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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

🇺🇸 Lowest ever price

🇬🇧 New low price

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

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

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

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

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

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

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

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

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

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

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

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

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

Specifications

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

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

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

Pricing & availabilty

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

Three Vario kit options will also be available:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Is the Canon EOS R100 a good starter camera?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Does the Canon EOS R100 have good image quality?

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

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

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

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

Get a great deal

You might also like…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Canon EOS R6 Mark II dual-battery bundle has dropped to just £1,599 in the Amazon Prime sale, down from £2,229.99 and saving you a massive £630.99 on one of Canon’s most capable full-frame mirrorless cameras.

For photographers looking to upgrade to a serious hybrid camera, this deal immediately demands attention. The EOS R6 Mark II combines a 24.2MP full-frame sensor with superb image quality, excellent low-light performance, and Canon’s highly dependable subject-detection autofocus.

Speed is one of the camera’s greatest strengths. It can shoot at up to 12 frames per second with its mechanical shutter or an impressive 40 frames per second with the electronic shutter, making it a brilliant option for wildlife, sports, action, and other fast-moving subjects.

The EOS R6 Mark II is equally impressive when it comes to video. It can record oversampled 4K footage at up to 60p, while its strong stabilization, responsive autofocus, and fully articulating touchscreen make it a highly versatile choice for filmmakers and content creators.

This particular bundle also includes a second battery, which is a genuinely useful addition for longer shoots, events, travel, and video recording. Rather than worrying about running out of power halfway through the day, you have a spare ready to go when the first battery reaches its limit.

At £1,599, this is an outstanding price for a camera that remains one of the strongest all-rounders in Canon’s mirrorless lineup. With a huge £630.99 saving exclusive for Prime Members, and an additional battery included, this is easily one of the most tempting Canon camera deals in the Amazon Prime sale.

If you’re planning on making the step up from APS-C (cropped sensor) to a full-frame camera, then my top recommendation right now would be the Sony A7 IV. Yes, as a longtime Sony A7 III shooter, you might think I’m biased, but hear me out.

The Sony A7 IV is a powerhouse hybrid camera that bridges the gap between professional stills and high-end video. Its standout features include a sharp 33MP back-side illuminated (BSI) sensor, AI-driven autofocus, 10-bit 4:2:2 video capture and a dedicated photo / video / S&Q dial.

While you’ll find competitive specs and prices in models like the Fujifilm X-T5 and the Canon EOS R7, you’d have to compromise and remain an APS-C photographer.

You could look to full-frame alternatives in the likes of the Canon EOS R5 II or the Panasonic Lumix S5II, but then it’s a toss-up between spending around $1,000 (approximately £750 / AU$1,400) more for the Canon or settling for decent but not A7 IV-level specs with the Lumix, albeit for a friendlier sum.

Specs aside, what people often forget about Sony cameras is that the sensors they pack are proprietary, containing industry-leading technology that major competitors like Hasselblad and Nikon prefer to use over their own in-house sensor design.

This is one of the main draws to Sony for me and something that will keep me a Sony shooter for some time.

In fact, the A7 IV sensor handles a solid 14 stops of dynamic range and has an ISO range of 100-51200 for stills and movies (and it’s expandable to 50-204800 for stills).

These attributes, along with the larger sensor surface area, mean the camera packs a hard-hitting low-light performance punch.

Funnily enough, even our Editor in Chief – who’s a Canon man through and through for full frame – has the A7 IV as his best all-rounder in our best full-frame cameras guide.

You should have a gander at that guide before making your decision as, although I say go with the A7 IV, the list goes into way more comparative depth.

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Make sure to use best lenses for the Sony A7 IV to get the most out of this brilliant body. And if you want to learn more about other Sony rigs, check out the best Sony cameras for vlogging, filmmaking and photography.

The Amazon Prime Day camera deals have only just started, but one of Canon's best full-frame cameras is already down to a ludicrously low price.

The EOS RP, Canon's smallest and best-value full-frame camera, has been reduced to an astonishingly cheap $617 in the US and just £679 in the UK.

🇺🇸 US deal

🇬🇧 UK deal

I've made no secret of my love for the Canon EOS RP (review), which to this day is one of my favorite members of the R System family. In fact, paired with a tiny pancake lens like the Canon RF 28mm f/2.8 and I think it's one of the best street photography setups you can buy – especially full-frame, especially at this price!

I have to note that the RP has just been discontinued in Asia, so stocks likely won't last long – especially at this price. But while the Canon EOS R8 is technically its successor, and is technically a better camera, the RP is by far the better buy with a price tag this low.

To this day it's Canon's smallest full-frame camera, which is something to be celebrated in a world where cameras are getting bigger and bigger. By contrast, the RP is even smaller than the Canon EOS 800D – a super-compact APS-C DSLR.

It's built around a 26.2MP full-frame sensor that delivers beautiful image quality, even though its wider specs are better suited to street and sedate photography rather than fast action and high-res video.

Its burst speed tops out at 5fps, which is enough for slow-moving subjects and general shooting, while the video is capped at 4K 25p and FullHD 60p. However, it's important to know that 4K shooting loses Dual Pixel CMOS AF and suffers about a 1.76x crop.

Other than 4K (where it reverts to contrast AF), the Dual Pixel-powered autofocus does a great job. It lacks the subject-detection algorithms of more recent cameras, but with 4,779 AF points and both face and eye tracking, it's capable for pretty much everything except the tough jobs.

Even though I'm a proud EOS R5 owner, and I long for the days when I had a brilliant little RP setup to take around with me for travel and everyday photography!

You might also like…

Check out the best lenses for the Canon EOS RP. Looking for an alternative? Take a look at the best Canon cameras along with the best Canon RF lenses.

All good things must come to an end. And so it is that Canon has quietly started sunsetting the Canon EOS RP in Asia, first indicated by the "Sales ended" tag on the official Canon Japan store listing.

While the RP hasn't yet officially moved to the company's discontinued products listing, and though it's still being sold by both Canon USA and Canon UK, this is the first indication that the svelte mirrorless camera is being Old Yellered.

With Canon Japan having exhausted its inventory, it's only a matter of time before stocks are gone elsewhere in the world – so if you've been thinking about getting one, now is the time.

This marks the end of the first generation of EOS R cameras (following the original Canon EOS R) – but, for me personally, it's also the end of the first Canon mirrorless camera that I truly fell in love with.

The R System wasn't Canon's first mirrorless foray, of course; that was the APS-C-only M System. But while I thought the EOS M50 was a neat little camera, I don't think anybody ever felt the same affinity for M cameras that they did for the R series.

I bought the EOS R on day one, trading in my 6D Mark II so that I could join Canon's mirrorless revolution from the beginning. The original R was essentially a 5D Mark IV in drag, making it ostensibly an upgrade from the 6D Mark II. However, even though the RP was essentially an adjacent model, it was the RP that I really wished I'd gone for.

The Canon EOS RP lacked mirrorless essentials like in-body image stabilization, and the 4K video was tragically cropped and robbed of Dual Pixel AF. Crucially, though, it was Canon's smallest and lightest ever full-frame camera, coming in at just 440g body only and measuring 132.5 x 85 x 70 mm (making it smaller and lighter than the 800D DSLR).

And it was very aggressively priced, launching at just $1,299 / £1,399 for the body and the Mount Adapter EF-EOS R to use DSLR lenses straight out of the box. All of which contributed to the name, "RP", meaning "Popular" – in the Japanese sense that it's a camera meant 'for everybody'.

Even today, while the Canon EOS R8 is a better camera, the RP is still Canon's best value full-frame camera.

It's currently available for just $617 at Walmart in the US or only £799 from Amazon in the UK – an absolute steal for anyone wanting to upgrade to full-frame photography or get into Canon's mirrorless ecosystem.

So, whether you want to get one while you still can or it's a camera that you never knew existed, please join me in pouring some sip on the kerb for the Canon EOS RP. My first love of the R System.

You might also like…

Got an RP? Check out the best lenses for the Canon EOS RP. Looking for an alternative? Take a look at the best Canon cameras along with the best Canon RF lenses.

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

Hey good lookin’

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

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

The Nikon Z fc is great value

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

Nikon’s got soul!

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

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

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

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

Anyone hoping to get their hands on Panasonic’s new Lumix L10 is going to have to wait a little longer, as the company announced that it is suspending new orders in Japan from here on after receiving “far more preorders than anticipated.”

Panasonic first revealed that it was struggling to match preorder demand in Japan back in May, warning customers of potential delays. But on June 17, the company announced that it had suspended orders in Japan, freezing orders for the popular compact camera.

The new announcement didn’t make it clear when stocks will be replenished or whether it’s only in Japan that orders have been suspended. However, I’ve checked the Panasonic US and UK websites, and it looks like you now have to join a waiting list to order a Lumix L10 in these regions.

It’s no surprise that the latest Panasonic release has piqued the interest of many photographers.

The Lumix brand boasts some of the best compact cameras, and the L10 combines this solid reputation with a stylish retro design and a Leica DC Vario-Summilux 10.9-34mm (24-75mm equivalent) f/1.7-2.8 lens.

However, with demand now exceeding what Panasonic can handle, it looks like there may be a significant wait for shipping.

The Lumix L10 isn't alone in being in high demand, joining a long list of trendy compact cameras that come with wait times. Opting for a compact that's been around for more than a few weeks could potentially have a shorter wait list, however, depending on where you live.

The Fujifilm X100VI, with its whopping 40MP sensor, equally attractive retro style, film simulation modes, and solid 6K video recording, has been in high demand since its launch in 2024.

The X100VI's popularity can similarly make the compact camera hard to find in stock, but the limited availability is finally beginning to show potential signs of easing. London Camera Exchange in the UK estimates a 28-day wait, while Adorama in the US estimates availability in August.

The X100VI, however, lacks zoom – the L10's unusual mix of zoom and a Micro Four Thirds sensor that's larger than basic point-and-shoots is likely why the compact camera is seeing such high demand. It's also a little more expensive than the L10, priced at $1,799 / £1,599 / AU$2,899.

The Leica D-Lux 8 shares a similar sensor and lens combo, but comes in at a higher price, and even that camera, also launched in 2024, is out of stock at many retailers.

Panasonic has said that orders made before the cutoff time will be processed and that it’ll inform customers of new availability once it has a “stable supply outlook.”

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Here’s our expert pick of the best compact cameras. We’ve put all of these shooters through rigorous hands-on testing to give you the complete lowdown.

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

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

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

Nikon Z6 II vs Nikon Z5 II

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

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

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

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

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

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

A tempting prospect: The "Baby Z9"

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

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

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

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

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

Nikon Z6 III: Two months too late

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

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

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

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

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

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

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

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

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

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

It's usually modern models that we see discounted in the Amazon Prime Day camera deals. However, this year there's an absolute bargain on a flagship-level camera and lens that offers unbeatable value for outdoor photographers.

Right now you can scoop up the former flagship Olympus OM-D E-M1 Mark II with a 24-80mm trinity lens for just £1,186.67!

Released in 2016, the Olympus OM-D E-M1 Mark II (review) was the flagship camera for Olympus (now OM System). So even though it's an old body, when it was launched it packed cutting-edge technology – much of which is still impressive by today's standards – so you're getting an incredibly powerful camera without a 2026 price tag (this camera is a predecessor of the OM System OM-1 Mark II).

Some of its standout features include 80MP RAW imaging, made possible using Olympus' High Res Shot feature. This technology uses pixel shift multi-shot to quadruple the sensor's native 20.4MP resolution – ideal for capturing detailed landscapes in all their glory, while keeping the outfit a fraction of the size and weight of a full-frame setup (coming in at just 134 x 91 x 69mm and 574g).

Also making this camera perfect for outdoor shooting is its industry-best weather sealing, so you don't need to stop shooting when the weather turns. But this isn't just a camera for use on a tripod with static subjects!

The E-M1 Mark II boasts superb in-body image stabilization, offering up to 6.5 stops of shake compensation, as well as up to 60fps burst shooting (with AF locked, or 18fps with full AF) powered by a phase detect autofocus system. It also packs dual memory card slots for safety, along with a fully articulating screen and 4K 30p video.

This bundle also includes the brilliant Olympus M.Zuiko 12-40mm f/2.8 Pro lens (review) – a professional trinity lens with an equivalent 24-80mm focal range.

A true workhorse lens, it has spent more time on my Micro Four Thirds cameras than almost any other optic. It's fast, delivers great results and crucially is weather sealed – making it a perfect pairing with the E-M1 Mark II as a go-anywhere, shoot-anything, whatever-the-weather combo!

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Take a look at today's iteration of this combo, the OM System OM-1 Mark II (review) and the OM System M.Zuiko 12-40mm f/2.8 Pro II (review).

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

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

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

Is Viltrox really making a Z-mount camera?

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

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

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

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

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

Why would Viltrox want to make cameras?

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

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

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

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

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

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

Compact cameras are rising in both trends and price. That’s why, as a pro photographer, I think that if you don’t absolutely need to be able to slide a camera into your pocket, a compact mirrorless system with a pancake lens can offer more flexibility at a far better price.

One of the best examples of this is Sony’s compact rangefinder bodies that still manage to fit in full-frame sensors, the Sony A7C II and its high-resolution sibling, the A7CR. These cameras aren’t quite pocketable, but they both weigh less than a pound / 450g and, while you need to add a lens to that weight, it's still a highly portable camera.

The only way to get the 61MP full-frame sensor capability of the Sony A7CR in a smaller camera is with the Sony RX1R III, a compact camera that comes in at a pound / 456g, including its fixed lens.

The RX1R III sits at a luxury $5,098 / £4,100 price point, however. That's currently around $2,000 / £1,500 more than the A7CR and still more than $1,000 / £900 over the cost of the A7CR when factoring in the cost of a lens.

For photographers who don’t need 61MP, the 33MP A7C II is half the cost of the RX1R III, even when paired with a 28-60mm kit lens.

US Deal 🇺🇲

Sony’s most compact mirrorless cameras have just dropped to the lowest price that I’ve seen all year. According to US price trackers, the summer discounts on the A7C II and A7CR have even dipped below Black Friday 2025 prices, with the A7C II at $2,098 and the high-resolution sibling, the A7CR at $2,998. Both cameras are also eligible for $50 cashback.

That’s a rare $400 discount – $450 including the cash back – on two Sony cameras that have repeatedly returned to best-seller lists thanks to the mix of capabilities and portability.

UK Deal 🇬🇧

In the UK, the Sony A7C II is at the lowest-ever price, based on data from Amazon price trackers. The compact mirrorless is £500 off at £1,599, plus there's a £100 cashback offer.

The high-resolution Sony A7CR is also steeply discounted, dropping by £200 to £2,599, plus there's a £200 cashback here too.

Unlike popular advanced compact cameras like the Fujifilm X100VI and Ricoh GR IV, the Sony A7C II and A7CR have larger full-frame sensors. Despite the cameras’ smaller designs, there’s still a viewfinder – something the smallest cameras like the GR IV don’t offer – it’s just tucked off into one corner, rangefinder-style. There’s still a decent-sized grip, too.

If you want a camera that slides into a pocket, the Sony A7C series isn’t it. But if you want a camera that’s light enough to sling around your neck all day, easily tucks into a purse or backpack with a protective sleeve, and still offers a lot of imaging power for the price, then the A7C II and A7CR are excellent options.

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The Hasselblad X2D II 100C has unexpectedly surged back to No.1 in Japan's latest Yodobashi best-seller rankings – overtaking the Sony A7 V in a surprise shift at the top of the charts. The 100MP medium format flagship had previously fallen out of the ranking entirely.

The Sony A7 V had dominated the list since its launch in December 2025, holding the top position for months as one of Japan's most popular full-frame cameras. Its drop to second place marks the end of a long run at the top.

The latest Top 10 also shows a striking return in Japan's mid-range mirrorless market, with the Nikon Z50 II standard zoom kit re-entering the rankings after a nine-month absence.

Yodobashi's 10 top selling cameras (2nd half May 2026)

1. Hasselblad X2D II 100C Body
2. Sony A7 V Body
3. Fujifilm X-M5 + XC 15-45mm Lens Kit | Silver | Black
4. Fujifilm X-T30 III + XC 13-33mm Lens Kit | Silver | Black | Charcoal Silver
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | Black | White
7. Sony A7C II Zoom Lens Kit | Silver | Black
8. Sony A7C II Body | Silver | Black
9. Nikon Z50 II + Z 16-50mm VR Lens Kit
10. Sony ZV-E10 II Double Zoom Lens Kit | Black | White

Hasselblad vs. Sony

The X2D II 100C is an unusual camera to top a sales chart at this level. As a 100MP medium format flagship available for $7,399 / £6,400, it sits in a completely different price bracket to other cameras listed in Yodobashi's Top 10 – including the Sony A7 V (priced at $2,898 / £2,799) – yet it still managed to reclaim the top position in Japan.

It features 5-axis stabilization offering up to 10 stops, up to 15.3 stops of dynamic range, LiDAR-assisted AF (autofocus), and Hasselblad's signature color science, all designed for high-end stills performance.

By contrast, the Sony A7 V pushes forward with a 33MP partially stacked sensor and upgraded AI subject detection – making it a highly capable hybrid full-frame model – though its video performance is facing competition from rivals...

Fujifilm dominates Top 5

Fujifilm dominates the upper end of Japan's rankings, with two cameras in the Top 5. The X-M5 kit sits in third place, followed by the X-T30 III kit in fourth.

Both are retro cameras featuring a 26.1-megapixel APS-C X-Trans CMOS 4 sensor paired with the X-Processor 5 – an award-winning combination recognized for its strong image quality and performance.

The next Yodobashi update will reveal whether the Sony A7V can return to No.1, or if the Hasselblad X2D II 100X will hold onto its position at the top of Japan's best-seller chart. Also entering the mix is Sony's A7R VI, which arrived in June and could further shake up the rankings.

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The Sony A7 IV is a versatile camera that delivers detailed images with its 33MP CMOS sensor and captures 4K video at 60p—all in a compact body, making it an excellent choice for both filmmakers and content creators.

Since its launch, it has been one of the best mirrorless cameras for enthusiasts, and now, with its price dropping to £1744.10 with its FE 28-70mm f/3.5-5.6 OSS kit lens, using the new 10% off code this weekend. It’s an incredible deal for a feature-packed powerhouse! Alternatively, you can get the body alone for £1,619.10.

The Sony A7 IV boasts an impressive 15 stops of dynamic range and a wide ISO sensitivity range of 100-51,200, delivering excellent low-light performance. It supports 10 fps continuous shooting with both mechanical and electronic shutters, making it ideal for capturing fast action.

For video, the A7 IV records 4K up to 60p in 10-bit, a powerful feature for filmmakers and content creators. If you need even more detail, it offers 7K oversampling for incredibly sharp footage with no recording limits.

Autofocus is lightning-fast, with 759 phase-detection points and the ability to focus down to -4 EV in both photo and video modes—giving you a competitive edge in low-light conditions.

Additional features like 5-axis in-body stabilization, a 3-inch fully articulating touchscreen, full-size HDMI output, and 3.5mm headphone and mic jacks make it a fantastic choice for vloggers, while still excelling in high-quality still photography

Read more:

Best lenses for the Sony A7 IV

Designed as a true hybrid all-rounder, the Sony A7 V delivers flagship-inspired speed and autofocus (AF) in a more affordable body – and these limited-time deals at Park Cameras let you save up to £1,448.90 on camera only and lens bundles!

The Sony A7 V body is now £2,519.10 – save £279.90 off the original £2,799 price.

The Sony A7 V + 24-105mm f/4 G OSS is now £2,699.10 – save £1,028.90 off the original £3,728 price.

The Sony A7 V + 24-70mm f/2.8 GM II is now £3,599.10 – save £1,098.90 off the original £4,698 price.

The Sony A7 V + 70-200mm f/2.8 GM II is now £3,869.10 – save £1,328.90 off the original £5,198 price.

The Sony A7 V + 50-150mm f/2 GM is now £4,769.10 – save £1,448.90 off the original £6,218 price.

To claim 10% off, apply the voucher code SONY-10. More promotions and offers are available too, like a £200 when trading in your 'old' gear.

The offers end at 11:59 PM on June 7.

Deals

Promotions & Offers

• Voucher code: Get 10% off with voucher code SONY-10
• Sony lens offer: Save 5% on Sony FE lenses when bought with selected cameras. Add lens to the basket for discount
• Eligible for £200 Trade in Bonus : Trade in any Interchangeable Lens Camera and get a £200 bonus. Click here to get your quote
• Sony GM II lens offer: Save £200 on select Sony GM II lens when bought with this camera. Add both Camera & Lens to basket to view discount
• Free 2 year warranty: 1 year extended warranty + standard 12 months warranty when you register with Sony

Top choice: Sony A7 V

The Sony A7 V is Sony's latest full-frame all-rounder, combining fast performance with some of the smartest AF technology the brand has produced to date.

It features a new sensor and AI-powered subject detection system, delivering faster burst shooting and more reliable tracking for everything from portraits to wildlife.

In our review, we praised its major AF upgrades, blackout-free 30fps shooting, and refined handling.

While rival cameras offer stronger video specs, the A7 V remains one of the most capable hybrid cameras for photographers who want a single body that can do almost everything.

Browse the best lenses for the Sony A7 V

For much of the last few years, the Canon EOS R10 has been one of the best-selling mirrorless cameras in Japan, consistently holding top position as a go-to option for beginners entering photography.

Now, the latest sales data from Japanese retailer BCN reveals that a video-first camera – without a viewfinder – has overtaken the long-time bestseller. The new leader is the Sony ZV-E10 II, a compact mirrorless interchangeable lens camera designed primarily for video creators, vloggers, and hybrid shooters.

On paper, the Canon EOS R10 and Sony ZV-E10 II compete in the same APS-C mirrorless category. However, they represent two very different shooting philosophies.

BCN+R best-selling cameras (May 26)

1. Sony ZV-E10 II Double Zoom Lens Kit | Black
2. Canon EOS R10 + RF-S 18-150 IS STM Lens Kit
3. Canon EOS R50 Double Zoom Kit | Black
4. Nikon Z50 + 16-50 VR Lens Kit
5. Nikon Z50 II Double Zoom Kit
6. Canon EOS R50 Double Zoom Kit | White
7. Sony A7 V
8. OM System Olympus Pen E-P7 EZ Double | Silver
9. Fujifilm X-T30 III + XC13-33mm Lens Kit | Silver
10. Sony ZV-E10 II Power Zoom Lens Kit | Black

Sales data compiled by BCN+R, which aggregates nationwide sales figures from major electronic retailers and online platforms across Japan.

Canon EOS R10 vs. Sony ZV-E10 II

The Canon EOS R10 follows a more traditional camera design. It includes an electronic viewfinder, a deeper grip and handling that feels closer to DSLR-era photography.

The Sony ZV-E10 II, by contrast, is designed first and foremost for creators. It removes the viewfinder entirely, prioritising a compact body, lighter weight, and video-focused features.

While traditional photography tools still matter, a growing number of users appear to prioritize video creation, portability, and ease of use over classic still-first design.

Why no viewfinder can be better for video creators

The missing viewfinder – most photographers consider essential – plays a much smaller role in modern content creation workflows.

In video-first shooting, users are typically working at arm's length or with the camera mounted on a tripod or gimbal. As a result, flip-out screens, touch controls, selfie framing, and AF systems such as face and eye tracking become far more important than eye-level composition through a viewfinder.

Removing the viewfinder also has a practical design benefit. It allows manufacturers to reduce the overall size and weight of the camera body, contributing to the compact, lightweight form factor that many creator-focused cameras are designed around.

Whether the ZV-E10 II's rise is a sustained trend or a temporary spike remains to be seen – but its climb from fifth place last month to No.1 suggests a shift in buyer priorities.

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Sony's on a bit of a roll at the moment. It seems like just yesterday it was launching the A7V (it was actually late last year – how time flies), and it’s now followed that up with the sixth generation of A7R. The A7R has long been the go-to full-frame camera for anyone who prioritizes outright resolution, but by going north of 60 megapixels, recent A7Rs have been compromised in other areas. There's the obvious issue of huge image and video file sizes, but the drawbacks of such a high resolution come in other, more subtle forms.

Squeezing more and more pixels (they're actually photodiodes, but I'll use the word pixels for simplicity) onto a sensor of a fixed size - in this case, 35mm full-frame - means each individual pixel must be reduced in size. Shrinking a pixel means it captures less incoming light during a set shutter speed than a larger pixel. This in turn makes the pixel, and by extension, the sensor, more susceptible to generating image noise, and it can also reduce the amount of dynamic range that can be captured.

Sony knew all this when the A7R was in its formative generations, as in addition to the standard A7 lineage, it also produced the A7S line: cameras which intentionally sacrificed resolution in order to improve light sensitivity (hence the 'S' suffix), thereby reducing image noise and boosting low light image quality.

These days Sony seems to have abandoned the A7S line, but the regular A7, now in its fifth incarnation, still exists as an option for photographers who'd rather have the benefits of a more modest pixel count. But while there are image quality drawbacks from increasing resolution (assuming sensor size remains the same), are they still pronounced enough to make a camera like the A7R VI unsuitable of low light or high contrast environments?

I've lab tested every A7R generation (along with all the A7R VI's main rivals), testing resolving power, image noise levels, and dynamic range. As you'd expect, the A7R VI excels in our resolution benchmark, and it’s less impressive in our noise and dynamic range tests. However, the image quality drawbacks of its high pixel count really aren't as significant as you might expect.

Dynamic range (EV):

At lower sensitivities resolution doesn't really affect outright dynamic range. Both the 33MP A7V and the 66.8MP A7R VI perform pretty much identically, capturing 12.5 stops of dynamic range. You need to push past ISO800 for the A7R VI's resolution to start to restrict its dynamic range, whereupon the A7V pulls out a 1-stop advantage. Would you notice this in real-world shooting? Maybe, but remember that these results are obtained by disabling Sony's DRO dynamic range enhancement, so this is a worst-case scenario for the A7R VI. What's more, despite it having a significantly higher resolution than rival cameras such as the ~45MP Canon EOS R5 Mark II and Nikon Z8, the A7R VI outperforms them for dynamic range at all sensitivities.

Signal to noise ratio (decibels):

When it comes to image noise, both the A7R VI and V produce more noise than the A7V, but we'd expect that – the A7V has to have something to show for having half the A7R VI’s effective megapixel count. Where the A7R VI does impress is its ability to match (and at some sensitivities, slightly beat) the Nikon Z8's noise levels, despite the Sony having 32% more pixels. Granted, the Z8 is now a three-year-old camera, but even the far more modern EOS R5 Mark II barely produces less noise than the A7R VI at higher ISOs.

Resolution (line widths/picture height):

Obviously the A7R VI aces our resolution test, resolving far more fine detail than the A7V. It's here that you're most likely to see an image quality difference between the two cameras, assuming you're viewing photos at 100% image size.

With the A7R VI, Sony has demonstrated that you can have incredible resolving power without having to make noticeable image quality compromises elsewhere. Inevitably such an accomplished performance comes at a hefty financial cost, but if you’ve got the cash to splash, image quality from Sony’s latest A7R doesn’t disappoint.

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

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

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

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

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

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

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

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

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

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

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

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

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

The Sony A7 V has dominated sales charts since the mirrorless camera’s launch in late 2025, but Sony may have already outdone itself. In the latest list of top trending mirrorless cameras at US retailer B&H, the newly launched Sony A7R VI has taken the top spot, pushing its lower resolution sibling, the A7 V, down to the second rung on the ladder.

The Sony A7 V has led several sales charts since its launch, including charts in both Japan and the US, a trend likely fueled by the full-frame camera’s balance between 33MP stills at up to 30fps and a mid-tier price point.

But in May, something major changed: Sony announced the long-awaited update to the high-resolution R series, the Sony A7R VI. The new mirrorless does what previous A7R cameras did not in that it offers both a high resolution 66.8MP mixed with 30fps burst speeds.

While the Sony A7R VI brings an impressive list of features, the camera had some mixed reactions – mainly because, along with the feature list, the list price sits higher than earlier generations.(And, like the A7 V, there’s no open gate video.)

However, if sales data from the major US camera retailer B&H is any indication, that price didn’t keep Sony fans away from pre-ordering the new mirrorless camera, which B&H estimates will begin shipping on June 4.

While the data hints at early success for the A7R VI, it’s not uncommon for a new camera to dominate trend lists but drop off in later months as the pre-orders from creators who have been waiting for the latest version taper off – so time will tell if the A7R VI becomes one of the most popular launches of 2026.

While the body-only Sony A7R VI is first and the A7 V second, the A7R VI with the new 100-400mm lens announced alongside the new camera follows close behind. The top ten trending mirrorless cameras at B&H in May are:

• Sony A7R VI
• Sony A7 V
• Sony A7R VI with 100-400mm f/4.5 kit
• Canon EOS R5 Mark II
• Canon EOS R6 Mark III
• Canon EOS R6 Mark II
• Sony A6700
• Canon EOS R7
• Canon EOS R6 V
• Nikon Z8

While Sony cameras take the top three, Canon has half of the top ten. Notably, however, the Canon EOS R6 V, which was announced on the same day as the A7R VI, isn’t coming in quite as hot at ninth place. The new V series model takes the sensor and processor of the popular Canon EOS R6 series – two of which are also on the top ten list – and reimagines the camera for video, sacrificing the viewfinder for an active cooling system.

With the Sony A7R VI and Canon EOS R6 V brand new launches that are still in pre-order status, it will be interesting to see where the models fall as all the pre-launch excitement tapers off – and whether or not the A7R VI’s dominance also holds true from other retailers and regions.

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Has Sony just kneecapped its best professional camera?

The company has a brilliant flagship, the Sony A1 II, which marries 30fps speed with 50MP resolution. However, with the launch of the Sony A7R VI – which offers 30fps and 66.7MP resolution – you have to ask whether the A1 II is still Sony's top dog. The alpha, if you will.

And that's exactly what we did on the latest episode of the DCW News Podcast, where I was joined by my colleague Hillary Grogonis who has extensively tested Sony's new pixel-packed powerhouse. You can watch the full episode embedded below.

ABOVE: Watch the Sony A7R VI discussion

James: I kind of wonder, first of all, is this Sony's best wildlife camera? And also, does it make the A1 kind of pointless now? Because it exceeds the A1 in terms of resolution, it's got a 30fps burst, so what does this do to the Sony product lineup? It feels like everything's a little bit out of kilter now."

Hillary: It definitely feels like Sony has really narrowed the gap between their different options. So, one of the biggest differences as far as wildlife and sports goes is [the A7R VI] is going to keep that 30fps for a lot longer. It's got a much bigger buffer on it. I believe the A1 II can shoot at 30fps second for up to 240 RAW frames, and the A7R VI is 150 frames. So, quite a difference there.

How about that 66.7MP resolution – it's not that many more pixels than the 61MP Sony A7R V. Does it really make that big a difference?

Hillary: I kind of thought that the 67MP was the least exciting thing about the camera, to be honest. That stacked sensor, that speed is not common with something with such a high resolution. So, I was really excited about that stacked sensor.

James: Here's a consideration. So, 67MP in general, that's going to give you some big image files. If you're going to shoot this even at 15fps, let alone 30fps, you're going to end up with a whole bunch of high-res files. What does this mean in terms of storage? You've shot enough wildlife with this thing to have an idea. How much did it make your hard drive hurt?

Hillary: I think my hard drive cried a little bit, to be honest. But, I also think Sony has a unique solution here; just because it shoots at 30fps doesn't mean you mean you need to shoot at 30fps the whole time. They added the option to customize one of the buttons, in order to trigger a temporary 30fps burst.
So when I was photographing a bird and it was just sitting there on a branch, not really moving a lot, I don't need 100 photos of it. I could shoot at like 5fps, 10fps. And then, you know, if something happened, all I had to do was one press of the button and it was shooting at full speed again.
I think that's a really clever workaround, the option to shoot fast when you need it and slower when you don't, cause storage is going to be a big problem with the cost of hard drives and memory cards.

We talk plenty more about the Sony A7R VI – the $4,500 price tag, autofocus performance, missing features like open gate video, whether Sony A7R V users should upgrade, how Canon and Nikon will respond – on the DCW News Podcast, so check out the full discussion!

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Despite newer flagship releases from Canon, Sony, and Nikon, one 2023 full-frame camera continues to outperform recent models in Japan's sales charts.

In Kitamura's latest monthly ranking, the Sony A7C II has taken the No.1 spot as the best-selling camera. This follows a trend seen at another major Japanese retailer, Yodobashi, where the same model recently overtook the Sony A7 V after it led sales for six consecutive rankings.

Together, the data from both retailers highlight a consistent pattern: despite the release of newer models, the A7C II – launched three years ago – continues to be a top choice among buyers.

Kitamura's 10 best-selling cameras, April 2026

1. Sony A7C II
2. Sony ZV-E10 II Power Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Nikon Z30 Double Zoom Kit
6. Fujifilm X-T5
7. Sony A7 V
8. Canon EOS R50 Double Zoom Kit
9. Fujifilm X-T30 III
10. Canon EOS R6 Mark II

Why the Sony A7C II continues to sell strongly

Launched in 2023, the A7C II remains one of Sony's most successful compact full-frame mirrorless cameras, offering a balance of performance, portability, and price.

Priced at $2,498 / £1,999, it delivers full-frame image quality in a compact body weighing just 514 grams (1 lb 2.2 oz) and is particularly appealing for travel and hybrid shooters.

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

A full-frame "sweet spot" camera

While newer full-frame cameras often lean heavily toward either high-resolution photography or advanced video production, the A7C II continues to stand out as a balanced all-rounder.

Its combination of compact design, strong AF (autofocus) performance and capable video specs means many users simply don't feel the need to invest in newer and more pricey models.

This 2023 model still delivers everything most photographers need – and while camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

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Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £670 at Wex and Park Cameras.

The Panasonic Lumix S5 IIX is now available for just £1,399 at Wex – this new low price lets you save £200 from its original £1,599 price tag.

The Sony A7 IV paired with the 28-70mm f/3.5-5.6 is now available for just £1,949 at Wex – you save £200 off the bundle's RRP of £2,149.

The Nikon Z5 paired with the 24-50mm f/4-6.3 is now available for just £929 at Park Cameras– a £670 saving from the bundle's previous £1,599 price tag.

Panasonic Lumix S5 IIX: Ideal for hybrid shooters, DSLR, and system switchers
you've been shooting on an APS-C or DSLR camera before, the Panasonic Lumix S5 IIX is a fantastic upgrade. It's notably smaller and lighter than many DSLRs.

So while the handling might feel a bit different at first, you'll quickly appreciate the more compact, less bulky design. There are not as many native lenses for the S5 IIX available as is the case within the Sony and Nikon lineup, but there are third-party options like Sigma available.

And if you want to keep using your older glass, Canon EF to L-mount adapters, for example, are available.

Sony A7 IV: Best for DSLR and system switchers, as well as content creators
Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

The A7 IV shines with its real-time Eye AF, detection, and tracking options – features that make focusing faster and more accurate than many DSLR systems. So, if you're coming from a DSLR, this camera feels like a serious step up in autofocus and creative control.

Nikon Z5: Budget-conscious DSLR option, best for stills-focused shooters
If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR, and thanks to the FTX adapter, you can continue using your trusted F-mount lenses seamlessly. The only downside is that the Z5 doesn't have IBIS, which is usual at this price point. That means handheld shooting with longer lenses or video might require a steady hand or a tripod.

And if the bundled lens doesn't suit your photography style, there are plenty of alternative lens bundles available on Wex – many of which offer great savings too.

Personally, I would lean toward the Sony A7 IV. Its autofocus performance is unmatched, as well as its lens options. The flexibility makes it a standout choice, especially if you're open to switching systems entirely.

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

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There was a lot to love about the Canon M6 Mark II, which was the flagship of the EOS M system. In case you don't know, that was the company's first foray into mirrorless cameras – but it was sadly discontinued in 2023.

While the Canon M6 Mark II had some killer specs – built around a high-resolution 32.5MP APS-C sensor, capable of 14fps bursts and 4K 60p video – there was one feature that was absolute genius: the optional, removable, electronic viewfinder (EVF).

This one accessory made the Canon M6 Mark II one of the most versatile cameras the company has ever made – and my dearest wish is that Canon resurrects it for the EOS R system.

Take a look at the common criticism leveled at cameras like the Canon EOS R50 V and EOS R6 V: they're brilliant cameras, and very compact, but most people wish that they had a viewfinder – or at least, the scope to add one – for proper stills shooting.

This isn't just a Canon thing; everything from the Nikon Z30 to the Sony ZV-E10 II has the same issue. Yes, they're designed primarily for video, and yes, this enables them to keep a smaller form factor by eschewing an EVF. But wouldn't it be nice if you could buy an EVF that mounts to the hot shoe, for those times you need it?

That's exactly what Canon used to offer, but the Canon M6 Mark II was the last camera to support the EVF‑DC2 add-on (which also worked with other select EOS M and PowerShot cameras).

It made the Canon M6 Mark II so much more useful; without the EVF, you could slip the camera into a large pocket or easily toss it in a fanny pack or small sling bag for everyday shooting. Then, for those occasions where you really needed to zero-in, you could click the EVF‑DC2 into the shoe.

Given the clever new Multi Function Shoe boasted by Canon's latest cameras, it could produce a brilliantly fast and high-resolution finder if it wanted to. Or even just update the EVF‑DC2 with the correct communication pins so that it can be used on the likes of the R50 V and PowerShot V1.

Come on, Canon – I know I'm not the only person who has asked for this, so please bring back the best thing about the Canon M6 Mark II! (Well, aside from the sensor that has now found its way into the EOS R7…)

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In terms of size and looks, the Panasonic Lumix S9 is one of the best full-frame compact cameras on the market. And now it's dropped to its lowest price EVER – you can pick up this camera with 18-40mm lens for just £809.19 from Amazon, who have dropped this already budget-priced model back down under a grand.

Only the white version is available at this amazing price, so other colours can cost almost £300 more - emphasising just how good this deal actually is.

Don't be deceived by the Panasonic Lumix S9's small stature. This compact interchangeable lens camera is a modern mirrorless powerhouse, boasting a 24.2MP full-frame sensor, Panasonic's Phase Hybrid autofocus, up to 6.5 stops of in-body image stabilization and up to 30fps burst shooting.

The absence of a viewfinder is partly responsible for the camera's compact size, so it's more likely to appeal to content creators and video shooters. Thankfully it's got a decent video spec, with 6K 30p and 4K 60p capture. It also comes with a variety of LUT presets to instantly enhance the look of video footage. And, if you shoot video for a variety of formats, you'll be pleased to know that it's an open gate video camera.

Check out our guide to the best lenses for the Panasonic S9

A Canadian wedding photographer and camera tinkerer has seemingly managed to install DOOM on his Nikon Zf. You heard that right, an Instagram video shows the 1993 first-person shooter video game running on the rear LCD screen of Nikon’s full-frame retro camera in what has to be my favorite unofficial camera enhancement of all time. In the video (below) Taylor Jackson can be seen using the camera’s d-pad to navigate the grisly sci-fi setting and using the playback button to fire ‘Doomguys’’ pistol.

Hilariously, Nikon USA has commented on the video stating: “We have questions 👀”. Now, I’m no hacker, but when I Googled the subject, the search page’s AI Overview seemed to think that loading third-party software onto a modern Nikon was very difficult given the locked-down architecture of the 'Big N's' cameras. The footage does look very convincing but whether it's a genuine port or camera trickery, the practice of loading DOOM onto unconventional devices most certainly does happen.

You see, there’s a bit of an internet tradition to try and get DOOM to run on weird tech. Tech nerds are intent on fighting the demon hordes via pretty much anything imaginable, office printers, calculators, heck, even a pregnancy test! It would seem that almost anything with a visual interface is fair game.

One of the most comprehensive accounts of porting DOOM to a camera can be watched below by YouTube gaming royalty LGR, which managed to get the game running on a Kodak DC260 digital camera and is most definitely real.

In the video below, it’s explained that the 1998 camera features an onboard computer, enabling users to download or even develop third-party apps. In the case of the Kodak DC260, a bespoke version of DOOM is downloaded onto a CompactFlash card, which is then inserted into the camera and run via the camera’s Applications menu. I’ve also seen a video from @knoptop, running the game on a keychain camera!

I’m sure the process was a little different for the Nikon Zf, but essentially, DOOM lends itself to being ported because the original code is now open-sourced and by today’s standards, this once-demanding computer game requires little processing power to run.

I hate to be a killjoy, but it is worth noting that installing third-party software onto a camera could end up voiding the warranty, so I’d be more inclined to mod a cheap used buy as opposed to a $2,000 / £2,000 modern mirrorless camera.

I do love the concept of a ‘90s video game classic running on a retro camera though. The Nikon Zf is based on the Nikon FM2, which was actually released in 1982, the same year that Pac-Man was released. Well, Taylor, if you’re reading this, you know what to port next!

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The tiny but mighty Nikon Z30 is a camera that’s often overlooked in the West, but has proven incredibly popular in Japan, frequently making its way onto the BCN+ Ranking. And there’s one particular feature I don’t think is talked about enough: its imaging prowess.

Before I get into that, though, I want to talk about a few reasons why it hasn’t proven so successful in the US and UK.

The biggest sticking point is the viewfinder – or lack thereof. Now, the Big N would probably justify this due to the Nikon Z30’s vlogger-centric design.

However, while the Nikon Z30 did launch with decent enough video specs for the time, the lack of a headphone port was a major shortcoming for vloggers. And while no 4K 60p and IBIS (in-body image stabilization) were common within the Nikon Z30’s class, just one of those upgrades would have set it apart from the pack.

Add to that Nikon’s lack of solid video credentials in a pre-Red acquisition world and I can see why the camera has been a bit of a hard sell for Western vloggers. As for photographers, the Nikon Z30’s specs are almost identical to the original Nikon Z50, which does have a viewfinder.

No competition, right? Well, that depends on who you ask.

Shift back to the Japanese market and you have an imaging culture that holds small cameras in very high regard. The Nikon Z30 isn’t just small for an APS-C interchangeable-lens camera, it’s also extremely well-built. And not only is it rock-solid, but that deep grip means that it fits firmly in the hand.

The real magic happens when you start taking photos. Nikon is known for producing extremely high-quality RAW files and the Nikon Z30 is no exception. That APS-C 20.9MP sensor delivers the goods: files are richly detailed and pliable in post, and Nikon’s color science is top-notch.

And while it’s not a megapixel monster by today’s 40MP standards, that’s not actually a bad thing. Firstly, it means bigger photosites than a higher-resolution APS-C sensor – resulting in better low-light performance.

Secondly, it’s easier to avoid camera shake when using a 20MP sensor. Because once you’ve applied the 1.5x crop factor to the focal length in question, you can stick to the reciprocal rule rather than having to double or even triple it when using higher-resolution sensors.

Don’t forget that this is a proper Z-Series camera, meaning it’s compatible with the huge amount of Nikon Z lenses, which deliver supreme optical quality time and again.

To top it all off, the Nikon Z30 is an affordable camera. It launched with an RRP of $709.95 / £699 and nowadays you can find some absolute bargains on the used market. All that being said, I really think this camera deserves more respect here in the West!

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As great as mirrorless cameras are, one area where the good old DSLR still reigns supreme is battery life. For instance, the Nikon Z9 has a CIPA-rated battery life of 740 shots, whereas the D6 can manage an incredible 3580. In real-life shooting the Z9 will likely do much better, but the fact remains that using an LCD display for live-view shooting consumes precious battery life.

But a new rumor suggests Sony might be working on a possible solution. According to a source via Sony Alpha Rumors:

Sony is working on a new display technology for its Alpha cameras after 2026’Q3. This FSC-LCD unit will use 70% less energy and make the camera’s Live-View time much longer.

The FSC (Field Sequential Colour)-LCD, uses a high-transmittance grayscale liquid crystal display without R,G,B colour filters. It uses RGB Edge-Mini LED backlight, which means that the red, green, and blue light-emitting diodes can be switched on and off 720 times a second. This technique combines to produce a 240Hz refresh rate colour image on a grayscale 720Hz IPS LTPS LCD, delivering a flicker-free visual experience.

FSC-LCD technology is currently under development by Sony, TCL and Hisense. TCL is planning to promote FSC-LCD televisions featuring RGB-LED backlighting in the future, and a prototype TV has been exhibited in 2025.

Sony’s BRAVIA TV business will establish a joint venture with TCL in the 2027, with both parties operating the venture jointly.

It should be noted that a 70% energy saving in a camera's LCD display probably won't result in an equivalent percentage increase in shots captured per charge. This is due to the LCD screen being just one of many camera components that drain battery power. However, such a significant energy saving in the LCD should at least give a noticeable improvement in overall battery life. If this rumor is true, we may only have a few months to wait to see the new screen tech materialize.

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

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

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

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

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

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

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

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

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

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

🏆: Canon EOS R6 Mark III

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

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

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

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

What does this mean, in real terms?

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

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

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

🏆: Tie – Canon EOS R6 V / C50

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

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

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

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

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

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

🏆: Canon EOS R6 Mark II

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

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

It depends.

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

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

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

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

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

One of Fujifilm's most popular mirrorless cameras is the Fujifilm X-M5 – so popular, in fact, that like the viral Fujifilm X100VI, it’s often hard to find in stock.

There’s a good reason for its popularity, with its affordable price and tiny design, but as a Fujifilm photographer it’s not the budget body that I would pick: I would choose the Fujifilm X-S20 instead.

There are two key reasons that the X-M5 is so trendy. First, it’s Fujifilm’s cheapest currently produced mirrorless, retailing for $999 in the US even when bundled with a lens.

But the X-M5 is also incredibly small, so I think part of its success is down to the fact that it makes an excellent alternative to a compact camera. At just 12.5 oz body only, the X-M5 is quite portable for a mirrorless body.

I’m not knocking the X-M5 – I think it’s a solid compact alternative and an entry-level option that still has a healthy dose of features, particularly for hybrid shooters. But, if I had to pick an affordable Fujifilm mirrorless right now, the X-S20 is the one that would win my attention.

The X-S20 has several things in common with the X-M5 – as well as the Fujifilm X-T30 III – including the same 26.1MP sensor, 20fps bursts and 6K video. But there are a couple of key reasons that I gravitate towards the X-S20 as a photographer.

The first reason that I’d save up a bit more for the X-S20 is that, unlike the X-M5, it still has a viewfinder. This does make the camera a bit larger in comparison, but it’s well worth it.

Viewfinders are much easier to see in bright sunlight and support a more ergonomic grip than framing the shot with the LCD screen. (The X-S20 also has a more comfortable grip than the X-M5.)

Image stabilization is the other big reason to consider the X-S20, as the X-M5 lacks stabilization in the body.

I hate hauling tripods around, and stabilization helps me take crisper images in low light without one, as well as being a big help when using longer lenses. Stabilization is one of those features that tends to come at a higher price point, yet it’s exceptionally helpful for beginners.

Stabilization is also the reason why I’d pick the X-S20 over the more affordable X-T30 III – which bridges the gap between the X-M5 and the X-S20 in Fujifilm’s lineup and also has a viewfinder.

But the reason that I’m tempted by the X-S20 right now is that B&H has it bundled with Fujifilm’s new pancake lens at a nice discount in the US.

The X-S20 is usually paired with the Fujifilm XC 15-45mm or the Fujifilm XF 16-50mm kit lenses, but the retailer has a bundle right now that includes the Fujifilm XF 23mm f/2.8 R WR.

This tiny pancake lens truly makes for a portable package, and the equivalent 34.5mm focal length with f/2.8 aperture is both versatile and a dream to shoot with!

Fujifilm has a handful of more budget-friendly options, but the viewfinder and in-body stabilization would make the X-S20 an easy decision for me.

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Take a look at the best cheap mirrorless cameras, according to real photographers.

In a world of increasingly complex cameras, one minimalist full-frame mirrorless camera is standing out – and is winning awards for it.

The Sigma BF is a camera that strips things back to the essentials. Its design philosophy focuses on simplicity, encouraging photographers to concentrate on the act of taking a picture rather than navigating menus or features.

This approach has now been recognized at the Camera Grand Prix 2026, where the Sigma BF received the Editor's Choice R&D Award.

Editor's Choice R&D Award: Sigma BF

The Camera Grand Prix 2026 is one of Japan's most prestigious photography awards. The Sigma BF was praised for its radical simplicity and design-led philosophy.

"The Sigma BF is based on a design philosophy that returns to the essence of the act of 'taking a picture,' simplifying the control and display systems to the extreme. This creates a unique user interface that allows for deep concentration on the act of shooting itself. We highly valued this aspect.

"Furthermore, the unibody structure, machined from aluminum, combines high rigidity with craftsmanship, boldly expressing the material appeal of a camera as a product.

"Its innovativeness, which re-examines the raison d'être of the camera from an approach different from the conventional trend of increasing multi-functionality, and presents new value and direction, is particularly noteworthy."

Why simplicity matters in photography

Sigma CEO Kazuto Yamaki calls the BF "beautiful foolishness" – a phrase inspired by The Book of Tea, which celebrates the beauty of simplicity over excess.

It's less a product slogan than a philosophy: that stripping things back makes photography more intentional, not less powerful. That idea runs deep in Sigma's identity, a company founded in 1961 by Kazuto Yamaki's father and long known for its unique, design-led approach to camera making.

You can read more about this in our interview with Yamaki (where he says, among other things, that he thinks he can make Sigma "a nicer brand" than Canon and Nikon, even if he can't make it a bigger company).

By stripping the camera down to its essentials, the BF encourages a more considered way of shooting. It offers something no feature-heavy camera can offer in the same way: it teaches how to see.

Without distractions from menus or layered functions, attention naturally shifts to the fundamentals of photography – subject, light, composition, and timing.

In that sense, the camera is less about what it does for the photographer and more about how it gets out of the way. The Sigma BF is built for focus and intention, helping photographers concentrate on the essence of photography.

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If the camera sparked your interest, you can read our Sigma BF review. And see why Sigma's CEO says "I don’t believe I can make Sigma a bigger company than Sony or Canon, but I think I can make it a nicer brand”.

If you’ve been looking to step into full-frame photography, the current deal on the Canon EOS RP bundled with the RF 24-105mm f/4-7.1 lens is a rare chance to do it without breaking the bank.

The kit is now just £833.62, down from £1,059 – on a camera-and-lens combo that punches well above its price. For those ready to upgrade from a DSLR or a crop mirrorless camera, this bundle ticks the right boxes.

The EOS RP may sit at the entry level of Canon’s full-frame lineup, and is now seven years old, but it still carries many of the traits that make the RF mount system so attractive: clean 26.2MP images, 4K video capability, a fully articulating touchscreen and Canon’s renowned Colour Science. Pair that with the flexible 24-105mm zoom and you’ve got a combo that is ready for travel, portraits, landscapes, everyday shooting and more.

What makes the RF 24-105mm f/4-7.1 lens especially compelling here is the versatility: wide enough for landscapes, long enough for casual portraits, and compact enough that it won’t become a burden. Many full-frame lenses with that zoom range carry hefty price tags or weights; this one delivers a balanced, mobile full-frame kit setup that won’t leave you hauling 3-4kg around.

This deal also gives you a head start within Canon’s RF ecosystem. With the RP and standard zoom, you can begin building from a versatile foundation and expand your lens options as your skillset and budget grow. Whether you’re upgrading, making a full-frame entry or simply looking for something compact yet capable, the synergy of body + lens here adds real value.

Check out our pick of the best lenses for the Canon EOS RP

With the country preparing itself for an uncharacteristically hot and sunny Spring Bank Holiday, we have just spotted a fantastic deal on the Nikon Z8 pro-spec full-frame mirrorless camera. At £2,749 at London Camera Exchange, the Z8 is now £1,250 cheaper than it was at launch - and now at its best-ever price from an official UK retailer.

The Nikon Z8 boasts a generous 45.7MP full-frame resolution. Its stacked CMOS sensor delivers rapid readouts, rendering a mechanical shutter unnecessary – only an electronic one is present. This advancement allows for a remarkable shutter speed of up to 1/32,000 second, far exceeding other premium cameras that typically top out at 1/8,000 second.

For capturing fast-paced action, the camera supports up to 120fps continuous shooting speed, albeit at the cost of resolution, with stills dropping to 11MP at this peak burst rate. At 30fps, however, you can employ the full sensor capacity without missing any crucial moments, complete with autofocus and autoexposure engaged between frames.

Regarding video capabilities, the camera can record up to 8.3K 60p in 12-bit internally, supporting N-RAW and ProRes RAW HQ formats.

The only real drawback lies in its battery life, as the Z8 employs the same cell as Z7 bodies, providing approximately 275 shots per charge. However, the cost savings from this model afford you the opportunity to purchase an extra battery or two!

Check out our pick of the best lenses for the Nikon Z8

Right now, I’d argue the Nikon Z6 III is one of the best performance-to-value mirrorless cameras on the market, and this new £200 discount makes that point even stronger.

With the body now down to £1,599 at Wex, Nikon’s full-frame hybrid suddenly feels far more aggressive than it did at launch, and much more of a threat to its closest rivals.

The Z6 III was already one of the most complete cameras in its class, but once it drops below the $2,000 mark, it stops being simply a good deal and starts looking like a serious no-brainer. This is not a watered-down entry into full-frame mirrorless. It is a fast, capable, and thoroughly modern camera that gives you a huge amount of performance for the money.

What makes the Z6 III so compelling is that it does not feel like a compromise. Nikon has equipped it with a 24.5MP full-frame partially stacked CMOS sensor, the Expeed 7 processor, advanced subject-detection autofocus, and 6K/60p internal RAW video. Those are the kind of specs that push it well beyond what many photographers and filmmakers would expect at this price.

That performance really shows when it comes to speed. The Z6 III can shoot up to 20fps in RAW, 60fps in JPEG, and even 120fps in a cropped mode, while its autofocus can work down to an impressive -10EV in low light. For weddings, events, sport, wildlife, documentary work, or simply unpredictable everyday shooting, that matters. This is a camera that can react quickly, lock on with confidence, and keep up when the pace changes.

But the reason I think the Z6 III wins on value is that it is not just fast, it is genuinely versatile. It feels equally at home shooting stills and video, which is exactly what so many creators now need. From its 6K video capabilities to its bright EVF, strong handling, and hybrid-focused feature set, this is the kind of camera that can do almost everything well without making you feel like you need to upgrade again too soon.

This price drop also changes the wider conversation around the Z6 III. At launch, some buyers may have hesitated because it sat a little close to more expensive options, but with $700 off, that argument largely disappears.

The Nikon Z6 III now feels like the sweet spot in Nikon’s mirrorless range: a camera with flagship flavour, pro-grade speed and serious hybrid muscle, without forcing you into flagship-level spending.

Fujifilm’s flagship X-H2 and X-H2S cameras offer not just the fastest speeds but the beefiest grips – but photographers may soon not be able to add an official grip to the pro mirrorless. Fujifilm has officially discontinued both the VG-XH and FT-XH vertical battery grips for the X-H2 bodies.

When some retailers removed the listings for the battery grips, the change began fueling rumors that the two accessories have been discontinued. But when I reached out to a representative at Fujifilm US, the company confirmed that both grips have been discontinued.

The demise of the FT-XH doesn’t come as a surprise – that’s the grip that enables the cameras to wirelessly upload images to Frame.io. When Fujifilm eventually rolled out a firmware update that enabled the feature to do this without the accessory, I imagine the FT-XH didn’t warrant the price jump over the VG-XH.

Discontinuing the VG-XH feels a bit more unusual, as the accessory offers longer battery life and vertical grip and controls for the flagship bodies. The grip, like the bodies themselves, is weather-resistant and adds two batteries to the camera. The grip also adds a vertical shutter release with front and rear dials and a handful of added buttons.

The X-H2 was the first Fujifilm body to feature the 40.2MP X-Trans sensor and X-Processor 5 before the sensor rolled out to other models like the X-T5, X-E5, X-T50 and the viral compact camera, the X100VI.

The lower resolution but speedy X-H2S was announced in May of 2022 and started shipping later that summer, while the X-H2 followed in the fall of that same year. That means the camera bodies are turning four years old this year, a fact that seems to be fueling wish lists and speculation over what’s next for the next generation of Fujifilm’s X series.

While Fujifilm has stopped producing both grips, a handful of retailers still seem to have stock left – but the change suggests that photographers who have been eyeing the grips may not want to wait. A handful of retailers still list the grip in stock, including Adorama in the US and London Camera Exchange in the UK. It's also available used at MPB.

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Take a look at the top tested Fujifilm lenses for the X series.

Established in 1984, the Camera Grand Prix is one of the photography industry's most prestigious awards, both in Japan and internationally. The 2026 winners have now been announced.

Organized by the Camera Journal Press Club, the awards recognize standout products released in Japan during the previous fiscal year, with seven prizes handed out this year. Alongside awards decided by editors and industry experts, the Readers' Awards highlight the camera gear that photographers themselves voted for.

The 2026 Readers' Award in the camera category went to the Canon EOS R6 Mark III, with users praising its performance, refined handling, and impressive price-to-performance ratio.

Readers' Award – Camera: Canon EOS R6 Mark III

The Camera Grand Prix 2026 published a selection of comments from voters explaining why the Canon EOS R6 Mark III earned the prestigious honor.

One theme quickly stood out: users across different genres and experience levels were impressed by the camera's balance of performance and value.

"This camera is just as good as the EOS R5 Mark II, but it's cheaper than the R5. Since it now uses CFexpress cards, I don't need anything more," wrote one user, while another added: "I was impressed by the overall high level of refinement, which is reminiscent of the DSLR, the EOS 5D Mark IV."

Another voter summed it up in one sentence: "This camera offers the best balance of image quality and price."

For some users, the R6 Mark III represents a philosophy that goes beyond specifications – one that "never betrays the photographer's intentions."

Canon EOS R6 Mark III: price & competition

The R6 Mark III also impressed us in our review. Available for $2,799 / £2,799, this powerful mirrorless packs so much performance that it feels close to a flagship model.

For context, the R6 Mark III launched in November 2025 at the same price as the R6 Mark II in 2022, though the older model is now available for $1,999 / £2,049.

While the R6 Mark III won't suit every budget, Canon says it features more than 50 upgrades over the Mark II. Here are six updates that could make the upgrade worthwhile for many photographers.

The R6 Mark III faces strong competition, with rivals including the Sony A7 V ($2,898 / £2,799), Nikon Z6 III ($1,996.95 / £1,599), and Panasonic Lumix S1 II ($2,897.99 / £2,599) – all excellent cameras in their own right.

Is this the best photo-first Canon on the market?

The R6 Mark III shares its core architecture with the Canon EOS C50, but targets photo-first hybrid shooters, while the C50 is designed primarily for video creators.

It also inherits one of Canon's best pro features: Registeres People Priority. This allows you to save up to ten faces in priority order, helping the camera focus on the right subject during group shots, weddings, events, and sports photography.

Still, advanced features matter little if AF (autofocus) can't keep up – and Canon's subject tracking stands out as one of the strongest in class, as our Canon expert and reviewer James Artaius highlighted.

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Browse the best full-frame cameras, the best Canon cameras, and the best Canon RF lenses.

The Sony A7 V may now being on sale, but the Sony A7 III is still a great all-round camera - and particularly at the price we have just spotted. Park Cameras are offering this popular full-frame mirrorless camera for £1,§149 with a Sony FE 28-70mm f/3.5-5.6 OSS zoom - which is a saving of £500 (and around a third of the cost of the Sony A7 V).

That’s a great price on a camera that’s still hugely relevant, even years after launch, thanks to its reliable autofocus, excellent image quality and robust all-round performance.

Whether you're shooting portraits, landscapes, or video, the A7 III is the kind of camera that just gets the job done. Its 24.2MP full-frame sensor offers rich detail and fantastic dynamic range, while the 693-point phase-detect AF system still holds its own against newer rivals. You also get 10fps burst shooting and solid battery life that lasts longer than most mirrorless competitors.

Video shooters won’t be disappointed either, with 4K recording across the full sensor width, flat colour profiles for grading, and dual card slots for peace of mind on longer shoots. It’s no surprise that the A7 III remains a go-to camera for hybrid creators and enthusiasts who want top-tier performance without going all-in on flagship pricing.

It's not fashionable with journalists and YouTubers, but the Canon EOS R100 is one of the most important cameras on the market.

While the industry focuses on the latest, greatest, cleverest and most advanced mirrorless cameras, the entry-level segment has almost completely disappeared. Except, that is, for the Canon EOS R100.

As photographers, we have lost all context of what "entry level" means – especially when it comes to price. You always see the Fujifilm X-M5 recommended as one of the best cameras for beginners, but that's $1,000 with a lens.

I don't know about you, but whenever a non-photographer asks me to recommend a beginner camera, the idea of a thousand bucks being "entry level" absolutely blows their minds.

But the Canon EOS R100 can routinely be had for under $500 with a lens – an affordable price point that is truly geared towards newcomers.

This is important because the industry needs new blood. It needs to be inclusive and accessible to everyone – especially in a world where prices are out of control.

There are no other cameras that offer what the Canon EOS R100 does – built specifically for the needs of beginners, eschewing extras they won't use to maintain a price they can afford.

And, thus, there are no other mirrorless manufacturers doing what Canon does, meaningfully supporting beginner photographers with affordable, entry-level cameras.

"Thank you for saying that," said Go Tokura, executive vice president and head of Imaging Group at Canon, when I had the opportunity to talk to him about the subject in Japan.

"I believe we are the only ones who are supporting [beginner photographers] with the R100 series."

I asked about the company's strategy not just for attracting new photographers, but especially encouraging young people to buy their first camera.

"It is our understanding that the cost is important, but the functions and performance is also important for the younger generation," replied Manabu Kato, executive officer, IMG Business Unit 1 and Imaging Business Operations.

"They also put importance on the joy of owning a camera, the joy of capturing the images."

I was discussing cameras with a fellow journalist recently, and he told me that while Canons "are clearly the best," they "aren't very fashionable". I don't think that's important. Gucci is fashionable, but it's hardly accessible to someone wanting to buy their first outfit.

Having a camera you can actually afford is far more important than having a fashion accessory hanging around your neck. And that's why the Canon EOS R100 isn't just one of the most important cameras on the market, it also sells huge volumes – despite what sniffy journalists might say.

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Take a look at the best lenses for the Canon EOS R100 along with the best Canon RF lenses across the range. If you've got a bit more budget, check out my Canon EOS R50 review as it offers more bang for your buck. See how they stack up in our Canon EOS R100 vs R50 comparison.

The Sony A7C is trending and while I’m not a Sony shooter, it’s a camera I consider every now and again. The Sony A7C and its successor, the Sony A7C II are an odd pairing. I can’t remember the last time I saw one out and about, and yet, the A7C II is a mainstay of Japanese retailers’ camera charts. Just recently, my colleague, Kim, reported on Yodobashi Camera’s top 10 ranking for the latter half of January where the Sony A7C II hit second place.

Clearly, people are buying these cameras. Actually, a colleague of mine who works in another department has an A7C II, but that’s the only time I’ve seen one in the wild (I swear!). On paper, it’s not hard to see why the A7C II keeps doing the business in Japan, but it’s the older A7C that I find particularly eye-catching.

When you pit the Sony A7C II against the A7C, the former wins outright almost across the board. It’s got a higher resolution full-frame sensor, a better image processor, better autofocus, and better video. However, if you’re purely looking for a small-ish full-frame stills-centric camera, I think the Sony A7C is a great shout.

For starters, you can still find it new in the UK. At the time of writing, Park Cameras are selling it at the moment for just £1,049.

This is highlighted when you consider the competition. First up is the Panasonic Lumix S9 – which is currently £799 at Amazon in a variety of colours. Now, I’m a fan of this little ‘compact’ full-frame camera, but if you don’t care about video, the Sony A7C boasts a much better grip and a viewfinder. On paper (and by price) the Lumix S9 is the better camera, but if you’re a viewfinder photographer, the Sony A7C is probably the next best thing (assuming you don’t have the budget for the Sony A7C II).

Another contender is arguably the Fujifilm X-E5 - which you can get for £1,241.49 at Amazon. Now, don’t get me wrong, I’d dearly love an X-E5, but not only is it slightly more expensive than the Sony A7C, but it’s APS-C, and to some people, that really matters. I’d also point out that the Fujifilm X-E5 has a 40.2-MP sensor, and for everyday cameras, I prefer a smaller sensor in a bid to help prevent camera shake. To find out why, you need to know the reciprocal rule.

So there you have it, the Sony A7C and Sony A7C II, mighty popular cameras that I never seem to see out and about. But maybe that’s because they’re so portable! If you’re looking for an everyday full-frame, interchangeable-lens camera on a budget, the Sony A7C still gets a recommendation from me.

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If you're interested in the best Sony cameras, make sure you take a look at the best Sony lenses. And if it's premium compact cameras that float your boat, here are the best full-frame compact cameras.

If you are looking for an absolutely stellar mirrorless full-frame camera, the Nikon Z5 II is now just £1,285 at Amazon.

With this deal, you save over £314 on its original £1,599 price tag.

If you've been waiting for the right moment to upgrade to full-frame mirrorless photography, this is it. The Nikon Z5 II just dropped in price – and it was already known to be a bargain camera before.

The Nikon Z5 II is the long-awaited successor to the original Z5, and is anything but basic. It takes much of the advanced technology found in Nikon's higher-end cameras, like the Z9 and Z7, and delivers it in a more affordable and user-friendly package.

At the same time, the Z5 II has been designed with beginners in mind. Nikon's intuitive Picture Control system helps you experiment with different looks, and the reliable AF-A (auto autofocus mode) takes the guesswork out of focusing, letting you concentrate on composition and storytelling instead.

Features like intelligent subject recognition and advanced autofocus make it easier to nail sharp, in-focus shots – whether you're photographing a couple at a wedding, or your dog sprinting across the beach. And with burst shooting speeds of up to 30fps (frames per second) for JPEGS and 14fps for RAW, you're also covered for serious fast-action moments.

The Z5 II is an ideal camera to grow with – easy to start using right away, but powerful enough to take you far. Paired with the Z 24-70mm f/4 zoom lens, you have a setup ready for a wide range of photographic genres. Yes, it's one stop slower than the pricier 24-70mm f/2.8 version, but thanks to the Z5 II's IBIS (in-body image stabilization), low-light shooting is still well within reach.

The Z5 II (with or without the zoom lens) is a fast, reliable, and surprisingly powerful camera, perfect if you want room to grow, and even if you are an advanced user who wants a lighter full-frame setup. Now with its lowest price ever, it's honestly hard to think of a reason not to jump in.

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If you are a Nikon Z shooter, or want to become one, have a look at our guide about the best Nikon Z lenses or the best lenses for the Nikon Z5 II and Z5.

I’ve cherry-picked the best retailers in the US and UK where you can pre-order the new Canon EOS R6 V, with B&H and Adorama currently listing the camera in the US, while Wex, and Park Cameras are among the UK retailers already showcasing Canon’s latest video-first full-frame mirrorless camera.

If you have been waiting for a serious Canon hybrid body that leans heavily into filmmaking, this is one to get your pre-order in for early.

Where to pre-order?

The Canon EOS R6 V is a very interesting move from Canon, as it becomes the first V-series mirrorless camera to feature a 32.5MP full-frame sensor. This is a camera designed for visual storytellers who need more than just great stills performance, bringing together strong image quality, video-focused ergonomics, and a compact, streamlined design that should make it a serious tool for solo creators, filmmakers, and professional productions alike.

What makes the EOS R6 V so appealing is that it takes the familiar strength of Canon’s R6 line and pushes it further into the world of video. With 7K RAW recording, Open Gate capture, 4K slow-motion options, Canon Log profiles, and an active cooling system, this is not simply a stills camera with video features added on. It feels like a purpose-built content creation camera for those who need dependable quality across commercial shoots, interviews, social-first productions, and more serious filmmaking work.

It is also reassuring to see Canon keep plenty of hybrid power inside the R6 V. The 32.5MP full-frame sensor gives photographers plenty of resolution to work with, while the electronic shutter can shoot at up to 40fps, making it much more versatile than its video-first positioning might suggest. For creators who shoot both stills and motion, that balance could make the EOS R6 V one of the most useful cameras in Canon’s current line-up.

Autofocus should be another major reason to buy this camera. Canon’s Dual Pixel CMOS AF II system is designed to recognise and track people, animals, vehicles, and more, which is exactly what solo shooters and fast-moving creators need when they are working without a larger production team. Add in coordinated image stabilisation, Movie Digital IS, and multiple mounting options for horizontal and vertical shooting, and the EOS R6 V looks built for the way modern creators actually work.

For me, the Canon EOS R6 V looks like one of the most exciting Canon cameras to arrive this year because it understands where the market is heading. Creators want one camera that can shoot polished video, sharp stills, vertical content, slow motion, and professional-looking footage without needing a rig the size of a cinema setup.

If the EOS R6 V is already on your wishlist, I would place a pre-order now rather than risk missing out when stock starts landing.

Since the launch late last year, the Sony A7 V has led a number of best-selling lists, but Sony’s newest Alpha is already showing similar signs of popularity. Despite only being announced last week, the Sony A7R VI – a 67MP full frame mirrorless camera that still shoots at 30 fps – is already popping up on best seller lists in the US at B&H and Amazon.

Best-seller lists hint at what gear is the trendiest among photographers, videographers, and content creators. The Sony A7 V has proved popular over the last few months, including leading best-seller lists in Japan.

But after Sony announced the A7R VI last week, the 67MP currently has the “top seller” badge at B&H and is already climbing the ranks at Amazon as well.

B&H doesn’t give numbered rankings, but browsing mirrorless bodies and sorting by best-sellers, and the A7R VI now sits at the top of that list. That’s followed by the more affordable Sony A7 V, the Canon EOS R6 Mark II, the Canon EOS R5 Mark II, the Canon R6 Mark III, the Canon EOS R7, and the Nikon Z6 III.

Amazon’s list of best-selling mirrorless cameras tends to be more budget-focused, with the entry-level Canon EOS R50 currently in the top spot. However, the A7R VI has already popped up on the list. The A7R VI is only in 22nd place on Amazon’s top seller list, but it’s the highest-ranked mirrorless camera with a price tag above US$3,000.

Considering the Sony A7R VI was only announced on May 13, the camera has climbed quickly to the top of best-seller lists in just under a week. It’s not uncommon for new cameras to sell well at first as photographers eager to replace aging gear replace pre-orders, so only time will tell if the A7R VI’s rapid rise to best-seller lists has staying power.

But, the camera’s early success hints that the mirrorless body has been readily received – and for good reason. I spent some time with the Sony A7R VI and did some bird photography with it. Sony’s R series isn’t the first body that comes to mind for wildlife photography, but the high-resolution camera now shoots at 30 fps – triple the previous generation.

Photographers have traditionally been forced to choose between resolution or speed, but the A7R VI hints that technology is reaching a place where photographers can have both – and the A7R VI isn’t even technically a flagship. The Sony A1 II still offers the best mix of high resolution and speed with a larger buffer than the A7R VI’s, but there’s a significant price gap between the two.

While the best-seller lists at B&H and Amazon hint at some early success for the Sony A7R VI, only time will tell if the pricier model can overtake the A7 V’s months-long lead. I’m curious to see how the next best-seller lists from Japan will shake out, seeing how rapidly the sales data has already changed in the US.

View the Sony A7R VI at B&H, or find out where to order in the US and UK.

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Browse the best Sony cameras or the best E-Mount lenses.

Leica has released firmware version 4.1.0 for the Leica Q3, Leica Q3 43, and Leica Q3 Monochrom, bringing a useful round of refinements to its fixed-lens full-frame camera family.

While this is not the kind of update that completely changes the character of the cameras, it does make the Q3 series feel more polished, more consistent, and, importantly, better suited to photographers working with DNG files in third-party editing software.

The most interesting part of this update is Leica’s improvement to the color matrixes stored in DNG files. In simple terms, this should improve color rendering when files are opened in third-party software that uses these matrixes for color presets. For Q3 and Q3 43 users, this could mean more pleasing and accurate color straight from the raw workflow, which is exactly the kind of quiet but meaningful improvement Leica shooters will appreciate.

Color has always been a huge part of the Leica look. While the Leica Q3 Monochrom naturally sits outside that conversation in the traditional sense, the wider Q3 family is built around files that carry a very particular tonal character. Leica's improvement in how those DNG files are interpreted away from the camera shows that this firmware is not just about fixing small bugs, but about refining the image-making experience beyond capture.

There are also several usability improvements. Images shot in portrait orientation will now display in full-screen view, the selected AF mode is shown with an additional icon in the upper status bar, and focus peaking can now be set to appear only when focusing manually via the MF focus ring. Leica has also improved AF tracking feedback, with the tracking frame now changing color depending on detection status, while green markers confirm focus.

Firmware 4.1.0 also removes the warning message shown when powering up the camera with a BP-SCL4 rechargeable battery, and fixes an issue where the camera could freeze when switching from a profile with Leica Fotos turned off to one with Leica Fotos turned on.

It may not be the flashiest firmware update Leica has ever released, but for Q3, Q3 43, and Q3 Monochrom owners, this is a welcome refinement that improves the shooting experience and, most notably, the color workflow.