new Mini 4K will support 4K video resolution at 24, 25, and 30fps - and 2.7K at up to 60fps. Other features which represent an improvement over the Mini 2 SE that DJI has announced include digital zoom of 2x at 4K, and a video bitrate of up to 100mbps.

DJI’s latest drone looks a lot like the Mini 2 SE, the previous entry-level model, but that drone’s key limiting factor was 2.7K video resolution. Reserving 4K for tiers above has historically been part of the way DJI distinguishes its range, especially given it has so many offerings in the low-weight (sub-250g) category which reduces regulations for owners.

It still has a 3-axis gimbal for smooth video, enough speed to fly safely in wind up to Level-5, GPS return to home, a range of 10km / 6 miles, and a battery life with a theoretical limit of 31 minutes. All the same beginner-friendly tutorial features and one-click QuickShot manoeuvres make it to the Mini 4K, too. The drone has sensors to help it land automatically with a press to take off and land options.

Other than the upgraded camera specs, this will be more or less the same drone, but the arrival of 4K restores DJI’s competitivity with other beginner drones like the Potensic Atom in most key regards, though there might still be some software differences.

For now, DJI Mini 3 will still offer better features, while the Mini 4 Pro is DJI’s maximum feature offering at the magic weight limit. Now, however, budget-conscious consumers won’t be restricted to a lower resolution than most content creators.

The new Mini 4K will be available for $299/£269 with a single battery, or $449/£399 in a Fly More bundle with three batteries. Australian price and availability is TBC.

What's the best DJI drone?

If you've been looking for the best video tripod and you're on a strict budget, you might want to hear about the latest product from Libec. The company has just announced a new entry-level video tripod in their range, the TH-V that includes the fluid head and sticks all under $400.

The Libec TH-V is designed for videographers and content creators who work with the best DSLRs or best mirrorless cameras on the market, and other handheld video cameras. The TH series of tripods are known for their affordability, lightweight build, and user-friendly design - and this new model has it all in shades.

Featuring a fluid head with a 75mm ball and a flat base, the TH-V boasts what Libec calls a 'dual head' design. This innovation aims for versatility and compatibility, enabling seamless use across a 75mm bowl tripod, flat head photo tripod, skate dollies, sliders, and more. 

Switching between devices is effortless with a simple screw-on, screw-off clamp mechanism. The sliding plate is designed to work with Manfrotto and Satchler heads, allowing for quick attachment and release with a single touch, streamlining setup times across the board.

A notable improvement over its predecessor is the enhanced drag control system, which now includes separate friction control knobs for tilt and panning. This feature simplifies adjustments to the tripod's stiffness, providing smoother, and more controlled movement during panning and tilting, thus eliminating unwanted shake and ensuring a consistent speed.

Despite its lightweight construction (3.7kg/8.15 lbs), the TH-V tripod is crafted from a durable blend of robust plastic and aluminum. Libec's expertise in plastic molding has allowed them to achieve a balance between durability and weight, resulting in a product that is sturdy enough for professional use while remaining affordable compared to carbon fiber alternatives.

The TH-V also supports a payload of up to 5kg, accommodating a wide range of cameras from mirrorless to larger handheld video cameras. With a maximum height of 163cm and a minimum setup height of around 70cm, this tripod offers flexibility for various shooting scenarios.

While pricing still needs to be confirmed, CineD reported in November that the cost could be around $360 for the whole setup (fluid head and tripod). The fluid head will also be available separately for around $200, which I think is a great price overall for having those precision controls for tilt and panning that are often seen on higher-end fluid heads.

Zeiss has just unveiled 6 new cine lenses for mirrorless full-frame cameras, promising 'true cinema for all'. 

Zeiss is a lens manufacturer specializing in high-quality compact lenses, offering supreme optics for photography stills and specialized cinema cameras. Many had thought Zeiss had left the photography and video industry, with its last lens issued in 2019, but Zeiss is back, and looking to bridge the gap with 6 new cine lenses designed for modern mirrorless full-frame cameras. On first look, the lenses appear stunning and seem likely to establish themselves among the best cine lenses on the market. 

The lenses will initially be released for Sony E mount, making them a fantastic pro cine lens option for Sony's cinema line of cameras such as the Sony FX3, FX6, FX9, and the upcoming Burano. The 6 prime lenses come in 18, 24, 35, 50, 75, and 100mm focal lengths, with a consistent high-speed aperture of T1.5 (f-stop is a theoretical value t-stop is tested transmission of light). They will be available for sale individually but also as part of a set.

Zeiss has designed these lenses with all levels of filmmaking in mind. Full-frame mirrorless camera technology has advanced a long way in the past few years, with many now being Netflixed-approved. This has lowered the entry for professional cinematography, and these lenses look to hit that particular market. Full-frame sensors are typically large and amplify visual depth and character, the Zeiss Nano lenses are designed to cover the larger sensor enabling users 'to craft images rich in volume and personality'.

With a maximum aperture of T1.5 and incredible close focus capability, the Nano Prime offers a stunning depth of field and bokeh rendering, even when used with the widest angle. The 12-blade iris enhances smooth and circular bokeh for what Zeiss calls the "creation of true cinematic images".

The compact package of the Zeiss Nano Primes offers versatility across the range, with the consistent position of focus and iris rings that streamline lens changes, and a 95mm compendium ring and an 86mm screw-in filter thread enable seamless integration between gimbals and drones.

Durability and build quality have always been a speciality of Zeiss lenses, as on top of the typical sleek design, the Nano lenses are certified for use in extreme weather conditions. This is important as it enables the use of the lenses in tough environments without fear of damage, and as Zeiss states, it makes the Nano Primes the go-to lens for every day.

Other notable features include compatibility with Zeiss' Interchangeable Mount System (IMS), an electronic interface for real-time lens data to cameras hud, and easy-to-read calibrated scales for a smooth 280° focus rotation and a 90° iris ring rotation for precise control.

Although we are yet to get our hands on these lenses, they look the business! They offer professional cine lens performance for entry-level cinema line cameras. I have recently been debating whether to get a Sony FX6 or FX3 to start my filmmaking journey, and these lenses may just have swayed my decision.

It is worth noting, however, that these lenses are not cheap. They seem decently priced when compared to the higher-end Zeiss Supreme Cine lenses, but coming in at around the $4,490 (per lens) mark, there are cheaper alternatives such as the Sirui Nightwalker series and even the highly rated Sigma Cine line.

Zeiss' history of creating exceptional lenses should not be discounted, however, as I am sure that although on the more expensive side, the performance justifies it!

For more information on the best equipment for video and filmmaking, you may be interested in our guides to the best camera for filmmaking, the best camera for film students, and the best video lighting. 

Graphics tablets have long been the preference of digital artists and photographers thanks to their precise input and comfort when compared to a mouse. Pen displays, which are essentially graphics tablets with a built-in screen, allow you to work directly on the image and are traditionally extremely expensive. Prices have, however, come down drastically in recent years, and the Huion Kamvas 13 is one of the more affordable options available.

The Kamvas 13 costs $239 without a stand or $265 / £209 with a stand (the UK version is only available in a stand bundle). As the name suggests, the Kamvas 13 offers a 13-inch display in a 16:9 ratio alongside a pen that provides many tilt and pressure sensitivity levels for a more natural drawing experience.

Pen displays are used by digital artists, photographers, and retouchers looking for improved precision compared to a mouse or even a standard graphics tablet because of the direct input to the image. Huion has been around for some time, occupying the mid-range in the world of graphics tablets in terms of cost, features, and functionality, so with its products, you can often enjoy a great balance of cost vs features and performance. 

The Kamvas 13 is one of Huion’s entry-level pen display models, so having owned a couple of the Chinese company’s graphics tablets in the past I had high hopes for what this offering could deliver. And while not perfect, I have to say that I was impressed with what Huion was able to deliver at such a competitive price point.

Huion Kamvas 13: Specifications

Huion Kamvas 13: Design & Handling

The Huion Kamvas 13 belies its entry-level specs and price in terms of design and build quality; being a well-made product that looks as good as higher-end models. Huion has undoubtedly done a great job here and it’s available in three colors: black, green, and purple. Plus, with eight customizable buttons that can have keystrokes or macros applied to them, you can make the pen display work for you. 

Being customizable, however, means that the buttons are blank so you have to remember what has been assigned to each. Over time, this naturally becomes second nature and with four of the buttons having raised braille-like dots, you can feel your way along the row of buttons fairly easily without looking away from the screen. The pen itself also has two customizable buttons which are easy to accidentally press so it’s best to keep the pen rotated away from your thumb and fingers.

The battery-free pen is comfortable to use and lightweight, possibly too lightweight, while also feeling bulky, but if this is a problem a Slim Pen is available separately. A pen stand is also included, which unscrews to reveal 10 spare pen nibs and a nib clip. The pen is, overall, absolutely fine and works well for both left and righthanded individuals, with the Kamvas 13 also being able to be flipped so that the buttons are on the left or right side depending on which hand you use to draw.

At 14.43x8.56x0.46in / 366.5x217.4x11.8mm with a weight of 34.56oz / 980g, the Kamvas 13 is a highly portable pen display that can equally at home being used at a desk, on your lap, or on the move. The screen dimensions are 11.56x6.50in / 293.76x165.24mm which provides a comfortable working area, although the 1080p does produce some chunkiness of the software interface while the image itself shows no flaws in this respect; it’s certainly not a deal-breaker, but the Kamvas Pro 13 does offer a 2.5K resolution if you’d prefer a higher-resolution screen.

The low-profile rubber feet on the back provide ample grip when the display is laid flat, although the optionally bundled ST300 Desk Stand, which was included with the review model provides six viewing angles ranging from 14.5 to 45 degrees to suit user preference, is a great accessory to have. There’s a minimal price increase for choosing this bundle over the base option, so it’s well worth it for the additional flexibility provided.

With such a portable size and weight the Kamvas 13 is ideal for photographers on the move, but it surprisingly doesn’t come with a carry case and one doesn’t appear to be available on the Huion website. Of course, you could find something that works perfectly for this, but it would be useful if Huion produced a dedicated carry case that could be purchased separately. That said, the low profile of the Kamvas 13 means that it could be slipped into the front section of many laptop cases.

In terms of connection to a computer, the Kamvas 13 comes with a 3-in-1 cable that plugs into the pen display via USB-C with two USB-A connectors and an HDMI connector for your computer. Worth bearing in mind if your computer doesn’t have an HDMI connection. Alternatively, you can connect the Kamvas 13 to a computer using a USB-C to USB-C cable, available separately, alongside a second USB-C cable connected to a USB-C charger for power.

Huion Kamvas 13: Performance

In use for photo editing, the Kamvas 13 provides a much more precise, natural, and tactile editing experience than using a mouse. Plus, it’s also much better than using a graphics tablet because you’re working directly on the image itself rather than looking at your monitor while using a pen and tablet with your hand which does create a small degree of disconnect.

This provides a more direct editing experience where tasks such as masking and creating selections are so much quicker and easier, not to mention the 8192 levels of pen sensitivity with tilt support up to +60 degrees provide a more pen-to-paper-like experience. These levels far exceed what a photographer or retoucher might ever need, and even some digital artists, but this level of sensitivity can only be a good thing and can’t be faulted.

The drawing experience is comfortable and precise with no lag or parallax between the pen and screen once the pen has been calibrated and the correct working area has been set. But while for drawing or masking the Kamvas 13 can’t be faulted with no lag or jitter, there is a small amount of lag when using sliders in Lightroom, for instance, where there’s a split second of delay between touching the slider with the pen and being able to move it. Accessing and navigating menus, however, doesn’t suffer from this lag.

The all-important screen is a comfortable size for working and although there’s no touch support available, this isn’t a problem for a pen display of this size. The screen has a color gamut of 120% sRGB with an 8-bit display of 16.7m colors, which is fine for general editing but color correction tasks would be better performed on a wide gamut monitor displaying close to 100% Adobe RGB 1998 if you have one.

The IPS screen features an anti-glare matte film with a brightness of 220cd/m2 and a contrast ratio of 1000:1. But despite being a matte screen, it does pick up fingerprints, so the included palm rejection glove reduces friction when drawing and ultimately reduces hand prints on the screen. This is a single-size stretchy glove that covers the outer edge of the hand, the ring finger, and the little finger and does indeed help to provide a more comfortable experience.

Out of the box, with the default settings of brightness and contrast at 50%, the screen is a little dull, but a small increase of both settings provides a greatly improved on-screen image. It’s certainly not as vivid as my OLED wide-gamut laptop screen or my wide-gamut monitor, but I found it to be perfect for the tasks I was performing with the Kamvas 13.

The Kamvas 13 response time isn’t particularly fast at 25ms, but it works well for editing and drawing – it simply doesn’t need to be super fast. There are also several screen modes available including gaming and movies, although you wouldn’t use this display for gaming based on its size and response time. 

Huion Kamvas 13: Verdict

If you’re looking for a pen display that doesn’t break the bank but provides the features and functionality you need for photo editing and drawing, the Huion Kamvas 13 is undoubtedly a compelling option. 

The image quality is impressive for the price once brightness and contrast have been adjusted, and although the 1080p resolution produces some chunkiness of the software interface, the image being edited/created doesn’t suffer from this so it’s not a problem. Of course, a higher resolution would be welcome, but the Kamvas 13 just manages to get away with 1080p.

What’s more, while the Kamvas 13 doesn’t provide the screen real estate and image quality of its higher-end sibling, the Kamvas Pro 24 4K, it’s a highly portable pen display that works well with desktops and laptops because it doesn’t take up much space. This is the main trade-off when considering larger models, although the smaller screen can tip the balance.

A great advantage of the relatively low price is that you can invest in your first pen display without breaking the bank to see how you get on. There’s also a clear upgrade path if you decide you like the experience and would prefer a larger and higher-quality display.

Huion Kamvas 13 Alternatives

The TUF Gaming F15 is made by ASUS and is squarely pitched towards gamers, hence the name. You would be forgiven for wondering why it is therefore being reviewed with creative professionals in mind rather than gamers. If it was called TUF Photo-editing F15 then you could understand the connection. 

The reality is that gaming laptops are often loaded with great processors, a decent amount of RAM, and fantastic graphics cards - all elements that contribute to a great experience for creatives. 

This model (FX507ZU) has an Intel i7 processor and a NVIDIA GeForce RTX 4050 Laptop GPU with 6GB GDDR6. It meets Photoshop’s recommended hardware requirements in every area which means you’ll have no problem running the likes of Photoshop and Lightroom. 

The TUF Gaming F15 definitely comes in at the top end of what would be considered a budget laptop. The spec matches the price and the inclusion of a number of different IO ports is a big plus. As a photographer, I love the SD card reader on my MacBook Pro, a luxury that is sadly missing on the TUF Gaming F15. 

The GeForce RTX 4050 is built on the Ada Lovelace architecture and is therefore perfectly positioned to provide the power for the latest tranche of AI-driven tools in the Adobe suite of products. 

Asus Tuf Gaming F15: Specifications

Model: FX507ZU
Operating System: Windows 11 Home
Processor: 12th Gen Intel Core i7-12700H Processor 2.3 GHz (24M Cache, up to 4.7 GHz, 14 cores)
Graphics: NVIDIA GeForce RTX 4050 Laptop GPU, 6GB GDDR6
Display: 15.6-inch, FHD (1920 x 1080) 16:9, Value IPS-level, Anti-glare display
Memory: 8GB DDR4-3200 SO-DIMM x 2, Max Capacity: 32GB
Storage: 512GB PCIe 4.0 NVMe M.2 SSD
I/O Ports: 1x 3.5mm Combo Audio Jack, 1x HDMI 2.1 FRL, 2x USB 3.2 Gen 1 Type-A, 1x USB 3.2 Gen 2 Type-C support DisplayPort / power delivery / G-SYNC, 1x RJ45 LAN port, 1x Thunderbolt 4 support DisplayPort
Touchpad: Yes
Camera: 720P HD camera
Battery: 90WHrs, 4S1P, 4-cell Li-ion
Weight: 2.20 Kg (4.85 lbs)
Dimensions: (W x D x H) 35.4 x 25.1 x 2.24cm

Asus Tuf Gaming F15: Key Features

Answering the question of whether the key features of the laptop will meet your needs is something only you can answer, I’m afraid. But maybe I can help a little. 

The display is 15.6-inch which is perfect for working on photos and videos. It’s enough screen real estate to run editing tasks when out and about but will definitely benefit from a second screen for more demanding creative projects. The FHD (1920 x 1080) resolution will be fine for photo editing but falls well short of the increasing demand for 4K video. If you find yourself only working with FHD footage then this laptop might be fine for now but certainly won’t be a long-term investment.

The touchpad is another key feature and it's a really good size. It makes navigating around photos and documents a breeze. The pad is pretty responsive although I did find the middle mouse click a little hard to use and at times unpredictable.

The 90Wh battery provides plenty of power for hours of editing, video playback, and web browsing and its super fast recharging enables it to go from 0-50% in as little as 30 minutes.

I would love to have seen an SD Card reader built into the device but that’s understandable given this is primarily a gaming laptop. Transferring photos and videos from cameras is a constant job for creatives but this will have to be achieved through a docking station or hub.

Asus Tuf Gaming F15: Design & Handling

The chassis has been redesigned for 2023, now 4.5% smaller than the previous design. It weighs in at 2.20Kg which is comparable with most laptops of its size but nowhere near as light and portable as the latest MacBook Pro’s for example.

The top of the laptop is metal with the sides and bottom being made of plastic. The materials make it feel mid-range but the addition of bevels and a sleek custom design give this laptop a visual wow factor. I didn’t find the keyboard to be particularly ergonomic and comfortable to use. I also thought the main keys were weighted too far to the left making it uncomfortable when typing. The RGB backlit colored keys were annoying but can thankfully be turned off. 

One of the selling points is its military-grade toughness, not something I tested for the review! They claim to have conducted rigorous MIL-STD-810H tests with the device exposed to drops, vibration, humidity, and extreme temperatures to ensure reliability. With this badge of honor, the laptop will survive the risks of using it at home, in the office, or out and about.

Asus Tuf Gaming F15: Performance

This laptop performs day-to-day browsing more than effectively with no hold-ups or lag. The 12th Gen Intel Core i7 processor paired with 2x 8GB DDR4 RAM enables this machine to handle photo-editing tasks with ease. The 16GB of RAM is perfect for opening and utilising multiple applications which is necessary for creatives needing access to multiple Adobe applications. 

The NVIDIA GeForce RTX 4050 is a mid-range GPU built on the Ada Lovelace architecture. It offers 2560 shaders and uses 6 GB GDDR6 dedicated graphics memory with a clock speed of 16 Gbps. This GPU has DirectX 12 support, and 6GB of GPU memory, both of which are either in line or above Photoshop’s recommendations.

The Cinebench scores came in at 6250 points for the GPU, 791 points for the multi-core CPU, and 96 points for the single-core CPU. The Geekbench score for multi-core came in at 10679 and single-core at 2419. Its GPU OpenCL score was 79031. During our Handbrake test, the TUF Gaming F15 transcoded a 10-minute 34-second 4K video to 1080p in 4 minutes 30 seconds.

Asus Tuf Gaming F15: Final Verdict

The TUF Gaming F15 is an excellent option for creatives who want a laptop at the top end of the budget category. An impressive processor and graphics card will work well for all types of editors but the lack of anything more than a FHD display will be problematic for video editors working with 4kK footage. A docking station or hub will be required to suit most workflows as this laptop doesn’t include an SD card reader. This mid-range laptop is a perfect all-rounder for creatives, gamers, and those working from home.

There are plenty of options in the budget to mid-range category with the Acer Nitro 5 providing similar specs. The HP Victus gaming laptop would be a more direct competitor but lacks the same level of processor or graphics card. 

Read more: check out our guide for the best budget laptops for more, or if you want to see the best of the best, take a look at our top picks for the best photo editing laptops and the best laptops for video editing.

The beginner interchangeable lens camera landscape used to be a fertile one, with Canon and Nikon both producing sub-$400 DSLRs, like Canon’s Rebel T7 (EOS 2000D) and Nikon’s D3000-series. However, since the move to mirrorless, and the substantial price hikes brought about by world events over the last few years, we've seen the cost of entry-level cameras creep up, while some manufacturers have simply discontinued their budget offerings altogether. 

So if you're looking to buy your first standalone interchangeable lens camera to further your photographic skills, what's left out there at an accessible price? Canon still has a tiptoe in the DSLR arena with cameras like the aforementioned Rebel T7 at $479, and even the rock-bottom Rebel T100 (EOS 4000D), though the latter is so crude we wouldn't recommend it even at its current $379 price. The de-facto beginner DSLR for many years was a Nikon D3000-series model, but these are no longer an option since Nikon discontinued the D3500 without replacing it. Yet even with Canon still just about in the game, it's getting harder to recommend a new DSLR of any kind, due to all lens manufacturers discontinuing their DSLR lenses at an alarming rate. There's little sense in buying into a dying ecosystem, irrespective of how cheap the entry point may be.

So the beginner photographer has little choice but to explore the mirrorless market. Sony has long been an obvious choice with its A6000-series APS-C offerings, but to get on the current lowest rung of that ladder - the A6100 - you'll need to part with $848 for an example with a kit lens. Nikon's entry-level Z 30 with kit lens is almost as pricey, costing $797. And since Fujifilm dropped its entry-level X-T200 and X-E4, its current 'starter' camera is now the X-T30 II, which with a kit lens will set you back a teeth-gritting $999. Olympus used to be a viable option with its PEN range, but that's been killed off too, leaving the OM-D E-M10 Mark IV as its cheapest option, which at $800 with a kit lens is just as inaccessible as the Sony and Nikon competition.

This leaves only two mirrorless manufacturers producing cameras which are close to being reasonably priced: Canon, and to a slightly lesser extent, Panasonic. Panasonic cameras like the G100, G85 and G7 can all still be picked up for less than $600. However, the G85 and G7 are both over six years old, so they're cheap for a reason. That just leaves the G100, which is more modern and therefore a genuine, viable option for a capable starter camera.

In the Canon camp we've got the EOS M200, but much more appealing is the M50 Mark II, which can now be picked up for $600 with a kit lens. This is tempting, but since the launch of APS-C EOS R-series cameras, the days of the M mount are surely numbered, and we have to assume EF-M lenses probably aren't going to hang around much longer, either.

By far the most recommendable starter camera on the market right now is the Canon EOS R100. At $599 with an 18-45mm lens, it's well priced, and it gives you an entry point into the vast selection of excellent R-mount lenses. Aside from the Panasonic G100, the EOS R100 is now the only camera worth considering if you want to take up photography as a hobby, using a dedicated interchangeable lens camera that’s accessibly priced.

While we're grateful that Canon and Panasonic are still catering to the more budget-conscious photographer, it's clear the beginner end of the camera market is in dire need of more competition. But help may be at hand, and from quite an unlikely saviour: TTArtisan. If you're unfamiliar with the brand, TTArtisan is a Chinese manufacturer of manual and autofocus lenses for various mounts, following the likes of Yongnuo and 7Artisans. The company was only founded in 2019, but in a recent interview with Richard Wong, TTArtisan's founder Qing Li revealed the brand could possibly be developing its own camera. This is potentially big news, as TTArtisan has carved its current niche in the lens market by producing low-cost optics, so it'd make sense for the company to adopt a similar business model if it were to produce a camera. And as is now sadly clear, it's not like the entry level camera market is oversaturated, making a new model a potential easy win.

So what could a TTArtisan camera look like? We'd have to assume it'd be Micro Four Thirds based, as this is the only major open-standard lens mount, and a standard which TTArtisan became an official member of in 2022. The L mount could be an alternative, but in the same interview it was also revealed that the company does not currently have plans to join the L mount alliance. Precedent has already been set for a Micro Four Thirds camera from a budget Chinese lens manufacturer, as Yongnuo did exactly this with its YN455: an intriguing Android-based interchangeable lens MFT camera. Unfortunately it doesn't appear to have been a sales sensation, but this was two years ago, when competition in the entry-level camera market was a little stronger. We'd wager conditions are now more favourable for a niche manufacturer to produce a successful cheap mirrorless camera, but we'll have to wait until next year for more details on what TTArtisan may be working on.

You might also like:

The best camera for beginners
The best cheap cameras
Best compact cameras
Best cameras under $500 /£500
Best bridge cameras
Best point-and-shoot cameras 
Best mirrorless cameras

It happened so quietly that most people barely even noticed it, but it is absolutely undeniable: vlogging cameras are the new entry-level cameras – and with them, the industry is welcoming a completely new kind of entry-level camera user. 

It's a phenomenon that's been going on for some time now. I've previously written, for example, that Sony is releasing so many new vlogging cameras that I can't tell which one is which. And at the same time, in Japan, Sony has been overhauling its stores to focus on videography. 

Canon has doubled down on vlogging cameras, too, launching both the Canon EOS R50 aimed at traditional content creators, and the Canon PowerShot V10 offering an all-in-one "my first vlogging camera" (which, incidentally, I think is the most revolutionary camera that Canon has ever made). And for the first time, Fujifilm has put a Vlog function on the mode dial (on the Fujifilm X-S20).

Everywhere you look, manufacturers are pushing vlogging cameras instead of their traditional entry-level cameras – and the reason is so obvious. Going back at least two years, market trends showed that while the traditional camera market has been shrinking in every other sector, the single growth area is in vlogging. Not video, but specifically vlogging – driven in principal by YouTubers and content creators.  

This is born out in a recent story I wrote, "The camera market has recovered" thanks to entry-level cameras, where both official CIPA data and retail spokespeople confirmed that vlogging cameras have become the new entry-level imaging devices. 

"It can be said that vlogging cameras are entry-level machines that expand the base of camera users," wrote Japanese business daily, Nikkan Kogyo Shimbun. 

"Camera manufacturers are competing in the video blog (vlog) market… Each company has equipped their products with functions necessary for vlog shooting," it continues, observing that Sony has even launched the dedicated Vlogcam line (known as the ever-growing ZV product line in the West, currently consisting of five separate cameras). 

"While domestic camera companies are entering the vlog market one after another, small video cameras developed by GoPro in the United States are also sweeping the market."

My colleague Hannah was recently lamenting the demise of traditional entry-level DSLRs, and wondering where all the entry-level cameras have gone. The answer, it seems, is that they've become vlogging cameras – and the people who buy their first cameras aren't beginner photographers any more, now they're beginner vloggers.

We need to stop thinking of entry-level camera buyers as being photo-oriented. The truth is that, no matter how much the industry wants to entice smartphone shooters to upgrade to a "proper camera" for better image quality, the best camera phones are more than good enough for the vast majority of people. 

So the next time you're watching some hapless YouTuber online, or you see someone on the street shooting with a gimbal or Gorillapod, don't snicker – these people are the lifeblood, and possibly the very future, of the camera industry. 

If you've read this far, you'll probably be interested in the best cameras for vlogging, the best YouTube cameras, the best cameras for Instagram and the best cameras for TikTok.

Ever since the pandemic torpedoed the camera market we've been bombarded with headline after headline about the collapse of the industry. But what if we told you that, "in fact, the camera market has recovered"? 

That's according to a report from Nikkan Kogyo Shimbun, one of Japan's leading daily business newspapers. And what's responsible for this recovery? Entry-level cameras. 

• Just getting started? These are the best cameras for beginners

"Sales of cameras in general have been growing since 2021, and the driving force is introductory models that even beginners can use," says the report, citing data from industry body CIPA – the Camera and Imaging Products Association.

"The shipment value of digital cameras in the January-June period increased 12.6% year-on-year to approximately 313.7 billion yen [around $2.2 billion / £1.7 billion / AU$3.4 billion]. Mirrorless cameras are steadily increasing in terms of shipment value and volume."

Clearly we're not talking about recovery to the levels of the industry's peak, in 2012, where 20.16 million cameras were sold (CIPA currently estimates that around 5.72 million cameras will be sold in 2023). However, 12.6% growth over the past year is certainly a remarkable recovery. But is it down to entry-level cameras alone?

Obviously there are other key factors. While the supply chain and manufacturing issues persist, disruptions are less severe than they were a year ago. And of course, people aren't locked in their homes hiding from the pandemic any more. So not only are they travelling again, they are also making purchases to support their travels – including camera equipment. 

A lot of people developed an interest in photography and videography during the various lockdowns, many of whom were using the smartphones they already owned, so it makes some sense that they would then 'graduate' to beginner camera systems. 

"The increase in opportunities for consumers to go out against the background of the [COVID de-escalation] is a tailwind for the camera market," continued the report. "Manufacturers have introduced models that are easy to handle even for beginners." 

However, the real boom seems to have been in vlogging and video-oriented cameras – which in many ways have become the 'entry-level cameras' of this generation.

Indeed, a CIPA representative "expects the camera for vlogging to become an introductory machine that will broaden [the market]". And Hironobu Shimoyama, of Japanese electronics giant Yodobashi Camera, concurred that "demand for video recording is increasing significantly." 

Either way, the key takeaway is that the camera industry is officially rebounding from the crippling effects of the pandemic. The question is, is this just a levelling of the market, or will this shift in what is considered an entry-level camera result in an all-new opportunity for growth? 

You might be interested in the best student cameras, the best budget DSLRs, and even the best drones for beginners.

When was the last time you heard of one of the big-name camera brands release a true entry-level camera? Gone are the days where you could pick up a beginner DSLR for under half a grand with a lens. Today's "entry-level" systems aren’t even that entry-level at all – most of them have impressive autofocus systems, pretty high-resolution sensors, a lot of smart features such as eye and face tracking, and most lack a guided mode. 

The best cameras for beginners have changed a lot since the Nikon D3200 or Canon EOS 600D were in their heyday. They offered newbie photographers an affordable, easy-to-use setup with dedicated tutorial modes, which were very helpful for learning how to shoot manually, create a blurred background or capture motion. More often than not, they lacked the high-precision autofocus systems that more professional cameras featured, the continuous burst mode was pretty slow, and the sensor resolution was nothing to shout about – but that was their charm, too. 

Other than the Canon EOS R100 and the Olympus OM-D E-M10 Mark IV, I can’t think of any mirrorless camera that feels like it's truly aimed at the entry-level. Even the R100 has Dual Pixel CMOS AF, can shoot 4K 25p video, has a 24MP sensor and a continuos burst mode of 6.5fps. Its by far Canon's most basic mirrorless system, but it still has a lot going for it. 

One of the reasons that entry-level cameras may not be as popular today is because there isn’t much demand for them. For most people, the best camera phones offer good enough quality and many even come with features that enable you to manually adjust exposure, aperture and even shoot in RAW. 

The recent iPhone Photography Awards are proof that you don’t even need the latest phone to take impressive photos, so in many ways phones have almost replaced entry-level cameras. After all, why carry around a chunky DSLR when you can take a decent-enough photo with a pocket-sized device?

Another reason that entry-level systems aren’t as basic as they used to be is that camera brands want to give systems longevity. Currently the cheapest Fujifilm camera is the X-E4, after the Fujifilm X-T200 was discontinued due to poor sales. In a PetaPixel interview with Yujiro Igarashi from Fujifilm, David Etchells asked the divisional manager of the Imaging Solutions Divisions why Fujifilm seemed to have stopped its line of entry-level systems, and whether there was any demand for a lower-cost model. 

"I think there’s potential there, but it’s a matter of the performance versus cost, if that makes sense. If we were to introduce such a product, we’d of course need to make sure that the image quality was good enough and the performance was good enough." 

Fujifilm believes that in order to keep customers, it should be offering camera systems that entice people to stick with them by balancing performance and image quality with cost. As Etchells remarks, there’s no point in making a cheap camera that gives people a bad experience. 

I can understand why camera companies are focusing on making cameras with more advanced features. There might be a small population who feel like they are missing out on cheaper models but, ultimately, the entry-level DSLRs of yesteryear were quickly outgrown. If you really got a taste for photography, before long you'd want faster autofocus, more resolution and quicker burst modes – so in some ways it's better to spend a bit more once than to buy twice.

If money is tight, also check out the best cheap cameras that give you the best photographic features and image quality for your budget. 

The Sony A6700 is the company's flagship APS-C camera, while the A7C is its cheapest full frame model. Both are hybrid stills/video cameras designed for content creators who need to shoot both types of content. 

The Sony A6700 is packed with power but uses a smaller sensor, while the Sony A7C has less sophisticated video features but a bigger full frame sensor. It's a tricky decision! Our Sony A6700 vs A7C comparison drills down into all the key features and differences to help you decide which camera might be best for you.

Hybrid cameras are big news these days, and the new Sony A6700 has all the qualifications to be amongs the best hybrid cameras you can buy right now. Alternatively, the Sony A7C, while not our favorite camera for handling or cutting edge tech, is still one of the best Sony cameras for beginners and, with its retracting 28-60mm kit lens, is worth considering amongst the best cameras for travel.

The reason we're comparing them, and why we think many buyers will too, is quite simple – price. The Sony A7C is only a little more expensive than the A6700, but brings all the benefits of a full frame sensor – better sensitivity and dynamic range, less noise and the potential for shallower, more 'cinematic' depth of field. 

There are also many more full frame Sony FE mount lenses than there are APS-C E-mount optics, and while you can of course fit full frame lenses on the A6700, this will bring a 1.5x crop factor which restricts their angle of view.

So let's take a much closer look at these cameras' key features and how they compare in order to see where their strengths lie and which might be best for different types of users.

Sony A6700 vs A7C in 2026

1. Sensor/processor

• Sony A6700: 26MP APS-C back-illuminated Exmor R CMOS image sensor with BIONZ XR
• Sony A7C: 24MP full frame back-illuminated Exmor R CMOS with BIONZ X

The AP-C sensor in the A6700 is a more modern design and in fact has a slightly higher resolution, though this won't have any real practical implications for either stills or video. The key difference here is the sensor size. The larger sensor in the A7C is likely to deliver just a little less noise at higher ISO settings and perhaps a small advantage in dynamic range. 

The main factor, though, is that bigger sensors use longer focal length lenses to achieve the same angles of view, and this brings shallower depth of field. If that's the look you like, the A7C will do it just a little better.

And while Sony has, to its credit, continued to develop its APS-C lens range alongside its full frame optics, the Sony A7C does offer a somewhat wider lens choice.

2. ISO range

• Sony A6700: 100 to 32000 standard range, exp ISO 50 - 102400 for stills
• Sony A7C: ISO 100-51200, exp ISO 50-204800

The advantages of the larger full frame sensor in the A7C are reflected in its higher ISO range. The APS-C Sony A6700 tops out at ISO 3200 (this can be expanded to ISO 102400 for stills), but the A7C goes higher still at ISO 51200 in its standard range and ISO 204800 expanded. With the A7C, Sony said it concentrated on noise control in the middle ISO range.

3. Autofocus

• Sony A6700: Still images: Max. 759 points (phase-detection AF) Movies: Max. 495 points (phase-detection AF), AI processing unit from A7R V, human, animal, bird, insect, car/train, and airplane recognition for both stills and video
• Sony A7C: 693 phase-detection AF points cover approx. 93% of the image area, same AF advancements as Sony A9, AI-based Real-time Tracking and Real-time Eye AF, Real-time Eye AF for Animals

Sony's autofocus advances continue at breakneck speed, and the Sony A6700 now has the dedicated AI processor first introduced in the Sony A7R V. This allows AI subject recognition for all kinds of common objects including humans, animals, birds, insects, cars/trains, and airplanes. It also has a huge number of phase detect AF points – 759 for stills and 495 for video.

The A7C does not have this sophisticated AI AF, but it's no slouch. With 693 phase detect AF points of its own, covering 93% of the frame area, it uses AI-based Real-time Tracking and Real-time Eye AF for humans and animals. It doesn't have the same subject recognition, but it does use Sony's clever distance/pattern based tracking tech that may prove perfectly effective in its own right, depending on your subjects and shooting style.

4. Video

• Sony A6700: 4K 30/60p from 6K oversampling, up to 120p (38% crop), 4:2:2 10-bit internal recording, 14+ stops dynamic range (S-Log3) , S-Cinetone picture profile, AI-driven Auto-Framing (cropped from 4K resolution)
• Sony A7C: 4K 30p oversampled from 6K, up to 120p FHD in S&Q mode, 4:2:0 8-bit internal recording, 4:2:2 8-bit via HDMI, 15 stops dynamic range (S-Log3)

This is where the Sony A6700 streaks ahead. We thought when the A7C was launched that its 4K 30p maximum was a bit pedestrian, and it looks even more so now. Both cameras capture full-width 4K video oversampled from 6K capture, but while the A7C is stuck at 30p, the A6700 can also capture at 60p and, with a crop, 4K 120p.

The A6700 is also better for color grading. Both cameras offer Sony's S-Log3 capture, but the A7C is limited to 4:2:0 8-bit capture, while the A6700 can record 4:2:2 10-bit internally, which offers more data for effective color grading. The A7C has a slight dynamic range advantage in S-Log 3 mode (15 stops vs 14+ stops), but any difference might be hard to spot.

The Sony A7C looks fine if 30p 4K capture is enough and you don't do too much color grading, but the A6700 is a much more powerful camera for serious filmmakers.

5. Stabilization

• Sony A6700: 5-axis IBIS, 5-stop of compensation, Active Mode DIS (slight crop)
• Sony A7C: 5-axis IBIS, 5-stop compensation

Both cameras have 5-axis in-body stabilization, both rated at 5 stops of compensation, so there's no clear winner here. The Sony A6700 does have Sony's Active digital stabilization mode to offer extra shake reduction, though this does come with a crop factor. The A7C does however, uses Sony's gyro stabilization system, and its own Catalyst video software can use this to apply digital anti-shake – though it does mean an extra step in your editing workflow.

6. Continuous shooting

• Sony A6700: 11fps, JPEG Fine/Standard: over 1000 frames , raw: 59 frames
• Sony A7C: 10fps, 223 JPEG, 115 raw

You probably wouldn't choose either of these cameras specifically for shooting sports and action, but they both do it pretty well. The A6700 can shoot slightly faster at 11fps, but the 10fps of the Sony A7C is so close you probably won't notice much difference.

But while the A6700 has a better buffer capacity when shooting JPEG images, the A7C has a higher capacity for raw files, with the potential to capture a 10-second burst without slowing.

7. Viewfinder and screen

• Sony A6700: 0.39-inch, 2,359k dot EVF, 0.7x magnification, 3-inch vari-angle touchscreen, 1,036k dots
• Sony A7C: 0.39-inch, 2,359k dot EVF, 0.59x magnification, 3-inch vari-angle touchscreen, 921k dots

There's no difference in the resolution of the electronic viewfinders on these two cameras, but a closer look at the specs reveals that the A7C has a significantly lower magnification, and many reviewers have commented on the rather cramped viewfinder. The higher magnification of the A6700's EVF is a definite advantage.

The rear screens are much more similar. Both cameras have 3-inch vari-angle flip-out touchscreens, and while the display on the newer A6700 has a slightly higher resolution, the 921k dot screen on the A7C is practically as sharp.

8. Storage

• Sony A6700: 1x SD UHS II
• Sony A7C: 1x SD UHS II

We're slightly surprised that Sony didn't included a dual-format SD/CFexpress Type A card slot in the A6700 to take full advantage of its processing power and video capabilities. As it is, both cameras use a single SD UHS II compatible card slot, so there are no differences here.

9. Power

• Sony A6700: NP-FZ100, Approx. 550 shots (Viewfinder) / Approx. 570 shots (LCD monitor) (CIPA standard), USB Type C PD
• Sony A7C: NP-FZ100 battery, 680 shots viewfinder, 740 shots LCD, USB Type C PD

There are no differences either in the batteries, as both models use Sony's high-capacity NP-FZ100. What is curious, though, is that you don't get quite as many shots on the A6700 as you do on the A7C – and we noted in our Sony A6700 vs A6600 comparison that Sony's new camera was down on battery life compared to its predecessor too.

550/570 shots on a full charge is still pretty good going for a compact mirrorless camera, but the Sony A7C is better still with 680/740 shots on the same battery. Filmmakers will probably carry spares anyway, but stills photographers may be convinced not just by the A7C's full frame sensor but by its longer battery life too.

10. Connectivity

• Sony A6700: Multi-Interface (MI) Shoe, USB Type C, HDMI micro connector (Type-D), 3.5mm mic, 3.5mm headphone, Remote, Wi-Fi, Bluetooth
• Sony A7C: Multi Interface (MI) Shoe, USB Type C, HDMI micro connector (Type-D), 3.5mm mic, 3.5mm headphone, Wi-Fi, Bluetooth

The Sony A6700 and A7C have the same set of connection options. These include Sony's bespoke Multi Interface (MI) shoe for attaching its digital mics, though you can connect regular analog mics to both cameras via their 3.5mm mic sockets. They both have 3.5mm headphone sockets for audio monitoring too.

The A6700 and A7C use modern USB-Type C connectors which support in-camera charging, but they also have smaller HDMI Type-D micro-connectors rather than full-size HDMI, which won't please everyone.

11. Size and weight

• Sony A6700: 122.0 x 69.0 x 75.1 mm, 409g
• Sony A7C: 124 x 71.1 x 59.7mm, 509g

As you would expect, the Sony A7C is heavier than the A6700, but not by much. The A6700 uses recycled plastics to keep its weight down to just 409g, but at 509g the full frame A7C is still something of a lightweight.

The physical dimensions are closer still. The A7C is a couple of millimetres wider and taller than the A6700 but has a much slimmer grip so the body is not as deep overall. Sony does claim that with the FE 28-60mm lens the A7C is the smallest full frame mirrorless camera in the world , and while that may be true, that claim relies more on the size of this retracting lens than the camera. Add a regular size full frame FE lens, and the A7C loses much of its claim to compactness.

12. Price

• Sony A6700: $1398/£1449 body only, $1498/£1549 with 16-50mm, $1798/£1799 with 18-135mm
• Sony A7C: $1798/£1699 body only, $2098/£1969 with 28-60mm lens

The Sony A7C is rarely discounted, and even when it is the savings are pretty modest. As a result, it's held its price well (a bit too well!) and remains around $400/£300 more expensive than the A6700. As a value proposition it doesn't look so good. But then you are getting a full frame sensor with all the advantages that brings. The A6700 certainly offers more tech and features for less money, but it does have a smaller APS-C sensor.

Sony A6700 vs Sony A7C: conclusions

The Sony A6700 is Sony's most powerful APS-C camera yet, and especially impressive for its hybrid stills/video capabilities. It's a pretty good stills camera too, with its new 26MP sensor, but it's even better as a video tool, with dramatically improved frame rates and capture options compared to its predecessor.

But it's also quite expensive, and quite close to the price of the full frame Sony A7C. This is an older camera with less sophisticated video features but with a full frame sensor, offering advantages in image rendering and lens choice.

If your primary interest is stills photography, the Sony A7C looks to us to be the better option. But if your primary interest is more advanced video techniques, vlogging and filmmaking, the A6700 is a lot more appealing.

See also Sony A6700 vs A6600
and Sony A6700 review or Sony A7C review

For a long, long time we've been recommending the Nikon D3500 and the Canon EOS Rebel cameras as some of the best cameras for beginners. They don't cost much but they take high-quality images, you can swap lenses and you have many of the manual controls of professional cameras to help you learn about photography.

But the Nikon D3500 is no longer available new, and the Canon EOS Rebel SL3 looks like it's not far behind. That might seem natural enough as mirrorless cameras take over from old-school DSLR designs, and we have new low-cost mirrorless cameras like the Nikon Z30 and Canon EOS R100 to replace them. Most of the best Nikon cameras and best Canon cameras are now mirrorless, so what's the problem?

Cost is not (the only) issue

Canon and Nikon have done well to keep the cost of their new models down, but even so beginners are faced with an outlay up to two times higher than for previous beginner DSLRs. The Nikon Z30 is cheap but has no viewfinder (you have to step up to the Nikon Z50) and the EOS R100 uses last-generation sensor, AF and video technologies (you have to step up to the Canon EOS R50 to get up to date).

But the real issue is lenses. The Nikon D3500 and EOS Rebel line were backed up by a large ecosystem of own-brand and third-party lenses from fisheyes to ultra-wide zooms, to superzooms to telephotos. You weren't just buying a camera, you were buying into a system of almost limitless potential.

Their replacements are very different.

Where are the lenses?

At the time of writing, Canon has released just three dedicated RF-S lenses for its smaller format cameras – two kit lenses and a telephoto zoom. Nikon has gone a little further, matching that and adding a semi-wide prime and a video-centric ultra-wide zoom for vlogging. 

But neither system has anything like the depth and breadth of lens choice of the old-school DSLRs they're replacing. They offer a foothold in each company's larger full frame camera systems, but they are not in any way complete systems on their own. Not any more. And there's no definite indication they ever will be. 

The fact is that the best Nikon Z lenses and best Canon RF lenses are almost exclusively for their full frame cameras.

So while the Nikon Z30 and Canon EOS R100 are, truthfully, very good value for modern mirrorless cameras and excellent tools for beginners, they are not the complete camera systems that their forbears were.

If you want a mirrorless replacement in every sense for those old beginner DSLRs, then you have to go for a brand that specializes in smaller formats, like Fujifilm or OM System, or bite the bullet and step up to one of the cheapest full frame cameras. 

If anyone asks me now about the best cameras for beginners today, I'm going to have to point them towards cameras that have proper lens systems behind them, not just cameras which are cheap.

Best budget DSLRs
Best cheap mirrorless cameras

As exciting as Canon cameras are technically, is their design getting stale? Canon’s design seems to be perpetually safe, surfacing up the same camera bodies inspired by the DSLR era and just filling the rehashed designs with new technology.

To be clear, I am talking more about entry-level models like the recently announced Canon EOS R100, and less about Canon’s pro models. Having familiar polycarbonate bodies that can take a beating works for professional models like the Canon EOS R3, but Canon’s shrunk-down versions aimed at beginner and enthusiast photographers just bore me with their perfectly nice, but pedestrian designs. 

Canon's cameras are Russian dolls, all looking near identical, save for their decreasing size, with each entry increasingly looking like the result of asking generative AI to redraw a new Canon camera. It feels like Canon is afraid to try new things with their main range at risk of upsetting someone, and thus Canon’s lower-end cameras just don’t feel exciting or innovative to look at as other brands do.

In contrast, Fujifilm, which between its Instax range of cameras and retro-inspired cameras like the Fujifilm X100V is just the coolest camera brand right now, demonstrates exactly how to take desirable designs from the past and remake them for today. Fujifilm also nails distinct product design families, the Fujifilm X-Pro3 and Fujifilm X-H2 are very different cameras both in looks and technology, and both have a clear idea of exactly what type of consumer they are for.

It’s not like Canon doesn't have a shortage of past cameras for reference designs. Two of the biggest-selling cameras of all time are the Canon AE-1 and the Canonet QL17 G-III, which both coincidentally are very attractive-looking cameras. Reviving desirable old-school camera design is a message Nikon has understood loud and clear with the release of the popular Nikon Z fc.

But Canon doesn't have to look to the past. Sony also excels at separating its cameras into distinct categories by their designs alone, ZV cameras are for vlogging, FX cameras are for filmmakers, and A-series cameras are traditional photographers and hybrid shooters. Sony cameras have a distinct design that has subsequently attracted a legion of devout followers, especially from younger generations.

Canon briefly tried something different with its EOS M range of cameras, like the excellent Canon EOS M6 Mark II, using new materials and a new design aesthetic, which felt like a breath of fresh air from the stagnant DSLR designs. The EOS M obviously failed to be the runaway success Canon hoped for, but I am not sure design was to blame as for those who actually used them, the EOS M cameras were well received.

Canon still throws out curveballs, like Canon Powershot V10, a camera designed for cool young vloggers while actually looking like someone tried to tart up a police body camera, but love it or hate it, I just wish that Canon would take some similarly inspired risks with their main EOS R series of cameras.

For myself, I use Canon EOS R cameras for a lot of my professional photography work because I love their controls, fantastic technology, and incredible images. However, day-to-day I use Fujifilm cameras as I just enjoy the look and feel more, but also how I feel using them. How much I use my cameras is going to directly determine how much I value them, and value replacing them in the future with newer models… or maybe looking to other brands.

You can find out more about the best Canon camera in our guide. Or if you are already a Canon shooter, find out some of the best Canon lenses for your camera.

Instant print photography is all about fun and simplicity. While there are devices now available that add rear plate LCD screens and various in-camera editing options to provide users with an experience somewhere between an analog and a digital camera, the Kodak Printomatic Instant Print Digital Camera is pretty much as basic as we can get. 

Read more: see our guide for the best digital instant print cameras.

There’s no LCD screen for composing and reviewing our shots, just an old-school optical viewfinder, which is fine. We do however get the option to store captured images if we insert a microSD card at the base of the device. Plus instead of the instant print camera being powered by the usual handful of bulky AAs, instead, there’s a rechargeable lithium battery secreted within the Kodak’s plastic body. A USB port for charging is located next to the card slot.

Like similar entry-level instant print camera options from rivals Canon, Fujifilm, Lomography and Polaroid, the operation on this Kodak is 'auto everything' all the way: automatic focus and automatic printing. And we can’t grumble about that, given that its pocket-friendly size – it’ll rest easy in an adult palm – and pocket-money pricing means that there's plenty of gifting potential here.

Like other Kodak branded instant print cameras the 'Printomatic' employs Zink (zero ink) technology, with small 2x3-inch prints emerging fully finished and dry-to-the-touch. We don’t get the magical experience of a color image gradually appearing from a milky white base as we do with rival Fuji or Lomography cameras, though the internal whirring and clicking of this Kodak before we see our finished credit-card sized print does still an 'experience'.

Whether the novelty for users wears off quickly or if this is an experience they’ll want to repeat time and again depends on the performance and the output, of course. So how does the Kodak Printomatic Instant Print Digital Camera fare in that regard?

Specification

Sensor: 5 megapixels 
Sensitivity range: Automatic
Video: No
Lens: 8mm, f2
Monitor: No
Viewfinder: Yes, optical
Battery life: 25 prints per charge
Dimensions: 25x123x79mm
Weight: 199.5g

Key features

There’s no LCD screen provided with this digital camera and printer hybrid. Thus we don’t get the chance to preview or edit photos within the device itself before they’re printed, and so potentially avoid wasting paper on dodgy framing or blurred images. 

Though, as with most instant print cameras it’s mostly a case of ‘point and pray’ when shooting here, this Kodak’s old-school optical viewfinder, positioned top left hand corner of the camera back, does provides the handy guide of a small frame overlay. It goes without saying that only what’s within the marked frame that will end up as a finished print.

We’re not great fans of the washed-out colors delivered by Kodak’s zero ink 'Zink' prints when compared with Instax instant prints from rival Fuji. But one possible advantage here is that the Kodak prints all arrive adhesive-backed, so if so desired they can double up as stickers. At the same time, if left as prints they’re less flimsy to the touch than most stickers.

As well as being able to achieve credit card-sized prints of whatever is in front of the wide-angle lens, we further get the ability to insert a microSD card to save our five-megapixel sensor-derived pictures digitally for posterity.

Build & Handling

The cool white and 'Kodak yellow' styling of our particular review sample goes someway to disguising the fact that the Kodak Printomatic Digital Instant Print Camera is the usual boxy design. Alternative camera body colors are also available. 

We still have to marvel at the inclusion of a camera and printer within the one device that fits in our palm at only two or three times the thickness of a mobile phone handset, despite looking and feeling rather plastic-y at its pocket money price tag.

However, the decision not to include a USB cable with the camera feels like a cost-cutting exercise too far, as, even though we might in theory already have a compatible lead that works with our smartphones or tablet, said cable is essential for recharging the battery and on-going operation. We borrowed the USB cable that comes supplied with the more expensive Kodak Step Touch Instant Print Camera; otherwise, we’d just have been left with a rather colorful plastic doorstop.

Loading the starter pack of a mere five sheets into the camera is simple enough. It involves sliding open the back cover and dropping the sheets into the recess provided, with the blue calibration sheet at the bottom, before pushing the rear plate back into place. This is a simple enough process that shouldn’t tax either the kids or grandma and granddad. 

Packs of 50 or 100 sheets are readily available and work out cheaper per print in the long run. Printing is a fully automatic process that commences a second or two after the shutter release button has been squeezed. This ‘gap’ sometimes prompts us to fire off an extra shot and waste a sheet. Incidentally, the battery in this particular model is claimed to last 25 prints before it needs recharging, compared to 40 prints for the more expensive Kodak Step Touch alternative.

There’s no carry case or lens protector supplied with the camera – it arrives with a peel-off adhesive sheet protecting the lens out of the box – although third-party manufacturers do offer optional camera cases that fit this model.

Performance

It’s point-and-shoot all the way as expected with the auto-focus Kodak Printomatic Instant Print Digital Camera and its wide-angle f/2 aperture lens. If we’ve one grumble it’s that the power on/off and shutter release buttons have both been placed next to each other on the far right of the top plate. This means that with our eye occupied by whatever we can see through the optical viewfinder, it’s easy to hit ‘power off’ when we meant to hit shoot. 

The shutter release also seems rather sensitive generally, and we found ourselves accidentally taking pictures when we didn’t mean to. Being able to review the pictures before they print – rather than printing being an automatic process – would have been advantageous here.

Of course, our minor grievances come with the caveat that the focus here is on fun rather than color and subject fidelity. Thus many will be prepared to overlook the fact that the Zink prints more closely resemble color photocopies than true photographic prints we’d get back from the lab or local retailer. 

Generally, the look is very flat and two-dimensional. Still, younger members of the family thrilled by the theatrics of a print emerging from the device shortly after they’ve clicked the shutter release button will doubtless be far less critical!

Verdict

The Kodak Printomatic Digital Instant Print Camera delivers good, clean, simple pleasure but loses a star for bizarrely not including the essential element of the USB lead it requires to power it up. We’re also deducting a star for the crude appearance of the prints automatically made on Zink photo paper. Not that the younger members of the family who want to peel off the back and turn them into stickers will mind we’re falling far short of gallery quality here. 

And, if your budget will stretch to it, we’d recommend the more advanced alternative in the identically sized Kodak Step Touch. While not perfect, the pricier model has the advantage of a back plate LCD for reviewing shots before printing them – and so avoiding waste. It also thankfully arrives supplied with a USB lead, so no need to hunt around at home for one that fits.

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If you are tempted to buy this instant print camera be aware its manufacturer also offers the similar-in-appearance Kodak Step – which comes with a pop-up optical viewfinder – as well as the Kodak Step Touch which adds a very useful, if hard to-view in sunlight, touch screen LCD, and pop up flash.

In February 2023, DJI announced the DJI Mini 2 SE with little fanfare, and a predictable inflationary price bump, but there are changes inside in this DJI Mini SE successor. But when the newer version becomes available, will the newer more expensive version be worth the extra (assuming the Mini SE stays on sale in some places)?

Before we dig deeper, though, what are these budget drones? The answer is likely readily apparent to anyone familiar with the tiers of iPhone Apple offer; the iPhone SE is the cheapest, based on older styling and tech than the latest models. It exists to keep the entry price point for Apple’s generally pricey products low, yet maintains the brand’s high minimum standards.

We’re sure it’s no coincidence that DJI chose the ‘SE’ moniker. In general it seems much of the overall feel of DJI’s generally high-quality packaging owes something to Apple, but then the same could be said of many tech firms now. 

Still, in a growing market the ‘SE’ was a means of keeping alive expensive R&D which was still more than good enough for most users. Where Apple recycled the shell of older iPhones, DJI first took the 2019 Mavic Mini and repurposed the shell and many other components as the Mini SE in 2021/22 (depending where you lived). This while the Mavic Mini was replaced by the improved Mini 2.

The upshot; yes, there are definitely a few very similar product names (another comparison which can be leveled with the fruit-based tech firm), and now there are more choices from DJI in this crucial weight category. (We shouldn’t forget the Mini 3 has effectively replaced the Mini 2, while a Mini 3 Pro sits above that.

Outside the ‘mini’ zone DJI has other drones, like the heavier Mavic 3, but all the drones with ‘Mini’ in the name have a take-off weight of 249g or below. That puts them in the European A0 class, or below the registration weight in the USA. That’s why you see so much investment and choice here. Which, then, is the right choice for you?

DJI Mini vs Mini 2 SE: Build and design

Simply put, we’re not going to need to spend a lot of time on this heading. The most obvious difference between the two drones themselves is the model name on the arm. That’s because the airframe remains the same between the two drones, and, indeed, it was inherited from the Mavic Mini before that. 

The design is a good one, with propellor blades which extend thanks to centripetal force when in use, helping the aircraft fold to a compact size. There is a 3-axis gimbal around the camera at the front, shielded to some extend by the fuselage overhang. The replaceable battery pops in and out of a door at the rear and, when the battery is in place, a quick tap of the power button will show you the charge on a 4-light power meter.

Both drones accept a MicroSD card and have a USB-C socket for charging the battery.

Don’t worry though, there is a bit more going on here as you’ll discover when we get to the Controller and Range heading.

DJI Mini SE vs  Mini 2 SE: Speed and manoeuvrability

The same airframe has more or less the same level of speed and manoeuvrability. Not a surprise, for sure, but it is still worth noting that the wind resistance of 10.5 meters per second is a notable improvement on the first Mavic Mini, which means that both of these drones are a little more reliable in gusts. This is helped by DJI’s software literally enabling the drone to lean into the wind at up to 20˚ (or 30˚ in the faster ‘Sport’ mode).

The built in GPS and downward-facing optical sensor also mean the drone is good at maintaining its position or heading with minimal effort on the pilot’s part. For users focused on the quality of video or image they’re capturing that is significant. 

Interestingly, though, the Mini 2 SE claims a slight improvement wind resistance; an extra 0.2m/s bringing it up to 10.7 m/s. This is still very much in the same wind force Level 5 as the Mini SE, but now matches the Mini 3 series. Beyond that, it seems, for now anyway, the physics of these lightweight drone’s sail area versus weight is the limiting factor.

DJI Mini SE vs Mini 2 SE: Battery life

DJI Mini SE flight time: 30-minute max

DJI Mini 2 SE flight time: 31-minute max

While both drones use the same battery – listed on DJI’s accessory shop as the DJI Mini 2 battery – it seems that the Mini 2 SE can squeeze an extra minute of flight time out of it. A minute isn’t a lot, but that is useful time, at least if you’re looking to get to a certain position and start capturing. If you’re just in the air for fun – and who can blame you – then take-off and landing are likely less of a chore

Minimal improvements like this come with improvements to motors or just the software driving them (both drones use identical propellors, too). It is worth noting, though, that in both cases the maximum flight time is measured at constant forward travel; hovering actually uses more power so drains the battery a little faster.

Sadly, unlike the Mini 3, there is no option of installing a more powerful battery for an extended flight time, but half an hour is still an impressive amount of time, beating the Autel Nano, for example. There is also the option of DJI’s Charging Hub for these batteries. It has three bays, and charges in sequence, making it easier to charge (and carry) batteries efficiently.

DJI Mini SE v Mini 2 SE: Gimbal

Having a gimbal-mounted camera is probably what truly sets aside DJI and competitors like Autel aside from the herd of cheaper beginner drones. Sure, you can go cheaper by replacing this mechanical component with simple cushioning, but the results are poor (at least that we have seen so far).

The 3-axis gimbal – and its mount –both absorb the vibrations of the aircraft and counter the bodies movements to ensure smooth video is output from the camera. Both drones also offer the same level of manual control; you can tilt the camera from straight down to level (or 20˚ up, via an option in settings). 

Here is where we see the biggest difference between the two models. The New Mini 2 SE comes with DJI’s new style of controllers, the RC-N1, supporting the tech DJI call OccuSync 2, the principal advantage of which is longer transmission range. This controller is now offered across DJI’s entire consumer range.

The RC-N1 controller is a physically bulkier design than that found with the Mini SE, but it has several refinements. It doesn’t have exposed hinged antenna or fold-out grips for your phone (which serves as monitor). Instead the top of the unit slides up and grips the phone above the sticks, meaning you don’t have to tip your head so far down as you flick your eyes from aircraft to monitor.

It also has the ability to top up your phone charge from its much bigger battery; no bad thing given flying keeps the phone screen on so draws power. With a good, modern phone you also get a good, bright screen.

The actual video quality of the preview ‘live view’ video is better too – twice the bitrate will mean less pixelation as well as the advantage of a more robust stream. That’s not to say that the Mini SE was bad either, and here we refer only to the quality you see as you fly – higher quality video is recorded to the card.

We must also add that longer range doesn’t mean you can fly the distance specified. For the most part you’re limited to considerably less by law anyway. It is instead a measure of signal strength, so if it is higher control and live view will be more reliable in the face of interference.

DJI Mini SE vs Mini 2 SE: Still photos 

Once again, there is essentially nothing to separate the drones here; they feature the same sized CMOS image sensors and the same features – well, except Panorama.

Panorama is an automated option, in which you can simply hover the drone looking in the right direction and let it take a series of images in sequence, which it will also automatically stitch for you into a panorama. This feature – available on most DJI drones – was left off the Mini SE but it seems the Mini 2 SE can handle it.

Otherwise the images are captured as 4:3 at the sensor’s full 12 megapixels (or a cropped 16:9 option) and saved as JPEGs. You can tweak the settings before you shoot, but there is no RAW option on either drone. 

DJI Mini SE vs Mini 2 SE: Video 

Keeping things cost-effective (and helping differentiating DJI’s products) means the Mini 2 SE still restricts itself to 2.7K video. This is more or less the same pixel count as the iPhone 14 Pro Max (2796 x 1290), so it’s nothing to sniff at, but of course those looking for 4K will be disappointed. DJI, no doubt, would direct them to the pricier Mini 3 series.

We already looked at the gimbal, and this is a good point to reiterate that resolution is only one measure of the quality of drone video. Video is stable and 2.7K is plenty sharp for most uses. Unlike the Mini 3, however, the camera remains horizontal, so lower resolution is exposed if cropping for vertical format. Similarly the digital zoom is more of a novelty and even at 2x will expose the limitations of a 12 megapixel sensor.

It is a small sensor, with fixed rather than autofocus, but that – too – matters less than you might imagine; drone video is generally shot in good light at a distance. Although this is a refresh and you might ask for a higher spec, we still think the video will surprise most in a good way.

DJI Mini SE v Mini 2 SE: Software features 

DJI Mini SE: QuickShots: Rocket, Dronie, Circle, Helix, Boomerang

DJI Mini 2 SE QuickShots: Rocket, Dronie, Circle, Helix, Boomerang

Both aircraft require a phone (iOS or Android) with their DJI Fly app to provide access to all the features and, indeed, provide crucial feedback. It is a good tool, and has been refined over time – it is now found on all DJI consumer drones.

With the same tech on board the aircraft there isn’t too much for comparison here. DJI provides a range of ‘QuickShots’ in which the drone navigates itself and the camera to produce a share-worthy clip of about 15 seconds with very little required of the operator. Both drones offer the same bundle of QuickShots and, lets face it, they’re fun.

Of course you could view the Panorama function, only on the Mini 2 SE, as living in this heading too, in which case that’s a small win for the newer model.

DJI Mini SE vs Mini 2 SE: Verdict 

So there is no question that the DJI Mini 2 SE is the better machine because, well, it’s broadly the same but with an unarguably newer, better controller. That said, while both linger in the supply chain, is it actually worth the bigger spend? We’re not completely sure.

We do love the Panorama feature, especially when the results are dropped into a viewer app which allows you to scroll and drag around the inverse sphere. But the primary advantage is the improved controller. The Mini 2 SE makes tangible gains in signal robustness and you can see the benefit the extra bandwidth has in the live feed. The Mini SE is definitely happier in clearer skies or further from urban interference, while its successor has no such vulnerabilities.

If you’re looking to keep costs low then you’re still getting a fine product in the Mini SE. Some might even argue a smaller and lighter controller is a benefit (especially if they’ve got a dependable phone battery). We don’t imagine the older SE will be available indefinitely so if you want a bargain it’s time to snap it up. Recorded video looks the same, too. The advantages of a live feed seem relatively insignificant once you’ve copied the video to your phone or computer to play it back. 

In both cases, DJI offer the drone and a single controller or a Fly More bundle with extra spare propellors, a total of three batteries, a charging hub, and a bag. The Mini 2 SE also throws in a handy rubber propellor protector which adds an extra layer of safety, while it switches from zipped hard case to a more traditional camera bag with strap format.

We mention this because the Fly More bundle is a good deal and because we’ve seen it being heavily discounted, adding weight to the Mini SE’s advantage. That’s not to say we don’t like the Mini 2 SE, but if you’re looking to pay a little more then take a look at the Mini 3 too!

• Read more:
• Best accessories for your drone 
• The best drones for beginners
• Best camera drones
• Best drones for kids
• Best underwater drones
• 12 things you need to make money from a drone
• The best camera insurance for photographers 
• The best camera backpacks

Is the Canon EOS R8 the best entry level full frame mirrorless? With blisteringly 40fps burst shooting and 4K 60p video packed into a compact chassis, it could well be.  

The Canon EOS R8 is the manufacturer's lightest full-frame mirrorless model and borrows its diminutive, compact and petite proportions from the entry point Canon EOS RP, while inheriting some of the more desirable features from the recently announced Canon EOS R6 Mark II, so sits somewhere between these two bodies in the 13-camera EOS R lineup.

• Read our hands-on Canon EOS R8 review to see our first impressions

Features carried over from the R6 Mark II include its 24.2MP full-frame sensor, a native ISO range of 100-102,400 and that 40fps burst mode (using the electronic shutter). It also boasts the powerful Dual Pixel CMOS AF II, with Canon claiming that autofocus can be achieved in just 0.3 secs. In addition to the standard Face, Eye, Head, Body, Animal and Vehicle detection, the EOS R8 has new tracking modes for horses, trains and aircraft, with autofocus possible down to -6.5EV.

Features that the new model has in common with the EOS RP are its compact and portable size, which makes it ideal for photographers and vloggers that like to pack light. In fact, the EOS R8 is significantly lighter than the RP with a battery and memory card inserted.

The R8's small and portable form factor comes at the cost of having no in-body image stabilization, though Canon is keen to stress that many RF lenses have optical stabilization – and the R8 also has a Movie Digital IS mode that will crop your frame by around 10% but deliver more stable results. Another disadvantage of its petite proportions is that only one memory card slot is included, and it also uses the lower capacity LP-E17 shared by the EOS RP.

The EOS R8 has been designed as a hybrid camera, so it should be just as practical for videos as it is still images. Supporting this is a new dedicated Movie switch, as well as an on / off switch that is now integrated around the shutter button for faster operation. The camera features headphone, microphone, micro HDMI and USB-C ports, and also integrates Canon’s new Multifunction Shoe so it can be used effortlessly with the new generation of accessories. 

The Canon EOS R8 does away with the previous maximum video recording time of 29m59s in one continuous clip, and can capture 4K video at 60p oversampled from 6K in C-Log3, with FullHD (1080p) up to 180fps for super slow-motion. You can also set three- or five-second pre-recording, so you don't miss a moment of action.

Canon has made some improvements to the electronic viewfinder, which has a fast 120fps refresh rate as well as an Optical Viewfinder Assist (OVF) mode that simulates the look and feel of a finder on a DSLR.

Other features include 2.4GHz WiFi, Bluetooth 4.2 and UVC for streaming. It also has a RAW burst mode that can pre-record half a second before you press the shutter, making it even easier to capture those moments that require split-second timing.

The Canon EOS R8 will be available from late April at a body only price of £1,699.99 (US and Australian pricing TBC) or in a kit with the new Canon RF 24-50mm f/4.5-6.3 IS STM lens for £1,899.99.

Pre-order the Canon EOS R8 at B&H Photo, US

Pre-order the Canon EOS R8 at Wex Photo, UK

Nikon has put the money in where it counts on the Prostaff P3 binoculars. There are four different model versions: 8x30, 8x42, 10x30, and 10x42. We’ve reviewed the 8x42 versions here which sit roughly in the middle of the price ranges for all four models. Their bigger companions the P7s are, on average, about $50/£50 more expensive and come with a few more premium parts like colored badge markings and a lock-in dioptre which the P3s don’t have. 

Compared to its professional Monarch range the Prostaff P3 line-up is considerably more affordable. But don’t be fooled. While Nikon has priced these as entry-level binoculars for the outdoor enthusiast and casual hobbyist birdwatcher or air show observer, they’ve put the money in where it counts. Namely, the optics.

They feel strong and durable with a rubberized armor that clads the binocular body. Eye relief is generous making them usable for spectacles wearers but there are a few areas where you can tell Nikon has skimped on quality in order to save money. We would definitely expect that on a pair of binoculars at this price range so we take it on the chin, but we highlight this to make you aware of what you can get if you put the money down.

Nikon Prostaff P3 8x42 Specifications

Design: Roof prism
Exit pupil: 3mm
Eye relief: 15.4mm
Weight: 465g
Dimensions: 125 x 130 x 52mm
Magnification: 10x and 8x
Objective lenses: 42mm and 30mm
Durability: Waterproof and fog proof

Nikon Prostaff P3 8x42 Key Features

The stand-out highlight of the Prostaff P3 8x42s is its optics. Multilayer coatings on the lenses and a highly-reflective silver-alloy prism coating keep the views bright while the 42mm versions give us an excellent opportunity to maximize light input to keep observing even as the sun sets.

We’re surprised by how premium some of the functions feel on these binoculars. The twisting adjustable eyecups provide 15.4mm of eye relief which makes them viable for glasses wearers, but it's in the twisting action that we get a confident clunk when moving between the three preset distances. The quality of which is almost indistinguishable from the Monarch HG line, so we were really pleased to see this vital adjustment machined to such high quality.

The objective lens caps do not attach to the end of the lenses like other binocular models, even competitor models in a similar price bracket, do have. We’re presuming this is a manufacturing cost that Nikon would rather push into the build and optical quality of the binoculars. 

They do have in-built attachment guides ready to attach to the neckstrap or carry bag, but it feels a little inelegant from a design perspective, though they do function as a little handle from which to pull them off. 

They fit easily enough though and provide good friction when attached so there’s no risk of them flying off during use. Fortunately, the binoculars are nitrogen-filled to prevent fogging and waterproof up to 1m for 10 minutes so there’s no chance of getting caught out in the rain.

Nikon Prostaff P3 8x42 Build & Handling

Constructed of a lightweight fiberglass-reinforced polycarbonate resin, the binoculars do not contain any metal in the body as far as we can tell, like more expensive models do. However, this keeps them super light, at 465g, and we can see them lasting a good amount of time if they’re properly cared for.

The rubberized covering is good and provides ample grip. Around the thumb placement area though we can feel a little give and a little ripple of the thumb along the surface shows that the rubber isn’t as neatly fitted to the body underneath as we would like. We’ve seen Nikon lenses with this issue before and, over time, the rubber pulls away from the lens barrel. We’re not sure if this would happen here since this area has no moving parts like lenses do with focusing rings, but it’s something to be aware of if you’re planning to keep them for many years to come.

The dioptre ring, used for adjusting the right eyepiece to balance out differences in vision between the eyes, is firm and moves smoothly from left to right. We’re pleased with the easy indented markings denoting whether the dioptre is adjusting negatively or positively and if we hadn’t reviewed Nikon’s more expensive lines of binoculars we would be happy. But the P7 and Monarch lines all have a clutch-like mechanism that pulls up and down to free the dioptre ring or lock it into place. This is lacking on the P3s but we wouldn’t expect it on an entry-level binocular, anyway.

Nikon Prostaff P3 8x42 Performance

Views are clear and sharp through the Prostaff P3s with no major issues across the viewing circle. Thanks to the adjustable eyecups and accurate dioptre we can dial in focus without a problem and they are fun, sleek binoculars to take out for casual observing. There is a little chromatic aberration (color fringing) around contrasted edges in the form of purple and occasionally green outlines. 

It’s not something the average user would notice because they’re aimed at beginner users, and for the price, we’re surprised just how little aberration there really is. But if you’re used to high-end binoculars or camera lens glass, then you will notice it from time to time looking into the sky. They have a 3mm exit pupil too, so it’s important to make the most of that eye relief to avoid the vignetting around the edges when changing views. 

Focusing is quick and easy and feels nice on the smooth but tensioned focusing wheel. It’s easy to jump from extreme close-up to infinity in just three rolls with the finger, so precise fine-tuned adjustment takes a little finesse.

The hinges are smooth yet resistant enough to stay in place even when getting it out of the carry pouch that ships with it which is reassuring. However, we have noticed that the eyepiece lens caps are constructed of a rather rigid, unforgiving plastic that seems a little loose when fitted and easily pulls off accidentally. 

Even rotating the binoculars upside down and giving them a little shake sees the caps drop off. They hold tension better when the binoculars are hinged together but by leaving them wide open the caps are loose which we see as a bit of an oversight.

Nikon Prostaff P3 8x42 Competitors

Of course, if the Prostaff P3s are too entry-level we would recommend taking a look at the P7 line which offers higher quality all-round with painted badges, superior coatings on the glass and a more professional feel overall. They also have the dioptre lock which fixes your dioptre preference in place once you’ve dialed it in. 

The P7s are only a little more expensive than the P3s overall and we’d probably drop an extra £50 and get those instead of the P3s. But if your budget is limited and you want the best optical quality at the lowest price, stick with the Prostaff P3s.

However, if you’ve got some savings burning a hole in your pocket or you’re a professional wildlife spotter, birdwatcher, or aviation or airshow nut, then getting only the best will do. That’s where we’d recommend the Monarch line. Specifically, if you want the best of the best, the Monarch HGs, including the Nikon Monarch HG 10x42.

They’re constructed of a magnesium-alloy body, have multilayer coatings on all glass parts (even the prisms), and every single accessory that ships with them feel high-end. The neckstrap in particular is soft and cushioning which we really like.

Nikon Prostaff P3 8x42 Verdict

The Prostaff P3 binoculars are an entry-level viewing instrument that we’re really impressed with. Nikon has saved on manufacturing costs where it counts, mainly in the accessories that these binoculars ship with, but has retained the high-quality optics that we’d expect to see in a Nikon product. 

If you decide to grab these, even if they’re not in a sale, we’re confident you’ll feel pleased with the results. But we’d probably swap out the neck strap and lens covers if we were going to upgrade these over time. Overall though, any beginner or enthusiast who wants to birdwatch, spot wildlife, or view vehicles and air shows will find them a fantastic wide-field observation instrument that should last for many years.

I used to teach photography, so "What's the best camera for beginners?" is something I've been asked for years! Well, you want a camera that's not too pricey, that's easy to use but also has enough features to grow with you as your photography develops – and most importantly, that has great image quality.

The last point is key. There's an assumption that beginner cameras are only good for beginners, or that the pictures are rubbish, but that's not true. The best cameras for beginners can take fantastic images; in fact, I've shot magazine features and double-page spreads with them!

My top pick is the Canon EOS R100. It's affordable, compact and capable, and Canon's vast library of lenses means this system will evolve alongside your skills. However, for my money (literally – I bought one for my ex!), the Olympus OM-D E-M10 Mark IV is the best camera for beginners. It's bursting with features, fun to use and is the most portable system on the market.

I've tested hundreds of cameras (and helped train as many photographers since I started teaching in 2014!) but choosing the camera is only half the story; the lens you use is every bit as important – if not more so.

Cameras are sold either "body only" or with a "kit lens" – typically a starter lens with around a 3x optical zoom, to cover general-purpose shooting. So I've recommended a kit lens for each of my selections (which are almost always the standard bundle option) to get you shooting as soon as you unbox your camera.

Best camera for beginners in 2026

Best camera for beginners overall

The EOS R100 has been tailor-made for beginners, and it's pretty much a home run. The controls are simple and the menus guide you through the modes, to help you understand how the camera works.

It packs Canon's Dual Pixel CMOS Autofocus system (seen on Canon's professional DSLRs) with face tracking and eye detection for photographs, which helps ensure that you don't miss focus when your mind is on things like settings and composition.

Its 24.1MP APS-C sensor delivers great image quality, and Canon's RF mirrorless mount is home to some of the most advanced lenses on the market. It also has the benefit of being compatible (via an adapter) with the best Canon DSLR lenses.

As the most affordable mirrorless offering from Canon, there are a couple of compromises that mainly affect video shooters; its screen is fixed and doesn't support touch input, while 4K suffers a crop and loses the Dual Pixel AF (reverting to slightly choppier contrast AF).

If either of those are deal breakers, I recommend the slightly pricier Canon EOS R50 – but if you're strictly looking to learn photography, this has everything you need at an unbeatable price.

Recommended kit lens: Canon RF-S 18-45mm f/4.5-6.3 IS STM

Read my full Canon EOS R100 review

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Best beginner camera for features

This is the most advanced entry-level camera I've ever used! Absolutely packed with features, it will directly improve your shooting skills and help you grow them.

The main way it does this is via in-body image stabilization, which stabilizes the image sensor to compensate for camera shake when shooting stills and video – this really helps me get sharp photos and smooth footage.

That sensor is a Micro Four Thirds one, which is physically smaller than full frame and APS-C sensors, but still packs 20MP of resolution – not as rich as some rivals, but packs beautiful image quality. I've had double-page spreads and magazine covers published with images from this sensor!

The smaller sensor also means that both the camera body and the lenses are truly compact – unlike APS-C systems, where the cameras are small but the lenses are often still big.

This means you can have a much smaller kit bag with less weight than an APS-C setup (or more kit for the same weight) – a big plus if you don't want to lug around heavy kit, especially if you have a disability or physical ailment.

With 4K video and a tilting touchscreen that flips 180° for selfies or presenting vlog-style to camera, this entry-level body can do pretty much everything. I'll also note that it has the best camera app to transfer images to your phone via WiFi.

Recommended kit lens: Olympus M.Zuiko 14-42mm f/3.5-5.6 EZ Pancake

Read our full Olympus OM-D E-M10 Mark IV review

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Best beginner Fujifilm camera

Many first-time camera owners (especially if they've spent any time on social media) lust after Fujifilm bodies for their beautiful design, built-in Film Simulations, fantastic photo and video performance… and for their cult following!

It's not just hype, though – the reputation is well deserved. And I think the best Fujifilm camera for beginners is probably the Fujifilm X-M5. For starters, it's the most affordable model in the lineup – and yet it packs features that are more advanced than far pricier models.

The X-M5 boasts the company's latest processor for accurate, algorithmic subject recognition and tracking – helping you nail focus so you can concentrate on your composition and getting your settings right. It's also incredibly small and lightweight, being truly pocket-sized when paired with the right lens, which encourages you to always have it by your side.

Its 26.1MP APS-C sensor is capable of phenomenal photography and can shoot bursts of up to 20fps (or 30fps, with a crop) for shooting fast action. However, the X-M5 is an astonishingly powerful video camera – in fact, it's way overpowered for its price point, offering ultra-high resolution 6.2K video as well as open gate video.

Truthfully, no beginner really needs specs that high. However, if your long-term goal is to create content and shoot high-end video, the X-M5 gives you pro-level features that you can grow into.

The only black eye on this camera, where beginners are concerned, is that it lacks a viewfinder – so the only way to take images is via the rear screen. That's not inherently a bad thing, and it may even make the transition easier if you're graduating from a smartphone. But if you're just starting out in photography, I advise learning with a viewfinder. If that's important to you, I recommend the (more expensive) Fujifilm X-T30 III.

Recommended kit lens: Fujifilm XC 15-45mm f/3.5-5.6 OIS PZ

Read our full Fujifilm X-M5 review

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Best beginner camera for inspiration

The Nikon Z fc is a capable camera, but there are other models out there that are more capable as well as cheaper. What the Z fc has over the others, though, is a more intangible but critical quality: it makes me want to shoot with it. And when you're learning photography, having a camera that makes you want to get out and shoot is really important.

Externally, this is a beautiful retro camera that looks like an old film camera, with tactile dials for setting exposure, exposure compensation and ISO, and it’s truly a joy to use. But inside, it has the same technology as the Nikon Z50 – a great beginner camera that's a lot less snazzy and only has a tilting screen (unlike the fully articulating one on the Z fc).

The 20.9MP APS-C sensor may not have the most pixels you’ll find, but it still resolves beautiful images that are full of detail. And it can shoot continuous bursts at up to 11 frames per second, enabling you to capture fast action.

The Z fc takes crisp 4K 30p video, too (where that articulating screen makes it easier to use for filming), and it's all powered by a great autofocus system that offers face and eye detect to ensure sharp shots.

Don't be fooled by the prestigious looks; the Z fc is a great starter camera, and also one that will grow with you as your skills develop.

Recommended kit lens: Nikkor Z DX 16-50mm f/3.5-6.3 VR

Read our full Nikon Z fc review

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Best DSLR for beginners

Labeled the Rebel SL3 or the 250D depending on where you live, this isn't the cheapest DSLR you can buy, but I'd say that it's worth paying a little extra money to get a much better range of features.

It features Canon’s impressive 24.1MP APS-C sensor, which I've always got great results from, and boasts brilliant Live View shooting thanks to a fully-articulating touchscreen display and Canon's fast Dual Pixel CMOS Autofocus.

In fact, this is one of the only DSLRs where composing shots with the screen is downright preferable to using the viewfinder – so photography beginners graduating up from smartphones will be right at home here, and start feeling comfortable with using this camera from the word go.

While Canon packs 4K video into this delightfully small DSLR body, it does suffer from a number of compromises to maintain the price point – so if it's specifically video performance that you're after in your camera, I'd recommend you look to a mirrorless model (like the Sony ZV-E10).

DSLR tech may arguably be on the verge of extinction – time will tell – but I can still happily recommend this camera. It's great bang for your buck, especially as it uses Canon's older and cheaper EF-mount lenses, so you can build a high-quality lens collection really affordably.

Recommended kit lens: Canon EF-S 18-55mm f/4-5.6 IS STM

Read our full Canon EOS SL3 / Canon EOS 250D review

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Best compact camera

You don't have to buy a complicated mirrorless camera or DSLR with lots of lenses to take amazing-looking photos. I often recommend this to people who want the simplicity and portability of a smartphone, but with the power of a "proper camera".

The Ricoh GR IIIx slips into your pocket, offers straightforward point-and-shoot operation, but still relies on manual controls and a big APS-C sensor for high-quality images that blow your phone away and rival other cameras on this list.

Do note, however, that this is a camera with a fixed lens that does not zoom – though this does encourage you to "zoom with your feet", which actually makes you much better at finding composition than just zooming in and out on the spot, so it'll improve your abilities!

The Ricoh GRIV is now available but, like the original GR III, its 27mm equivalent lens (meaning it behaves like a 27mm lens on a full frame / 35mm camera) is very wide. The 40mm lens here is far more suited for all-purpose shooting, and will be far more helpful to beginners learning to compose. (There are 50mm and 71mm "focal lengths" that are achieved via cropping the image, though your photos will be smaller and lower in resolution.)

The camera boasts image stabilization, RAW photos for serious post-processing, built-in ND filters for shooting in harsh light, touchscreen interface, phase detect autofocus… though its video is limited to FullHD rather than 4K. The battery life is quite conservative, too, mainly because it operates entirely via the rear LCD rather than a smaller electronic viewfinder.

(No recommendation – lens is fixed)

Read our full Ricoh GR IIIx review for more details

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Best beginner camera for content creators

For beginners interested in content creation rather than photography, I recommend a dedicated video and vlogging camera – and the Sony ZV-E10 is perfect.

While it can take photos, it cuts back on the photography features as everything from the handling to the functionality is built primarily for video use. For example, there's no mode dial on the top as it's not designed to spend much time out of video mode.

Another case in point is the lack of an electronic viewfinder. This isn't useful for video, so here that space is put to better use for the extra-large microphone (with clip-on muffler), which I find performs better than the mics on most cameras.

It also benefits from Sony's excellent autofocus system, which is crucial for keeping your videos locked onto your subject(s). A plus point is the Presentation Mode, which tells the camera to focus on objects you hold in front of you – ideal for product demonstrations or showcases.

I think it's a shame that there is no in-body image stabilization, and it's a glaring omission that the menus can't be touch-controlled – a huge miss for a vlogging camera where you'll be using it a lot from the front, with the screen pointed towards you and no access to the physical buttons on the back.

Still, a big boon for beginners is that the ZV-E10 uses the Sony E mount – so it has access to an enormous number of both Sony-made and independent lenses. And it has an appealing price tag, too.

Recommended kit lens: Sony E PZ 16-50mm f/3.5-5.6 OSS

Read our full Sony ZV-E10 review

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How to choose the best beginner camera

Price: Yes, price is important, especially for beginners, I get that! But don't rule out spending a bit extra, as it will often get you a lot more features.

Lens selection: There's only so much you can achieve with your kit lens, so I can't stress enough to go for a camera with a good lens range behind it. Indeed, maybe identify the next lens or lenses that you might need, and pick a camera based on that.

Simple controls: All these cameras have automatic modes that will help you build your confidence, along with manual controls for when you get more ambitious.

Megapixels: Megapixels aren't everything, but they do have an impact on image quality. However, almost all beginner cameras are in the 16-24MP range, and you won't see colossal differences in the results.

Sensor size: People get hung up on this, but it does make a difference. Essentially, the larger the sensor the higher the image quality it can achieve (since larger sensors can gather more light, and each pixel is bigger, so the fidelity is better) – but there is more to it than that. Smaller sensors mean smaller bodies and lenses, and with the appropriate technique you can achieve images that are every bit as good as larger sensors.

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FAQs

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How we test beginner cameras

Our lab team tests camera resolution, dynamic range, and noise under scientifically controlled conditions using two key testing tools: Imatest Master and DxO Analyzer. All DSLRs and mirrorless cameras are subjected to these tests and, in some instances, high-end compact cameras:

1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.

2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.

3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.

These lab results are an important part of evaluating every camera, but real-world use – and usability – is every bit as important. While it's important that a camera offers great performance, it's no good if it's too complex for a beginner to use!

Before my time on Digital Camera World I used to teach newcomers on photography workshops – so I've spent a lot of time with beginners and have a good understanding of what's important to them. So my recommendations in this guide are based on what the cameras are capable of, as well as how suitable they are for beginners who may never even have used a camera before.

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

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Today's prices compared

The Browning Strike Force HD Pro X trail camera is shorter in stature than the typical house brick sized alternatives; to get a rough idea of its size, imagine two cigarette packets, or packs of cards, placed back-to-back. Just like rivals, however, it still requires six AA batteries for power, which, as is typically the case, are not provided out of the box. The device looks the part though, thanks to its photo print camouflaged exterior, featuring a forest floor-like covering of tree roots and fallen leaves. 

What you'd potentially be buying this unit for is remote and covert surveillance and recording the movements of skittish animals that would otherwise be spooked by an obvious camera wielding human in the vicinity. So that’s the quick overview; what about the nitty-gritty?

Browning Strike Force HD Pro X: Key Features

One glance at the box and we’ll be zeroing in on the core features of the Browning Strike Force HD Pro X trail camera, which include a 20-megapixel stills resolution, 1600x900 pixels video of between five seconds and two minutes in length, a 0.22 second trigger speed response time, a 0.6 second recovery time, plus a motion detection range of up to 80ft, upgrading the original camera’s more modest 55ft range. It also boasts an adjustable flash range of up to 120ft. 

To select and implement its various image capture functions and settings, including interval timed single shots or multi shots, we’re gifted a minimal array of operational buttons, which when the camera is in the field are otherwise hidden under the faceplate. Included here is a 1.5-inch LCD screen, used in conjunction with the buttons alongside it to make our selections. Browning claims that potential users can capture up to 10,000 images before the 6x AAs it requires for power, which requires an additional purchase, are depleted. Of course, we’ll need something to save all of those images on – and here that is offered courtesy of the ability to insert a removable SD card. The Browning device supports up to 512GB capacity cards; a fair degree higher than the usual 32GB maximum capacity SDs supported by alternative trail cameras in its class.

Another unusual feature on this model is a steel bracket at the back of the trail camera that can be loosened to let the device tilt forward if required. While a loop for a provided strap – itself a generous 6ft in length – is included as part of said bracket, another way of securing the Browning Strike Force HD Pro X trail camera is via the use of a tripod, with a standard screw thread provided at its base. Hidden under a rubber flap is also an alternative means of powering the camera via a 12-volt external power jack.

Browning Strike Force HD Pro X: Handling

Before we can begin using the Browning Strike Force HD Pro X trail camera, we first need to source and insert 6x AA batteries, a tray for which is secreted away in the base of the model. This is ejected via a dedicated button hidden under a protective cover at the front of the device. When closed, the cover also shields the aforementioned postage stamp sized 1.5-inch LCD screen  that affords the implementation of settings via a minimal array of operational controls ranged to the right of it. 

Anyone who has operated a basic point-and-shoot digital camera will find the handling here fairly intuitive, although we still found ourselves consulting the manual as to how to initially set things up. Unusually for a budget trail camera, once settings have been made, the screen can display whatever is in front of the device, theoretically helping the user achieve optimum framing, or coverage of the area being marked out for surveillance. At the base of this cover protected control unit is a slot for the insertion and retrieval of an optional, yet essential, SD card. Once inserted, we just need to give the card a slight nudge to eject it; again, so reasonably intuitive.

While a strap is provided out of the box for threading through the metal tree mount bracket located at the rear of the unit, thereby attaching it to the trunk of a tree or suitable post, more unusually the angle of this bracket is adjustable – albeit to a limited extent. In practice we found that the trail camera can be angled forward so it’s pointing downwards instead of just directly ahead. Alternatively, if the trail camera is placed on a flat surface, the bracket acts as a makeshift tripod, allowing the device to be angled upwards.

The simple photographic print on the exterior of the unit also proves remarkably effective in practice, unobtrusively blending the Browning Strike Force HD Pro X trail camera in with natural backgrounds. The fallen leaves printed on its faceplate make this an ideal match for autumn.

Browning Strike Force HD Pro X: Performance

The overall build quality of the Browning Strike Force HD Pro X trail camera feels remarkably solid for the price, with only the likes of the removable battery tray feeling a tad vulnerable once removed from the interior of the unit. With six AA batteries inserted to power the device, it’s reassuringly weighty in the palm, with no discernable ‘give’ to the plastic exterior when squeezed. 

Though we have to assume some form of weatherproofing since this is primarily designed as an outdoor device, the manual warns the warranty is void if the unit is ‘neglected or abused’ and actually submerged. We left the unit out in heavy rain, as is unavoidable in the UK, and though there was moisture present along the rubber sealed edge of the flip-open cover when we retrieved it, the unit itself and card we’d inserted were still working and readable. At its reasonable price point however, there was a modicum of doubt in our mind over how much repeated exposure to a wet climate and monsoon-level rain it would withstand.

Unsurprisingly, since the camera is infrared equipped, night-time images are rendered in black and white, whereas in daytime it’s color. Results resemble the kind of images we’re used to seeing from surveillance cameras on crime programs and even at full 20 megapixel resolution there is visible grain and soft edges to subjects, particularly anything in the frame that’s actually moving. So don’t expect pin-sharp results like we’re used to seeing from DSLRs or mirrorless cameras. 

Happily though, the built-in motion sensor and capture capabilities here actually do work. For those who want to keep track of their image captures, the option to add an info bar at the bottom of each image is available, which stamps each picture with the basics of temperature, time and date. As ever, use of trail cameras involves a degree of trial and error – we never know quite what we’re going to get in response when we set one up, which is part of the beauty and fun of it all. In these days of instant gratification it’s still nice to be occasionally, perhaps even pleasantly, surprised.

Browning Strike Force HD Pro X: Rivals

While there is a broad range of trail cameras currently available, in our experience they offer relatively similar operability, feature sets, and performance. So selection is perhaps more dependent on our budget. Other good value options to consider alongside the Browning Strike Force HD Pro X trail camera include the Bushnell Prime L20 Tan Low Glow trail camera and its bigger brother in the 32MP resolution Bushnell Core DS-4K No Glow trail camera. The latter distinguishes itself, particularly when compared against the Browning Strike Force HD Pro X trail camera, by featuring a class-leading 4K video resolution, a relatively speedy 0.15-second trigger response, as opposed to the 0.2-second trigger response here, plus twin sensors variously optimized for use in both day and night.

Additional alternatives include the Spypoint Force 20, which offers a slightly lower 70ft detection range coupled with1080x720 pixels video clips, plus, like many others, the option for shooting to a removable SD card capacity that maxes out at a modest by comparison 32GB. Perhaps closer to the Browning Strike Force HD Pro X trail camera, thanks to its 24MP stills resolution and 1080P video at 30fs, is the GardePro E6 No Glow trail camera. 

This one does up the ante further however by coming with its own phone app for remote operation and being Wi-Fi and Bluetooth enabled. This is all well and good, as long as we’re planning to remain within the range of the device itself; but if we’re not then we still feel that the Browning here offers a very keenly priced alternative for those looking to pick up their very first trail camera.

Browning Strike Force HD Pro X: Verdict

We’ll need to supply our own 6x AA batteries and removable SD media card to operate the Browning Strike Force HD Pro X trail camera, but at the price of ownership being asked here we’re not complaining. 

For that reason we feel it would make a great entry-level / starter option for anyone intrigued by the idea of a trail camera, or amateur nature watchers wanting a means of surveillance and, theoretically, of capturing images that couldn’t otherwise be achieved by simply standing in the same spot with a regular camera or smartphone. Further peace of mind comes via a one-year warranty.

You might also like the best cellular trail cameras, and if you're into wildlife, the best portable hides for photography and the best camera for wildlife.

Pergear may not be a name that immediately comes to mind when you think of memory card manufacturers, but the brand has been producing CFexpress Type B cards for two years. Now Pergear has released updated versions of its entire Type-B range, with cards to suit all budget and speed requirements. 

Read more:
The best memory cards for your camera
Best CFexpress cards
Best memory card readers

Kicking off the new cards is the entry-level Lite range. Available in 64GB and 128GB capacities, the former is capable of relatively modest 300MB/s max read speed and 90MB/s peak write rate. Step up to the 128GB Lite card and speeds jump to 1000/250MB/s max read/write speeds, with sustained read/write speeds of 1000/200MB/s. Pergear is aiming the Lite range at cost-conscious shooters who'll be shooting primarily stills, or video up to 4K 60p.

Next up in Pergear's new CFexpress line-up is the Pro range. Striking a middle ground between price and performance, Pergear Pro cards come in 256GB and 512GB variants. As with the Lite range, however, the two capacities boast different speed ratings. The 256GB Pro card has a max read/write rate of 1200/400MB/s respectively, while the 512GB card is rated at 1200/700MB/s. Minimum sustained write speed is a guaranteed 700MB/s for the 512GB card, but only 360MB/s for the 256GB version. Even so, Pergear states both cards should be fast enough for 4K 120p or even 8K raw recording.

Lastly, we have Pergear Ultra cards. This duo of Type B cards represent no-compromise, all-out attacks on established premium rival cards from the likes of ProGrade Digital, SanDisk and Lexar. Ultra cards can be had in 1TB or 2TB capacities, and performance is identical between the two. Both maximum and sustained read speed is rated at 1600MB/s, and there's barely any difference between maximum and sustained write speeds, being 1400MB/s and 1300MB/s respectively.

That 1300MB/s minimum sustained write speed figure isn't quite the fastest out there: ProGrade Digital's Cobalt Type B cards boast a 1400MB/s minimum write rate, while Angelbird's AV PRO CFexpress XT MK2 range can achieve 1480MB/s minimum. However, neither of these rival cards are available in capacities as high as 2TB. Regardless, any card capable of 1000+MB/s sustained write speed will be suitable for just about any application, up to and including 12K RAW video capture.

Pergear's pricing is also very competitive across the board. Take for instance the 1TB Ultra card. At $399 it's among the cheapest 1TB Type B cards you can buy, priced similarly to equivalent cards from Silicon Power and Sabrent. However neither of these rival cards can match Pergear's minimum 1300MB/s sustained write speed guarantee. To get equivalent performance, you'd need to part with around $480 for Angelbird's 1TB AV PRO CFexpress MK2 card.

You can also get any of Pergear's new Type-B cards bundled with a Type-B card reader for an extra $20, which is far less than the cost of a separate reader.

All of Pergear's new CFexpress cards are available to buy now from Amazon:

• 64GB + card reader
• 128GB + card reader
• 256GB + card reader
• 512GB + card reader
• 1TB + card reader
• 2TB + card reader

Read more:

• The best memory cards for your camera - SD, microSD, CF and XQD
• Best CFexpress cards
• Best memory card readers
• Best flash drives
• The best monitors for photographers
• Best SD card deals
• Best laptops for photo editing

Most of the iPhone-owning readers of this review will probably be keen to upgrade to the latest incarnation of their beloved device. The job of this review is to help you make an informed decision on whether to upgrade to an iPhone 14, hold out for the iPhone 15, or take the jump (and the financial hit) to go pro with the iPhone 14 Pro or iPhone 14 Pro Max. Of course, our guide to the best iPhone for photography should also help.

As you’re reading a Digital Camera World review we know that the iPhone 14’s role as a camera is particularly important, so we’ll put its two cameras through their paces later in our review (with an accompanying test video).

iPhone 14 Key features

As with the other models in the 14 range, the iPhone 14 offers Crash Detection. It can detect the sudden impact of a crash due to a variety of factors including a new high g‑force accelerometer that senses extreme accelerations or decelerations up to 256 Gs. A high dynamic range gyroscope monitors drastic changes in your car’s orientation and the microphone can identify the sound of a collision. 

The built-in barometer can even detect changes in pressure caused by the deployment of an airbag. All these features enable the iPhone 14 to recognize a crash, contact emergency services and broadcast your location. In an emergency situation with no signal, the iPhone also offers the option of contacting emergency services via satellite, though this feature may not currently be available in all regions. 

iPhone 14 Design & screen

If you currently own an iPhone 13 then the iPhone 14 will feel very similar as it takes up the same width and height space in the palm of your hand.  At 7.80 mm (0.31 inches) deep the iPhone 14 is slightly thicker than the iPhone 13’s 7.65 mm (0.30 inches) but this difference in size is negligible, as is the fact that the iPhone 14 is lighter by 1 gram! Indeed the iPhone 13 and 14 also have an identically sized 6.1” all-screen OLED display that showcases your High Dynamic Range (HDR) photos as richly colored shots that boast detail throughout the shadows, mid-tones, and highlights. With a 2,000,000:1 contrast ratio your shots really ‘pop’ when viewed on the iPhone 13 and 14’s display! 

One difference between the iPhone 14 and its iPhone 13 predecessor is that the 14 comes in a different range of colors, including a lighter Blue and a unique Purple that will differentiate it from the 13. Both models are also available in Midnight, Starlight, and the eye-catching Product Red. Of course, a new color scheme on its own does not justify an upgrade but there are a few things that give the 14 the edge over the 13 as we’ll explain. 

Thanks to its aerospace-grade aluminum body and front and back ceramic shield you should feel confident in not hiding your expensive purchase away in a protective case. I kept my iPhone 13 Pro Max case-less throughout last year and despite dropping it multiple times there was never any need to visit the repair shop. Your iPhone 14 is designed to be seen, not encased – especially if you go for the ‘look at me!’ Product Red model!

iPhone 14 camera specs

The advanced dual-camera system on the iPhone 14 is the main attraction for photographers. The 13mm focal length of the Ultra Wide camera enables you to capture more of an urban environment as a generously sized 12 MP photo, which at 3024 x 4032 is large enough to produce a decently sized print. The Main camera’s 26 mm focal length is great for portraits (and it lacks the people-stretching properties of the Ultra Wide camera’s lens, though this lens distortion is less noticeable on the iPhone 14 due to in-camera lens correction). 

With an aperture of f1.5, you can use the Main Camera to capture grain-free indoor shots with an ISO level as low as 100.  Sensor shift optical image stabilization also helps reduce the chance of shake-induced blur when taking pictures in low light, as well as keeping handheld video looking gimbal-smooth. Compared to the iPhone 13’s True Depth front camera the iPhone 14 can capture better-looking (and closer) selfies thanks to its new autofocus system.

iPhone 14 camera performance

If you’re an iPhone 13 Pro user and are attracted to the iPhone 14 due to its relative affordability compared to the 14 Pro then think twice. If you enjoyed using the 13 Pro’s additional 3x camera telephoto camera then you’ll feel limited by the 14’s lack of optical zoom. You can dial in 3x digital zoom on the iPhone 14’s Main camera but the digitally magnified results will be inferior in quality to those produced by the 13 Pro’s optical 3x telephoto lens. 13 Pro users will also miss the option to shoot in RAW (.dng format) if they upgrade to the iPhone 14. The iPhone 14 restricts you to capturing compressed .jpeg or HEIF files which limits your ability to tease out more tonal detail using post-production apps such as Adobe Photoshop or Lightroom.  The iPhone 14 also lacks the option of shooting in Macro shooting mode (which on the 13 Pro enables you get better-looking close-encounters with subjects such as insects and flowers.)

Those reservations and limitations aside the iPhone 14 does in general capture great-looking shots thanks to the Main camera’s 7-element lens and clever ‘under the hood’ processing.  The new Photonic Engine is an enhanced image pipeline that is unique to the 14 series. It helps the iPhone 14 capture better-looking shots in low light. The iPhone 14 also enables an increase in quality by applying the computational benefits of Deep Fusion earlier in the imaging process to deliver more detail, preserve subtle textures, provide better color and maintain more information in a photo.  Despite the Photonic Engine the iPhone 14 did occasionally produce disappointing low light results during our test shoots. 

These featured prominent grainy noise artefacts that were exacerbated by a high ISO speed such as 1250.  The noise was more noticeable on the Ultra Wide camera which had a maximum aperture value of f2.4, forcing the iPhone 14 to use a faster (and grainier) ISO.  When shooting in the same indoor location with the Main cameras’ wider f1.5 aperture we got lower ISO speeds and much cleaner results. 

For our iPhone 14 test shoot, we hired a model and took photographs in a range of urban locations.  I also snapped some shots of the same subject on my older iPhone 13 Pro Max for comparison. Once the photos had synced via iCloud and were jumbled together in my Photos Library I was hard pressed to differentiate between photos shot on the iPhone 13 Pro Max and captured by the iPhone 14 (unless I dug into their metadata using the Photos app’s Info panel!). This is a testament to the general high quality of the iPhone 14’s cameras and processing power.

One exciting new feature I enjoyed when shooting in the iPhone 14 Camera app’s Portrait Mode is the presence of both foreground and background blur in photographs. The iPhone 14 was instantly able to identify our subject’s face and keep that looking nice and sharp while blurring her foreground hand and the background buildings. This helped mimic the natural bokeh of a DSLR more effectively than previous versions of Portrait Mode.  This more realistic foreground and background blurring is actually the result of iOS 16. If you upgrade to a version you can enjoy this selective focus effect using older iPhone models too without needing to upgrade to an iPhone 14. 

One area where the iPhone 14 does excel over its predecessors is in its new Action mode. This enables you to capture gimbal smooth video clips while carrying the iPhone 14 on the run.  When you activate Action Mode on the iPhone 14 it switches to the Ultra Wide 0.5x lens. This enables it to capture more area around the edge of the subject so that it can crop the image and reposition the subject’s position on a frame-by-frame basis to keep them moving smoothly.  

In our test shoot, the subject whipped left and right due to the camera shake as we chased them through a field (see this review’s supporting video). The processed Action mode clip kept the runner in the center of the frame as the camera glided smoothly along. This in-camera stabilization will save filmmakers the time and hassle of using post-production stabilization tools in iMovie or Final Cut Pro, enabling them to share their movie clips there and then.  The only downside to Action Mode is that it will drop your resolution from 4K to 2.8K, but that will still look great in a standard 1080 HD project. 

Another selling point for the iPhone 14 is the new option to shoot 4K Cinematic mode footage at the more filmic frame rate of 24 fps (as well as the 25 fps for PAL or the common rate of 30 fps for general media output such as web). The cinematic mode adds a post-production bokeh blur to the background of your video footage creating a Hollywood-style shallow depth of field. You can also capture full HD resolution footage when shooting in Slo-Mo mode at 120 fps, so your slow-motion sequences will look great when added to a 1080 HD project’s timeline.

iPhone 14 sample video footage

iPhone 14 rivals

The iPhone 14 has the edge on the iPhone 13, but perhaps not enough of an edge for you to upgrade from a 13 to a 14. Both models have the A15 Bionic chip, a 6-core CPU and a 16-core neural engine. The iPhone 14 has a 5-core GPU compared to the iPhone 13’s 4-core GPU, so it should offer better performance and efficiency for demanding workloads. 

You also get an extra hour of video playback on the iPhone 14 compared to the 13, but again this doesn’t make the 14 a ‘must have’.  However if you’re still using an older model such as the iPhone 12, you’ll notice the difference in battery life and general processing performance due to the older model’s A14 Bionic chip. The iPhone 12 offers up to 17 hours of view playback compared to the iPhone 14’s 20 hours, which makes the iPhone 14 a more attractive purchase for owners of older iPhones. 

iPhone 14 Verdict

From a photography point of view, the iPhone 14 is a great piece of kit, especially if you just want to point, shoot and share great-looking shots via social media without doing much post-processing. However, the more serious photographer will miss the ability to shoot in RAW (.dng) format so that they can enjoy fine-tuning the look of their images in a digital darkroom such as Adobe Camera Raw. 

Images on the iPhone 14’s Super Retina XDR display look great, but you may need to view them on a larger display if you want to discover and remove noise artefacts or retouch a portrait more effectively. In this instance, you might consider paying an extra £100 for the iPhone 14 Plus, which has the same camera specs but boasts a larger 6.7” display (and it provides an extra 6 hours of video playback). The iPhone 14 should be more attractive to those who want to upgrade from an iPhone 12 or older as they will notice a bigger difference in performance and features than those upgrading from an iPhone13.

The iPhone 14’s new Action mode produces amazingly smooth handheld footage which alleviates the need to stabilize it in a non-linear editing app, but serious filmmakers may also want the option to shoot in HDR Dolby Vision, which will lead them in the direction of the iPhone 14 Pro or Pro Max.  The iPhone 14’s lack of a Telephoto camera and Macro mode will also cause many photographers to cough up the extra cash for a Pro model iPhone.

You might also like to find out about the iPhone 13 Pro vs 14 Pro and the best camera phones from all manufacturers. Looking for the best budget camera phones? Try these!

From its packaging and branding the Spypoint Force-20 looks like a trail camera that’s designed specifically to let a hunter discover the habits and activities of their prey so that they can track it down. The ‘O’ in the Spypoint logo is even shaped like the cross-hairs of a rifle. 

However, most of the readers of this review will not be game hunters, and there is plenty of non-lethal fun that you can have with the Force-20. You can use this motion-sensitive infrared trail camera to discover and document what type of animals visit your garden in the dead of night. You may capture clips and stills of foxes, hedgehogs and maybe even a badger or two depending on your location in the world (in this instance, the UK).

You can also use the Spypoint Force-20 to discover when your cat decides to go for a nocturnal wander and see and what time it returns home, learning new things about your feline family member. You can even use the Force-20 as an outdoor security camera, although that's not what it was designed for. By placing it in a flower bed or patch of vegetation it will discreetly record any visitors to your house while you’re on vacation.

The best trail cameras ideally have a decent battery life, reliable trigger and offer decent – if not amazing – stills and video quality. The Spypoint Force-20 ticks many of these boxes, and it's cheaper than the Spypoint Solar Dark – largely because it lacks the solar power pack and takes AA batteries. But let's see how it handles and performs in real-world use.

Spypoint Force-20 specifications

Dimensions: 12.7 cm x 9.6 cm x 5.1 cm
Screen: 1.5” LCD
External memory: SD card
Photo Resolution: 20 MP
Video definition:  HD 720
Motion sensor: Infrared
Detection range: 21 m
Trigger speed: 0.7 sec
Power: 8 alkaline AA batteries (not included)

Spypoint Force-20 features

Like other trail cameras in the Spypoint line the Force-20 has a water-resistant casing that enables the camera to shoot in all sorts of weather conditions. Indeed during our test shoot we had some heavy rain, but the internal batteries and memory card where completely protected.  The camera’s plastic casing isn’t adorned with the traditional camouflage patterning of other Spypoint models (such as the Solar-Dark) but its plain earthy brown coloring won’t stand out enough to scare off any animals that pass it by. 

The Force-20 has two banks of LED lights (84 in total) to help it illuminate animals in low light conditions. At night the LED  illuminated infrared footage is a classic black and white while the clips and stills revert to color during daylight hours. A motion sensor triggers the recording of videos or photos (or both) when an animal wanders into shot. A monochrome LCD screen enables you to set up various shooting modes (and adjust the sensitivity of the motion sensor so that you don’t end up capturing clips of wind-blown branches). 

The Force-20 ships with a strap so if you are a wildlife photographer you can carry it as part of your kit. For most of us, the carry strap will probably stay in the box as the camera won’t need to be transported further than the outer reaches of a back garden. There’s also a handy tripod thread at the base of the camera so you can mount and angle the camera for the best view of your subjects.

Spypoint Force-20 Build & handling

In build the the Force-20 feels like most other trail cameras in the Spypoint range. Due to its plastic body it’s light and easy to carry. A sturdy clip enables you to open the water-resistant housing and access the greyscale LCD menu. Here you can use the buttons to experiment with different shooting settings and the delay between capturing clips. If the delay is set to Instant then you will fill up the memory card more quickly.  

The Force-20 ships with a branded Spypoint 16 GB SD card and card reader. The card has a speed value of Class 10 which is fast enough to write HD video files.  Disappointingly you can’t capture the action as full 1080 HD clips. The Force-20 only captures the 720 HD size, but that’s adequate if you only need to share the files via social media to be viewed on a smartphone. The stills are a larger 20 MP but they may not feature the animal in the best position in the frame. 

Spypoint Force-20 Hands-on

Spypoint Force-20 Performance

For a budget entry-level trail camera we were impressed that the quality of the footage captured on the Force-20 was better than that recorded by the more expensive Solar-Dark. The footage from the Solar-Dark was often over-exposed when the subject got too close to the LEDs. The Force-20 managed to capture more detail in closer subjects without over-exposing them. The exposure of the Force-20 footage was nice and constant too, unlike the fluctuating exposure of the Solar-Dark.

Unlike the color screen of its more expensive Solar-Dark cousin you can’t play back recorded footage of on the Force-20’s monochrome screen. You need to pop the SD card into the card reader and via the footage on your PC. You’ll also need to keep the Force-20 supplied with batteries as it lacks the Solar-Dark’s solar panel and internal battery. 

Fortunately the Force-20 also lacks the Solar-Dark’s hefty price-tag (it’s early half the price), making it an attractive choice for those new to trail cameras. One nice touch is the inclusion of data on the footage. You can see the time an event occurred, an icon shows you the current phase of the moon and you can discover the temperature in Centigrade or Fahrenheit (depending on the menu setting that you choose).

Spypoint Force-20 Verdict

Despite its low budget price tag and limited choice of menu settings the Force-20 enables you to capture decent photos and clips of animals by night and day. Once you’ve chosen the shooting mode its a simple case of turning it on, placing it in a suitable location and then waiting overnight to see clips of animals in action (check out our accompanying video to see examples – such as foxes fighting!) This entry level device is an ideal choice for your first trail camera and it won’t blow your budget. 

If you're interested in wildlife watching, then you also might like our guide to the best portable hides for wildlife photography, plus binoculars for spotting faraway subjects. You can also get cellular trail cameras, which will help you to keep track of subjects from your smartphone.

So is it the 6MP sensor? Not exactly. That is pretty pitiful by today’s standards, true, but if you’re shooting images for your website or social media, 3000x2000 pixels is fine.

Is it the lack of video? No. I’ve got plenty of other gadgets I can use for video.

So is it the pretty dreadful fixed screen on the back, or the basic 5-point AF system, the total lack of live view or the single SD card slot (not even SDHC)? No, it’s none of those things.

My Nikon D50 has gone sticky.

Nikon must have inadvertently used some kind of degrading rubberised leatherette material for the grip, so that while my D50 still works perfectly, it’s just too horribly sticky to pick up and hold.

I only found out a couple of weeks back when I took it out of my old camera cupboard (I need a bigger cupboard) just to remind myself what it was like… and it wasn’t like this.

It’s not the only electronics product I’ve got that’s gone sticky, and I suspect it’s because a lot of these things have carried on working long after the makers imagined they’d be useful. I had to get rid of my dual-port USB charger last month for the same reason. It still charged my gear, but it had become stickier than a toddler’s face at dinner time.

STOP PRESS: Scores of DCW readers have sent in their de-sticking tips, and my D50 is now as good as new! Find out what made my D50 unsticky.

There are other things in my cupboard that have not suffered the same fate, including my Fujifilm S3 Pro (great images, rubbish 4xAA power, hugely long RAW capture times), Pentax K20D (a noisy lump but likeable) and a Sony R1, the first and only APS-C bridge camera.

I should open a camera museum.

Read more:

• Best cameras for beginners
• Best Nikon cameras
• Best DSLRs

Should you pay as much as you can for a pair of binoculars or as little as you can get away with? The Celestron Nature DX 8x42 makes a compelling case for hedging your bets by pairing some decent optics that behave brilliantly in bright light with a build quality that impresses for the money.

You won’t find many binoculars as affordable as the Celestron Nature DX 8x42 that boast a waterproof design, though it's fair to say that these BaK-4 roof prism binoculars aren't the best when it comes to wildlife spotting at dawn or dusk when their limited abilities with low light come to the fore. 

However, if you mainly want an affordable pair of entry level binoculars for wildlife watching by day then the Celestron Nature DX 8x42 are hugely likeable and a great candidate for an excellent first pair of binoculars. 

Specifications

Magnification: 8x
Objective diameter: 42mm
Field of view at 1000m: 129 metres
Field of view at 1000 yds: 388 ft
Closest focusing distance: 2 metres/6.5 feet
Eye relief: 17.5mm/0.69”
Weight: 629g/22.2 oz 
Dimensions: 135x126x52mm/5.3”x4.9”x2”

Key features

The Celestron Nature 8x42 offers 8x magnification and has 42mm objective lenses. That makes them less than ideal for stargazing and astronomy, which typically requires binoculars with slightly more magnification and larger objective lenses. 

That's not to say that the Celestron are not well prepared for the outdoors. They’re fully waterproof (something you shouldn't take for granted at this low price) and nitrogen-purged so not likely to fog-up. 

Build and handling

You might expect a highly affordable pair of binoculars like the Celestron Nature DX 8x42 to be very obviously lacking in build quality when compared to pricier rivals. It's true that the Celestron Nature 8x42 has a slightly more plasticky feel than higher-end products, but the faux rubber-coated barrels are reasonably easy to grip. There are a few design flourishes – such as thumb grooves on the undercarriage – and the Celestron Nature DX 8x42 are always easy to hold and feel extremely solid. Nothing is going to snap-off nor get misaligned, which is always a risk at the cheaper end of the market. 

That’s despite the Celestron Nature 8x42 feeling incredibly lightweight. Their 629g/22.2 oz weight instantly makes them a candidate for travel, though that’s largely down to their relatively small barrels and low magnification. 

Something the Celestron Nature DX 8x42 has that many of its pricier rivals don't have is firmly attached lens caps. While the eyecups get a standard figure-of-eight lens cap that can be attached to the neck strap, the objective lenses get lens caps with rubber rings. So when you use the Nature 8x42s the lens caps drop down underneath the lenses. This is a design we like because it makes them hard to lose. 

What the Celestron Nature DX 8x42 does lack is a decent neck strap; the one supplied box is rather basic and uncomfortable, and worth upgrading. However, the small case supplied is of decent quality, boasting a little padding, and also having a pocket for a small notebook. 

Performance

Take the Celestron Nature 8x42 into your garden to look at birds on a bright sunny day and you'll get as good a performance as from almost any pricier rival. While you can get binoculars that offer a slightly closer focus than the two metres/6.5 feet managed by the Celestron Nature 8x42, we were able to get as close to a goldfinch in our garden as we needed to. Taken out on a hike the Celestron Nature 8x42’s field of view also proved ripe for sweeping across mountain vistas. 

One thing we did notice while using the Celestron Nature 8x42 is that although we got incredibly sharp and detailed images – particularly on bright days – there is a tiny amount of blur at the extremities of the field of view. It's hardly a deal breaker and many will not even notice it. However, sharpness throughout the field of view is something reserved for slightly more expensive binoculars. 

For all its quality during the day, the Celestron Nature 8x42 does lack star quality. These are not the binoculars for you if you're after something solely for stargazing and astronomy; they just don't let enough light in. We’ve also seen better binoculars in a deep dusk, though they’ve still usable in low light. 

Something we did love about the Celestron Nature 8x42 was its fast focus knob, which has a little more give in it than most. Here the knob moves quickly and stops very precisely. It means you can quickly focus on an animal before it darts off into the undergrowth or flies away. 

We also like the fact that the eyecups offer a lot of eye relief (good news for wearers of spectacles) and have two settings that are easy and quick to toggle between. The diopter dial is a little stiff, but in our view that's a good thing. After all, you're only going to use this once in a blue moon to calibrate the Nature 8x42 to your own eyesight, so you don’t want it to slip. 

Verdict

If you’re after a pair of binoculars for general use then you’ll love the Celestron Nature DX 8x42. Its design may lack a few niceties – such as thumb grooves and a comfortable neck strap – but its waterproof chassis and faux-rubber jacket impress for the price. 

With detailed images in bright light yet average results in low light the Celestron Nature DX 8x42 doesn't delight in all scenarios. However, a fast-focus knob, a handy lens cap design that makes them hard to lose and a nice carry case makes the Celestron Nature DX 8x42 perfect for using around your garden, or for putting in the glovebox of your car for general travel and touring. 

Read more:

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• Best budget binoculars under $100
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The Nikon D3500 was launched at the end of 2018 as a modest update to the evergreen Nikon D3400, a starter DSLR we've been championing for years. It's a basic-looking camera with a fixed rear screen and no 4K video, but it has all the manual controls that photography newbies will need and its image quality is really very good. All this guarantees the D3500 a place in our list of the best cameras for beginners and best student cameras.

The D3500 isn’t just Nikon’s cheapest and simplest DSLR, it’s also its lightest, weighing just 415g, body only, and that’s with the battery and a memory card. It will usually come with a lightweight 18-55mm AF-P kit lens which has a retracting mechanism to make it more portable when it’s not switched on. It’s not quite as small as a mirrorless camera, but the battery life alone makes a good case for the classic DSLR design, and the D3500 but is light, fast enough and cheap enough to make a great travel camera.

This camera is designed specifically for beginners, with simplified controls and a built in Guide Mode to help new users learn the basics. But it’s also compatible with a wide range of F-mount Nikon lenses, from Nikon and third-party makers, and has a good enough specification to please enthusiasts as well as beginners. So is this one of the best cheap cameras you can get? You bet.

Specifications

Camera type: DSLR
Lens mount: Nikon F
Sensor: 24.2MP APS-C CMOS 4, 23.5 x 15.6mm
Full frame: No
In-body image  stabilization (IBIS): No
Image processor: EXPEED 4
AF points: 11-point AF, 1 cross-type
ISO range: 100 to 25,600
Max image size: 6,000 x 4,000px
Metering zones: 420 pixel RGB sensor
Video: 1920 x 1080 at 60p, 50p, 30p, 25p, 24p
Viewfinder: Optical pentamirror, 95% coverage
Memory card: SD/SDHC/SDXC UHS I
LCD: 3.0-inch fixed, 921K dots
Max burst: 5fps
Connectivity: Bluetooth
Size: 124 x 97 x 69.5mm (body only)
Weight: 415g (body only, with battery and memory card)

Key features

Inside, the D3500 has a 24.2-megapixel APS-C 'DX' sensor. It might be a beginner-level camera, but that’s as high as most APS-C cameras go, even today. It also has an unusually good 5fps continuous shooting speed, where most rivals in this price bracket can only manage 3fps. Mirrorless cameras can generally shoot a little faster, but cost a little more too.

Nikon does not use in-body stabilization in its DSLR cameras, but many Nikon lenses, including the AF-P 18-55mm lens bundled with this camera, come with Nikon’s VR (Vibration Reduction) system. There are cheaper kits on sale with a non-VR lens, but we think it's worth paying the extra.

You don’t get 4K video capability with this camera, but it can shoot full HD 1920 x 1080 video at up to 60/50fps. You don’t get Wi-Fi, either, but built-in Bluetooth does let you transfer images to your smart device and, in this latest model, fire the shutter remotely using your smartphone. To be honest, you're unlikely to use this camera for video. Its live view autofocus is a little too slow and the fixed rear screen is a drawback in itself.

Nikon says it’s upgraded its sensor and EXPEED image processing system over the previous D3400  to give improved speed, detail and colours. It’s also uprated the battery life, quoting a pretty amazing 1,550 shots on a single charge – that’s four or five times more shots than you’d expect to get from a mirrorless camera. This is a key point; if you're out all day shooting, the average mirrorless camera could pack up by lunchtime unless you have spare batteries or a power bank, but the D3500 could keep going into the evening.

The D3500 does shoot raw files, as you’d expect, but these are 12-bit only, rather than the 14-bit raw files captured by models further up the Nikon range. Will you notice the difference? Probably not, as even a 12-bit raw gives a much wider tone and colour range than regular JPEGs, and for the users this camera is aimed at, the differences are likely to be academic.

• Nikon D3500 vs D5600

Build and handling

If you’re comparing the D3500 against mirrorless alternatives, its body is going to seem pretty fat and chunky by comparison. This does give you a good grip on the camera, though, and a redesigned button layout on the rear makes the D3500 easy to handle without accidentally pressing buttons you didn’t mean to.

The rear screen is not touch-sensitive, so you’re reliant on the physical buttons and dials (no great hardship, it has to be said). The screen is fixed, without even a tilting mechanism for low angle shots, but you have to accept some compromises at this price. The display quality is very good, though, with sharp detail and bright, clear colours. The information display is especially good, showing you graphical representations of the shutter speed, lens aperture and ISO setting, and this goes a long way towards demystifying exposure settings and how they interact.

The main mode dial on the top of the camera is clearly labelled and has a positive, solid feel. Right alongside is the camera’s single control dial, which also has a really good feel. It’s unmarked, and its function changes according to the mode you’re in.

DSLRs need a thicker body to accommodate the mirror mechanism, and by the time you’ve added on the 18-55mm AF-P kit lens, the D3500 is as long as it is wide. The retracting mechanism on the lens does make a difference, though. The only annoyance is the constant reminder that you need to extend the lens first before you can start shooting. 

Otherwise, the D3500’s handling is really good. The power switch is around the shutter release button where it’s easy to flick with your index finger when you want to switch the camera on and off, and both the main mode dial and control dial are within easy reach of your right thumb.

The viewfinder might only be a cheaper ‘pentamirror’ design rather than the pentaprism found in more expensive DSLRs, but its bright and clear, you can see right into the corners of the frame without shifting your eye and there’s no colour fringing at the edges. The information display is limited to basic exposure and status information along the bottom, but this is big, clear and easy to see.

The D3500’s viewfinder doesn’t offer all the information and colour/exposure information of an electronic viewfinder on a mirrorless camera, but its natural, lag-free ‘naked-eye’ look is quite refreshing after a digital display. It’s wrong to say optical viewfinders are inferior to the electronic type, they’re just different. This is one of the central arguments in the DSLR vs mirrorless camera debate.

Performance

The D3500 feels very responsive. The autofocus beep is a bit loud, but the AF-P lens’s autofocus is so swift and quiet that you need some audio feedback to let you know it’s focused.

In viewfinder shooting, the 11 AF points are clustered towards the middle of the frame, but if your subject is near the edge it’s easy enough to focus and then reframe before shooting. You can let the camera choose the focus point automatically or select it yourself; either way it’s very fast, and very positive.

In live view mode you can select a focus point anywhere on the screen. In the absence of touch control you have to use the four-way buttons on the back of the camera to move the AF point, which is a bit slow. The live view autofocus itself, though slow by mirrorless standards, is unexpectedly responsive. 

Nikon does not use on-sensor phase-detection autofocus in its DSLRs, relying on slower contrast-based autofocus instead. Or at least it should be slow. But somewhere along the line Nikon has found a way to make the D3500’s live view AF feel almost as responsive as a mirrorless camera’s, and we think it’s down to the AF-P autofocus technology in its kit lens. 

(Indeed, swapping to one of Nikon’s AF-S lenses confirmed that it’s the AF-P system that’s providing the speed.)

Our lab tests show that the D3500’s image quality is very much on a par with its rivals. There are slight differences here and there in resolution, noise and dynamic range, but these show up more in lab tests than they do in real-world shooting. In practice, the D3500 delivers sharp, vibrant and very well exposed images, and the 18-55mm AF-P lens performs really well for an inexpensive kit lens, with consistent sharpness across the focal range and right to the edges of the frame. There is some colour fringing and distortion in its raw files, but if you enable the in-camera lens corrections you won’t see this in its JPEG images – and most photo-editors now apply in-built lens correction profiles to raw files.

It may be a beginner level camera, but if you put its images alongside those from the best ASP-C cameras out there you might find it pretty difficult to tell which camera was used.

Lab tests

The entry-level interchangeable lens market is pretty crowded, and the chances are that you’re not just looking at DSLRs but mirrorless cameras too. The choice becomes a lot narrower if you want a camera with a viewfinder, however, especially at this price, so we rounded up three rival cameras that meet this basic requirement at the time of the D3500's launch. The Canon EOS Rebel T7/2000D is the Nikon's closest competitor on price and still available now, though it's not one of our favorite cameras. The Sony A68 made an interesting and more powerful alternative as one of the last Sony SLT cameras still on sale at the time, but it's no longer available. We also included the Fujifilm X-T100 as an underrated mirrorless DSLR-style camera that was little more expensive, and has now been replaced by the X-T200 – a great camera, but in a higher price bracket now.

Resolution

Sony’s DSLR-style SLT range may be in decline, but the A68 may yet turn up as a used item. It tops the chart in our resolution test, matching even a low-end full frame camera for resolving power. The Nikon D3500 is in second place, closely followed by the Canon EOS Rebel T7/2000D and Fujifilm X-T100, in that order.

Signal to noise ratio

The Canon EOS Rebel T7/2000D and Fujifilm X-T100 tie for first place here, while the Nikon D3500 and Sony A68 are noisier across the ISO range. We're used to seeing this in lab results for Nikon DSLRs with sensors that have no anti-aliasing filters – the differences are less obvious in real world shots.

Dynamic range

The Fujifilm X-T100 easily wins for dynamic range in our lab tests, with the Canon EOS Rebel T7/2000D in second place and the Nikon D3500 and Sony A68 very slightly behind.

Verdict

If you've made up your mind to get a DSLR, the Nikon D3500 does face some strong competition in the Canon range. The cheapest of all is the Canon EOS Rebel T100 / EOS 4000D, but it's hard to find now. It was made down to a price and it showed – we didn't like it much at all. The EOS Rebel T7/2000D is closer to the Nikon D3500 in specifications, and an ideal alternative if you're a Canon fan. However, the battery life is worse, its burst mode is slower, and there's no retracting lens option – in fact getting a good kit lens with IS (image stabilization) pushes the price higher still. 

The Nikon D3500 does have its limitations, obviously, because of its price and its intended audience, but we think it's easily the best DSLR for beginners right now – and because mirrorless cameras with viewfinders tend to cost more, we'd say it's the best camera for beginners all round. In fact, unless Nikon eventually pulls the plug on its cheapest DSLR, we reckon we'll be saying exactly the same thing five years from now.

Nikon has done a great job with the D3500, not just when it was launched but in all the time since then. It's taken modest but effective technology, built it into a likeable and affordable camera and kept the price down low enough to make it affordable for beginners. At any one time, you might be able to find a cheaper interchangeable lens camera than this one, but we think you'll have a hard job finding one that's as good.

Read more:

• The best Nikon DSLRs
• The best camera for beginners
• DSLR vs mirrorless cameras
• The best DSLR cameras
• The best cameras for kids
• The best student camera

In September 2020, the Sony A7C was introduced as the company’s entry-level full-frame mirrorless camera, which means it sits below the older Sony A7 III in Sony’s line-up. Nevertheless the two cameras have quite a bit in common which can leave photographers scratching their heads trying to decide which model they should go for. 

As usual, there are pros and cons to each camera, and while the older Sony A7 III is still in some ways more advanced than the A7C, the newer camera has a few advantages that could make it a better choice. So let’s take a look at how the Sony A7C compares with the Sony A7 III.

1. Sensor

• Sony A7C: 24.2Mp Full frame (35.6×23.8mm), Exmor R CMOS sensor

• Sony A7 III: 24.2Mp Full frame (35.6×23.8mm), Exmor R CMOS sensor


As you can see, the two cameras have exactly the same full-frame Exmoor R CMOS sensor. What’s more the sensor is paired with the same Bionz X processing engine, which means that in identical conditions and with the same lens mounted, you should be able to capture the same quality images whichever model you use.

2. Autofocus system

• Sony A7C: -4EV to 20EV (ISO100 equivalent with F2.0 lens attached)
• Sony A7 III: -3EV to 20EV (ISO100 equivalent with F2.0 lens attached)

As they share the same sensor, the A7C and A7 III have the much the same AF hardware. This means that they both have a hybrid system with 693 phase-detection focus point and 425 contrast-detection points. However, the A7C is 1EV more sensitive which means it performs a little better in low light.

Also, the A7C benefits from Sony’s most recent AI-powered subject recognition system which enables the camera to track subjects better than the A7 III. The A7 III’s Eye AF is good, but the A7C’s is a bit more responsive and does a better job of staying with the subject when the eyes turn away from the camera.

• Best lenses for Sony A7iii

3. Viewfinder

• Sony A7C: 0.39-inch type OLED with 2,359,296 dots
• Sony A7 III: 0.5-inch type OLED with 2,359,296 dots

The viewfinder is one of the more noticeable distinguishing features between the Sony A7C and A7 III. For a start, it’s integrated into the body of the A7C and over in the top left corner rather sitting at the centre on the top of the camera like on the A7 III. This necessitated Sony to use a 0.39-in type unit that’s more commonly seen in APS-C format cameras rather than the 0.5-in unit of the A7 III.

Integrating a smaller viewfinder into the A7C enables the camera to be more compact, but it lacks the ‘full-frame experience’ that you might expect.

4. Screen

• Sony A7C: Vari-angle 3-inch touchscreen with 921,600 dots
• Sony A7 III: Tilting 3-inch touchscreen with 921,600 dots

The A7C has the honor of being the second Sony A7-series camera to feature a vari-angle screen – the first being the A7S III. This means that the screen can be flipped out to side of the camera and angled up or down or even rotated to face forwards for selfie-shooting and vlogging. It can also be angled to help compose images in portrait orientation.

The A7 III, however, has a tilting screen which is only helpful for shooting landscape-orientation images and cannot be flipped to be viewed from in front of the camera.  

5. Size and shape

• Sony A7C: 124.0mm x 71.1mm x 59.7mm
• Sony A7 III: 126.9mm x 95.6mm x 73.7mm

The A7C is smaller in every dimension than the A7 III, which while not making it pocketable, makes it an attractive choice for travel, especially when it’s paired with the collapsible Sony FE 28-60mm F4-5.6 kit lens. 

In addition, as the viewfinder is integrated into the body of the A7C it has a more rectangular shape with the viewfinder in the top-left corner. Consequently, the A7C looks like one of Sony’s APS-C format cameras rather than one of the A7-series of full-frame models.

6. Shutter speeds

• Sony A7C: 1/4000-30 sec
• Sony A7 III: 1/8000-30 sec

For most photography, a shutter speed of 1/4000sec is more than enough, but when you’re using a very large aperture, it’s helpful to be able to boost the shutter speed by an extra stop in bright light. This gives the A7 III an advantage over the A7C which may be appreciated by portrait or sports photographers on sunny days.

7. Dial control

• Sony A7C: Two rear dials
• Sony A7 III: Front and rear dials

While the A7C has two dials for adjusting the exposure settings, they are both on the back of the camera – one above the thumb rest and the other other lower down, doubling up as the navigation pad. This means that they are both operated by your thumb.

The A7 III has two similar dials but there’s a third one on its front at the top of the grip which is conveniently placed for use by your right forefinger. This means that you can hold the camera with your thumb and forefinger poised for action ready adjust the settings without needing to alter your grip on the camera.

8. Burst depth

• Sony A7C: Over 215 Extra fine JPEGs, over 115 raw files, over 86 simultaneous raw+JPEG files
• Sony A7 III: 163  Extra fine JPEGs, 89 raw files, 79 simultaneous raw+JPEG files

Both cameras can shoot at up to 10fps but the A7C has a bigger buffer which means it can shoot more images in one continuous sequence. In fact, the A7C can maintain the 10fps rate for at least 21.5 seconds and 215 Extra fine JPEGs. That’s more than enough for most shooting scenarios, including sport, however the smaller size and rectangular shape of the A7C makes it a less comfortable pairing with the long telephoto lenses favoured by sports photographers. Consequently, although it can capture 52 or more fewer images than the A7C, the A7 III is likely to be a better bet for anyone wanting to shoot sport on a regular basis. A burst depth of 163 images is still very respectable.

9. Card slots

• Sony A7C: Single SD/SDHC/SDXC UHS-I/II slot
• Sony A7 III: Dual SD/SDHC/SDXC slots, Slot 1: UHS-I/II, Slot 2: UHS-I

Whereas the A7C has a single SD/SDHC/SDXC slot that’s compatible with UHS-II and UHS-I media, the A7 III has two card slots, one of which is compatible with UHS-I media while the other is compatible with UHS-I and UHS-II cards.

If there are two cards in the A7 III’s slots, they can be used to simultaneously record or record in relay. It's also possible to split raw and JPEG files or stills and video files on to separate cards or copy files from one card to the other.

Sony A7C vs A7III: conclusions

The main advantages that the Sony A7C has over the A 7III are the vari-angle screen, larger buffer, slightly better AF system and smaller size. However, the A7 III has a larger viewfinder which is likely to be appreciated in day-to-day shooting, more advanced ergonomics that make it easier to adjust settings quickly and dual memory card slots.

The A7C is a compact camera well suited to travel and vlogging, thanks to its vari-angle screen, but the A7 III probably offers a better all-round handling experience for other kinds of photography.

How we test cameras

We test mirrorless and DSLR cameras both in real-world shooting scenarios and in carefully controlled lab conditions. Our lab tests measure resolution, dynamic range and signal to noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera's ISO range. We use these real-world testing and lab results to inform our comments in buying guides. For compact cameras and phones, we judge on real world handling and photographic results alone. 

The Nikon Report 2021 has recently been released, detailing some of Nikon's plans for the future of the imaging company. One of these plans includes the introduction of new "entrance models" that will not only be affordable, but will also have good video functionality as well.

With the Nikon D3500 discontinued in Japan, we're not surprised to see Nikon pursuing a new inexpensive entry-level model. While there's no further official information on what kind of camera we could be expecting, it seems likely that it will be a Z mount camera.

• Read more: Best Nikon camera

The confirmation that this entry-level camera will have good video functionality will help it appeal to an increasingly video-focused market. Plus, this mention in the Nikon Report 2021 (via Digital Camera Info) also falls in line with the Nikon Z30 rumors that we've been seeing for quite some time. 

Having a super-affordable entry-level camera is the perfect gateway product to introduce new users to a lens system. After all, if you already have some lenses that will work with your first camera, why wouldn't you upgrade within the system so that you don't have to replace everything you already have? Canon and Nikon's mirrorless mounts are both currently missing the affordability factor that models such as the Nikon D3500 and the Canon EOS 2000D currently bring to their DSLR mounts. 

While there currently isn't any information on what sort of pricing the Nikon Z30 could have, we would love to see this upcoming entry-level Z-mount camera fall around the $600–$700 mark. Not only would this make it super competitively priced, but it would also differentiate it enough from the Nikon Z50, which currently goes for around $850.

Nikon hasn't indicated when exactly we'll see this new entry-level camera, so it seems we'll have to wait a bit longer for any further details. 

Read more

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Best Nikon Z lenses
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When your slow-motion needs to be slower than slow, the Phantom TMX 5010 should be your port of call. Just announced, this specialist slow-mo camera can capture video at an impressive 1.16 million frames per second. 

It’s the latest entry in a series that also includes the TMX 6410 and the TMX 7510, both of which can shoot at even faster frame rates. The TMX 5010 differs, however, in that Vision Research is billing it as “entry-level”. This means a comparatively lower price tag than the other Phantom models – though, as we’ll see, this is something of a relative term. 

• Read more: Best slow-motion cameras

The Phantom TMX 5010 uses a back-side illuminated sensor, a special high-speed model that allows for the super-high frame rates. At its maximum resolution of 1200 x 800 it can reach a frame rate of 50,725; to get the faster frame rates, including the 1.16 million, the resolution is reduced. 

It’s designed for research applications first and foremost. It’s equipped with 512GB of RAM, and is capable of achieving exposures as short as 95 nanoseconds, completely eliminating motion blur. This is done using the dedicated FAST option, wherein the camera can achieve 50Gpx/second throughput. The upshot of this is higher resolution images at faster frame rate, which has many uses in research applications, where getting crystal-clear with nanoseconds of difference can be paramount. 

The Phantom TMX 5010 can also be used with some of the best Canon lenses, and allows for control over aperture and focus via software, though this does require an adapter. There is also a viewfinder port that allows for connection of an external viewfinder or monitor. 

While the Phantom TMX 5010 is described as “entry-level”, as we said, this is relative – it’s still going to come with a five-figure price tag (you have to get in touch with the team at Vision Research to get a quote). Still, it’s always interesting to see what’s going on at the forefront of camera development technology – it can give a few hints as to what kind of advancements we might expect to appear in consumer cameras a few years down the line. 

We’re probably not going to see a million frames per second in the next Canon RF or Sony Alpha camera, but hey – it doesn’t hurt to dream. And in the meantime, maybe some enterprising YouTuber will rent out a Phantom TMX 5010 to give us a closer look at the 1.16-million fps footage…

Read more: 

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There's a twist of irony in instant cameras like the Instax Mini 40. While digital cameras will always be superseded by higher megapixel counts, better sensors and faster shutters, the best instant cameras will never age. The photochemical process won't advance, the way digital pixels do, so these analog cameras are essentially future-proof.

That's very much the case with the Instax Mini 40. Released in 2021, it's essentially the same cameras as the Instax Mini 11 that was launched the year before. The only real difference is that instead of bright, bouncy bubblegum colors and jello-like soft curves, the Mini 40 is designed to look like a vintage camera – with a grown-up leather-look finish and contrasting silver and black colors.

Looks aside, it's going to give you the same performance as the Mini 11 – though the Instax Mini 12 is slightly more advanced, and the Mini 40 costs up to 20 bucks more than both of them. 

Specifications

Film type: Fujifilm Instax Mini instant film (62 mm × 46 mm)
Lens: 2 components, 2 elements, f = 60 mm, 1:12.7
Viewfinder: 0.37x finder
Minimum focusing distance: 0.3m
Programmed electronic shutter: 1/2 to 1/250 sec. Slow synchro for low light
Flash: Always-on
Power: 2x AA batteries
Dimensions: 104 x 121 x 65mm
Weight: 330g 

Key features

The aim of the Instax Mini 40 is simplicity, so there’s not a whole lot to say about it in terms of functionality. You load the film packs, a process that requires a little fiddling, but is easy once you get used to it. With this done, you hold the camera vertically, frame up with the 0.37x viewfinder, and shoot.

That’s it. There’s no exposure control of any kind. You can’t even turn off the flash. The camera spits the image out, and it develops within 90 seconds. The only real control you can exercise is activating selfie mode – which is basically just pulling the front of the lens out to zoom in a little. There’s the obligatory selfie mirror to help you frame up.

Instax film packs are easy to get hold of. They’re cheaper than, and inferior to, Polaroid film; they’re more expensive than, and better than, Kodak’s instant-print ZINK photo paper used in cameras like the Kodak Step. 

This is all fine, but what is disappointing is how much single-use plastic they involve – in the wrapping and the packs themselves. This isn’t a problem unique to Instax, but it’s disappointing not to see more effort from Fujifilm on this.

Build and handling

Aesthetics don’t always matter. Few people care that the Canon EOS R5 Mark II looks boring. But anyone who buys an Instax camera and says they don’t care about how it looks is lying to you. Aesthetics are the whole point of instant film! 

So there’s no shame in saying it’s a big tick for Instax Mini 40 that it looks so much better than the Mini 11 and 12. The overly smooth, swimming-pool-toy design of the other models is supplanted by a textured skin that’s more comfortable to hold, with a stylish silver trim. The Instax Mini 40 just looks cool. 

There’s no grip or anything, but the camera handles well enough. The only annoyance I found was selfie mode. It’s activated by pulling out the lens front, but you have to pull hard enough that it feels like you’re going to break the camera.

Performance

Instax shooting comes with some quirks, never more so than in a camera as no-frills as this. Exposures tend to be within the ballpark rather than bang on, with a bias towards overexposure. Blown-out highlights are common, to the point where some Instax users consider them a feature rather than a bug.

If you like the Instax look, you'll have nothing to complain about. The colors pop, there’s a decent amount of detail, and the finished product is ready within 90 seconds. As mentioned, the flash will always fire, even if you’re outside in blazing sunlight, which might be annoying if you’re trying to get an image of, say, a pet without startling it. 

Shooting is easy, carefree and fun. The 0.3m minimum focus distance gives you a surprising amount of versatility with your subjects. The shot counter on the rear is a welcome quality-of-life feature, as is the fact that the camera is powered by common AA batteries.

Samples

Verdict

If you don’t care at all about looks, the Instax Mini 11 and Mini 12 do the same as this, for cheaper. The Kodak Step offers a similar experience that’s much cheaper to run. But the Instax Mini 40 is sleeker and more stylish than the both of them. And style is substance – don't let anyone tell you otherwise.

Instant photography has been around for decades. You likely know what you’re getting into here – you’re trading technical perfection for lo-fi charm, and digital convenience for physical permanence. All you really need to know is whether the Instax Mini 40 does everything that instant film shooters need it to, and the answer to that is yes.

Before buying, check out our guides to instant camera film sizes and what type of instant film you need. You might also be interested in learning about the Instax vs Polaroid differences, as well as tips on how to take an Instax picture.

Recently, rumors have been doing the rounds regarding the demise of two of Nikon's most popular DSLRs, the Nikon D3500 and Nikon D5600. However, according to Nikon itself, these rumors are unfounded – at least outside the manufacturer's home territory of Japan. 

Several websites, including this one, ran stories of the Nikon D3500 and Nikon D5600 cameras both being discontinued, based on the fact that Nikon Japan has listed these models as being 'archived products'. However, it turns out that this decision affects the Japanese market only.

• Read more: Nikon D3500 vs D5600

Here’s the official statement from Nikon Japan:

"Nikon Imaging Japan has decided to archive some digital SLR camera models based on market trends. In Japan, the D5600 and D3500 are archived products. The products will continue to be sold in countries and regions other than Japan. We plan to continue selling these products for the time being. For areas other than Japan, we will consider the optimal timing for discontinuation based on the needs of the market and customers."

Adding fuel to the fire, several UK retailers currently have the cameras listed as 'awaiting stock', which is often a tell-tale sign that discontinuation is imminent for a given product line. 

However, Nikon UK has clarified to us that this is due to a 'long list of backorders' waiting to be fulfilled. Nikon products coming into the UK have been badly affected with delays attributed to Brexit, which could be partly to blame for the situation.  

It had struck us as somewhat odd that Nikon would discontinue its biggest-selling entry level models before any replacements were on the horizon. That said, we are still expecting an entry level mirrorless model to be launched this year, potentially without a built-in electronic viewfinder in the shape of the Nikon Z30…

Read more:

Nikon D3500 review
Nikon D5600 review
Best Nikon camera

With the world working from home more than ever before, Canon has released its new Pixma G-Series MegaTank inkjet range, which aim to maximize productivity with high volume and low-cost printing. 

Suitable for everyday home or office use, especially during prolonged periods of home working, these entry-level printers join Canon’s MegaTank range, and they will be available to buy from February 2021!

• Read more: • Best ink refill printer  • Best 3D printers

Key product features across Canon’s latest range include replaceable maintenance cartridge to reduce downtime, improved ink bottles to make refilling tanks easier, and a 2-line LCD for quick access to settings. Balancing cost and efficiency, the economy print mode makes it possible to confidently print thousands of pages when needed, whilst further reducing costs.

Designed for the home office, students and home schooling, or home-craft family duties, the expanded range have various technical capabilities that include the Pixma G3560 - a high speed, three-in-one multifunction printer (MFP) capable of printing, copying and scanning with Wi-Fi, the Pixma G3520 – a MFP with Wi-Fi, the Pixma G2560 – a high speed MFP, the Pixma G2520 MFP and the single function Pixma G1520 printer. 

• Read more: Best photo printer

Canon says this series can produce 6,000 pages from a single black ink bottle and print 26 per cent more in economy mode. For printing in colour, the Pixma G-Series MegaTank devices offer a claimed page yield of up to 7,700 pages from a set of color ink bottles, a 700-page increase on previous models. 

The two high-speed models in the range, PIXMA G3560 and PIXMA G2560, can deliver deadline beating speeds of 10.8 ipm for black printing and 6.0 ipm for color, printing with confidence to deliver high-quality prints in impressive volumes. 

Replacing inks and Wi-Fi

With integrated front-facing ink tanks, it’s quick and easy to determine ink levels, as you can check the level of the maintenance cartridge on the LCD screen or through the Canon PRINT App (iOS/Android), available for the Pixma G3560 and Pixma G3520 models.

Plus improved key type bottles, it has never been easier to refill ink tanks. Simply insert the bottle into the corresponding tank and it fills itself, automatically stopping when full. 

The Wi-Fi enabled Pixma G3560 and Pixma G3520 models allow users to connect effortlessly, thanks to compatibility with Apple AirPrint and Mopria for Android, as well as the Canon PRINT app for printing from your smart device. In addition, for those looking for creative inspiration, Canon’s Creative Park allows users to unleash their inner artist by making 3D paper crafts, as well as personalized cards.

Key features

PIXMA G-SERIES MEGATANK RANGE KEY FEATURES:
Replaceable maintenance cartridge
Mechanical ID/Key type ink bottles
2-line LCD display
Economy Print Mode
Compatibility with magnetic, iron on, restickable, matte and photo media

PIXMA G3560 KEY FEATURES:
3-in-1 print, copy, scan
High-speed printing: 10.8 ipm mono and 6.0 ipm color
Wi-Fi capability
Cloud connectivity

PIXMA G3520 KEY FEATURES:
3-in-1 print, copy, scan
Wi-Fi capability
Cloud connectivity

PIXMA G2560 KEY FEATURES:
3-in-1 print, copy, scan
High-speed printing: 10.8 ipm mono and 6.0 ipm color

PIXMA G2520 KEY FEATURES:
3-in-1 print, copy, scan

PRICES
Canon Pixma G3560 – £219.99 / €279.99
Canon Pixma G3520 – £199.99 / €249.99
Canon Pixma G2560 – £179.99 / €199.99
Canon Pixma G2520 – £159.99 / €179.99
Canon Pixma G1520 – £139.99 / €159.99

Canon's Megatank range is sold under slightly different model names in the US (see the current USA Megatank range). 

Read more: 

The best photo printers
Best all-in-one printers
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Printer maintenance explained
The best portable printers

A new report suggests that Olympus' entry level bodies, such as the PEN E-PL series, might be discontinued in order to focus on the professional  product line once new owner JIP assumes control.

This would mean that perennially popular, but presumably less profitable, bodies like the Olympus PEN E-PL10 would be phased out in favor of flagship cameras like the Olympus OM-D E-M1 Mark III. 

• Read more: Best Olympus camera

That's according to a new report by 43 Rumors, which also notes once again that the Olympus brand name could be dropped following the completion of sale. 

"I have recently been told by a Olympus representative that JIP is most likely to continue developing the PRO segment of their MFT system, and possibly there will be a re-branding without the Olympus name," wrote the site. 

"It is also likely that they will discontinue the volume cameras, such as the E-PL series. Non of this is officially confirmed, but it is said that they are working on a press release that will be released within approximately one month from today."

Olympus has been making an increased focus on professional equipment in recent years, with the release of the DSLR-sized Olympus OM-D E-M1X, and lenses like the Olympus M.Zuiko 12-45mm f/4 Pro and upcoming Olympus M.Zuiko 150-400mm f/4.5 TC1.25x IS Pro.

It would certainly make sense, given the nature of the sale, for JIP / Olympus to focus on higher end, higher priced gear rather than entry level product. The question, of course, is where this purported strategy would leave mid-tier products like the Olympus OM-D E-M5 Mark III and the new Olympus OM-D E-M10 Mark IV (the being the entry level model of the higher end OM-D line).

Of course, none of this comes from official channels and it may not come to pass. However, it seems inevitable that some realignment of the product line is in store if JIP is to make the business profitable – and much as we love PENs, it does make the most sense if a camera line has to be dropped. 

Read more: 

Olympus PEN E-PL10 review
Olympus OM-D E-M1 Mark III review
Olympus OM-D E-M5 Mark III review
Olympus OM-D E-M10 Mark IV review

The Fujifilm X-T200 is a kind of bridge between the company's basic mirrorless models and its more advanced cameras. Fujifilm is perhaps best known for its classically-designed X-series cameras, with external exposure controls and traditional handling. It also makes entry-level mirrorless cameras in its X-A range, designed for first-time users and smartphone upgraders. The X-T200 sits right in the middle between these two camera ranges, with simplified controls for novices but an electronic viewfinder like the more advanced models.

The X-T200 follows on from the Fujifilm X-T100, with a (much) better rear screen, faster processing, proper 4K video with a ‘digital gimbal’ feature and improved autofocus. It’s so much better that Fujifilm might want to watch out that it doesn’t start cannibalising sales from its more upmarket cameras, though after spending a bit of time with this camera we think the differences are pretty clear. On paper, the X-T200 looks a match for the X-T30, but in your hands it's clear its a cheaper, simpler camera. If you like the X-A7 but wish it had a viewfinder, get this. If you want an X-T30 but don't have quite enough money, we'd suggest saving up for a bit longer – the X-T200 is not a lot cheaper and might prove a disappointment.

The Fujifilm X-T200 would, however, make an ideal camera for beginners and it looks the perfect camera for instagram or vlogging. 

Specifications

Sensor: 24.2MP APS-C CMOS
Autofocus: Hybrid phase/contrast AF
ISO range: 200-12,800 (exp. 100-51,200)
Max image size: 6,000 x 4,000
Metering modes: 256-zone, multi, spot, average
Video: 4K UHD, 30/25/24p
Viewfinder: OLED EVF, 2.36m dots
Memory card: SD/SDHC/SDXC (UHS I)
Max burst: 8fps
Connectivity: Wi-Fi, Bluetooth
Size: 121.0 x 83.7 x 55.1mm
Weight: 370g (including battery and memory card)

Key features

Fujifilm has been careful to keep the lower-end X-T200 one step behind its best X-series cameras. It does not have the 26.1-megapixel X-Trans sensor in the X-T3, X-T30, X-Pro3 and the new X100V compact, making do with a regular 24.2-megapixel CMOS sensor. This has proved a very good performer in its own right, so it’s not the disadvantage it might sound.

Fujifilm has upgraded both the sensor and the processor in this camera to support 4K video at up to 30fps (unlikely the inadequate 15fps in the X-T100), with 3.5x faster processing that’s claimed to reduce any ‘rolling shutter’ effect. This camera can also shoot ‘HDR video’ which combines videos at different exposures in some way we’ve yet to explore, and a ‘digital gimbal’ that uses an in-camera gyro and an electronic stabilization algorithm to smooth out your footage. This will reduce the field of view, however – presumably because the camera needs space to be able to adjust the framing.

The X-T200 can shoot continuously at 8 frames per second and has an improved hybrid AF system covering the whole frame, together with updated face and eye detection. 

And despite the new 3.5-inch 16:9 vari-angle rear screen, the X-T200 is 80g lighter than the old X-T100, which was itself hardly a heavyweight. It will come in Silver, Dark Silver and Champagne, and will typically be bundlled with the Fujinon XC15-45mmF3.5-5.6 OIS PZ kit lens.

Build and handling

There are some between the X-T200 and more advanced Fujifilm cameras like the X-T30 and X-T3 that become obvious straight away. It’s a lot lighter, for a start, with a more plasticky feel, and lacks the external shutter speed and lens aperture controls. Instead, it’s laid out more like regular digital cameras – a deliberate decision, we’re told, to make it more easily understood for novices.

It’s a bit more than just a simple ‘novice’ camera, though. It has twin control dials, customisable function buttons and a ‘Q’ quick menu for common camera settings. It’s part of Fujifilm’s more basic mirrorless camera series, but it has features and controls to match most mid-range cameras.

The lightweight build and plastic construction feel a little cheap against higher-end X-series cameras, like the X-T30 upwards, but the X-T200 nevertheless feels like a well put together camera that’s had a bit of thought put into its design. Interestingly, there’s no four-way controller on the back; instead Fujifilm has added a small joystick for setting the AF point and menu navigation. It’s good in some ways because it leaves the back of the camera relatively clear of buttons which might get pressed accidentally – and because that big flip-out screen doesn't leave a lot of room for controls anyway.

The joystick is good, but Fujifilm has added a central click 'OK' action which is a little too easy to activate accidentally. It's the perennial problem with multi-function controls – you 'click' when you meant to 'push'.

The star feature, however, is the big 3.5-inch vari-angle touchscreen. The only other Fujifilm camera to have this is the X-A7, and it’s a shame you don’t get this on the higher-end models too. The screen has a 16:9 ratio that’s perfect for video and it flips round to the front for selfies and vlogging.

The X-T200's external controls are more sophisticated than they look. Most cameras in this sector have a single control dial, but the X-T200 has three. Two of these are on the right side of the camera, one around the shutter release and one behind it where your thumb rests, but there's a third, larger dial on the left side of the camera. By default, this cycles through the different Film Simulation modes, showing a split-screen rendition of the current style on the left and the alternative styles on the right. It's a brilliant idea, brilliantly implemented.

In general, we like the Fujinon XC15-45mmF3.5-5.6 OIS PZ kit lens too. It’s very light, and its power-zoom mechanism means it retracts when the camera is powered off to make the camera/lens package quite compact. The zoom action isn’t very fast, though, and we can never remember which way to turn the ring to zoom in/out. It also seems to shunt around for no obvious reason when switching between stills and video or starting recording – electronic zoom control from the camera body can be a mixed blessing.

The 15mm minimum focal length of this lens is usefully wider than the average kit lens, offering a 23.5mm equivalent focal length – not bad at all. On the other hand, the 45mm maximum (67.5mm effective) is pretty short for a kit lens.

Performance

The image quality is everything we expect from Fujifilm cameras now. The detail rendition is very good, Fujifilm's extensive range of Film Simulations should suit all tastes, and the dynamic range expansion options can be genuinely useful for preserving highlight detail in high contrast scenes.

Current coronavirus lockdown restrictions have delayed our usual lab testing processes so we will update the review just as soon as those have been completed.

We found the autofocus experience somewhat mixed. For stills photography, the touch AF and touch shutter options are really useful. The AF modes are somewhat complicated, with three menu options were most cameras offer two (focus mode and focus point/area selection). The X-T200's focus mode options are straightforward enough (single AF, continuous AF), and the AF Mode options are clear enough – Single point, Zone, Wide/Tracking and All – but there's a third Focus Area menu where you can set the AF point position and size, and here there is some confusing crossover with the AF modes. With some AF modes this menu is disabled, with others you can change the focus point size and even the area (single point, zone, full) in a way that duplicates or contradicts the AF Mode menu.

It shouldn't take owners long to get all this figured out, but camera novices and newcomers might feel as if they've been thrown in the deep end.

The AF performance in burst and video modes seemed a little more hit and miss. We tested in on an active dog playing fetch with a lot of movement both around the frame and towards the camera while filming and got some pretty hit and miss results. Next time we'll try a slower dog (or a bit more practice).

The digital gimbal is a nice idea. It works, we presume, by shifting frames to keep subjects centered. It only works for Full HD video, though – the 4K option is disabled when you select this.

Below is a set of images of the same subject taken at ISO settings from 1600-12800, with the lighting adjusted to fall on the background to show the effect of the ISO noise reduction on defocused detail.

Inevitably, fine textural detail does start to smooth over eventually, but only becomes particularly visible at ISO 6400. Even then, hard-edged detail is still rendered very well. This is an amazing performance from a consumer APS-C camera, and owes a lot to the Fujifilm's in-camera JPEG processing. Adobe Camera Raw retains more fine detail but can't compete with the camera JPEGs for saturation and noise control. 

Lab data

Resolution

The X-T200 performs as we'd expect in our resolution test, with its 24.2MP sensor slotting in between the 16.1MP Olympus OM-D E-M10  III and the 32.5MP Canon EOS M6 II. No surprises here, apart from the Nikon Z 50, which produces exceptionally sharp shots from its 20.9MP sensor, enabling it to match the level of fine detail resolved by the 24.2MP X-T200.

Dynamic range

The X-T200 doesn't capture as much dynamic range as its rival cameras, except at ISO 200. We'd expect dynamic range to steadily reduce with each increase in ISO sensitivity, but for some reason the X-T200 gets somewhat of a second wind at ISO 6400. If we're to speculate, this could be due to behind-the-scenes in-camera dynamic range enhancement at high ISO settings, even in RAW files, though we can't yet be certain of this.

Signal to noise ratio

Our signal to noise test measures image clarity, specifically the ratio of the actual image 'data' you want to capture, versus the image noise that you don't want, but will inevitably be visible when shooting at higher ISO sensitivities. The higher the score at a given ISO sensitivity, the better.

In this test the X-T200 turns in a respectable performance - if nothing particularly special - level-pegging with the Canon EOS M6 II through most of its sensitivity range. However, considering the X-T200 has fewer pixels than the Canon, you might expect that to translate to greater light sensitivity from each photosite and in turn less image noise, but sadly that's not the case here.

Verdict

We liked the original X-T100 for its clean lines and user-friendly features, but the X-T200 ups the stakes with a big, vari-angle touchscreen, vastly better 4K video features and improved autofocus. Fujifilm is aiming this camera at first time users, but it’s powerful enough to give mid-range DSLRs and mirrorless cameras plenty to think about. 

The finish and feel isn't up to the same standard as the Fujifilm X-T30, but as long as you don't make that particular comparison, the X-T200 does feel like a well made and well designed camera for this price range. The XC 14-45mm kit lens is both useful and annoying at the same time – the wide-angle focal range is welcome, but the sluggish and sometimes unpredictable electrical zooming is not.

The X-T200 is a very compelling camera for photography novices or content creators, and it's technically far superior to the X-T100. It feels as if it has shifted away from low-cost stills photography and more towards video, however, which is no bad thing in itself but has pushed the price up to a different level.

We like the X-T200, and we especially like that big 3.5-inch 3.5-inch vari-angle touchscreen. If only the higher-end X-series cameras had that! We'd like it a lot more, though, if it didn't cost quite so much.

UK users, by the way, should look out for the X-T200 Vlogging Kit. This adds just £50 to the price, but includes a Rode VideoMic Go (worth the £50 difference on its own), Joby GorillaPod Kit 1K, Fujifilm 16GB (90MB/Sec) C10 UHS-I SDHC Memory Card and cabling. We have seen similar unofficial bundles in the US, but with differing accessories.

Read more:

• These are the best cameras for beginners right now
• We pick out the best Fujifilm cameras to buy
• Looking for the best mirrorless camera? These are the best buys right now
• The best cameras for vloggers

Synology has announced a new entry-level NAS (network-attached storage) designed for home and personal users to store and share their photos, videos and documents. This private cloud device will allow everyone in your household to back up their photos, videos and files on the DS220j. 

This cloud solution is powered by the award-winning DiskStation Manager (DSM) OS. This is designed to provide an intuitive user interface and safe data protection approaches for easy digital asset backups from both computers and mobile devices at no additional cost. 

• Read more: Best external hard drives for photographers

The DS220j has a 64-bit 4-core 1.4 GHz CPU (central processing unit) and is capable of more than 112MB/s for both reading and writing data. It also features RAID 1 protection to avoid sudden drive failure, which can help set your mind at ease that you won't have to worry about losing vital files. 

The DiskStation DS200j supports up to 32TB and MacOS Time Machine. It also backs up and synchronizes with other devices and public clouds as well. 

Interestingly, unlike subscription services such as Dropbox and iCloud, you won't have to pay public-cloud subscription fees to use the DS220j. This will certainly be an attractive option to those looking to shave some money of their monthly outgoings.

One of the most exciting features from the DS220j is that you can turn it into a home media hub and stream your digital content to computers, mobile devices, Samsung TV, Apple TV and more. Synology's comprehensive backup solutions are also designed to protect your digital assets on Windows and Mac computers and Android and iOS phones. This will help prevent the success of malicious attacks, including the rising threat from encryption-based ransomware.

The DiskStation DS220j also offers seamless integration with mobile devices, designed to give you quick and secure access to your data, no matter where you are. 

For more information on this product, you can visit Synology's website.

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If you like the ideas of using a pen display to produce hand-drawn illustrations, but have been put off by the price of some models, industry-leader Wacom may have the answer. The new Wacom One Creative Pen Display tablet launched at CES 2020 has been designed as a cost-effective 13" pen tablet for aspiring digital artists and content creators wanting to create fresh graphics, or to enhance photos and video with a more natural, ergonomic method of digital input.

• Read more: Best graphics tablets | Best Wacom tablets

The Wacom One Creative Pen Display’s pressure-sensitive pen incorporates EMR (Electro Magnetic Resonance) technology, meaning it doesn't require a battery or any recharging. The 1920 x 1080 Full HD color display offers 4096 levels of pressure sensitivity, 72 per-cent coverage of the NTSC color space and is finished with an anti-glare film. There are also foldable legs built into the chassis, helping you to set a more comfortable working position.

Wacom One Creative Pen Display is compatible with Windows and Mac, along with Android devices, enabling you to use your phone as the host device instead of a computer. It can be used with several third-party pens from manufacturers such as Lamy, Samsung and Staedtler.

Bundled with each Wacom One Creative Pen Display tablet is a six-month free trail of Clip Studio Paint Pro from Celsys; a powerful, easy-to-use drawing application for comic and manga creation. You also get Wacom’s own Bamboo Paper app for note-taking and sketching. The Wacom One also opens up all the pen-enabled features in Windows 10 and Mac OSX.

Wacom One is available now in the US from B&H, priced at $399.95 and can be purchased from Wex Photo Video in the UK for £359.

Read more

Best photo editing tools and accessories in 2020
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The EOS M200 is a new and upgraded version of Canon's beginner orientated EOS M100. It's designed for newbies rather than experts and the changes over the older model aren't massive, so it's arrived without much of a fanfare – but deserves a closer look anyway.

The design of the new Canon EOS M200 is very much like the existing EOS M100. In fact, you'd have trouble telling them apart from the outside. There's no viewfinder, but there is a flip-up selfie touchscreen display at the back. It's designed to be a very simply camera and doesn't even have a mode dial – instead, most of the control happens via the touchscreen display. It's too basic to be one of the best mirrorless cameras all round, but it could prove to be one of the best cameras for beginners.

Canon EOS M200 specifications

Sensor: 24.1MP APS-C CMOS sensor
Image processor: Digic 8
AF points: Dual Pixel CMOS phase detect, 143 points
ISO range: 100 to 25,600
Max image size: 6,000 x 4,000
Viewfinder: No
Metering modes: Evaluative, partial, center-weighted, spot
Video: 4K UHD up to 30fps, 1080p FullHD up to 120fps
Memory card: 1x SD / SDHC / SDXC (UHS-I compatible)
LCD: 3-inch 180 degree tilting touchscreen, 1.04m dots
Max burst: 6.1fps continuous / 4fps with C-AF
Connectivity: Wi-Fi, Bluetooth
Size: 108.2 x 67.1 x 35.1mm
Weight: 299g (body only, with battery and SD card)

Canon EOS M200 key features

The EOS M200 uses a 24-megapixel APS-C sensor, like so many of Canon's consumer level models, and takes the company's EOS-M mirrorless lenses. The standard kit lens is the Canon EF-M 15-45mm f/3.5-6.3 IS STM, which has image stabilization built in and a retracting design to save space.

The key upgrades in the EOS M200 are a new DIGIC 8 image processor and its new 4K movie capability. This brings Canon up to speed with other mirrorless camera makers, where 4K video has become a standard feature. The EOS M200 can also shoot HD video at up to 120fps for a 4x slow motion effect. You can also capture 4K timelapse movies and extract still image frames from 4K video.

Bluetooth and Wi-Fi are built it to make it quick and easy to share images with your smart devices, and there's a guided user interface designed specifically for novices and mirrorless first-timers – plus Creative Assist modes for learning new skills and a Self Portrait mode for those all-important selfies.

Canon EOS M200 price and availability

The Canon EOS M200 as comes in white or black and goes in sale in October at a price of $549/£499 with the 15-45mm kit lens. We don't know yet whether the existing EOSM M100 will run alongside the new camera at a lower price, but Canon has described the EOS M200 as the M100's 'successor'.

Read more:

• These are the best mirrorless cameras right now
• We pick the best cameras for beginners
• Which is the best Canon camera to buy? We explain the options

In yet more exciting Fujifilm news, it looks as if the next lens we're set to receive from the Japanese imaging company will be the Fujinon XC 35mm lens (as reported by Fuji Rumors). This will be equivalent to a 53mm focal length on a full frame sensor.

Fujifilm has two main ranges of lenses for the X-mount, the XC and the XF. The XF lenses are Fuji's premium range of lenses, which are typically made of metal and house features such as aperture rings and larger apertures. Meanwhile, Fujifilm's XC range tends to be geared towards entry-level users. 

• Read more: Best 50mm lens

XC lenses are lighter, more compact and they also tend to be manufactured in China rather than Japan (although we wonder whether this might soon change). 

So, why should Fujifilm entry-level enthusiasts be excited by this lens?

Well, the XF 35mm f/1.4 is one of Fujifilm's most popular premium primes. As the APS-C equivalent of a 50mm lens,  35mm is a versatile focal length that can be applied to a variety of genres. You can currently pick up the XF 35mm f/1.4 for £499 ($599), which, while not overly expensive, is a little pricier than what some may be willing to invest. 

Proving the 35mm focal length's popularity even further, Fujifilm even offer a second XF 35mm. This version has a maximum aperture of f/2 and is on sale for around £369 ($399). While this is cheaper than the f/1.4, it might still be quite an expensive prospect for entry-level users.

A CF version of this lens would likely be made out of plastic rather than metal and have a narrower maximum aperture. However, these two adjustments would make the lens both significantly lighter and cheaper. 

Considering that Fujifilm's XC lens line-up currently only consists of two zooms (ranging respectively from 16-50mm to 50-230mm), we would wager that there's definitely a market for an Fujifilm 35mm prime.

Our hope would be for a maximum aperture of f/2.8 (or wider!) and a price tag of around £200. However, we'll simply have to wait and see what surprises Fujifilm have in store!

Read more

Best Fujifilm cameras in 2019
Best camera, lens and accessories for wedding photography
Nikon mirrorless cameras and lenses and what’s coming in the future

Recently leaked designs indicate that the Nikon Z3 might be appearing sooner than we may have thought. These detailed images clearly show an APS-C sensor housed inside the body, while any indication of an electronic viewfinder is missing. 

This marks a new step in the Z wave of Nikon mirrorless cameras, as both the Z6 and Z7 housed an EVF and were full-frame format (specifically built with the larger Z lens mount to complement the larger sensor). 

While the other three Nikon Z-series cameras expected within the next couple of years will likely be aimed at the enthusiast and pro markets (the crop sensor Nikon Z5, the 61MP Nikon Z8 and professional Nikon Z9), these leaked designs from website Design Watch show a camera presumably aimed at entry level consumers. 

• New cameras out this year: Camera rumors 2019

This ties into previous rumors from Japan, which indicate that the Nikon Z3 could be a super-small DX camera with no electronic viewfinder, a fixed LCD screen, a single microSD card slot and a 24 or 26MP sensor. 

While this product design was registered on 07 June, this doesn't automatically mean that it will come to fruition. However, with entry level mirrorless cameras such as the Fujifilm X-A5 and Panasonic Lumix GX80 proving popular with consumers, it only makes sense for Nikon to expand into this market – especially since Nikon's sales slipped by an unfortunate 15% this year.

The lack of an electronic viewfinder is interesting, with some speculating that it'll be available as an optional extra that can be slotted into the hot-shoe. Digital Maniacs even postulates that a rangefinder style might eventually be adopted to compete with the Sony A6500 (although these current designs don't support this theory). 

One of the most curious things we're wondering is how Nikon is planning to pitch the Z3 against Canon. By positioning this camera in the Z-series, Nikon is setting it up to compete with Canon's EOS R range, which is strictly full-frame. 

We wonder whether it would be smarter for Nikon to follow Canon's suit and divide its full-frame and APS-C cameras into two distinct ranges, to avoid undercutting the Z-series' slick and high-tech branding. The Canon EOS M50 is wildly popular in the Asian markets so, if Nikon is looking to replicate that success, perhaps it would be wise to keep the Z-series solely full-frame and develop a new and exciting APS-C line instead. 

In whatever iteration the Nikon Z3 finally comes to market, it's clear that expanding its potential consumer base into the entry level market is high on Nikon's priorities. We're excited to see how this story develops…

Read more:

Nikon Z lens roadmap: new lenses for the Z system and when they are coming
Nikon Z5 to launch later this year for under £750 / $1,000?
Nikon Z7 review

Over the past week, reports have ramped up about high-end models of Canon's full-frame mirrorless camera. First came news that an 8K Canon EOS R is on the roadmap, then that a 100MP model with IBIS is in development.

However, neither of those will be the next version of the camera hit the market; the next iteration of the Canon EOS R will be an entry level "amateur model".

That's according to Yoshiyuki Mizoguchi, Group Executive, ICB Products Group, Image Communication Business Operations at Canon Inc, in an interview published on Imaging Resource. 

"We recognised that a lot of amateur customers are very interested in stepping up to full-frame through customer feedback," he stated. "We are developing multiple EOS R cameras now but due to varying levels of preferred features we are likely to launch an amateur model next to let a large group of customers step up and enjoy full-frame image quality." 

Surprisingly, the manufacturer is also working on specific amateur lenses as well. "In addition, we are developing not just high end lenses such as the RF 28-70mm F2 but also very ambitious concept lenses for amateur customers as well, but I am unable to share more details today."

Mizoguchi was keen to reassure consumers that a pro EOS R is on the way, but also stressed that it wouldn't be arriving imminently. "Have no doubt that a professional model is coming… We promise we are working on this but it might take some time to introduce."

Read more:

Canon EOS R review

The best camera for beginners in 2019: entry-level DSLR, mirrorless and compact cameras

The Fujifilm X-A5 is aimed at a very different market to their high-end X-mount cameras. 

With simplified, user-friendly controls, a compact body and kit lens combination, and an affordable price tag, it’s aimed at smartphone upgraders choosing their first interchangeable-lens camera.

It doesn’t have a viewfinder, but what it does have is a new compact 15-45mm retracting power zoom kit lens to help make the X-A5 the kind of camera you can carry anywhere.

Inside is a 24-megapixel APS-C sensor, and there’s a 4K video mode too, although this is restricted to just 15fps. You also get a touch-sensitive rear screen that flips through 180 degrees for quick and simple selfies.

• The best Fujifilm lenses in 2018 

Build and handling

The X-A5 looks smart and stylish and comes in a choice of black, brown and pink bodies. The control layout hasn’t changed much from previous X-A models: it features a mode dial and a control dial on the top plate and four-way navigational buttons on the rear, supplemented by a Q (Quick menu) button and a further small, ‘clickable’ control wheel next to the thumbrest.

The touchscreen display is not used for settings changes, but is used for touch focus and touch shooting options, both of which are quick, simple and effective. It’s a bit trickier to balance the camera for selfies than it is with a smartphone, particularly one-handed, but you’d expect that.

Performance

Testing the new 15-45mm lens on Fujifilm’s original X-A1 model revealed that the X-A5’s autofocus is faster, but not by much. The new Olympus E-PL9, for example, is faster. 

The new power-zoom kit lens produces great image quality, but the electrically-operated zoom feels a little vague and unresponsive. It does have a stabilisation mechanism, though, and in our tests the AF system and stabiliser between them produced a really high hit rate of sharp images in a wide variety of shooting conditions. 

The sensor might be just a regular CMOS type, but it enables the X-A5 to produce shots of terrific image quality, with good dynamic range and great colours.

Lab tests

Colour error

The Fujifilm X-A5 beats its main rivals by a small margin for colour error, though the results will depend on your choice of Film Simulation mode.

RAW signal-to-noise ratio

The Fujifilm, Canon and Olympus cameras are all very close here, yielding similar levels of noise at each ISO setting. The Panasonic is a clear step ahead, though.

RAW dynamic range

Interestingly, it’s the two MFT cameras that take the lead here. Out of the other two, the X-A5 does beat the dynamic range of the Canon by some margin.

Verdict

Even with its new, compact 15-45mm power-zoom lens, the X-A5 is still bigger than some compact mirrorless rivals, and the autofocus is not quite the fastest either. But the quality of its images and its colour and tonal reproduction is first-rate – and despite having lens-only stabilisation, not in-body stabilisation, it gets sharp shots time after time, in all sorts of conditions. 

Specifications

• Sensor: 24.2MP APS-C CMOS, 23.5x15.7mm
• Image processor: Not quoted
• AF points: 91-point hybrid phase-detection/contrast AF
• ISO range: 200-12,800 (exp 100-51,200)
• Max image size: 6,000x4,000px
• Metering zones: 256
• Video: 4K UHD at 15p
• Viewfinder: No
• Memory card: 1x SD/SDHC/SDXC (UHS-I)
• LCD: 3-inch tilting touchscreen, 1,040k dots
• Max burst: 6fps
• Connectivity: Bluetooth, Wi-Fi
• Size: 117x68x40mm
• Weight: 361g (with battery and memory card)

Buying guide: 

The best Fujifilm lenses in 2018 

Best Fujifilm cameras in 2018

For those investing in their first interchangeable lens camera, a DSLR is still the cheapest option, and with the EOS 4000D – also known as the Rebel T100 in North America and the EOS 3000D in the Asia-Pacific region – Canon has aimed to get the price down lower than ever. It’s one of two new entry level cameras announced by Canon, and the other is the slightly more upmarket EOS 2000D (aka Rebel T7).

These two cameras have broadly similar specifications, but differ in some important key details. It’s easiest to think of the EOS 4000D as a whole new model with whole new levels of economy, and the EOS 2000D as an improved replacement for Canon’s previous cheapest model, the EOS 1300D (aka Rebel T6). Here, we focus on the former of the two.

So does the EOS 4000D's knock-down price make it the best cheap camera you can buy? Not necessarily.

Canon EOS 4000D: Key features

• 18MP APS-C CMOS sensor 
• DIGIC4+ processor 
• ISO 100-6400 (exp. to 12800) 
• Full HD (1080p) video recording, up to 30fps
• Video Snapshot mode 
• 3fps burst mode
• 9-point AF system 
• Pentamirror optical viewfinder, approx. 95% coverage
• 2.7in LCD, 230k dots
• Wi-Fi (no NFC)
• 500-shot (approx.) battery life
• SD/SDHC/SDXC memory card slot

The EOS 4000D offers an APS-C sensor, a 9-point autofocus system with a single cross-type point, Full HD video recording, 3fps continuous shooting, an ISO range of 100-6400 (expandable to ISO 12,800) and a fixed (non-articulating) rear screen. The specs are basic, but adequate for beginners in DSLR photography.

Unlike the 24.1MP EOS 2000D, however, Canon has opted for an 18MP APS-C sensor here. The rear screen on the EOS 4000D also measures 2.7in size and has a very basic 230k-dot resolution, against the 3in 920k-dot screen of its sibling.

The camera has been designed with Wi-Fi, though without NFC, and while it can shoot unlimited JPEGs, it can only capture six Raw files in a burst. It's offered with an 18-55mm III kit lens that has no image stabilisation, one that sadly doesn't employ Canon’s quiet USM or STM autofocus motors.

The EOS 4000D has a very similar size and weight to its EOS 2000D launch partner. Its plastic construction isn’t a problem, though. In fact, the simplified controls and rounded contours make it quite pleasing to handle.

The camera could, however, leave existing Canon owners confused because there’s no separate power switch. Instead, there’s simply an ‘Off’ position on the mode dial. Once you know where it is, of course, it’s not a problem, but it is a sign of the rather deliberate cost-cutting in this entry-level camera’s design.

Another is the plastic lens mounting plate. We haven’t seen this before – the EOS 2000D has a metal plate, like other EOS cameras. That said, it’s unlikely EOS 4000D users will be the sort of photographers who do a lot of lens changing (if they do, they’re probably ready to upgrade to a new camera), so wear probably won’t be an issue, but it’s an unexpected little feature of this camera nonetheless.

The small rear screen and its low resolution have a somewhat jarring effect too. It’s been a few years since we’ve seen a camera with a screen like this, and while it displays your photos and the camera’s menu screens like any other, it doesn’t have the smoothness and detail we now take for granted – the same smooth detail that you get with the EOS 2000D’s screen.

There’s one more thing. If you’re waiting for the flash to pop up on the EOS 4000D when you’re shooting in full auto mode in low light, you’re going to be waiting a long time. On this model you have to pull the flash up manually when you want to use it.

Overall, controls are basic but effective. Canon has always been good at making its entry-level DSLRs simple on the outside but still with enough direct access to camera settings and controls to keep up with owners as they develop their skills and technical know-how.

On one level, the EOS 4000D performs perfectly well. As an introduction to DSLR photography, it provides all you need: a decent sensor and enough manual control to help you develop your skills. 

But there are some issues. First, it doesn't use Canon’s sensor-based Dual Pixel CMOS AF phase-detection autofocus technology, so that in Live View mode you have to rely instead on a simpler and older contrast-detect-based autofocus. This is much slower, though it is more usable if the camera’s lens has a fast, up-to-date autofocus mechanism.

Unfortunately, the kit lens supplied with the camera does not. As a result, focusing in Live View mode is slow, hesitant and pretty noisy. That’s not necessarily a problem if you’re using a tripod, but it makes handheld Live View photography quite frustrating. 

Worse yet, the camera doesn't offer continuous autofocus during filming. For anyone upgrading from a smartphone or a compact camera, this will be an unpleasant surprise. It’s true that experienced videographers will often prefer manual focus, but it’s not something a beginner will expect.

The inexpensive kit lens delivers pretty disappointing results, too. It's sharp enough for the job, but produces large amounts of chromatic aberration towards the edges of the frame and it’s not easy to get rid of in software either.

Overall, while the EOS 4000D is capable of capturing good-quality images, its standard kit lens won’t show its full potential. It is worth shopping around to try to get a better lens option, such as the Canon EF-S 15-85mm f/3.5-5.6 IS USM or EF-S 18-55mm f/3.5-5.6 IS STM, though this is likely to take the camera out of its bargain price bracket, which is a pity.

Signal-to-noise ratio (Raw)

The 18MP sensor in the EOS 4000D is showing its age. Despite having a lower pixel count than the EOS 2000D, it’s still a bit noisier across the ISO range.

Dynamic range (Raw)

Again, the age of the EOS 4000D’s sensor works against it. The dynamic range tops out at round 11EV, which is on the low side by modern standards.

Resolution (Raw, ISO 200)

The 18MP resolution shows its limits, with resolving power that’s at the low end of the spectrum for this kind of camera.

Colour error

It’s good news here for the EOS 4000D, which returns with a relatively low colour error in our lab tests.

Verdict

Everyone loves a bargain, and there’s no denying that the EOS 4000D represents great value for money. Over time, we would expect the EOS 4000D’s price to fall to perhaps the lowest point ever for a Canon DSLR, but there is a downside. To achieve these prices Canon has resorted to relatively old technology, low-spec autofocus and cheap kit lenses.

Rivals

Canon EOS 2000D / Rebel T7

The EOS 2000D is identical in most respects, although it has a 24.1MP sensor, a metal lens mount, Wi-Fi and a higher-resolution LCD screen among other changes.

Canon EOS 1300D / Rebel T6

This older model has a larger LCD screen and NFC as advantages over the newer EOS 4000D, and is currently priced very similarly.

Nikon D3400

Nikon's entry-level offering boasts a 24MP sensor and a better LCD screen than the EOS 4000D's, together with 5fps burst shooting and an 11fps AF system.

Canon EOS 4000D key specs

• 18MP APS-C CMOS sensor 
• DIGIC4+ processor 
• ISO 100-6400 (exp. to 12800) 
• Full HD (1080p) video recording, up to 30fps
• Video Snapshot mode 
• 3fps burst mode
• 9-point AF system 
• Pentamirror optical viewfinder, approx. 95% coverage
• 2.7in LCD, 230k dots
• Wi-Fi (no NFC)
• 500-shot (approx.) battery life
• SD/SDHC/SDXC memory card slot

Read more
The best Canon lenses
The best DSLR cameras
The best camera for beginners

Just ahead of the annual CP+ show in Japan and The Photography Show in Birmingham, UK, Canon has refreshed its most junior DSLR offerings with a pair of new models.

The EOS 4000D and EOS 2000D are intended for those taking their first steps into interchangeable-lens photography. While their specs are fairly rudimentary by modern DSLR standards, they are set to provide the cheapest entry point into Canon's exhaustive ecosystem of lenses and accessories.

Canon EOS 2000D / Rebel T7 features

• 24.1MP APS-C CMOS sensor 
• DIGIC4+ processor 
• ISO 100-6400 (exp. to 12800) 
• Full HD (1080p) video recording, up to 30fps
• Video Snapshot mode 
• 3fps burst mode
• 9-point AF system 
• Pentamirror optical viewfinder, approx. 95% coverage
• 3in LCD, 920k dots
• Wi-Fi and NFC
• 500-shot (approx.) battery life
• SD/SDHC/SDXC memory card slot

Canon EOS 4000D features

• 18MP APS-C CMOS sensor 
• DIGIC4+ processor 
• ISO 100-6400 (exp. to 12800) 
• Full HD (1080p) video recording, up to 30fps
• Video Snapshot mode 
• 3fps burst mode
• 9-point AF system 
• Pentamirror optical viewfinder, approx. 95% coverage
• 2.7in LCD, 230k dots
• Wi-Fi (no NFC)
• 500-shot (approx.) battery life
• SD/SDHC/SDXC memory card slot

The EOS 2000D, which is the more senior of the two models, combines a new 24.1MP APS-C sensor with Canon's DIGIC 4+ processing engine and Full HD video recording. 

As we'd expect from a model with its entry-level billing, it incorporates Canon’s Scene Intelligent Auto mode to allow point-and-shoot photography with the automatic optimisation for every image, together with Canon's Feature guide to help explain key settings.

The EOS 4000D sticks to much the same idea as the EOS 2000D, although it offers an 18MP sensor in place of the EOS 2000D's 24.1MP sensor, and has a slightly smaller 2.7in LCD screen. Furthermore, it lacks NFC compatibility, although it does maintain Wi-Fi.

Both models work with Canon's Camera Connect app (available for iOS and Android), which allows for images to be transmitted wirelessly from camera to smartphone or tablet. Canon also points out that novice photographers may wish to use the additional Canon Photo Companion app, which combines tips and tutorials with challenges.

Canon EOS 2000D and EOS 4000D price and release date

Both cameras will be available from March, although you can already pre-order the EOS 2000D from Canon's online store.

The EOS 2000D has a recommended retail price of £369.99 for its body and £429.99 for a kit with the EF-S 18-55mm f/3.5-5.6 IS II lens, and $549.99 for the kit in the US. The EOS 4000D, meanwhile, will retail at £329.99 for its body and £369.99 for a kit with the same lens.

Read more: 10 ways to get the best out of your Canon camera

Canon’s entry-level DSLR, the EOS 1300D, replaces the two-year-old EOS 1200D. It’s a fantastic purchase for those looking for their first DSLR, but it also works well as a second camera. While it doesn’t represent a major overhaul from the previous generation, there are a couple of rather useful new features and tweaks which make it very appealing while still keeping it affordable.

Canon EOS 1300D: Features

The most significant, or perhaps most obvious, addition is Wi-Fi and NFC connectivity. This means you can remotely control the camera from your phone or tablet, or send images across to be shared via social networking.

Canon has also added a DIGIC 4+ processor, which is a slight update from the DIGIC 4 engine found in the EOS 1200D. Finally, the screen has seen a bump in resolution up to 920,000 dots. (The EOS 1200D’s screen had 460,000.) Canon has, however, stuck with the EOS 1200D’s 18MP sensor.

Other features include Full HD video recording, a 500-shot battery life and an optical viewfinder that offers 95% coverage.

Canon EOS 1300D: Build and handling

Canon has stuck to the EOS 1200D's body design for the EOS 1300D. 

It features a textured coating on both the chunky front grip and the rear thumb rest, which elevates the feeling of quality away from entry-level and into mid-range territory, such as on models like the EOS 800D and EOS 750D.

The grip is nicely contoured to fit your middle fingers while your index finger rests on the shutter release. Switch to the back of the camera, and you’ve got a full complement of buttons that will be very familiar if you’re using this as your second camera, or easy to get to know if it’s your first DSLR.

There’s no touchscreen on the EOS 1300D, unlike some other cameras in Canon’s range. This means that every change to settings needs to be done via the physical controls, but there are quite a few direct access buttons, so you typically don’t have to delve too deep to find what you’re looking for.

You’ll use the dedicated autofocus button to change the EOS 1300D’s autofocus point. There are only nine to choose from, with just the central point being a more sensitive cross-type point. As all nine points are reasonably centralised in the frame, you’ll probably find that you’ll have to focus and recompose for many shots in which the subject appears towards the edge of the frame.

Something worth considering when using the EOS 1300D’s viewfinder is how composition may be affected when compared with other cameras which offer a 100% field of view. When there’s only a 95% view, there’s an opportunity for something to creep into the edge of a frame and go unnoticed, or for framing to be just ever so slightly off.

The Wi-Fi connection is useful for a couple of reasons. First, you can remotely control the camera without the need for accessories other than your own smartphone or tablet. Also, you can quickly transfer images across to smart devices, in order to share them via social networks or email. The free Canon Camera Connect App is intuitive in use and can be installed and used with your choice of iOS or Android devices.

Straight out of the camera, image quality from the EOS 1300D is great. Anybody who is new to photography should be impressed but, crucially, anybody who is using something else higher up in Canon’s line-up should find that the images can compete with what they already have. That makes it a good choice as a second camera that you attach a lens to for grabbing extra shots when it’s not practical to swap lenses.

The 18MP sensor inside the EOS 1300D has proven itself before, and here again it does well to produce a good level of detail, especially when prints are kept to A3 (420 x 297mm) or below. Low light is not the camera’s forte, however: although ISO 6,400 produces usable images at A4 or below, the expansion ISO setting of 12,800 is best avoided unless necessary, or unless you intend only to make very small prints from the shot.

On the whole, the default evaluative metering does well. As with most other Canon cameras, however, it can be a little skewed if the subject underneath the active point is particularly bright or dark, so you may find yourself dialling in exposure compensation at times. The automatic white balance system copes reasonably well with artificial lights, producing a slightly warmer tone than is accurate, but still pleasing enough.

In terms of processors, the DIGIC 4+ engine is a few generations old – the latest version available is DIGIC 7. That’s beginning to show in cameras like this, where it takes a couple of seconds for images to be displayed on screen if you take quite a few in quick succession. It would be nice if Canon had been able to equip the EOS 1300D with something a little newer, but by using older technology, the price is kept down.

Autofocusing speeds are generally very quick, but are dependent on the lenses you’re using with the camera. AI Servo for tracking a subject is fine for reasonably slow moving subjects, but it’s really not a camera for action and sports photography.

Canon EOS 1300D Lab tests

We use Imatest and DxO Analyzer hardware and software to test cameras for their colour accuracy (colour error) signal to noise ratio (the amount of noise in the images) and dynamic range (their ability to capture detail in very bright and dark areas). We also pick three rival cameras to test them against. 

Colour error

We tested the EOS 1300D against three key rivals: the older EOS 1200D, Nikon D3300 and Pentax K-S2. All of the cameras perform similarly for colour error, being quite close to accurate but perhaps erring on the slightly warm side.

Signal to noise ratio

The EOS 1300D’s slightly better processor seems to have had a positive impact on signal-to-noise ratio. It’s still slightly behind the Nikon D3300, especially at higher sensitivities.

Dynamic range

A slight improvement again when compared to the EOS 1200D, but it is overshadowed by both the Nikon D3300 and the Pentax K-S2, this time particularly at the lower sensitivities.

Canon EOS 1300D Verdict

In order to continue to offer a great-value product, Canon hasn’t done anything exciting here. A better processor, which could have increased frame rate and general operational speeds, would have been nice. Wi-Fi and NFC will be welcomed by many, but if you already have a 1200D, it’s not worth upgrading unless you’re desperate for that connectivity.

Canon EOS 1300D Competition

Canon EOS 1200D

The Canon EOS 1200D doesn’t have any Wi-Fi or NFC connectivity, but in other respects it is almost identical to the EOS 1300D.

Nikon D3300

Nikon’s entry-level SLR has a high-resolution sensor with no anti-aliasing filter. Its Guide Mode is very handy for beginners.

Pentax K-S2

A camera well-suited to beginner photographers, with the added benefit of waterproofing and other more advanced features.

Canon EOS 1300D Specifications

• Sensor: 18MP APS-C CMOS sensor
• Focal length conversion: 1.6x 
• Max video resolution 1,920 x 1,080 (Full HD)
• ISO range 100-6400 (expandable to 12,800) 
• Autofocus points 9 
• Max burst rate 3fps 
• Screen 3in fixed LCD, 920k dots
• Viewfinder Optical pentamirror, 95% coverage, 0.8x magnification
• Shutter speeds 30-1/4,000 sec, Bulb 
• Power supply LP-E10 lithium-ion battery (supplied)
• Memory SD, SDHC, SDXC 
• Weight 485g (including battery and memory card) 
• Dimensions 129 x 101 x 78mm 

The EOS M100 has clearly got Instagramers, Facebook fans and smartphone snappers firmly in its sights. Canon is pitching this as a compact and stylish camera to have with you all the time and one designed to make the switch from smartphone to camera as effortless as possible. It has a touchscreen display with on-screen instructions and help for beginners, and a 180-degree upward flip that actives its selfie mode. 

It looks as if Canon plans to roll out its latest 24.2-megapixel Dual Pixel CMOS sensor across the whole of its EOS M range, as this is the latest camera to get this imaging unit, so although this camera might be aimed at the beginner market, it doesn’t skimp on tech. This sensor incorporates the company’s latest on-sensor phase-detection autofocus technology for fast and smooth autofocus, and not just for stills but for video too.

With a DIGIC 7 processor and an ISO range of 100-25,600, the M100 should be able to get good shots in low light, which is perfect for interior travel shots, restaurants and parties. It can also shoot continuously at 6.1fps, so it can capture the occasional action sequence too.

Build and handling

The EOS M100 is quite nice to handle and use, but it’s clearly aimed at novices. On the top, the minimalist mode dial offers no real hint that there is a proper camera inside. There’s no built-in electronic viewfinder, nor any mention so far of an add-on unit. The M100’s LCD display looked bright and clear when we tried it out indoors at Canon’s launch event, but it remains to be seen how it fares in the glare of bright sunlight.

With very few external controls, the M100 relies heavily on its touch-sensitive interface for adjusting the camera controls. This works well and it will feel friendly and familiar if you’ve come straight from a smartphone. 

The selfie mode is fun, but with the camera held at arm’s length, the screen is smaller than a smartphone’s. It’s not really a problem, but worth pointing out. What’s also worth pointing out, of course, is that selfies taken with the M100 will be at the camera’s full resolution and far higher quality than the snaps taken with a smartphone’s front-facing camera. We also look forward to trying out Canon’s Wi-Fi and Bluetooth LE connectivity to see how easy it really is to transfer pictures to a smart device for sharing.

Performance

The EOS M100’s 49-point Dual Pixel CMOS AF felt snappy in good light, but slowed noticeably when the lighting was dimmer, though the indoor test conditions were pretty dark. The M100 does have a pop-up flash on an arm which extends from the top plate, but with this camera’s ISO 25,600 maximum, you’ll probably get better and more atmospheric results without the flash, even in dimly-lit interiors.

Fitted with Canon’s 15-45mm kit lens, the M100 certainly feels small and neat, for an APS-C format camera. The lens is extended by pushing a spring-loaded lever and then twisting the barrel, though – it’s not powered electrically.  

We weren’t allowed to take any image samples away with us because the cameras available at the launch were pre-production models, but if past experience with Canon’s Dual Pixel CMOS AF sensor in other EOS models is anything to go by, the picture quality should be very good.

Early verdict

The EOS M100 is another perfectly competent mirrorless EOS M model from Canon, and another attempt by a camera maker to target Instagram and Facebook fashionista who may be more familiar with smartphones than cameras.

The use of Canon’s 24-megapixel Dual Pixel CMOS AF sensor is a bonus because we’ve already seen how effective this is in other Canon cameras, including the flagship EOS M5 and the EOS 80D from Canon’s DSLR range, but this does push the price up for what is otherwise a pretty basic sort of camera.

The flip-up screen and selfie mode is perfect for this market, and the on-screen help for novices will help them step up from a smartphone into interchangeable-lens photography, but the simplicity of the controls and the lack of a viewfinder could make the EOS 100D a bit of a dead end later on, when novices are ready to take on some more challenging techniques. 

The EOS M100 is by no means the cheapest route into interchangeable lens photography, but Canon will be hoping that for Instagramers and smartphone upgraders it is the most appealing.