It’s been a busy week for Nikon camera rumors, with updates regarding a proposed Nikon Z70 and a stills-focused iteration inspired by the Nikon ZR. But Nikon Rumors has published grim reading for anyone hopeful that Nikon’s 2026 will finally burst out of the starting gates any time soon.

The outlet has reported that multiple unnamed sources are warning of delays for “almost everything,” with some releases apparently being pushed into next year.

Now, I love a good camera rumor as much as the next person and actively enjoy getting excited about what’s in the pipeline. But I can’t stress enough that rumors like this should be taken with a grain of salt until the manufacturer releases a statement.

Not a Nikon-only problem

It’s easy to hear about news like this and wonder what’s going on in Nikon land, especially following the Big N’s recently revealed financial results.

However, let’s not forget that camera and lens releases have been sparse across the whole industry so far this year. And there are a multitude of possible contributing factors.

Tariffs, component shortages and memory prices have all driven up consumer tech prices. And with many countries experiencing an increase in the cost of living, not to mention the possibility of tech saturation, consumer reticence has meant camera sales are down.

Nikon Z9 II bottleneck?

It’s also worth noting that Nikon could be in a bit of a transition period, assuming that the much-talked-about Nikon Z9 II is on the horizon.

A second-generation flagship is a huge milestone and, if it follows the same trajectory as the Nikon Z9, it will lock in the overarching technology for future Nikon camera releases for years to come.

With that in mind, it’s possible that a release like the Z9 II could act as a bottleneck, because anything Nikon releases prior to a new flagship camera’s launch will surely be running on current-generation tech.

This is fine for potential releases like a Nikon Zfc II or Nikon Z30 II because, assuming they follow the same blueprint as their predecessors, they would borrow tech from the existing Nikon Z50 II.

But anything more advanced, like the rumored Nikon Z70 (assuming it’s a flagship APS-C mirrorless), would likely include next-gen tech. If that’s the case, surely the Nikon Z9 II would need to be released first or adjacent to.

Look no further than Nikon’s last flagship APS-C camera for evidence. The Nikon D500 launched alongside the full-frame flagship Nikon D5, famously borrowing some of its pro-grade sibling’s tech.

Ultimately, rumors will always circulate, but we’re never quite sure what’s happening behind Nikon’s closed door until there’s an official line. But one thing’s for sure: it’s a challenging environment out there for everyone. There’s no need to panic.

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Canon has kicked off its World Photography Day celebrations with a flash sale that could be well worth checking out if you’ve been waiting to upgrade your camera or add another lens to your kit bag.

Running from August 14 until midnight on August 23, Canon is offering savings of up to £270 across selected products, alongside some rather tempting discounts on its refurbished cameras and lenses.

The biggest saving I’ve spotted is on a rather impressive Canon EOS R8 bundle, which combines the full-frame mirrorless camera with the RF 85mm Macro IS STM and RF 24-50mm IS STM lenses. Usually £2,099.99, the complete kit has dropped to £1,829.99, saving you the full £270. Considering you’re getting a 24.2MP full-frame camera capable of shooting at up to 40fps and recording 4K/60p video, plus two lenses to get you started, there’s a lot of camera kit here for the money.

I think the sleeper deals in Canon’s World Photography Day sale could actually be hiding in its refurbished section. Selected refurbished cameras and lenses have effectively been cut by 15%, and there are some excellent examples available. A refurbished Canon EOS R, for instance, is now £764.15 instead of £899, saving £134.85 and putting a 30.3MP full-frame RF-mount body comfortably below the £800 mark.

The lens deals are arguably even more interesting. A refurbished Canon EF 85mm f/1.4L IS USM has dropped from £1,159 to £985.15, saving £173.85, while the EF 70-200mm f/4L IS II USM is £900.15 instead of £1,059.

There are cheaper bargains too, including the wonderfully useful EF 50mm f/1.8 STM for just £84.14, down from £98.99. If you’re still shooting with an EOS DSLR, or adapting EF glass onto an EOS R body, there could be some particularly good value here.

World Photography Day is as good an excuse as any to get out and take some pictures, but I’d say getting money knocked off the gear you’re going to take them with makes it even better.

The £270 saving on the EOS R8 bundle is the headline attraction for me, but don’t overlook Canon’s refurbished section – especially if you’re comfortable buying previous-generation bodies or EF lenses.

The sale ends at midnight on August 23 and Canon states that these offers cannot be combined with another promotion, so there’s a relatively short window to take advantage.

As a self-confessed Nikon fanboy, there’s nothing I enjoy more than a good rumor about a new Nikon camera. And if there’s one camera rumor I’m holding onto more than a Nikon Z70 or a Nikon Z9 II, it’s talk of a stills-focused Nikon ZR. Especially if it turns out to be Nikon’s first full-frame fixed lens compact camera in the Z era.

Nikon Rumors has caught wind of a teeny tiny sliver of information that could have huge consequences, were this camera ever to make it to market. This unnamed and unsubstantiated Nikon camera was previously said not to feature a viewfinder, à la the Ricoh GR IV. But now, the rumor mill is saying it will have an EVF. Talk about whiplash!

Personally, this is music to my ears. I’m trying not to get caught up in Internet talk, but I cannot help but be extremely excited about even the slimmest prospect of this camera blossoming into reality. And while I was willing to live with it, I really wasn’t keen on the no-viewfinder talk.

To my mind, a camera like the Fujifilm X-M5 entirely warrants not having a viewfinder. Not only is it a capable stills and video hybrid camera, but it’s incredibly small. So small in fact, it’s about the closest you can get to an interchangeable-lens compact camera (however much an oxymoron that is).

Removing the EVF was a crucial design element in maintaining that incredible form factor. Another example is the GR IV or any model from the GR Series. These cameras are true compacts in that they can slip into the most conservative of pockets. A viewfinder would spoil that.

Obviously, it depends on what (if anything) Nikon is planning. If it’s aiming for the most portable design possible, then an EVF probably isn’t warranted. But if its intention is to compete with the larger compacts of the world, like the Fujifilm X100VI or Panasonic Lumix L10, then I think a viewfinder is absolutely necessary. Essential, even.

Interestingly, the rumor post doesn’t mention the fixed-lens aspect. It simply refers to “rumored Nikon camera without an EVF,” and talks in terms of the Fujifilm X-E5 and Sony A7C II. So, I guess there’s always the chance this camera could have an interchangeable-lens design. If it exists…

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Japan's sales numbers give us a great indicator of broader camera-buying trends, but the six-month figures are arguably more revealing than the monthly charts.

A new launch promotion can push a camera to number one for a month, but six months of sales give us a better idea of which models are consistently popular – and which could end the year as Japan's best-selling camera.

Major retail aggregator BCN+R has now published its list of the best-selling mirrorless cameras for the first half of 2026. And while we've seen some extraordinary releases this year, the top spot goes to an APS-C camera that was released in March 2023 – and Sony's record-breaking A7 V only makes eighth place.

The Canon EOS R50 triumphs at number one. Available for just $729 / £649 and despite being more than three years old, it continues to prove hugely popular.

Featuring a 24.2MP APS-C sensor, full-width 4K video and a wealth of social media-friendly shooting modes, it makes a great choice for beginner photographers, enthusiasts and content creators.

BCN's Top 10 best-selling mirrorless cameras, First half of 2026

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-T30 III
8. Sony A7 V
9. Olympus PEN E-P7
10. Nikon Z50

Eight of the top ten cameras are APS-C, with one Micro Four Thirds camera at number nine – the Sony A7 C is the only full-frame camera on the list.

That suggests that photographers in Japan are still strongly drawn to cameras that are relatively compact, affordable and easy to use – rather than simply buying the newest or most expensive technology.

BCN's data is based on sales units, rather than revenue, and covers major electronics retailers and online stores in Japan.

Japan's #1: Canon EOS R50

The Canon EOS R50 combines a 24.2MP APS-C sensor with a compact body, interchangeable lenses and beginner-friendly controls, making it a natural upgrade for someone moving beyond a camera phone or compact camera.

But it's also unusually well-suited to modern content creation, featuring non-classic shooting modes. The EOS R50 can record vertical video via an orientation sensor that embeds rotation data. It also includes display aspect markers to help creators frame footage for different social platforms.

There's even a dedicated Movie for Close-up Demos mode, designed to make it easier to show products close to the camera – a particularly useful feature for product reviews and demonstrations on TikTok, Instagram and YouTube.

Its compact size and all-around make it one of the best travel cameras, while its affordable price and beginner-friendly design continue the Canon EOS M50's legacy as one of the best cameras for vlogging.

Record-breaking Sony only makes 8th place

Sony's latest full-frame hybrid camera launched in December 2025 and quickly became one of the most talked-about new cameras in Japan, dominating sales charts for months across different Japanese retailers.

The Sony A7 V offers a 33MP full-frame sensor, fast continuous shooting, AI-powered subject recognition, strong video capabilities, and the kind of performance aimed at serious enthusiasts and professionals.

Yet it only ranks eighth in BCN's first-half sales data. Which doesn't mean that the A7 V isn't popular; the important distinction is that BCN is ranking units sold.

A high-end full-frame camera costing several times more than an entry-level APS-C model doesn't need to sell anywhere near as many units to generate substantial revenue.

And that's where the EOS R50 has an obvious advantage. At around $729 / £649, the Canon is far more accessible than the A7 V, which is priced around $2,898 / £2,799.

For someone buying their first interchangeable-lens camera, the R50 offers plenty of image quality and flexibility without requiring a huge investment in the camera body.

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Photography can get expensive fast, but your first camera and lens don't have to be.

These three cameras are ideal for learning the ropes and come with a versatile lens perfect for everyday shooting, travel, landscapes, portraits, and more. With these deals, you can save up to £.

The Olympus OM-D E-M10 Mark IV in silver + 14‑42mm f/3.5-5.6 is now just £548 on Amazon – you save £351 off its £899 RRP.

The Canon EOS R100 + 18-45mm f/4.5-6.3 + 75-300mm f/4.5-6.3 is now just £719 at Wex – you save £100 off its original £819 price.

The Sony A6100 + 16-50mm f/3.5-5.6 is now just £639 on Amazon – you save £60 off its £699 RRP.

Olympus M-D E-M10 Mark IV

Best cheap retro camera

Beautifully designed and packed with modern features, the OM-D E-M10 Mark IV is ideal if you value creativity and classic styling.

Its 20.3MP Micro Four Thirds sensor, paired with 5-axis in-body stabilization, produces remarkably sharp results even when shooting challenging low-light situations handheld.

The tilting touchscreen and tactile dials encourage manual experimentation, and the high range of compatible lenses opens up endless photographic possibilities.

It's a superb choice if you want a lightweight, versatile tool for everyday shooting.

Canon EOS R100

Best cheap beginner camera

If you want a straightforward, capable camera to learn on, the Canon EOS R100 is a fantastic starting point.

Its 24.1MP APS-C sensor delivers crisp, detailed images with pleasing color straight out of the camera, while Canon's Face+ Tracking autofocus helps keep subjects sharp with minimal effort.

The guided menus make it easy to understand exposure settings. It's compact, lightweight, and compatible with Canon's expanding RF lens system – giving you room to explore different genres without overcomplicating your setup.

Please note: If you mainly want to shoot video, the R100 is not the camera for you, as fixed screen and cropped 4K video, limiting flexibility.

Sony A6100

Best cheap travel camera

The Sony A6100 remains one of the most capable APS-C cameras for beginners who want a bit more control.

Its lightning-fast autofocus system tracks subjects effortlessly, while the 11 frames per second continuous shooting makes it great for action, wildlife, or street photography. You get 24.2MP image quality with excellent dynamic range and low-light performance, plus 4K video if you decide to explore motion later.

Its compact build and long-lasting battery make it a brilliant choice for travel or anyone who prefers to stay light on their feet without sacrificing image quality.

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GoPro isn’t the only action camera giant working on a mirrorless camera. In a recent interview, Insta360 CEO Jingkang “JK” Liu revealed that the company is working on not one but two mirrorless cameras.

The interview with Japanese publication MyNavi confirms the firestorm of camera rumors that Liu triggered himself earlier this year, when the CEO shared a photo of what looked like a mirrorless camera under development.

But while mirrorless is a well-known category, Liu’s comments hint that Insta360’s upcoming cameras won’t be like a typical interchangeable lens camera.

“I think we’ll be able to show everyone a prototype at next year’s CP+,” Liu said (translated by Google).

“This camera has the potential to completely change the way we take pictures with a camera – framing, focusing and pressing the shutter button. I’m really looking forward to seeing what kind of unconventional camera will be unveiled.”

But one of the reasons the mysterious mirrorless cameras will be unlike current options could be that Insta360 is planning on using AI in order to build, as Liu puts it, a mirrorless for “people who don’t know how to use interchangeable lens cameras”.

The interview hints that AI will be more of a focus than in cameras from traditional Japanese mirrorless makers, and include tools to automate shooting and reduce failed shots.

Liu offered one more hint about one of the upcoming mirrorless cameras: “It will be a shape no one has ever thought of before.”

Insta360 is no stranger to oddly shaped cameras, as the dual-lens nature of 360 imaging requires a design far different than traditional single-lens cameras.

During the interview, the CEO indicated that the new Insta360 Luna Ultra was selling well and that the optional head-tracking accessory had been so well received that some orders may be delayed.

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GoPro’s first mirrorless is coming – and creators will only have to wait until next month to get hands-on with one. During an update to investors, GoPro Founder and CEO Nicholas Woodman revealed that the company’s first mirrorless camera, the Mission 1 Pro ILS, will debut in September.

GoPro has already revealed the upcoming ILS, but Woodman’s statement narrows down when the highly-anticipated camera will arrive, as previous announcements only indicated a “third quarter” announcement.

Woodman’s confirmation of the Mission 1 Pro ILS timeline, however, also reveals a new detail: The Mission 1 Pro ILS will come with several tools for previewing shots and checking focus, including a new app for pro-grade monitoring tools.

Dubbed the GoPro Mission Monitor App, the app is coming to the Apple App Store for iPhone and iPad and serves as a tool for previewing and monitoring footage from GoPro’s upcoming mirrorless camera.

“Mission 1 Pro ILS supports more than 300 readily available Micro Four Thirds lenses along with GoPro’s award-winning in-camera HyperSmooth video stabilization,” Woodman said. “The combination of HyperSmooth video stabilization with such a broad range of lens options in a small, durable 8K camera body has created enormous excitement and anticipation within the industry. And customers will only have to wait until next month to get their hands on it when Mission 1 Pro ILS launches in September.”

GoPro Mission 1 Pro ILS: What we know so far

While the Mission 1 Pro ILS has yet to hit store shelves, there’s quite a bit of information already available on the upcoming camera, thanks to the launch of GoPro’s similar fixed-lens cameras.

The Mission 1 Pro ILS houses the same 50MP one-inch sensor as the already available Mission 1 Pro, with 8K30p and 4K120 open gate, jumping up to 8K60 and 4K240 without open gate. But the ILS pairs that same sensor with a Micro Four Thirds mount.

The Micro Four Thirds Mount, however, will change a few key features compared to the fixed-lens cameras in the series. The swappable lenses make GoPro’s usual fixed focus design impossible. Instead, the Mission 1 Pro ILS is manual focus only, geared towards filmmakers already comfortable with focus pulling, zone focusing, and accessories like follow focus.

The other key sacrifice in trading the fixed lens for a mirrorless mount is that the Mission One Pro ILS won’t be submersible – though GoPro has said that the setup will be splash-proof if paired with a weather-resistant lens.

The manual focus design and specs like 8K30p open gate are clearly targeting video creators over photographers – GoPro is calling the ILS a “compact cinema camera.” In fact, GoPro says the Mission 1 Pro ILS will be the world’s smallest rugged mirrorless camera.

The specs for the ILS suggest the upcoming mirrorless will come in at 197g / 6.9 oz without a lens – and measure 89.6 W x 58.7 H x 46.1 D (mm) (3.4 x 2.3 x 1.8 inches). That puts the ILS a little larger than the fixed-lens Mission 1, but it comes in at a lighter weight without the lens.

Beyond the lens, focus, size, and durability, many of the ILS specs match up with the Mission 1 Pro. The ILS will be able to pair those swappable lenses with GoPro’s HyperSmooth stabilization. Even the design of the ILS looks every bit a GoPro, including screens on both the front and back of the camera.

Woodman did not share an expected date beyond “September” for the ILS's arrival. The camera is expected to retail for $699 / £599 / CA$949 / AU$1099.

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It’s been a while since we’ve had a good tangible Nikon camera rumor to set pulses racing – but that’s exactly what we’ve got this week, thanks to a supposed Apple oversight on a list of compatible ProRes RAW products.

The report from New Camera claims that beneath the Nikon section, the listing was as follows: Z6 III, Z70, Z8, Z9, ZR. Wait a minute… Z70? There’s no such thing as a Nikon Z70. Or is there?

The error has since been removed, leaving Nikon fans to ponder two possibilities: either it was a completely innocent typo or an unreleased device.

What makes the news even more tantalizing is the timing. Nikon’s had an exceedingly quiet 2026 thus far. We’ve only got two lens releases in the Nikon Z 24-105mm f/4-7.1 and Nikon Z 70-200mm f/2.8 VR S II, and one lens development announcement in the Nikon Z 120-300mm f/2.8 TC VR S.

And with Nikon’s latest financial results laid bare, the time seems ripe for a big camera launch.

Spiritual successor to the Nikon D500?

Still, the Nikon Z70 wasn’t on my bingo card. Most of the Nikon rumors have centered around a fixed-lens full-frame compact camera and a Nikon Z9 II. And indeed, in my own mind, I’ve been patiently waiting for a Nikon Zfc II.

But there’s a possibility that a Nikon Z70 could turn out to be exactly what I’ve wanted all along: a mirrorless successor to the Nikon D500.

This is pure conjecture, of course, but thus far, any Nikon Z Camera with a ‘0’ has been an APS-C camera: namely the Z30, Z50 and Z50 II. And in a world where the already very capable Nikon Z50 II exists, you’d have to assume it’s either going to be a more entry-level or premium offering.

Add to that Nikon’s clear targeting of the enthusiast-to-pro market in recent years, alongside rumors of a high-end crop-sensor offering, and it seems most likely that if a Nikon Z70 were in the works, it’d be a flagship APS-C camera, à la Nikon D500.

New Camera also makes the important point that if there’s stock in the Apple post, it would suggest the ability to capture internal ProRes RAW, which is a high-end video feature.

The outlet then goes so far as to list the rumored specs of a surmised Nikon flagship APS-C mirrorless, including a 26MP sensor, IBIS, dual card slots, and high-end Nikon AF and burst speeds.

If Nikon were to release such a camera, I would also hope that it would follow in the footsteps of the Nikon D500 in delivering extensive weather sealing.

So, there you have it. Let me know your thoughts on whether or not you'd like to see a Nikon flagship APS-C camera in the comments below.

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GoPro is best known for sparking the action camera revolution, but the brand renowned for small, rugged cameras will enter an entirely new category before the end of 2026 with a GoPro mirrorless camera.

When GoPro announced the new Mission 1 series earlier this year, the action camera giant also marked its entry into compact mirrorless cinema cameras.

Ahead of the launch of the GoPro Mission 1 ILS later this year, I sat down for an exclusive interview with GoPro’s senior vice president of product management, Pablo Lema, to chat about the first mirrorless GoPro.

The idea for a mirrorless GoPro dates back to DIYers cracking open Hero4 cameras

While the announcement for the Mission 1 Pro ILS earlier this year came as a surprise to fans of the action camera brand, Lema says that the idea of a GoPro with swappable lenses has been circulating among the company’s team as far back as the GoPro Hero4 – which came out the same year Lema joined the team, in 2014.

Lema explained that fans have been tearing apart GoPros and modifying them for years, but GoPro’s usual action camera sensor wasn’t well-suited to an interchangeable lens setup – until the 1-inch sensor on the Mission 1 series.

While it’s the sensor of the Mission 1 Pro that’s inside the ILS, the first prototypes were built from a modified Hero13. “We were all blown away by the footage,” Lema said of the prototype, “and we decided to make it into a product.”

The GoPro Mission 1 "isn't for every creator"

GoPro is very aware that the Mission 1 Pro ILS isn’t like any other mirrorless camera on the market. On the one hand, there’s 8K open gate, 4K 240fps, and FullHD 960fps on a camera that retails for $699 / £599 / AU$1099 / CA$949.

But, on the other hand, the ILS uses a one-inch sensor paired with a manual-focus Micro Four Thirds (MFT) mount.

Lema says the Mission 1 ILS “isn’t for every creator” but is built for filmmakers looking for a small, mountable system, as well as run-and-gun videographers.

“This won’t necessarily be their only camera,” Lema adds. “[The Mission 1 Pro ILS] is kind of like this pocket rocket of an 8K, open gate, 4K 240 – which is golden – and 1080p [FullHD] 960 bursts.

"These high [framerates] really create something that you can’t see with any other package, paired with the ability to have creative control of the optical look of the film. It will be a really good tool chest for all kinds of cinematographers from automotive to birds to street videographers.”

The first photos of the ILS that GoPro has shared ahead of the official launch look like a quintessential GoPro with the small boxy design – but a Micro Four Thirds mount at the front.

GoPro wanted to strike a balance between all the features that the action cameras are known for, while still stepping into a new category.

The GoPro ILS isn't meant to go up against established mirrorless brands

To strike that balance, the ILS body still has GoPro’s well-known HyperSmooth image stabilization and GoPro’s compact design. But the ILS isn’t submersible (though it is splashproof, if paired with weather-resistant lenses) and the camera is manual focus only.

“We wanted to find our own corner of that world. When we make our first step into this market, we're not trying to go directly against very established ILS options from other companies,” Lema says.

“We wanted to come from our place of authentic, small, normal-priced, very high-performance imaging and create this flexibility in imaging composition that you can get from the MFT ecosystem.”

One of the key types of creators that GoPro sees being drawn to the ILS is those looking for mounted footage without the size or complexity of cranes and gimbals.

“[Mission 1 ILS] still comes with the stuff that we're really well known for,” Lema says.

“What we're excited about with Mission ILS is a combination of ILS with HyperSmooth. That is something that we don't see in the market really at all. A lot of cameras have IBIS in them, but it doesn't get to the performance that you can get with HyperSmooth.”

Micro Four Thirds opens GoPro up to hundreds of lens choices

Pairing a 1-inch sensor with a Micro Four Thirds Mount is an unusual mix that means lenses will have a 3x crop factor.

GoPro originally toyed with the smaller C-Mount format, which is designed for sensors up to one inch, but the wide range of readily available and affordable Micro Four Thirds lenses drew the company to a mount larger than the sensor.

“We shot a lot of video with a different series of lenses,” Lema said. “In internal blind tests, it was very obvious that the MFT lenses were gonna be a better match… and they're affordable, they tend to be small. There are some really wide ones, too.”

The 3x crop factor can make getting that ultra-wide GoPro look more of a challenge, but not impossible. The Laowa 6mm T2.1 Zero D creates an 18mm equivalent view, which sits between the 15mm and 21mm equivalent views from the fixed lens Mission 1 Pro’s different crops.

GoPro says the response to ILS has exceeded expectations

One of the classic GoPro features that an interchangeable lens can’t replicate is fixed focus. The fixed-focus lenses of GoPro’s action cams rely on the fact that ultra-wide lenses have a wider depth of field, making it possible to get most of the shot in focus with a fixed lens.

Lema says that the camera system would have been much more complicated with autofocus, but the response from filmmakers at NAB was exactly what the company was hoping for – with many filmmakers saying they don’t use autofocus or already use follow focus rigs.

According to Lema, the Mission 1 Pro ILS isn’t for the creators who want a point-and-shoot but is targeted towards filmmakers already versed in filmmaking focus techniques.

While GoPro had an idea of what to expect for the fixed-lens Mission 1 Pro and Mission 1, the company was a bit more cautious on what the response would be to the action camera giant’s first mirrorless camera.

“We’re putting our feet into a new pond,” Lema said, “and the response was way more positive on ILS than we had expected.”

While the fixed-lens Mission 1 and Mission 1 Pro cameras are already on shelves, GoPro says the Mission 1 Pro ILS is coming in the third quarter of 2026 – so filmmakers can expect the camera to arrive before September 30.

This story is part of a four-part series on GoPro's next era.

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About 16 years ago, smartphones utterly decimated the camera industry. It's taken all this time for the market to even remotely recover – and it has done so just in time for the most powerful phone cameras ever made to challenge traditional cameras all over again.

So, can the best camera phone of 2026 outperform the best mirrorless camera on the market when it comes to photography? And I'm not talking about an iPhone versus a random Canon here.

I'm talking about two best-in-class photo machines built on the same industry-leading color science: the 200MP Oppo Find X9 Ultra with its Hasselblad Master camera Mode versus the 100MP Hasselblad X2D II 100C with its Hasselblad Natural Color Solution.

ABOVE: Watch the video and see who won the shootout!

Of course, while both systems are built on the same imaging pipeline, there are important differences – not least sensor size. The X2D II packs a massive medium format sensor, while you could put all four of the X9's sensors together (those being a 1/1.12-inch, 1/1.28-inch, 1/1.95-inch and 1/2.75-inch) and they still wouldn't be as big.

Four sensors also means four lenses (and cameras) on the phone: a main 200MP 23mm f/1.5, a 50MP 14mm f/2.0 ultrawide, and a pair of telephotos in the form of a 200MP 70mm f/2.2 and a 230mm f/3.5 – all equivalent 35mm focal lengths.

So to make this comparison as fair as possible, given that all those lenses are fixed in the phone, I paired the camera with a single zoom lens: the Hasselblad XCD 35-100E, which gave me an equivalent 27-78mm f/2.8-4 focal range (I left the 230mm lens out of the equation, for sake of ease).

Rather than setting up fixed scenes, I thought the most neutral thing to do was take both systems on a gentle stroll (around The Regent's Park in London, England) to see how they performed in spontaneous real-world conditions.

Oppo Find X9 Ultra vs Hasselblad X2D II

There's no doubt about it: the Oppo is hands-down the best camera phone you can buy right now. Between its excellent lenses and the Hasselblad Master image tuning, this is the most "camera-like" performance you can get on a phone.

In ideal conditions, I think you would be very hard pressed to tell that its photos weren't taken on a mirrorless camera… but what about non-ideal conditions like blazing direct sunlight, harsh contrasty backlight and hue-torturing green grass gardens?

This is why we always field test equipment in our reviews on Digital Camera World, because fixed setups and carefully controlled studio shoots only tell you so much.

I dare say that, in a straight-up portrait or landscape or still life shoot, the results might be much closer. But head to head, in unflattering wildcard conditions, the Hasselblad truly outclasses the Oppo.

Colors

The first thing that jumped out to me was the color. If you've ever tried to shoot grass, gardens or flowers, you'll know how tricky it can be for even the best cameras to render authentic hues and tones.

Green plays havoc with most cameras' imaging engines, but Hasselblad cameras are renowned for their ultra-faithful reproduction of even these challenging colors. However, the Oppo would start to struggle when magenta tones were introduced to the scene, as you can see in the above image of the bees feeding on flowers.

Indeed, the Oppo is apt to skew towards magenta in general – and it can be prone to punching up the blues to compensate, which is visible in the shot of the parked Mini where the highlights are overcooked with blue tones.

Dynamic range

That "overcooking" is a byproduct of the Oppo's heavy reliance on computational HDR (high dynamic range), which uses software-based masking and stacking to artificially boost the shadows while dimming the highlights.

In the crosswalk / zebra crossing shot above, you can see that this does really funky things to skies, looking like you've used the Magic Wand selection tool in Photoshop to do a very crude sky selection.

In the top image of the backlit building in the garden, the Oppo is trying so hard to HDR its way to even exposure that it has rendered the building completely flat – there's no sense of shadow or dimension. It's like the Shadows slider has been cranked all the way up while the Highlights sliger has been dragged right down.

The middle shot of the parked BMW is probably the happiest medium, but in all three images you can see that the Hasselblad – with 15.3 stops of dynamic range – is able to render faithful tonality without any computational correction.

Lenses

Even without adding the fantastic 300mm teleconverter, the Oppo's integrated 230mm telephoto lens absolutely smokes the 78mm maximum reach of the Hasselblad lens, as you can see in the top image of the water feature.

However, while the Oppo's 230mm camera produces a 50MP image, the Hasselblad captures images at 102MP.

And thanks to the superior optical formula of the much larger lens, coupled with the superior optical performance of the much larger sensor, you can perform a like-for-like crop into the Hassy image and actually achieve superior detail – as evidenced by the middle image.

Speaking of optical performance, the lenses on the Oppo (like all smartphones) is very prone to lens flare. But as you can see in the above image, thanks to premium lens coatings, the Hasselblad lens wasn't affected at all – even without deploying the lens hood.

Bokeh / blur

As if there was any doubt, the Oppo simply can't match the Hasselblad when it comes to subject separation – aka blurry backgrounds, aka shallow depth of field, aka bokehliciousness.

Its sensors are so small that they struggle to achieve a shallow depth of field, even though its lenses are pretty fast (ranging from f/1.5-3.5) while the XCD lens on the Hasselblad is more sedate (at f/2.8-4).

While you can "cheat" background blur by increasing the distance between your subject(s) and background, you can see just how much more blur is achieved with the Hasselblad when shooting things that are close together.

Long exposure

Some might think this one is a bit unfair, but since we passed a beautiful waterfall I wanted to shoot a long exposure image where the flowing water turns silky smooth.

This requires shooting with a very slow shutter speed, which typically means using a tripod to keep the image steady – and in sunny conditions it usually necessitates an ND filter, too, as a slow shutter speed will quickly overexpose the image.

Sadly, I simply couldn't juggle the shutter and aperture enough on the Oppo to do anything other than freeze the water into unpleasant, static splashes – not the effect I wanted.

As you can see above, though, the Hasselblad had no problem shooting handheld for a full second – a piece of cake, thanks to the generous lens aperture and ten stops of in-body image stabilization – giving me the silky water I wanted.

So I tried cheating and slapped an ND filter onto the Oppo – but even then, as you can see, the phone wasn't able to shoot a handheld full second exposure without blurring the image (and blowing it out), as it simply lacks the stabilization and exposure finesse of the Hasselblad.

Verdict

I know that this reads very one-sidedly, so I feel it's important to say that – in its own right – the Oppo Find X9 Ultra performed heroically. I took a few pictures on my iPhone during the same shoot, and honestly it's embarrassing just how much better Oppo's camera tech is than Apple's.

The X9 Ultra takes impressively "camera-like" photographs and offers an amazing degree of manual control and impressive color processing. However, in a straight shootout with the X2D II, there's no contest here.

The Hasselblad is the finest stills camera ever made, boasting a gigantic medium format sensor with 100MP resolution, 15.3 stops of dynamic range, 10 stops of image stabilization and some of the finest lenses money can buy. As good as the Oppo is, there's simply no way it can match that firepower.

But let's add some context here. The fact that a £1,400 phone can come as close as it does to a £6,400 camera – with a £4,100 lens on the front – is absolutely astonishing.

Yes, the Hasselblad is better. But is it £9,100 better? I'll let you be the judge of that…

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Take a look at the best Hasselblad cameras and the best Hasselblad lenses to go with them.

Photography can get expensive fast – but it doesn't have to be.

The Olympus OM-D E-M10 Mark IV stands out as DCW's best affordable retro camera, and it's also packed with beginner-friendly features.

Now, the Olympus OM-D E-M10 Mark IV in silver is just £649 at Wex. Included in this deal is the Olympus M.Zuiko Digital 45mm f/1.8 in black for FREE.

That means you're getting a compact, powerful camera, while saving £130.99 off the £779 RRP, and a fast prime lens on top that's worth £349.

• The Olympus OM-D E-M10 Mark IV + FREE Olympus M.Zuiko Digital 45mm f/1.8 lens is also available in black for just £679 at Wex

The best cheap retro & best features beginner camera

Beautifully designed and packed with modern features, the OM-D E-M10 Mark IV is ideal if you value creativity and classic styling.

Its 20.3MP Micro Four Thirds sensor, paired with 5-axis in-body stabilization, produces remarkably sharp results even when shooting challenging low-light situations handheld.

The tilting touchscreen and tactile dials encourage manual experimentation, and the high range of compatible lenses opens up endless photographic possibilities. It's a superb choice if you want a lightweight, versatile tool for everyday shooting.

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Browse the best cheap cameras and the best camera for beginners

I have been using the Canon EOS R5 since I bought it just after this phenomenal flagship camera was first launched - and I paid a lot more for it back then that you can buy it for today

Wex Photo is now offering the R5 for just £2,449 - which is the lowest price we have ever seen it at.

Admittedly, with the newer Canon EOS R5 Mark II now on sale, we expected the price of the OG model to drop – but for me, this older R5 is now something of a bargain. And as I have previously explained, I am not going to upgrade to the newer model

Yes, the Canon EOS R5 (review) isn't just a brilliant camera on paper – it's a camera that's so good, I actually bought one… but I just wish I could have bought it at this price!

Its 45MP sensor delivers stunning photographs, and it can shoot them continuously at up to 20fps – making this perfect for fast action like sports and wildlife, particularly with the incredible Dual Pixel CMOS AF II driving the autofocus system. And if you love resolution, get this: the camera can shoot 400MP photos as well!

In terms of video, you can capture gobsmacking 8K 30p or 4K 60p HQ video that will take your breath away. The camera is weather-sealed, making it suitable for all shooting conditions, with two memory card slots (one SD, one CFexpress B), and the image stabilization is fantastic. I love my R5, and my only regret is paying over 1,000 bucks more for it!

Check out our guide to the best lenses for the Canon EOS R5 and R5 Mark II

When the Nikon Zfc released back in 2021, it brought with it the lovely retro-themed Nikon Z 28mm f/2.8 (SE). And while the absence of an aperture ring seemed like a bit of a missed opportunity, I assumed that more retro Nikon Z lenses would be on the way. Jump to the release of the Nikon Zf in 2023, along with the Nikon Z 40mm f/2 (SE), and my heart sank. Another super affordable, retro-cool lens, without the substance (an aperture ring) to back it up.

The Nikon Zf and Z fc are modeled on the legendary Nikon FM2 from the early ‘80s. And they’re by far the most faithful replications of a film-era SLR on the mirrorless camera market today. Their slimline profiles and seriously lacking grips make them feel gratifyingly unwieldy and their chunky physical dials are a tactile pleasure to shoot with. The only thing missing, then, is a lens with an aperture ring!

I’m not alone in my grievances. Such feedback has plagued the Nikon Zf and Zfc ever since each retro camera's respective release, but thankfully, third-party options are available. However, none are quite as lovely as Voigtlander’s Z-mount line up.

Voigtlander immediately gets plenty of kudos because all of its Z-mount lenses are developed and manufactured under licence, so it’s got an official thumbs up from Nikon. What’s more, a trio of specialist APS-C (DX) optics are available, such as the Voigtländer D23mm f/1.2 Nokton Z Aspherical, alongside a broader range of 10 full-frame optics, like the Voigtländer 15mm f/4.5 Super Wide-Heliar Z Aspherical. That’s a decent lineup of glass!

Each Voigtlander lens feels authentically retro, too, boasting all-metal lens barrels, as well as manual-focus only designs, with many also featuring beefy scalloped grooves for better purchase. But they haven’t omitted the mod cons entirely. Lenses feature electronic contacts to supply EXIF data and work in tandem with IBIS.

And yes, they all have aperture rings.

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Want more of my Nikon ramblings? The Nikon Z 180-600mm f/5.6-6.3 VR bridges the gap between budget teles and pro-grade glass – and it’s a personal favorite. You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday! Plus, alien world of photomicrography displayed at Tokyo Photographic Art Museum celebrates 101 years of Nikon microscopes.

After cooling off for a while, there are fresh camera rumors about the Nikon Z7 III – which is purported to be a "high resolution camera" with a resolution of up to 61MP.

While Sony's latest resolution-focused body, the Sony A7R VI, has upped the full-frame ante to 66.7MP, a pixel count of 61MP would put the Nikon Z7 III on the same playing field as resolution monsters like the Sony A7R V, the Leica SL3 and the Sigma fp L.

The new report comes courtesy of Ordinary Filmmaker, citing a source he has known for a couple of years that he believes to be reliable:

"I do have news from a known source about the Z7 Mark III. Nikon is working on a Z7 Mark III that will be a high-resolution camera. We have confirmation on that, but don't have many specifications.

"The autofocus will be much improved over the Z7 Mark II. Okay, yes, that one was a gimme. That was an easy one. But let's get to the sweet spot, the resolution of the Z7 Mark III: Nikon's testing a resolution between 56 and 61 megapixels."

There is something of a precedent for this, as there have been rumors dating back as far as 2019 that Nikon was planning to use a 60MP Sony sensor for an upcoming camera.

I think the company would certainly do well to further differentiate its products at the top end, as currently there are a trio of Z bodies using a 45.7MP sensor (the Nikon Z7 II, Nikon Z8 and Nikon Z9) so having a dedicated "resolution model" would help give the Z7 line a distinct identity.

That would give us a full-frame lineup comprising the Nikon Zf for relaxed, retro-focused users, the Nikon ZR for dedicated video, the Nikon Z6 III for hybrid and action shooting, the Z7 III for the highest fidelity capture and the Z8 and Z9 for ultimate performance.

It would also leave Canon in the lurch as the only one of the "big three" full-frame brands without a high-resolution camera, which increasingly feels like a gap in its lineup.

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Take a look at the best Nikon cameras along with the best Nikon lenses for DSLRs and the best Nikon Z lenses for mirrorless bodies.

Fujifilm has yet to launch an X-Series camera in 2026 so, in the wait for its next generation, rumors are swirling over what’s next for the camera brand. Fujifilm has, however, debunked one particular rumor making the rounds: the demise of the Fujifilm X-T5.

Two major camera stores in Japan recently listed an X-T5 variant as discontinued, or 'sales ended', according to one report, fueling rumors that Fujifilm has already discontinued the X-T5 ahead of the arrival of a successor.

Digital Camera World reached out to a Fujifilm US representative, however, who confirmed, “the X-T5 has not been discontinued.”

It’s unclear why the Japanese stores had the X-T5 marked that way, but Google Translate suggests that it’s the “X-T5 bilingual model” that has been specifically listed as discontinued at some Japanese retailers.

That may ease worry about the availability of one of Fujifilm’s high-end X-Series bodies, but it’s unlikely to dull the anticipation over what’s next for the brand beloved for its retro designs and Film Simulations.

Fujifilm is in the pause between generations, having updated nearly all its X-Series cameras with the 40.2MP X-Trans CMOS 5 HR or the 26.1MP X-Trans CMOS 5 HS sensor. (The X-Pro3 is a notable exception.)

With nearly all Fujifilm cameras seeing a recent refresh, fans are eagerly awaiting the brand’s next reveal. Fujifilm tends to bring new image sensors to one of its flagship models first, so the X-T and X-H series are often among the first with a new generation of sensor.

As one of the company’s top models in the X series alongside the X-H2 and X-H2S, the Fujifilm X-T5 combines 40MP 20fps still photos with 6.2K 4:2:2 10-bit video recording, along with a 7-stop in-body image stabilization system and weather-resistant construction.

But the X-T5 is also known for its retro-styled body, with its iconic top dials and centered, SLR-style viewfinder. And, according to Fujifilm, it's still very much alive and kicking.

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Browse the best Fujifilm cameras or the best Fujifilm lenses, including the best lenses for the Fujifilm X-T5.

The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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Into Nikon? Check out the best Nikon cameras and the best Nikon Z lenses. Plus, You can’t buy heritage: Why Nikon still rules as it celebrates its 109th birthday!

The Sony A7 V and A7R VI have been headlining several best-seller lists since launch – and now Sony says the cameras are selling so well that the company has an expanded share in the full-frame market.

In Sony’s first-quarter earnings report shared on July 31, the tech giant called out both the Sony A7 V and A7R VI as the camera market overall remains stable outside of a decline in China.

“Against this backdrop, strong sales of the A7 V, which won the Grand Prize at the Camera Grand Prix 2026, and the A7R VI, launched in June, helped raise average selling prices and expand our market share in the full-frame camera market, enabling the Imaging business as a whole to maintain its sales on par with the same quarter of the previous fiscal year,” Sony told investors.

The success of the A7 V and A7R VI doesn’t come as a surprise, as both models have made regular appearances across best-seller lists. But while Sony is collecting a larger share in the full-frame market and selling cameras at a higher average price, the company’s camera sales are similar to the same time last year.

The segment that had the highest increase in sales, however, is Sony’s image sensor division. Sony’s sensor division had a 104.5 billion yen increase compared to the same time frame last year – that’s about $656 million / £489 million / AU$938 million / $921 million at current exchange rates. While Sony’s gaming and music division still takes a bigger chunk of the Sony pie, the imaging sensor division had the most growth out of all of Sony’s divisions for the first quarter.

Sony says image sensor sales have jumped 26 percent over the same time last year, attributing the success largely to a higher average selling price for smartphone-bound image sensors. That left Sony with a record-high operating income for the sensor division.

While the A7 V, A7R VI and growth for smartphone camera sensors mark a positive shift for Sony, the report wasn’t without its concerns. First, the company’s largest image sensor plant has suspended operations after an earthquake on July 28, and production remains paused.

Another key challenge is one that several camera manufacturers have noted: the increasing cost of memory.

“The continued surge in memory prices remains a key business challenge for this segment this fiscal year,” Sony said, discussing the Entertainment and Tech segment. “However, the business is doing everything it can to implement cost-reduction measures in procurement and design, and to adjust its pricing strategies, including foreign exchange management.”

Sony says it also expects increasing memory costs to impact the number of shipments for high-end phones.

Overall across all segments, Sony shared that sales are up 8 percent and net income is up 32 percent compared to the same quarter in 2025.

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Browse the best Sony cameras or the best Sony lenses.

I’m always glad to see that the Fujifilm X-M5 is trending on Google, because it means plenty of people are giving this unassuming little powerhouse the attention it deserves. You see, despite its popularity, I’ve often wondered how many would-be Fujifilm X-M5 creators have simply dismissed Fujifilm’s smallest interchangeable-lens camera as being an entry-level body, maybe even a casual camera akin to the Fujifilm X Half, when in actual fact, it’s anything but.

Last year I claimed “the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera,” but it’s not just this camera’s tiny footprint that makes it so appealing; it’s the surprising power that lurks beneath the hood.

Firstly, the Fujifilm X-M5 is built around the company’s last-gen flagship APS-C sensor, the 26.1 MP X-Trans CMOS 4. This imbues it with some serious X-Series credentials right off the bat, complete with that coveted Fujifilm color science.

Then things get really interesting: 20fps burst speeds (30fps with 1.25x crop), along with 6.2K / 30p, 4K / 60p (1.18x crop), full HD / 240p, as well as 4:2:2 10-bit and F-Log for plenty of pliability in post-production. And to top it all off, it supports open-gate video.

Now, the elephant in the room is the lack of a viewfinder, but unusually that really doesn’t bother me here, because it’s clear that the Fujifilm X-M5 is designed to be as small and light as possible, and without compromise. Nobody bemoans a traditional compact camera for not having a viewfinder; it’s either your bag or it isn’t.

But here’s the thing. I reckon the Fujifilm X-M5, like the Ricoh GR IV, is the camera nerd's 'compact camera'. It’s small enough to be a constant companion, but it’s got the image quality, the specs, and the interchangeable-lens system to be an infinitely useful tool. In a world where the Fujifilm X100VI gets the lion’s share of the attention and plaudits, spare a thought for the Fujifilm X-M5. It’s easy to miss, but hard to find fault.

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I thought the Fujifilm X-E5 made the Fujifilm X100VI a lame duck. Here's why I've changed my mind. I spent some time with the Fujifilm GFX100RF; it may just be my ideal travel camera. And finally, check out the best retro cameras.

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 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 £3,419.10 – save £1,278.81 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 bonus when trading in your 'old' gear.

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

Fujifilm's X-M5 is a great alternative to buying a premium compact camera with a fixed lens. Unlike the super-popular X100V with which it shares the same 26MP sensor, the X-M5 allows you to swap lenses. In the deal we have just spotted, you also get a zoom lens thrown in for £849 – and Wex is sweetening the deal by also giving you a 64GB memory card and a Joby mini tripod (extra gifts worth £88).

The Fujifilm X-M5’s imaging capabilities are impressive, featuring the same 26.1 MP X-Trans 4 CMOS sensor used in Fujiiflm X100V and powered by the advanced X-Processor 5. With a sensor over 16 times larger than that found in an average smartphone, the X-M5 offers an expanded dynamic range, resulting in richer colors, deeper subject separation, and beautifully blurred backgrounds.

On the video and audio front, the X-M5 goes beyond the basics with 6K video capabilities and enhanced sound capture. Equipped with three microphones and four specialized sound modes, including Surround, Front Priority, Back Priority, and Front & Back Priority, the X-M5 allows creators to adjust the audio to suit specific filming environments. Fujifilm’s has added voice enhancement and noise reduction algorithms, along with a 3.5mm microphone socket, which gives creators greater control over audio quality. This focus on sound, combined with the cinematic 6K video resolution, positions the X-M5 as a robust tool for versatile content creation

Crafted to be the lightest and smallest body in the X-series lineup, the X-M5 weighs in at just 12.5 ounces and measures 4.4 inches wide. Fujifilm’s classic rangefinder-inspired design, complete with top dials for adjusting mode and film simulation settings, gives the X-M5 both functionality and timeless appeal. The camera is equipped with a 3-inch articulating LCD touchscreen and right-side connector ports, preventing any interference from cables while shooting.

With support for the full range of Fujifilm’s X-mount lenses, the X-M5 gives creators an array of lens choices, allowing for a highly adaptable shooting experience. The addition of 20 classic film simulation recipes and AI-powered autofocus technology makes this model a compelling choice for those ready to elevate their content.

Check out the best lenses for the Fujifilm X-M5

Canon's mirrorless line offers two of the best beginner options around. Right now, you can save on both the Canon R100 and Canon R50 lens kits – and which one is best depends on what kind of creator you are.

The Canon EOS R100 + 18-45mm f/4.5-6.3 lens bundle is now available for £489 at London Camera Exchange – with this deal, you save £180 off its original price of £669.

The Canon EOS R50 + 18-45mm f/4.5-6.3 +75-300mm f/4-5.6 lens bundle is now available for £819 at London Camera Exchange – with this deal, you save £180 off its original price of £999.

Better still, the Canon EOS R50 bundle that includes only the 18-45mm lens currently costs £839 at London Camera Exchange– making this bundle exceptional value. For £20 less, you get the 750300mm telephoto lens included at no extra cost.

Which camera is the best to start your journey?

Both cameras are beginner-friendly, use the same Canon RF-S lens mount, and have a 24MP sensor. And both kits come with the 18-45mm f/4.5-6.3 IS STM lens, a versatile zoom optic that will get you started and beyond. But which camera is the best to start your journey?

Canon EOS R100

Best for beginners who want to learn photography step-by-step

The Canon R100 is focused on photography, and we rated it as the best beginner-friendly camera.

It's straightforward, lightweight, and has guided menus that help explain each mode.

It doesn't have a touchscreen or a flip-out screen, and 4K video is cropped with slower AF (autofocus). But for stills, it performs beautifully and keeps things simple.

Canon EOS R50

Best for beginners who want to shoot hybrid (photo+video)

The Canon R50 is better if you want to shoot video or vlog. It has a flip screen, touchscreen controls, and records sharp, full-width 4K video.

It also shoots faster and feels more like a hybrid content creation tool. It's still easy to use, but it gives you more room to grow.

Verdict: R100 vs. R50

So if you want to learn photography without extra complexity, the Canon EOS R100 bundle is a fantastic choice at just £489.

But if you want to do more video, social content, vlogging, or want a true workhorse lens that covers multiple photo genres, the Canon R50 bundle is absolutely worth the upgrade at £819.

Both cameras give you a strong start with Canon's mirrorless system, and with these London Camera Exchange deals, it's a great time to begin your creative journey.

Photography is a wonderful hobby and profession. It should come as no surprise, but I love it! It’s also an absolute privilege to write about cameras for a living. But the part of my job that I hate most is how sedentary it is and that’s largely due to the high levels of screen time. I reckon I spend a minimum of six hours every single working day, looking at my computer screen. That’s not even counting time spent on my phone, watching TV, playing video games, and capturing photographs with my mirrorless camera.

A recent IPA survey put the average British adult’s daily screen time at nearly 7.5 hours. I nearly hit that at work! Let alone all the other screens that are vying for my attention. Now, in the grand scheme of things, my mirrorless camera’s EVF is a drop in the ocean. But my unhealthy obsession with screens might go some way to explaining why I lament the death of the optical viewfinder.

It’s not the EVF’s fault, but I find myself, especially later in the day, feeling screen fatigue. And honestly, when I’m taking a few fun snaps on a dog walk or during a day out, sticking my retina millimetres away from yet another screen can feel like a headache-inducing drag. I’ve said it before, but I miss optical viewfinders. And it’s not like the industry hasn’t come up with a solution, and by industry, I mean Fujifilm…

What’s a hybrid viewfinder?

A hybrid viewfinder is both an optical and electronic viewfinder, allowing the user to switch between the two. Fujifilm debuted the technology in 2010 with the Fujifilm FinePix X100 and thus kickstarted the legendary X100 series of fixed-lens compact cameras that has, thus far, culminated with the ever popular Fujifilm X100VI.

Fujifilm’s X-Pro series of cameras also features hybrid viewfinders. Both the X-Pro and X100 series are rangefinder-style cameras, but the X-Pro range features interchangeable-lens cameras. Fujifilm’s solution to a fixed rangefinder style optical viewfinder when changing lenses was to introduce digital rectangular indicators as a visual aid to illustrate the new focal length’s parameters.

Fujifilm managed to advance its hybrid viewfinder tech even further with the Fujifilm X100T by introducing a third option, Electronic Rangefinder Mode. This merges both technologies by providing an optical view with a small, picture-in-picture EVF, so you get the best of both worlds.

This is exactly the kind of innovation I like to see from an industry where technical specs are beginning to feel oversaturated and therefore underwhelming. Don’t get me wrong, I’m not suggesting that a workhorse mirrorless camera like the Canon EOS R6 Mark III, Sony A7 V or Nikon Z8 should have a hybrid viewfinder.

The EVF has transformed the pro-grade sphere for the better, but for enthusiast-level cameras, especially retro cameras, where nostalgia is king, I’d love to see more manufacturers experimenting with hybrid viewfinder tech. And if it gets my screen time down just a little bit, well, that’s just a healthy byproduct.

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The Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera. I’ll die on this hill: The Nikon F5 is the best 35mm SLR camera you can buy – and it's a secondhand bargain! “AI dilutes what is impressive” – Robert Irwin hits the nail on the head when it comes to artificial intelligence in wildlife photography.

Photographers are getting tired of carrying around heavy full-frame cameras, if the latest numbers from Japan are any indication. The latest data from retail tracker BCN+R for trending mirrorless cameras in June 2026 is almost entirely made up of cameras known for smaller designs – and more affordable prices.

The monthly data also featured a camera that made the top ten for the first time, despite launching a year ago: The OM System OM-5 Mark II. The Micro Four Thirds mirrorless slid into 8th place in the monthly rankings.

The OM System OM-5 Mark II is a compact mirrorless body built for the outdoors with IP53 weather-sealing. Part of the lure of the camera is also the stabilization system, which means fewer shots that need a tripod.

The OM-5 Mark II, however, is far from the only smaller-bodied mirrorless on the list. In fact, nine out of the top ten cameras have cropped sensors (APS-C or Micro Four Thirds) and only one is a full-frame model.

According to BCN+R, these were the top mirrorless cameras in Japan in June 2026:

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Sony A7 V
7. Fujifilm X-T30 III
8. OM System OM-5 Mark II
9. Fujifilm X-M5
10. Nikon Z50 II

That’s a list packed almost entirely with APS-C bodies – though it’s worth noting that the data from BCN+R often doesn’t match up directly with major Japanese camera stores like Map Camera. BCN+R only tracks around 40 percent of electronics sales in Japan, and much of the data comes from general tech stores rather than retailers geared specifically for serious photographers, which tend to lead more towards advanced models than BCN+R’s lists.

Regardless, the list is an interesting look at the latest mirrorless trends in Japan. Of course, crop sensor cameras also tend to be more affordable than their full frame counterparts, so beyond the smaller size, the format also tends to fit into more beginner budgets.

The Sony A7 V is the lone full-frame model on the list, a mirrorless camera that has topped charts across several sources and multiple regions since its launch. The A7 V mixes a full-frame sensor with blackout-free 30 fps shooting and smarter autofocus.

But, the Sony name dominates the list. Both of Sony’s APS-C video mirrorless models, the ZV-E10 and ZV-E10 II made the list, along with the more stills-focused crop sensor, the Sony A6400.

The Canon EOS R50 tops the list; however, a crop-sensor beginner camera with a low price point that has proved exceptionally popular, driving the R50 to numerous bestseller lists since launching in early 2023.

The Canon EOS R10 is still a crop-sensor camera, but is more advanced than the R50 with an autofocus system and burst speeds geared towards fast action.

Fujifilm similarly had two models make the top ten – and both fall on the more affordable end of the brand’s X-series. The X-T30 III is a budget model that still has Fujifilm’s retro looks and a viewfinder, where the X-M5 is Fujifilm’s cheapest, smallest current mirrorless body, but it lacks a viewfinder and is more geared towards vlogging.

Sliding into the tenth-place spot is the Nikon Z50 II, a popular ASP-C model that brings some of Nikon’s high-end speed and autofocus into a more affordable crop-sensor body.

The sales data from general retailers tends to lean more towards affordable beginner models than photo specialty stores. From Yodobashi in Japan, for example, the latest trends list is led by pricey models like the Hasselblad X2D II 100C; but cameras like the A7 V, X-M5, X-T30 II, Z50 II, R50, and ZV-E10 II make both lists.

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Dive into the best mirrorless cameras or the best cameras for beginners.

If you've been thinking about upgrading to a full-frame mirrorless camera or switching systems, now's a great time to make the leap. Featuring one of the highest-resolution sensors, the Sony A7R IVA is now available for just £1,999 at Wex.

With this offer, you save £250 on the 61-megapixel Alpha's regular price tag of £2,249.

If you're after a true powerhouse, the A7R IVA delivers incredible resolution for both stunning photos and cinematic video – without the bulk or high price of a medium format system, making this deal even more tempting.

At the heart of the A7R IVA is a 61MP back-illuminated full-frame sensor that captures razor-sharp detail and performs beautifully even in low-light conditions. This next-gen sensor technology will make your images stand out with clarity and richness.

Want to push the detail even further? With Pixel Shift Multi Shooting, you can create jaw-dropping 240.8MP composite images – this means you get imagery with 19,008 x 12,672 pixels (!)

If you shoot fast genres like action or wildlife, the real-time Eye AF with 567 phase-detection points has your back. It tracks humans and animals across 74% of the frame, so you never miss a moment – whether you're creating photographic or videographic work.

So, if you've ever had your eye on this camera and want to create visuals that rival medium format quality, now's the time to grab the Sony A7R IVA.

Check out our rundown of the highest-resolution cameras available today.

The Nikon Z6 is trending on Google and I think I know why... There’s a point in many a photographer’s journey where they decide: I want to go full-frame. Now, going full-frame isn’t a fast-track to becoming a better photographer and it certainly isn’t a necessity, especially in 2026 when APS-C cameras, MFT cameras and even compact cameras are boasting some very serious specs indeed. But in the same way that many people gush over medium format, the full-frame ‘look’ is something that a lot of photographers aspire to capture, and as a full-frame photographer myself, I only have good things to say about full-frame cameras.

However, the system’s biggest shortcoming is price. Not only are larger camera sensors more expensive to make, but full-frame cameras tend to be stuffed with the latest mod cons and specs, not to mention full-frame glass tends to be more expensive than comparable crop-sensor lenses. This can sometimes make full-frame photography feel out of reach for photographers on a budget. That’s why I always suggest looking at the used market and buying from a reputable seller such as MPB or KEH Cameras.

Nikon Z6: Specs

• Sensor: 24.5MP full-frame BSI CMOS sensor
• Image processor: EXPEED 6
• AF points: 273-point phase detection AF, 90% coverage (horizontal and vertical)
• ISO range: 100 to 51,200 (exp. 50 to 204,800)
• Max image size: 6,048 x 4,024px
• Video: 3,840 x 2,160 at 30p, 25p, 24p
• Viewfinder: EVF, 3,690k-dot OLED, 100% coverage, 0.8x magnification
• Memory card: XQD/CFExpress Type B
• LCD: 3.2-inch tilting touchscreen (2,100k dots)
• Max burst: 12fps (focus locked on first frame)
• Connectivity: Bluetooth, Wi-Fi
• Size: 134 x 100.5 x 67.5mm (body only)
• Weight: 675g (body only, with battery and memory card)

Usually, I recommend an older DSLR camera as a great full-frame starting point, but when I noticed that the Nikon Z6 was trending on Google, I was shocked to see some very affordable used prices. The Nikon Z6 tends to fly under the radar a bit nowadays. It was released alongside the Nikon Z7 as a part of the ‘Big N’s’ first full-frame foray into mirrorless camera tech when it launched the Z mount back in 2018.

The biggest difference between the Nikon Z6 and Z7 was that the former was built around a 24.5-MP sensor and the latter a 45.7-MP sensor. Both cameras were relatively well received, but drew criticism from professional photographers because they only had a single card slot and did not launch alongside a battery grip.

They didn’t boast the greatest AF, either, although this was eventually patched by a firmware update that improved it significantly. Ultimately, the Nikon Z6 and Z7 would be succeeded by the Nikon Z6 II and Nikon Z7 II, which essentially fixed the aforementioned shortcomings. And thus, the Z6 and Z7 were consigned to the annals of camera history.

But if you’re looking for a budget leap into the world of full-frame mirrorless cameras, or are looking for a second backup body, I think the Nikon Z6 is still a great buy. Prices start at just $609 / £434 over at MPB, which is the price of an entry-level camera.

The beauty of Nikon’s mirrorless Z mount is that you don’t have to ditch your DSLR glass, either. You can pick up the Nikon FTZ II adapter, allowing you to mount hundreds of compatible DSLR lenses on a mirrorless Z-mount body. Obviously, APS-C lenses are going to initiate crop mode, but full-frame F-mount lenses should work seamlessly.

If your budget is very tight, it’s worth noting that the Nikon Z6’s single card slot is an XQD/CFExpress slot, so if you don’t have one of these cards already, expect to pay in and around $100 / £100 for a suitable memory card. Ultimately, the Nikon Z6 isn’t going to compete with current-gen full-frame cameras when it comes to specs, but for those looking to simply get their foot in the full-frame door, you simply cannot argue at this price point. The ability to continue using existing Nikon DSLR glass is the icing on the cake.

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Another Nikon DSLR lens bites the dust… last stocks ever of Nikkor AF‑P DX 10‑20mm f/4.5‑5.6G VR are almost sold out. Retro Nikon Zf mirrorless camera tops used sales charts for the first time in over a year, beating out trendy Fujifilm. I’m a landscape photographer and the last-gen, full-frame Nikon Z7 II is still a tour de force camera. Why pay more?

I have a confession to make: I was wrong about the Leica M EV1.

Before I had the opportunity to use one, I made no secret of my concerns about Leica replacing the traditional optical rangefinder with a built-in electronic viewfinder. I worried that an M-System camera without a rangefinder might no longer feel like a proper M.

Worse still, I thought removing that beautifully-engineered mechanical system could leave the camera feeling strangely hollow, as though Leica had retained the familiar shell while removing part of its soul.

Well, after finally getting my hands on the Leica M EV1, I think it is time to serve myself a generous slice of humble pie. I was wrong. The Leica M EV1 absolutely is an M camera – and it might be precisely the kind of M camera that many photographers have been waiting for.

I have used every digital M camera the company has produced since the Leica M9, so I have watched Leica’s full-frame digital journey develop almost from the beginning.

I know where the modern M-System started, how it has evolved and, to some extent, where it might be going next. I have seen resolutions increase, batteries improve, screens become more useful and sensors become far more capable, but the basic M experience has always remained remarkably consistent.

That is why the M EV1 seemed like such a risk. The rangefinder is not merely another component inside an M camera. For many photographers, it is the defining component. Remove it and, on paper at least, you appear to remove the very thing that makes an M an M.

Except that is not what has happened.

The first surprise is how familiar the Leica M EV1 feels in the hands. It does not feel like an imitation of an M camera, nor does it feel like a Leica Q3 that has somehow been modified to accept interchangeable lenses. It feels like an M because, in almost every physical sense, that is exactly what it is.

In fact, I would go so far as to say that the M EV1 feels better balanced than the Leica M11-P. It sits beautifully in the hand and retains that reassuring sense of solidity that Leica does so well. Leica currently lists the M EV1 at approximately 495g with its battery, compared with 530g for the black M11-P.

That difference is noticeable, but it does not make the EV1 feel cheap or insubstantial. Attach a lens, and the camera's entire character changes. It becomes balanced, purposeful, and every bit as satisfying to hold as an M should be.

Whether I mounted a compact Summicron, a faster Summilux or something considerably larger, the camera maintained that sense of balance. I had worried that the reduced weight might make it feel like a paperweight with a heavy lens hanging from the front, but that simply was not the case. Once a lens is attached, the M EV1 feels complete.

Then we come to the most controversial part of the camera: the electronic viewfinder.

I have plenty of history of criticizing EVFs. I have argued that they cannot reproduce the clarity, depth and almost three-dimensional “pop” of an optical finder. I have found some electronic viewfinders slow, unresponsive and uncomfortable, and prolonged use has occasionally left me with eye strain or a headache.

The EVF inside the Leica M EV1 gave me none of those problems.

It activates incredibly quickly when I raise the camera to my eye, even when I have previously been composing via the rear screen. Movement looks natural, too. I did not experience that unpleasant, Jell-O-like effect where the image appears to smear or distort until the camera stops moving.

The 5.76-million-dot OLED finder refreshes at 60fps, offers 100% frame coverage and includes a sensor that automatically switches to and from the rear display. More importantly, it feels responsive in actual use rather than merely impressive on a specification sheet.

The ability to magnify the live image is also genuinely useful, particularly when working with some of my more unusual lenses.

Something like the Leitz 135mm Elmarit-M f/2.8 can be challenging to focus critically through a traditional rangefinder, but the M EV1 enables me to punch directly into the sensor image and confirm focus with far greater confidence.

That does not necessarily make the experience better than using an optical rangefinder, but it does make it different – and in certain situations, it is unquestionably easier. Long lenses, ultra-wides, close-focus designs and extremely fast glass all become more practical because you are seeing the image through the lens itself.

Quite frankly, after using the M EV1 properly, I struggled to find the major problem with its viewfinder that I had expected to encounter.

Even battery life has been excellent during my time with it, enabling me to concentrate on taking photographs rather than watching the remaining percentage disappear.

I particularly like what Leica has done with the traditional frameline selector. On a rangefinder-equipped M, that lever previews the different frameline pairs. On the M EV1, it can be configured to control focusing assistance and digital zoom.

With the camera I used, pushing the lever one way allowed me to toggle focus peaking, while moving it in the opposite direction activated the 1.3x or 1.8x digital crop. Those produce approximately 39MP and 18MP images, respectively, giving the old mechanical control a genuinely useful new purpose.

One complaint among some members of the Leica community is that this camera should not carry the M name at all. Without the rangefinder, the argument goes, Leica should have created an entirely separate product category.

From a marketing perspective, I understand that position. The M name has always been closely associated with rangefinder photography – and Leica buyers tend to care deeply about tradition.

But make no mistake: the M EV1 is an M-System camera through and through. It has the body, controls, sensor philosophy, manual focusing experience and direct connection to the catalog of M lenses. It simply places an EVF in front of your eye instead of a mechanical rangefinder.

That does not mean I have no complaints, though.

My first is the internal storage. The M EV1 provides 64GB, matching the original Leica M11, while the Leica M11-P offers a much more generous 256GB. In practice, 64GB is plenty for the way I shoot – and an SD card can always be inserted when more space is required.

Even so, considering where the M EV1 sits within Leica’s current lineup, I would have preferred to see the 256GB capacity carried across.

My second complaint could potentially be addressed through firmware. I frequently shoot DNG+JPEG, with the JPEG set to black-and-white. When that configuration is selected on the M EV1, both the LCD and EVF display the monochrome preview.

I would love the option to show the black-and-white preview on the rear screen while retaining a color image in the EVF. That would enable me to assess the monochrome interpretation when reviewing on the LCD, while the finder could provide a more natural, optical-style color view when the camera is raised to my eye.

It would be a small change, but one that could make the EV1 feel even closer to the traditional rangefinder experience.

Those are relatively minor complaints, however. The bigger question is whether replacing the optical rangefinder has taken away the spirit of the M-System.

No, it has not.

In some respects, I think the M EV1 strengthens the system. It creates a more accessible route into M photography for people who may be intimidated by rangefinder focusing. It also offers a natural next step for existing Q-series users who love the compact body, manual controls and EVF experience but want access to a wider range of lenses.

Would I buy one instead of my optical rangefinder-equipped Leica? Put it this way: if Leica releases the M EV1 in silver, the answer could very easily be yes.

I adore my Leica M Typ 240, and I am not ready to abandon the optical rangefinder. But when that camera eventually becomes too long in the tooth, the M EV1 may well be in my sights.

I have been genuinely blown away by how well its EVF performs and by how little the camera compromises the feeling of shooting with an M.

I thought removing the rangefinder would leave the Leica M EV1 feeling hollow. Instead, it has shown me that the soul of the M-System may not be contained in one mechanical component after all.

Perhaps it was hiding in the lenses, the proportions, the simplicity and the act of slowing down to focus for yourself.

Whatever it is, the M EV1 still has it.

Shop the Leica M EV1

These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £552.

The Canon EOS R8 is now available for just £1,229 at London Camera Exchange – a £400 discount from its original £1,629 price tag.

The Nikon Z6 II is now available for just £1,249 at London Camera Exchange – a £550 discount from the original £1,799 price tag.

The Sony A7 III is now available for just £947 at Amazon – a £552 discount from the RRP of £1,499.

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

The Canon EOS R8 offers an affordable entry into full-frame territory. It keeps the familiar Canon interface, supports your DSLR lenses via an adapter, and packs modern features into a lightweight, compact body.

The only notable limitation is the lack of IBIS, which might be a deal-breaker if you do a lot of handheld shooting with long lenses or video. In that case, the EOS R6 II is worth considering, though it comes with a much higher price tag.

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

If you're moving from a Nikon DSLR like the D750 or D780, the Nikon Z6 II is hands-down a smooth upgrade. It features a similar body design, intuitive Nikon menus, and excellent ergonomics.

While Nikon's Z-mount lens selection isn't as extensive as Sony's or Canon's, you can make use of your existing DSLR lenses via an adapter.

Sony A7 III

Ideal for system switchers and DSLR upgraders

The Sony A7 III remains one of the most versatile full-frame cameras in its price range and packs pro-level features.

It gives you maximum mirrorless flexibility as the Sony E-mount ecosystem is the most mature on the market, boasting a huge range of native lenses and third-party support from brands like Tamron and Sigma.

Comparison

If I were to pick a mirrorless full-frame camera today, I'd lean toward the Sony A7 III.

Its unmatched lens options and flexibility make 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.

Want to browse more mirrorless options? Here are the best mirrorless cameras, along with the best cameras for beginners.

Japan has long been one of the world's biggest camera markets, making it a closely watched indicator of wider photography trends. Now data from Minna Camera Marketplace in Japan reveals that 70% of the 10 most-traded mirrorless cameras in the country during the first half of 2026 were APS-C models.

However, the overall winner is anything but typical. Canon's EOS R6 Mark II claimed the No.1 position despite being a full-frame camera in a market largely dominated by smaller, more affordable APS-C bodies. With its deeper grip and DSLR-style ergonomics, it also offers handling that's more familiar to photographers upgrading from DSLRs than many compact mirrorless rivals.

Minna Camera analyzed all mirrorless interchangeable-lens cameras traded between January 1 and June 30, 2026. While APS-C cameras accounted for seven places in the Top 10, the first and second positions were both secured by full-frame cameras: the Canon EOS R6 Mark II in first place, followed by the Sony A7 IV.

Top 10 most-traded mirrorless cameras at Minna Cameras (H1 2026)

Why APS-C cameras dominate the rankings

The three full-frame cameras in the ranking averaged around ¥190,000 (approx. $1,170 / £871), compared with roughly ¥90,000 (approx. $544 / £413) for the seven APS-C bodies – a price gab of around two times.

Half of the cameras in the Top 10 also averaged less than ¥100,000 approx. $616 / £458).

"Affordable APS-C bodies broadened the base of the ranking," states Minna Camera, highlighting how lower prices continue to drive demand in the used mirrorless camera market.

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Browse the best mirrorless cameras, the best full-frame cameras, and the best Canon APS-C cameras.

If the latest camera rumors are to be believed, Canon's next release will be a retro camera featuring its newest 32.5MP full-frame image sensor.

The long-awaited Canon EOS R8 Mark II will be much more than a traditional update to the original Canon EOS R8, and in turn will be much more than just the company's entry-level full-frame body.

Rumors have been flying for years that Canon has been working on a retro-styled camera, similar to what its arch rival has done with the Nikon Zf and Zfc, appealing to the same market that fawns over SLR-style Fujifilm cameras.

And, with 2026 marking the 50th anniversary of the legendary Canon AE-1, it's been widely expected that this would serve as the inspiration for a retro mirrorless design.

However, rather than releasing a retro body as a standalone product, it's being reported that the EOS R8 Mark II will be released with this retro design – and that it will be announced in September.

Personally I think we'll also see a traditional R8 Mark II, which looks like the rest of the EOS R range, because not everyone will want a throwback camera – and the R8 is, after all, the de facto replacement for the discontinued EOS RP as Canon's entry-level full-frame camera.

So, similar to Nikon releasing both the retro Zfc and the traditional Nikon Z50 with the same internals but different designs for different audiences, I think Canon will do the same here.

Canon EOS R8 Mark II specs (rumored)

• 32.5MP sensor
• 40fps burst shooting
• Oversampled 4K video (no 7K, no open gate)
• In-body image stabilization
• 2x UHS-II SD card slots

Either way, Canon Rumors has shared a set of specifications for the Canon EOS R8 Mark II.

While these mark a substantial upgrade from the original R8, what's most interesting is that this will be the fourth time that Canon deploys its new 32.5MP full-frame sensor – which we first saw in the Canon EOS C50, followed by the R6 Mark III and most recently the EOS R6 V.

However, just as dual base ISO was only enabled for the C50, it looks like a number of other high-end features will be disabled for the R8 Mark II: namely open gate video and 7K recording.

This makes sense for multiple reasons. Obviously there needs to be some delineation between the product lines, and omitting features like open gate will keep the price of the R8 Mark II down – and, crucially, keep the performance up, as there will be no need to worry about recording limits.

In addition to the resolution boost, the R8 Mark II will also see the introduction of in-body image stabilization (IBIS) as well as an additional SD card slot.

Both of these will increase the size of the body, which might be another reason for the proposed retro design (as the bulkier SLR-style frame will disguise the space needed for the extra card slot and IBIS unit).

I do, however, think we all might have been a bit too excited about the concept of an "EOS RE-1" modeled after the AE-1. We might in fact be looking at something along the lines of the limited edition, Asia-only Canon EOS RP Gold (above). 

This would also be very welcome in my book, as I'm just jonesing for Canon to release a silver camera. Come on, Canon – I've got a fresh credit card waiting for you, just give me what I want!

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Take a look at the best retro cameras from all brands, and see what the best Canon cameras on the market right now have to offer.

The vlogger-oriented Sony ZV-E10 cameras have gone largely unchallenged since the original was released in 2021. Any search for the best cameras for vlogging, content creation or travel photography now seems to bring up these models, and justly so.

However, I also think that a certain competitor camera, the Canon EOS R50, which came out in 2023, subsequently gets overlooked in this debate – and it’s actually a pretty solid rival to the ZV-E10.

These cameras boast similar specs and cost around the same. So if you’re looking for a small, nimble, creator camera, I want to make the decision easier for you.

The big question, then: which one would I choose? I’d go with Sony, simply because it's more versatile.

While both cameras pack a decent but respectable 24MP APS-C CMOS sensor, can record 4K 30p and FullHD 120p, and have a 3.0-inch fully articulating touchscreen, the Sony E-mount system has a much wider array of compatible lenses and better battery life.

There are over 80 native Sony E-mount lenses compatible with its cameras, whereas Canon can has over 50 native RF and RF-S lenses.

You’re sure to find the Canon lens you need from that range, but it’s the third-party options that boost Sony's appeal – swelling the total catalog to over 300. With Canon restricting third-party manufacturers' ability to release RF / RF-S glass, there are far fewer to choose from.

The Sony camera battery, the NP-FW50, also significantly outperforms Canon’s LP-E17 battery, powering approximately 440 still shots versus 310 on a full charge.

Of course, there are things about the Sony I don’t like, notably the lack of an electronic viewfinder. I get that this is because the ZV series is aimed at video, but it’s annoying if you shoot stills as well.

I also give the ergonomics points to the Canon. Its grip has more depth and, in general, the camera seems to fit in your hand more snugly. The Sony is way too thin for that snug feel, which is a criticism I’ve had of all Sony Alpha cameras – even my beloved Sony A7 III.

Still, the ZV-E10 is the winner for me – but not by a country mile. It's smaller and lighter, has a better selection of lenses and more juice in the battery – though I still wish it had an EVF for stills.

The Sony ZV-E10 II is also available, which brings a few extra megapixels of resolution and almost double the battery life thanks to the new NP-FZ100 (though it will set you back around $300 more than its predecessor).

And there's also the Canon EOS R50 V, a vlogging-oriented version of the R50 that's more of a direct competitor to the Sony options… but again you lose the viewfinder…

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Here’s our selection of the best cheap cameras that are great for beginners and which won't break the bank.

It’s been over a year since the Nikon Zf topped Map Camera’s used sales charts, but if I was surprised to find a nearly three-year-old full-frame retro camera at the top of the pile, I was doubly surprised to find a ‘Big N’ lockout in first and second place. According to the major Japanese camera retailer’s data for June, the Nikon Z50 II APS-C mirrorless landed second place, fending off strong competition from Sony and Fujifilm, with the ever-popular Sony A7C II and ultra-trendy Fujifilm X-E5 occupying a joint third place.

The chart then skips straight to fifth place, with the aging Fujifilm X-T5, with the oldest camera on the list in sixth, the Sony A7 III. I’m not surprised to find the Canon EOS R6 Mark II on this list, although I would have backed it to sit higher than seventh, given the buzz around the Canon EOS R6 Mark III and the Mark II’s position as a fantastic budget alternative. Nikon’s other retro mirrorless camera, the APS-C Nikon Zfc is eighth, with the Sony A7 V and Sony A7 IV bringing up the rear, respectively.

Why are Nikon Zf used sales up?

You need only look at the Nikon Zf to get caught up in its romantic retro aesthetic, but however good looking this full-frame mirrorless camera is, it’s been over a year since it topped Map Camera’s used ranking. According to the retailer, this could be due to a fluctuating supply of used Nikon Zf inventory, stating: “If it can maintain its current high inventory level, it will certainly become a formidable rival to Sony cameras, but we'll see…”.

It’s interesting to see the Nikon Zf beating the newer Fujifilm X-E5. Another very attractive camera and one that was almost certainly designed to tug on the heartstrings of fans of the compact camera king, the insanely popular Fujifilm X100VI.

But the Nikon Zf has something that no Fujifilm X-Series camera has, a full-frame sensor. Rather than compete against Fujifilm cameras like for like, which the Nikon Zfc and its APS-C sensor have to do, the Nikon Zf is targeting a different kind of photographer. As such, I've heard of plenty Fujifilm stalwarts speaking kindly of the Nikon Zf, currently the only retro-themed mirrorless camera on the market.

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Nikon launches ingenious Nikon Zf bottle holder among other camera-related swag – but they're only available in Japan. I’m a landscape photographer and the last-gen, full-frame Nikon Z7 II is still a tour de force. Why pay more? DSLR cameras are picture-making machines; mirrorless cameras are picture-making computers. Sometimes I just want to go back.

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

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

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

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

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

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

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

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

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

Pro body, enthusiast price point

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Specifications

Price

The Leica SL3-P is now on sale at $6,690 / £5,150 / AU$10,500 for the body on its own.

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

• SL3-P with Vario-Elmarit-SL 28–70mm f/2.8 ASPH. - $7,790 / £6,100 / AU$12,600
• SL3-P with Vario-Elmarit-SL 24–70mm f/2.8 ASPH. - $8,390 / £6,480 / AU$13,500
• 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 / AU$17,600

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

In terms of Leica's own range of full-frame mirrorless cameras, it is priced to sit in the middle. The lower-resolution SL3-S body costs $5,665 / £4,500 / AU$9,300 and the 60MP SL3 body is priced at $7,485 / £5,920 / AU$12,500 – compared to these, the SL3-P certainly looks like by far the best value for your money.

Leica SL3-P: Design & Handling

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

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

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

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

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

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

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

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

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

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

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

Leica SL3-P: Performance

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

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

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

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

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

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

Leica SL3-P: Sample photos

Leica SL3-P: Sample video

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

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

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

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

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

Leica SL3-P: Lab results

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

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

Signal to Noise Ratio

ISO

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

Signal to Noise Ratio Data

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

Dynamic Range

ISO

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

Dynamic Range Data

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

Resolution

ISO

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

Resolution Data

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

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

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

Verdict

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

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

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

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

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

Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

Where to pre-order?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Old tech, trendy soul

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

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

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

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

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

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

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

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

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

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

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Want an actual compact camera? Maybe you'd like to learn more about the Big N's other video-centric offering, the Nikon ZR. Or perhaps you'd just like to browse the best Nikon cameras.

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

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

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

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

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

Nikon Z50 vs Canon EOS R100

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

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

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

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

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

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

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

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

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