The Sony A7 V has dominated best-seller charts since its launch late last year – but while the A7 V leads the latest best-seller list from a major Japanese camera retailer, another Sony hogs two spots on the list, despite being three years old: The Sony A7C II.

The insight comes from Yodobashi’s rankings for the second half of August. The first five names on the top ten mirror the same cameras from the first half of the month – so if the age of ranking cameras like the Sony A7C II isn’t enough of an indication, the consistency suggests those top five cameras aren’t short-lived trends.

The Sony A7 V takes the top spot on the list of best-selling mirrorless cameras – the fifth time in a row that the camera has done so, not to mention dominating trends at other retailers as well. The A7 V’s mix of speed, resolution and price has proven highly successful for Sony.

But the next-ranked camera, the A7C II, takes both second and fourth place. The camera ranks second in a kit with the 28-60mm f/4-5.6 lens but also ranks fourth as a body-only option. Introduced in September 2023, the A7C II has remained consistently popular, thanks to a mix of a full-frame sensor with a more compact, rangefinder-inspired design. I wonder, with body-only and kits being treated separately, would the Sony A7C II surpass the A7 V in total sales?

The Fujifilm X-M5 with its XC15-45mm kit lens takes third place. The X-M5 was initially hard to find at launch – and its popularity seems to still be going strong. Part of the X-M5’s draw is that it’s Fujifilm’s most affordable mirrorless body (without buying used), but it’s also the company’s smallest and lightest in the category as well.

The fifth-place camera on the list is a budget favorite: The Canon EOS R50 in a kit paired with two zoom lenses. The R50 is Canon’s second most-affordable mirrorless camera just after the R100, and the R50’s accessible price point makes it a regular name among Japan’s best-selling cameras.

With the first five cameras on the list matching those from the first half of August, the second half of the list hints at what cameras are moving up. The Sony A7 V with its 28-70mm kit lens takes seventh place. With more photographers picking up the number one-ranked body, but the kit still making the list, I suspect some of those buyers are newer photographers or those coming from other brands.

Yoodobashi says the seventh-place Fujifilm X-T30 III with its 13-33mm kit lens hasn’t made the list for the last three months, but the budget retro mirrorless climbed in sales for the second half of August.

The eighth-place camera likely rose in the trends for the same reason that the Sony A7C II is doing so well. The Sony ZV-E10 II uses an APS-C sensor and not full-frame, but the vlogging-focused camera prioritizes a small size and a budget price point. In the rankings, it’s the option with two zoom lenses that is selling well in Japan.

The ninth-place camera bucks the trend for small and affordable cameras for 100MP of luxury: The Hasselblad X2D 100C. Budget cameras like the Canon EOS R50 and Fujifilm X-M5 are far more common to see on best-seller lists than medium-format pro cameras. But the Hasselblad X2D 100C has done unusually well for the medium-format category and was even Yodobashi’s number one for the first half of November 2025.

The top ten list is rounded out with another repeat offender: the Canon EOS R50 is on the list a second time at spot ten, but this time with a single 18-45mm kit lens rather than the dual-lens kit. While the dual-lens kit is a regular name among the best-seller lists, Yodobashi says that this is the first time the single-lens kit has made the top ten.

The best-selling interchangeable lens cameras at Yodobashi for the second half of August 2026

1. Sony A7 V body only
2. Sony A7C II with kit lens
3. Fujifilm X-M5 with kit lens
4. Sony A7C II body only
5. Canon EOS R50 double zoom lens kit
6. Sony A7 V with kit lens
7. Fujifilm X-T30 III with kit lens
8. Sony ZV-E10 II double zoom lens kit
9. Hasselblad X2D II 100C
10. Canon EOS R50 with kit lens

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Trends may offer a good hint – but these are the tested top mirrorless cameras.

Six years after the release of the groundbreaking Sony A7S III, it's being reported that the A7S IV is finally on the way.

The Sony A7S IV has been the subject of camera rumors for the best part of half a decade, as its core architecture was used for cameras like the Sony FX3 and Sony ZV-E1.

Indeed, with the launch of subsequent models in both those dedicated video lines, it had been speculated that the A7S series might have been abandoned. After all, the "S" stands for sensitivity; with the dedicated FX and ZV lines, the A7S felt a bit like a camera without an audience.

However, it looks like the tables have been turned. Where the A7S III was the technological basis for the FX3, it's being reported that the Sony FX5 might return the favor and serve as the foundation for the A7S IV.

Sony Alpha Rumors is reporting that a camera recently registered in China, code WW261362, is a "mid- to high-end model". While a number of other bodies might fit the bill, the outlet concludes, "My bet is that this will be the new Sony A7S IV."

ABOVE: Watch a video version of the report

This is based upon Sony's typical four-year update cycle, which would disqualify successors for the other possible candidates – the A9 III (2023), A7C II and A7C R (2023) and A1 II (2024).

The site predicts that the Sony A7S IV will possess the same 16MP sensor as the FX5, with Sony's beloved 9.44 million-dot EVF and the same processor, IBIS and autofocus of the A7R VI. However, the FX5's internal RAW codecs are unlikely to be ported across.

The sting in the tail, if indeed the report is accurate, is that Sony is still struggling to fulfil FX5 orders:

"AI companies are buying all the DRAM they can, which may be why Sony cannot begin shipping the FX5 yet. So, I wonder whether Sony will be forced to delay the launch of the A7S IV until it has fulfilled the FX5 preorders. I fear that, although Sony registered the camera with the intention of announcing it in November, we may see the announcement delayed."

Part of me is highly suspicious of A7S rumors these days, as it feels the line has been too long abandoned to remain relevant. However, with Sony coming out of left field and reviving the RX1R III and RX10 V, I wouldn't be entirely surprised!

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Take a look at the best Sony cameras on the market right now, along with the best cameras for video. And it's a pretty safe bet that the best lenses for the Sony A7S III will also be ideal for the mark IV!

Thinking about ditching your DSLR, switching camera systems, or upgrading to full-frame? These three mirrorless models deliver excellent price-to-performance value – and right now, you can save up to £700 at Wex or Amazon.

The Panasonic Lumix S5 IIX + 20-60mm and 50mm is now just £1,699 (inc. cashback) at Wex – you save £700 off the bundle's RRP of £2,399. (The body alone is reduced to £1,399 inc. cashback...)

The Sony A7 IV is now just £1,799 at Wex – this new low price lets you save £601 off its original £2,400 price tag.

The Nikon Z5 is now just £633 on Amazon – you save £616 off its £1,249 RRP.

Panasonic Lumix S5 IIX

Ideal for hybrid shooters, DSLR, and system switchers

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

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

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

Sony A7 IV

Best for DSLR and system switchers, as well as content creators

Switching to Sony means unlocking incredible mirrorless flexibility. The Sony E-mount system is the most mature on the market, with an extensive range of native lenses and strong third-party support from trusted brands like Tamron and Sigma.

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

Nikon Z5

Budget-conscious DSLR option, best for stills-focused shooters

If you are on a budget, the Nikon Z5 offers one of the most affordable ways into full-frame mirrorless with great image quality.

The body design will feel very familiar if you're upgrading from a Nikon DSLR, and thanks to the FTX adapter, you can continue using your trusted F-mount lenses seamlessly.

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

Comparison

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

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

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

Nikon has finally released its first camera of 2026, and it’s the Nikon Z5IIC. And as the name suggests, it’s a camera that riffs off the popular Nikon Z5II, not just a little, but a lot. In fact, many are calling it a Nikon Z5II without a viewfinder, but that’s a slight oversimplification, because there are a few other small differences.

Nikon has stated that the ‘c’ stands for ‘casual’ and, together with the lack of a viewfinder, the Nikon Z5IIC is clearly aimed at camera phone photographers stepping up to a serious camera for the first time. Or, more casual users who want a powerful camera at a good price, but don’t need premium specs such as dual card slots and EVFs.

For anyone left scratching their head, I’ve combed through each camera’s hardware and software specs to bring you all of the differences that matter, so you can make an informed decision about which is the best Nikon camera for you.

Let’s get into it…

Nikon Z5IIC vs Z5II: Core specs

Nikon Z5IIC vs Z5II: Viewfinder and screen

Let’s start with the most obvious difference: the Nikon Z5IIC doesn’t have a viewfinder, and the Nikon Z5II does. This brings with it some pros and cons. Without the viewfinder ‘bump’, the Nikon Z5IIC is lighter and has a slimmer profile than the Nikon Z5II, but an EVF brings with it two major advantages: No reflections means you can accurately monitor your exposure in bright conditions, and holding a camera up to your eye allows you to cradle it with more stability, reducing camera shake.

Both cameras have 3.2” fully-articulated rear LCD screens, but the Nikon Z5IIC’s has a 1.04-million-dot resolution screen in comparison to the Nikon Z5II’s 2.1-million-dot screen. I wouldn’t call this a dealbreaker, but it is very disappointing considering the lack of an EVF.

Nikon Z5IIC vs Z5II: Size and weight

Having lost the viewfinder, the Nikon Z5IIC is unsurprisingly lighter and slimmer than the Nikon Z5II, but maybe not quite as much as you’d think. It weighs in at 538g (body only) in comparison to the Z5II’s 620g.

When it comes to the dimensions, the Nikon Z5IIC is the same width and depth as the Nikon Z5II (W 5.3”, D 2.9”). The difference is the height, with the former reaching 3.2” to the Z5II’s 4”. Personally, that’s not as big a difference as I expected. Sure, losing the viewfinder ‘bump’ does make this camera more compact, but it’s still a large hunk of camera.

Nikon Z5IIC vs Z5II: Color options

A difference between these two cameras that might not matter to some, but I think will have huge ramifications on the Nikon Z5IIC’s desirability are the available colors. Historically, only the retro Nikon Zfc and Nikon Zf have been available in a color other than all-black, meaning the Nikon Z5IIC bucks the trend for mainline Z-series cameras.

It’s available in silver or black, with the former being a two-toned silver-and-black design, where the top plate is silver, and the rest of the body is black. Complete with Nikon’s signature red stripe, of course. I’ve yet to see the camera in person, but from the promotional imagery, the silver variant really does look rather fetching. And while I’m a fan of all-black retro cameras, I’d definitely be plumping for a silver Z5IIC.

Nikon Z5IIC vs Z5II: Controls

The control layout of these two cameras is very similar indeed, but subtly different. On the top plate, the Z5IIC has added a Scene Mode setting, but to make way for it, it only has U1 and U2 user settings, whereas the Z5II has three user settings.

On the back there’s a rather crucial omission as far as I’m concerned. The Nikon Z5IIC doesn’t have a joystick, but the Nikon Z5II does. I’m honestly baffled by this decision, because it’s such a backwards step. There are pros and cons to adding/removing a viewfinder, but a joystick is such an innocuous addition; I can’t think of a reason to remove it.

Nikon Z5IIC vs Z5II: Storage

The Nikon Z5IIC has one SD card slot, while the Nikon Z5II has two SD card slots. This isn’t really surprising given that dual card slots are a more premium feature and the Z5IIC is aimed at a more casual market after all. This likely kept the cost down slightly, and if you’re on a budget, you won’t be tempted to fill the slots and buy more memory cards.

Nikon Z5IIC vs Z5II: Software

The Nikon Z5IIC might technically be the less-premium camera, but it comes with a couple of technical upgrades. First up is Scene Modes. These allow you to cycle through various automatic modes that are tailored to a specific genre. This is an entry-level appointment, so it’s not surprising that the Nikon Z5IIC is the first full-frame Z-series camera to get it, and it’s not available on the slightly higher-tiered Nikon Z5II.

The Nikon Z5IIC is also the first Nikon camera to add fish to the AF’s subject detection. However, I wouldn’t be surprised if the Nikon Z5II got this as a firmware update relatively soon. The ability to add film grain to images, like the Nikon Zf, is another boon for the Z5IIC that hasn’t made its way over to the Nikon Z5II yet.

Nikon Z5IIC vs Z5II: Price

The body-only price for the Nikon Z5IIC is $1,399.95 / £1,349 / AU$2,399, while the Nikon ZII’s RRP sits at $1,849.95 / £1,599 / AU$2,699. You can find it cheaper during sales and promotions, but still, the Z5IIC is a great price for a current-gen full-frame mirrorless camera in 2026, and when the discounts eventually begin to roll in, that value is going to get even better.

Nikon Z5IIC vs Z5II: Conclusion

The Nikon Z5IIC is remarkably similar to the Nikon Z5II. So much so that if the only thing putting you off the Nikon Z5II is the price, Nikon’s latest release is a great way to save money. However, the viewfinder isn’t the only big difference. The Nikon Z5II also cements its position as the more premium offering with a higher-resolution LCD screen, a joystick and a dual card slot. And while the Nikon Z5IIC is marketed as being a more compact solution, it’s not all that smaller and lighter.

What it does bring to the table is a lovely silver colorway and beginner-friendly Scene Modes. You also get Film Grain and Fish subject detection, although I’d expect the Z5II to get the latter at some point in the future via a firmware update. I’ll be looking forward to testing the Nikon Z5IIC out in the Digital Camera Review to deliver the final verdict.

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If you're looking for a camera a little like the Nikon Z5IIC but with a viewfinder, then check out the Sony A7C II. If you're looking for a full-frame camera that's incredibly compact, take a look at the Panasonic Lumix S9. Plus, here's the latest camera news.

Shooting super-slow-motion video can be a great way to create engaging content, or to better understand intricate processes in technology or the natural that would otherwise go unnoticed by the naked eye. Many cameras have slow motion settings - some up to around 1000fps - but even this frame rate is nowhere near fast enough for a viewer to fully appreciate every moment of a really fast 'blink-and-you'll-miss-it' event.

That's where high-speed cameras come into their own. Some can be highly specialized devices for industrial applications, but others are more consumer-orientated, with (relatively) accessible price tags. And it's in this latter category where the new Chronos Q12 camera from Kron Technologies belongs. Measuring 188mm x 111mm x 53mm (7.40" x 4.37" x 2.08") without a lens, and weighing just 1.32 kg, it's amazingly light and compact for a high speed camera. It's been designed for researchers, engineers, scientists and industrial professionals, but is also suitable for creatives wanting to record captivating slow-motion footage, enabling viewers to appreciate events that happen too quickly to observe with conventional cameras.

At its maximum 2560 x 2016 resolution, the Q12 can shoot at 2,313fps - that's more than twice as fast as most consumer cameras max out at. But there's more. If you're prepared to lower your capture resolution, the Q12 is capable of even more speed. Just by dropping to 2560 x 1440, 3,116fps is possible, while 1080p footage can be captured at an incredible 5,148fps. If you really want to max out a Q12, a barely-believable 29,515fps is possible, though only by setting the video resolution to a largely-impractical 128 x 32. And remember, this is all from a camera not much bulkier than a typical Sony or Canon mirrorless body.

The Q12 uses an APS-C image sensor that records in full color (some very high speed cameras can only capture in monochrome). Two versions of the camera are available, differentiated by the size of their internal memory buffer. The 64GB model is capable of recording 5.7 seconds of video in one burst, while the 128GB Q12 can record 11.5-second clips. That might sound paltry, but remember, the kind of fleeting moments you'll likely want to record with a camera like this - a bullet shattering a pane of glass, for instance - will be over in a fraction of a second, let alone 5 or 10 full seconds. When the internal memory is full, video can be stored on the Q12's built-in 1TB NVMe SSD, or there's an SD card slot. A USB-C SSD can also be attached to the camera to supplement the internal storage.

Video can be shot in Raw or compressed H.264/H.265 formats, with 8-bit, 10-bit, 12-bit user-selectable color modes available. Settings are controlled via a large 5-inch, 800 x 480 touchscreen display, which can also be used as a field monitor thanks to its high 1000-nit brightness, negating the need for a separate monitor or tethered laptop. The camera can be paired with a lens of your choice, with support for C-mount, E-mount, F-mount, EF-mount, PL-Mount, and MFT-mount lenses via an interchangeable lens mount.

The Chronos Q12 is available now, with pricing starting at $19,995 for the 64GB model and $21,995 USD for the 128GB version. Obviously that's quite a lot more than a more conventional APS-C mirrorless camera, but when you consider that high speed cameras can cost well into six figures, Kron's pricing is fair.

The new Canon EOS R8 Mark II was released this month, and it’s a fantastic lightweight full-frame camera in a travel-friendly package that builds on the original EOS R8. While the R8 Mark II has fixed a fair few of the flaws of its predecessor with some tasty tech updates as we mention in our hands-on review, the restrictive battery life remains the same. In polite terms, this can be a bit challenging!

This is the downside to travel camera bodies being small. To fit in a 24MP full-frame sensor, DIGIC X processor, IBIS, and other tech packed inside… Something’s gotta give. So there’s less space for the battery, which means a smaller battery and less battery life.

The rechargeable Canon LP-E17 battery in the EOS R8 and R8 Mark II is only good for 220 photos when using the EVF, or 370 in power-saving mode. In the real world, we found we could take around 350 photos and still have a good chunk of battery power left. But the fact remains, this isn’t many shots if you’re out for a day’s shooting and only have one battery.

In comparison, the Canon EOS R5 Mark II battery can manage 630 shots with the LCD, or 340 when using the EVF.

However, I actually have found having less battery life to play with makes you a better photographer, especially when it comes to travel photography.

I was using an EOS R8 on a city break in Madrid this summer, and I was forced to be thoughtful and economical when taking photos. Rather than the ‘spray and pray’ technique many tourists adopt, shooting everything and anything, and hoping for the best.

Instead, armed with the EOS R8 tucked in my little camera backpack, I had to plan ahead more, researching locations and working out the viewpoints for the best shots. I also took test shots on my iPhone to see how scenes looked, before using the R8 to get better hi-res images...

The added bonus of less battery means fewer images on your card, and that means less time at the computer when you’re back home editing your images.

Another bonus was, in the extreme summer heat of Madrid, less time shooting meant more time relaxing and cooling off with an Aperol Spritz or two in the shade!

A Chinese company has unveiled a new camera that has caught the attention of the Sony and Micro Four Thirds (MFT) communities.

Revealed at the IFA 2026 show in Berlin earlier this month, the camera from NBD – a sister brand to Songdian, both owned by Sonida – looks a lot like a Sony A7C II and seems to be about the size of the new OM System PEN.

And it is being widely speculated that this is the new Micro Four Thirds camera that was teased by Songdian earlier this year… but is this actually an MFT camera?

"N-Mount" or Micro Four Thirds?

That's certainly what the folks at 43 Rumors think. The outlet shared images from an IFA attendee, who identified it as "a prototype – or possibly just a mockup – of a camera with an MFT sensor".

However, closer inspection reveals that the mount is clearly labelled "N-Mount" (no doubt after the NBD brand) and only has ten electrical contacts instead of the eleven possessed by the Micro Four Thirds mount.

As such, while this may indeed be the anticipated Songdian / NBD camera, it doesn't actually appear to be an MFT camera. Yes, it appears to use a Four Thirds sensor, but if it's using a proprietary N-Mount then it's a new format altogether. Indeed, the camera was displayed with an unbranded lens possessing the same 11-contact mount – so this NBD camera could be a completely separate proposition to what Songdian teased.

Of course, it's completely possible that the people creating the mockup simply got the number of contacts wrong and this is in fact a Micro Four Thirds camera. And it's also possible that "N-Mount" is just a bit of visual decoration for the purposes of the show, which will not actually be on the production camera. Speaking of which…

Sony lawsuit in waiting?

The NBD camera is clearly styled after an A7C body, aping the Sony styling right down to the orange ring around the lens mount. And, as pointed out by a 43 Rumors user, that orange ring is part of Sony's "trade dress".

Designing a camera that so overtly bites on Sony's design grammar might be fair game for a prototype product trying to drum up interest at a trade show, but if this product ever made it to market than you can be pretty sure Sony will send an army of lawyers after it.

This wouldn't be the first time such a thing has happened. Once upon a time, Sakar licensed the Polaroid name and made a camera that brazenly stole its design from the Nikon 1 series. Following a trade dress lawsuit by the Big N, the Polaroid IM1836 was pulled from sale.

Smart money says that this camera has a visual overhaul before launch, otherwise it's likely to fall foul of the courts.

Songdian / NBD camera specifications

So, mount and lawsuit-inciting design aside, what do we know about this camera? Precious little, but enough to start forming opinions.

First of all, it appears to be about the size of the newly-released OM System PEN – or, indeed, perhaps even the Sony A7C. As you can see in the image below, the NBD camera is slightly bigger than the older (and smaller) Olympus PEN E-PL8, putting it in PEN 2026 territory.

In fact, it has more than a few things in common with the older PEN models. The NBD camera eschews an electronic viewfinder (EVF), relying instead on a fully articulating rear screen. However, according to 43 Rumors, it also possesses an expansion port beneath the hotshoe that is "likely" for an optional external electronic EVF.

This is one of my favorite features on smaller cameras, giving the option to forego the EVF for compactness and convenience when you need to, and I'd personally love to see it return.

While the NBD camera does boast dual exposure control dials, in addition to a dedicated exposure compensation dial on the left shoulder, a big thing it's lacking is in-body image stabilization (IBIS). The 43 Rumors source voiced to the representative on the stand that consumers would like IBIS and an EVF, but was told that the company is emphasizing "compactness".

We know nothing in terms of specs, but it's fairly safe to say that this probably won't set new standards for cutting-edge imaging. After all, Amateur Photographer called one of Sonida's other products "the worst camera I've ever used" – so we're probably looking at something more remedial than the much maligned Yongnuo YN450 camera using an MFT sensor.

Still, as a longtime Micro Four Thirds user, I'm fascinated to see how this product develops! Make sure to check out the full article at 43 Rumors for more pictures of the camera along with observations from the MFT faithful.

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Nikon has officially launched its first camera of 2026, and honestly, I’ve got mixed feelings. As the name suggests, the Nikon Z5IIC is essentially a Nikon Z5II without the viewfinder. And apart from a couple of very small differences (fish AF anyone?), that’s about it.

Its biggest appeal is the price. The body is launching for $1,399.95 / £1,349 / AU$2,399, which is very competitive for a full-frame camera, especially one of this caliber. I’m also pleased to see that Nikon has broken ranks by offering the Nikon Z5IIC in two colors: all-black or black-and-silver. Retro cameras aside, this is the first Z-Series camera to offer a choice of colors beyond the Z-series’ traditional black.

No viewfinder, no problem

Let’s address the elephant in the room; this camera doesn’t have a viewfinder. And you know what? I don’t mind. If this camera was a huge departure from the norm, I might selfishly care because I prefer to use a viewfinder, but since it’s almost identical to the Nikon Z5II, arguing about the viewfinder is futile. If you don’t like it, get a Nikon Z5II.

We know that plenty of creators spend 95% of their time shooting through the rear screen, and if it works, it works. The bigger problem for me is that I’m struggling to understand the camera’s identity, beyond being a viewfinderless Nikon Z5II.

Let me explain…

‘C’ is for… casual?

Had I not seen photographs and reviews of the camera alongside the launch, I would have assumed that the ‘C’ in Nikon Z5IIC stood for ‘compact’. I was surprised to learn that it’s actually meant to represent ‘casual’.

And yet, this isn’t a casual camera. It’s a $1,400 full-frame lump that can shoot RAW video. This seems like an identity crisis to me. Think about it: what casual creator needs RAW video? Plenty of pro creators don’t need RAW video. And you’re not capturing this demanding bundle of data onto a CFexpress card, because there’s only a single SD card slot.

Despite having a high-end feature in RAW video, the Z5IIC maxes out at 4K / 60p (cropped). Compare that to the Panasonic Lumix S9 with 6K open-gate and no ability to record internal RAW video. Personally, I think that's much more useful.

What does fit the 'casual' bill is that the Z5IIC is the first full-frame Nikon Z-series camera to have beginner-friendly Scene Modes, so you can set the genre and the camera will automate the settings accordingly. See what I mean? The specs really are a mixed bag.

Then you’ve got the form factor. Sure, the lack of an EVF means it’s smaller and lighter than the Nikon Z5II, but it’s still built around largely the same beefy body and weighs 620g (with a battery and card). Compare that to the Panasonic Lumix S9 at 486g, and the Sony A7C II at 514g (which has an EVF), and the Nikon Z5IIC is a serious hunk of camera.

What I most certainly am disappointed in is the 3.2-inch flip-out screen. It’s only 1.04m dots, a downgrade from the Nikon Z5II’s 2.1m dots. As somebody who was tentatively hoping that a full-frame viewfinderless Nikon would borrow the Nikon ZR’s massive 4-inch rear LCD, the downgrade from the Z5II is a real shame. Especially for a camera with no EVF.

A full-frame Nikon Z30?

The Nikon Z5IIC launch reminds me a lot of the Nikon Z30 launch. After all, the Nikon Z30 is essentially a Nikon Z50 without a viewfinder, and I can remember feeling similarly underwhelmed. And yet, the Nikon Z30 has sold very well in Japan, a market that isn’t afraid of quirky, pocketable, viewfinderless cameras.

As such, I think the Nikon Z5IIC will live and die by its performance on the Japanese domestic market. I worry that, unlike the Nikon Z30, it’s simply not compact enough. But only time will tell. It certainly wouldn’t be the first time that a camera has proven me wrong. And it very well could…

It’s a darn good camera

But beyond the Z5IIC’s murky identity lies an incredible camera. I’m talking about a full-frame 24.5-MP sensor, Nikon’s latest Expeed 7 processor, top-notch autofocus with subject detection for 10 subject types, Nikon’s trendy Imaging Recipes, up to 7.5 stops of in-body image stabilization, 14-fps burst shooting (mechanical shutter), 4K / 60p (cropped) and internal RAW video output.

I’m yet to use the camera, but based on using the Nikon Z5II and pretty much every Nikon Z-series camera in existence, Nikon makes fantastic cameras. Call me biased – I’m a long-time Nikon shooter – but I firmly believe that Nikon offers the best blend of build quality, image quality, autofocus and optics on the market.

If the price is right and you don’t mind the form factor, there is no doubt in my mind that the Nikon Z5IIC will capture anything other than gorgeous full-frame photographs. The question remains whether or not the Nikon Z5IIC can separate itself enough from the rest of Nikon’s lineup to court interest.

I can't wait to get my hands on a review sample!

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Check out the best Nikon cameras and the best mirrorless cameras. Plus, here's the latest camera news.

The Nikon Z5IIC has officially arrived, and if Nikon’s new compact full-frame mirrorless camera has already caught your attention, the good news is that pre-orders are now open on both sides of the Atlantic. In the US, you can pre-order the Nikon Z5 IIC at Adorama or B&H for $1,396.95, while photographers in the UK can secure one at Wex for £1,349.

And I think Nikon might have something rather interesting on its hands here. The Z5 IIC takes much of what makes the Nikon Z5 II such an appealing full-frame camera and squeezes it into a smaller, flatter body designed to be carried around every day. The biggest change is the absence of a traditional electronic viewfinder, giving the camera a low-profile design that feels much closer in concept to cameras such as the Sony A7C series, or even Nikon’s own Z30 – only this time with a full-frame sensor at its heart.

Inside is a 24.5MP full-frame BSI sensor, backed up by Nikon’s latest autofocus capabilities and as much as 7.5 stops of in-body image stabilization. That combination should make the Z5 IIC a particularly attractive option for travel, street, documentary and everyday photographers who want full-frame image quality without carrying around one of Nikon’s larger Z-series bodies. Subject tracking is also a major part of the package, making this far more than simply a stripped-back Z5 II.

Video hasn’t been treated as an afterthought either. Nikon has included internal N-RAW recording, giving filmmakers considerably more flexibility when it comes to editing and grading their footage, while a front-facing recording indicator makes it easier to see when the camera is actually rolling. There is also 4K 60p recording available, albeit with a crop, alongside Full HD recording at up to 120p for slow-motion footage.

The Z5 IIC also supports Nikon Imaging Cloud, opening up downloadable Imaging Recipes that can give JPEG shooters different looks straight out of the camera, alongside automatic image transfers and firmware updates. For photographers who increasingly want to shoot, edit and share without spending an evening sitting in front of a computer, that could be one of the Z5 IIC’s more useful everyday features. SnapBridge support is also included for quickly moving images across to a smartphone or tablet.

For me, however, it is the combination of price, size and full-frame performance that makes the Nikon Z5 IIC particularly compelling. There are going to be photographers who simply cannot live without an electronic viewfinder, but for anyone happy composing from the rear screen, Nikon has effectively produced a more discreet route into its full-frame Z system without throwing away the image quality, stabilization or autofocus technology that makes the Z5 II so capable. At $1,396.95 in the US and £1,349 in the UK, this could prove to be a very tempting everyday full-frame camera.

The Nikon Z5IIC is Nikon’s first camera launch in over a year, and as the name suggests, it’s a variant on the Nikon Z5II, which was Nikon’s entry-level full-frame camera. But now that mantle has been taken by the Z5IIC. Does the ‘C’ tagged onto the end of the name of the original camera suggest a more ‘compact’ form factor, or does it perhaps signify ‘choice’? A bit of both, as it turns out.

It is, essentially, a Z5II without a viewfinder: a full-frame 24.5Mp camera aimed at videographers, photographers who chiefly use tripods and the rear screen to compose their scenes (such as landscape or still life photographers), and those migrating from smartphones, who have never used or see the point of viewfinders. That lack of a viewfinder offers two distinct advantages.

First is a lower price point. Nikon’s electronic viewfinders are sophisticated and expensive components, packing a high-resolution screen and a chunk of precision Nikkor glass into a crisp, responsive display for a lag-free view of the world.

Removing this has enabled Nikon to launch the Z5IIC at a very reasonable $1399.95 / £1,349 / AU$2,399, compared to today’s typical Z5II selling price of $1,599 / £1,499 / AU$2,699, thereby saving around $200 / £150 / AU$300 (and this is the launch price, let’s not forget, which is bound to fall over time).

Second, the camera has a more compact and lighter form factor. The Z5IIC weighs in at 537 grams, as opposed to around 700 grams for the Z5II, and with no viewfinder bump on the top, the camera is squatter and more pocketable. It does retain the deep grip for comfortable handholding, though.

The camera is available in two colour schemes: an all-black version, or a black body with a silvered top section, which gives the camera a retro vibe (though not quite as retro as the Nikon Zf). Both these colorways are available at launch (rather than one following later down the line, which has been the case with other Nikon cameras with different color options).

The headline specs are the same as in the Z5II. At the heart of the camera is the powerful EXPEED 7 processor. There’s the same 24.5-megapixel full-frame sensor, which offers superb dynamic range, great color rendition, and exceptional low-noise performance, with a top ISO setting of ISO64,000 for stills and ISO51,000 for video.

The maximum burst rate is 14fps using the mechanical shutter to shoot Raw or JPEG images, or a blistering 30fps using the electronic shutter, though only JPEGs are available in this mode. Other goodies include a vari-angle touchscreen, in-body image stabilization to enable steady handheld shooting at up to 7.5 stops slower-than-normal shutter speeds, and a rugged magnesium alloy frame with weather sealing to allow you to keep shooting in inclement conditions.

You also get access to Nikon Imaging Cloud, with which you can upload your photographs over the airwaves, download imaging recipes to customize the look of your shots, and keep the camera's firmware updated automatically.

Z5IIC Specifications

Introducing Fish AF!

While there is little difference in the specs, aside from the lack of a viewfinder, the new camera does have one new feature that is not found on the Z5II, or any other Nikon camera, for that matter. It is the first to have a specialized Fish AF tracking mode.

Just as Bird AF mode is distinct from the Animal AF mode and locks onto avian subjects, this new mode is specifically designed to lock onto aquatic subjects and is sure to be popular with marine photographers, for whom a viewfinder-less camera is particularly ideal, given that using the rear screen is the only practical way to compose when underwater. Nikon has said that it has no plans to make its own aquatic housings, but it’s a sure bet that companies such as Nauticam and Ikelite will provide watertight cases for the camera.

In addition to Fish AF mode, the camera has all the Face, Animal, Vehicle – and so on – tracking modes found in other Z-series mirrorless cameras, bringing the total to 10 in all. I’m sure that, over time, this new Fish AF mode will make its way to other cameras in the range via firmware updates, but for now the Z5IIC is the only camera to have this autofocus mode.

Make a scene

The camera also borrows a feature from the Nikon Z DX APC-S sensor models, such as the Z50 II. It is the first full-frame camera to support Scene modes: beginner-friendly modes designed to make it easy to dial in the appropriate settings for whatever subject you're shooting without the need to think about the best aperture, shutter speed, and focus mode settings yourself.

There are options for food photography, landscapes, portraiture, wildlife, pets, sports, low-light portrait, and so on. This further reinforces that Nikon is aiming this full-frame camera at beginners as well as enthusiasts.

Vlogger's delight

This isn’t the first Nikon full-frame camera without a viewfinder; that honor goes to the Nikon ZR. But while that camera, which is based on the Nikon Z6III higher up the line, is a specially video-focused model, with an oversized 4-inch monitor and the ability to record 120fps 4K video, the Z5IIC is more of an all-rounder that is suited to bloggers, influencers, and more casual movie-making; its video tops out at 4K 60fps as opposed to the ZR’s 4K 120fps.

Video-friendly features include in-camera Raw recording, a product review mode (where the camera automatically switches focus from the presenter to objects shown to the camera and back again), and the ability to use imaging recipes to give video a filmic look, including those developed by RED, the professional video camera maker that Nikon acquired and developed the ZR in conjunction with.

When I reviewed the Nikon Z5II, I found it to be the ideal full-frame camera for the majority of us, offering a great feature set that will suit all but the most demanding photographers at a more affordable price point than Nikon's more professionally oriented cameras.

The Z5IIC looks sure to offer the choice of the slimmed-down version of that camera to a whole new generation of photographers looking to make the move from smartphones and compacts, who want the image quality that only a full-frame sensor can offer, the flexibility of interchangeable lenses, and all without the steep learning curve that most ‘serious’ cameras demand.

Z5IIC image gallery

The Nikon Z5IIC will be available in October. As well as the body-only price of $1,399.95 / £1,349 / AU$2,399, it will be available bundled with the Z 24-50mm f/4-5.3 standard zoom kit lens for $1699.95 / £1,609 / AU$2,949.

Other kit bundles will be available in different territories, including with the Z 24-200mm f/4-6.3 VR superzoom in the UK and Australia for £2,049 / AU$3,699, or the high-spec Z 24-70mm f/4 S in the UK for £1,879.

In Australia, there are a couple of alternative lens options: the Z 40mm f/2 bundle retails at AU$2,899, while the camera plus the Z 24-105mm f/4-7.1 goes for AU$3,049.

Not made your mind up? See our guides to the best Nikon cameras and best cheap mirrorless cameras.

I’ve been shooting stills on my Sony A7 III for roughly four years now. And when you combine that with the fact that I spend my days researching and writing about cameras, I think it’s fair to say I know a thing or two about them – at least Alpha cameras.

However, sometimes, even photographers in my position need a little help choosing the right gear. This time, I’m not switching to a new brand, like I did when I upgraded from my Nikon D3500 – an excellent beginner’s camera, by the way – to my current A7 III.

I’m sticking with an Alpha model, but, as one of the main reasons for the upgrade is that I’m planning to get into videography, I can’t decide between the Sony A7R IV or A7 IV.

Now I know that, according to Sony, the A7 lineup is the true hybrid series geared toward both shooting stills and filming. And I’ve also taken the time to read my colleague Rod Lawton’s expert opinion on the whole A7 IV vs A7R IV debate.

But despite Sony’s and Rod’s respectable thoughts, I need more to make my decision. So, I’m asking all who read this plea and who have real-world experience with the A7R IV and/or A7 IV to chime in with your thoughts in the comments section below.

To some people, it might seem obvious: if I want to shoot both stills and video, then go with Sony’s own guidance and get an A7 IV. But my predicament is that I don’t want to forgo the A7R IV’s monster 61MP sensor, even more so as the two cameras are now priced fairly equally.

Sensor resolution isn’t everything for me. After all, I’ve happily been making do with my 24MP A7 III for some time now. Plus I shoot with top-tier G Master glass; lens quality arguably being the more important factor in this respect.

But I do want to take advantage of the monster image fidelity on offer, especially as this would enable me to crop images aggressively while retaining the quality, something 61MP would much better enable than the A7 IV’s 33MP.

Although, as I’m planning on getting into video, I also know that I need to consider how a 61MP sensor would affect filming.

I’m aware that higher MP counts degrade video quality, as downsampling can produce visual artifacts and slower sensor readout speeds can introduce harsh rolling shutter distortions. I also know that forcing a 61MP sensor, for example, to compress resolution into a 4K stream 60 times per second can strain camera hardware and cause overheating.

And then there are the LCD screens. Obviously, the A7R IV only boasts tilting, rather than the A7 IV's vari-angle movement. This is something that, at the moment, I don’t think would bother me too much when it comes to recording video, but perhaps I’m being naive.

Hopefully, though, as people with real-life experience of shooting videos with either of these cameras, you can tell me how often the potential issues I’ve mentioned occur and how much they affect your workflow.

Will I really see negative artifacts and degraded performance in all of my videos if I buy the Sony A7R IV? Or am I living in a fantasy land even thinking about risking it? I’d appreciate your first-hand, experience-based thoughts below.

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The OM System lineup has just one camera remaining that hasn’t taken on the new name since the split from Olympus: The Olympus OM-D E-M10 Mark IV. But the launch of another budget mirrorless – the new OM System PEN – has fans questioning what’s next for the long-standing E-M10 line.

Earlier this year, Japanese retailers began listing the E-M10 Mark IV as discontinued, but when Digital Camera World reached out to OM System, a representative told us back in January that the E-M10 Mark IV would remain available in the US. Now months later, the budget mirrorless still remains available on OM System’s official online stores in the US, the UK, Australia, and Canada.

But that was in January – and the launch of the OM System PEN raises the question of the E-M10 Mark IV’s future once again. Rumors are circulating that the E-M10 Mark IV will be discontinued soon, with one store owner claiming they received a message noting that there wouldn’t be a replacement.

OM System has not yet responded to those rumors, leaving the future of the E-M10 Mark IV uncertain.

The new PEN slides in above the price of the E-M10 Mark IV, but adds the weather-sealing that the older camera does not offer. Building cameras for the outdoors has been a particular focus for OM System, and the PEN's weather-sealing in a body that’s $999 / £849 / AU$1,499 reflects that.

While the two cameras are both retro, the design of the PEN follows a much different inspiration, using a rangefinder-inspired viewfinder placement. The newer PEN uses a more advanced autofocus system compared to the E-M10 Mark IV’s contrast detection system, but the cheaper camera does have slightly faster bursts at 6.3 fps with continuous autofocus compared to the PEN’s 5 fps.

I believe that one of the reasons that the E-M10 Mark IV has remained popular is as an alternative to a retro compact camera – particularly as the $900 / £870 price with a lens is far below popular compacts like the Fujifilm X100VI and Ricoh GR IV.

The E-M10 Mark IV is slightly lighter than the new PEN, but the PEN’s rangefinder-inspired design makes the newer camera a bit shorter and less deep, though slightly wider than the cheaper camera.

The new PEN’s rangefinder-inspired design does make it a better compact camera alternative, particularly with weather-sealing for really taking the small camera more places.

The biggest temptation for the E-M10 Mark IV is the affordable price point. Paired with a kit lens, the older camera is about $200 less in the US – though there’s less than a £100 difference at list price in the UK.

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Buying a twin-lens kit is often the best way to get started in photography - or with a new camera system. Rather than simply getting the kit zoom, you also get a second lens that will vastly expand your photo taking opportunities. This fabulous deal on the Nikon Z30 is a great illustration... as it comes with the 16-50mm standard zoom, as well as the 50-250mm telephoto - which combined gives you a monster 15.6x zoom range. And now at £785.97 from Currys, this is at the lowest price we have ever seen it

The Nikon Z30 is Nikon's cheapest mirrorless camera yet and is perfect for someone looking to upgrade from their phone or who wants to get into vlogging. It had a lot of features that are definitely geared towards bloggers such as the flip out, vari-angle screen, compact build and lightweight design, 4K uncropped videos at 30p or Full HD at 120p. 

It has the same 20.9MP APS-C CMOS sensor and EXPEED 6 image processor as found in the Z fc and Z50 but it's lacking an electronic viewfinder and in-body stabilization but if you're getting it mostly for vlogging lack of an EVF won't matter as you'd hardly ever use it.

The familiar 209-point hybrid AF system is fast and the human and animal eye AF is very effective which makes shooting portraits really easy and it comes with its own AF-F mode for video use.

If you can't live without IBIS or a viewfinder, perhaps the Z fc or Z50 is better for you but if you're after an almost pocket-sized camera that can shoot 4K, take sharp photos and has a flip screen for selfies or vlogging this is perfect and at this price, pretty unbeatable!

Read more:
Check out our pick of the best lenses for the Nikon Z30

Camera hacker and photographer Malcom Jay says his first camera built out of pandemic boredom was “literally held together with tape and hope” – but as he dove into the world of DIY cameras and 3D printing, he started building cameras unlike what exists off the shelf. Now, the hacker is bringing his DIY modular camera to the masses – and it comes complete with film simulations and even the option for a waist-level finder.

Built by camera hacker Malcom Jay, the WLV-01 is a modular camera built using Raspberry Pi with swappable sensors and a 3D-printed body and accessories. The camera can house a full-spectrum color or monochrome sensor, ranging in size from 1/1.2-inch to Micro Four Thirds, and can be paired with E-Mount or C-Mount lenses (Adapters also make it possible to shoot with vintage film lenses).

The sensors and lenses aren’t the only swappable pieces. The camera is built with a large four-inch screen at the top rather than at the back. That placement allows the camera to add an electronic viewfinder using a mirror, or yes, even a waist-level finder. The camera can be modified with a 3D-printed waist-level finder chimney, or can be modified to work with old Mamiya TLR waist-level finders.

The downside of that top screen? There’s no hot shoe slot, but the camera can work with flash using a 2.5mm mono jack instead.

Malcolm Jay calls the camera a “digital film” camera for two reasons. First, the camera has built-in presets based on popular film stocks, while it also supports loading custom LUTs for building custom color filters. But while the camera has a screen, the WLV-01 is built without the ability to review the images in camera for a film-like focus.

Using the Raspberry Pi system on the build allows for a custom camera interface, but Malcom Jay built the system with features like double exposure, focus peaking, and a Brenzier mode for stacked panoramas.

The WLV-01 launched as a DIY kit or assembled camera last year. But the camera’s creator is bringing the modular camera to Kickstarter to bring the system to more photographers – and add larger sensors to the system. The crowdfunding will bring a full color spectrum and monochrome Micro Four Thirds sensor to the range of options.

The Kickstarter campaign will help fund FCC certification, necessary for the Micro Four Thirds sensors and a wireless module. Wi-Fi will allow the camera to wirelessly access the camera for downloading files, uploading LUTs, previewing live shots, and doubling as a wireless tether.

While the WLV-01 is a modular 3D-printed camera, options range from purchasing just the files to individual sensor components to a fully built camera, assembled by the creator in Canada.

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Canon has long been rumored to be working on a “retro camera” – but when Canon finally unveiled its first retro mirrorless, the Canon EOS R8 Mark II, the launch was met with mixed opinions.

The internet’s reaction to the R8 Mark II is varied. Many seem disappointed that Canon didn’t take inspiration for its looks from the popular A-E1. Others find the camera’s sharper lines make it look more like a Sony than a Canon.

I got my hands on an early sample of the Canon EOS R8 Mark II, and when I first pulled it out of the box, my first thought was that the camera doesn’t really feel retro – or at least, it doesn’t really feel a lot like other retro cameras.

I wouldn't call the R8 Mark II a "retro camera," but I do love the design for two reasons: the comfortable grip and joystick.

The Canon EOS R8 Mark II is inspired by a consumer camera

The phrase “retro camera” probably brings to mind a certain look – mainly, a silver-and-black body with retro dials at the top and a more vintage-inspired silhouette. The history of camera design varies from Art Deco box cameras to folding bellows, and yet most digital cameras with a retro-inspired design seem to go after either the SLR or rangefinder look with that classic silver-and-black look.

Many retro cameras also draw inspiration from higher-end models built for serious photographers. That’s where the retro dials come in.

But Canon is going after not just a mid 1980s camera, but one that was more consumer-oriented, drawing inspiration instead from the Canon T80. The Canon T80 launched in 1985 and didn’t offer a full manual exposure mode – which gave the camera its flatter top rather than one filled with dials for adjusting shutter speed. The T80 was built for beginners and general consumers, not serious photographers.

The Canon EOS R8 Mark II, of course, has full manual mode, but it is built as the entry-level option into Canon’s full-frame mirrorless. Canon told me that around 20 percent of those who bought the original R8 were moving up from a smartphone.

I think one of the reasons for the more subtle retro design – in particular, sticking with the classic mode dial and command dials – is that the R8 series is meant not only as a camera for serious hobbyists but as a camera that newer photographers can grow into. Retro dials can feel a bit more intimidating to newer photographers.

The retro design on the R8 Mark II is subtle – but unlike other RF bodies

While taking inspiration from a camera without full manual controls explains why Canon didn’t use retro dials, the T80 inspiration still feels a bit subtle. The viewfinder shape has similar sharp angles, though the R8 Mark II’s is much shorter, and the top of the camera is all sharp angles rather than the R-series' usual preference for smooth curves.

The T80 has a much different grip and a much different logo. Adding a bit of the T80’s lines in the grip or even using a gold colored logo like the T80 would have made the R8 Mark II feel a bit more retro.

The Canon EOS R series has long carried a very similar look between the different bodies, all sporting smooth, more curved lines and chunky grips that feel almost DSLR-like. It feels like the conversation has shifted from complaining that Canon’s cameras look too similar to complaining that Canon didn’t take inspiration from the same decade of camera design as other retro cameras. Complaining that Canon’s cameras feel too similar and then complaining that Canon’s retro camera doesn’t look like other retro cameras feels a bit hypocritical.

Yes, the R8 Mark II’s sharp angles do feel a bit Sony-ish. But the R8 Mark II also doesn’t look anything like other retro cameras like the Nikon Zf or the Fujifilm X-T5, either, because Canon is taking its inspiration from a different style of camera.

The Canon EOS R8 Mark II has a more subtle retro look than an obvious one. There is, of course, the question of how old a camera needs to be to be considered retro. Then again, the Nikon FM2 that the Nikon Zf finds inspiration from is only slightly older, launched in 1982.

I’d call the R8 Mark II more “retro-ish” than “retro.” But, at the same time, I love the ergonomics on the R8 Mark II.

The Canon EOS R8 Mark II’s more conservative take on retro leaves a large grip

As much as I love retro-inspired cameras, I hate that “retro” usually translates to “tiny grip.” Many retro-inspired cameras use shallow grips – or none at all – because the inspiration camera also had a non-existent grip.

The grip on the R8 Mark II still feels very much like a Canon. The R8 series is still among Canon’s smallest full-frame bodies, and that means the grip is a bit smaller too, but there’s still plenty of grip to wrap my hand around.

That’s paired with the autofocus joystick that was missing from the original R8. The R8 Mark II feels very easy to control with one hand.

Yes, the R8 Mark II’s retro inspiration is far more subtle than other retro cameras. Yes, straying from Canon’s unusual curves does make the camera look a bit more like some of the competition. And yes, I probably would have been more excited if Canon had decided to make a digital AE-1 complete with retro dials, instead of the T80. Those are all valid points.

The R8 Mark II wasn’t the “retro” camera that I was expecting. I think Canon could have played up the retro looks of the R8 Mark II, but the feel of the camera is fantastic. The grip is excellent for such a lightweight camera, and the Mark II has the joystick that I sorely missed on the original.

I wouldn’t put the Canon EOS R8 Mark II on the same retro level as options like the Nikon Zf or the Fujifilm X-T5. But while the retro look is far more subtle, I do love the ergonomics on the R8 Mark II.

One of the downsides to the R8 Mark II, however, could be that many of the changes are about those ergonomics. Besides the design changes, the R8 Mark II adds a very welcome in-body stabilization system, along with a better burst buffer and improved low-light autofocus.

The Mark II carries the same sensor and processor as the original, which leaves the differences largely about the shooting experience and not the image quality. Without a change in the sensor or processor, I don’t see many Canon EOS R8 users making the upgrade. I also see a lot of users being swayed by the R6 Mark II instead, whose age has brought the price much closer to the R8 Mark II.

It will be interesting to see where Canon goes from here. Will subsequent cameras in the series have those sharper edges or go back to Canon’s curves? Will Canon ever launch a digital remake of the AE-1?

The Canon EOS R8 Mark II may be more subtle in its “retro” design, but the ergonomics feel like a significant upgrade from the original.

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Canon’s mirrorless cameras tend to feature good-sized, ergonomically shaped grips – but could future cameras come with a fingerprint scanner built inside that grip? A recently published patent application suggests that Canon is considering building a fingerprint scanner right into the grip of future cameras.

The patent – which was published in the US on September 17 under patent number 0279905 – describes three different potential designs that would build fingerprint sensors directly into a mirrorless camera’s grip.

The first design places a fingerprint sensor on the front grip as well as a thumbprint reader on the finger rest at the back of the camera. The second design uses two fingerprint sensors at the front of the grip to increase accuracy for different hand sizes. The third design similarly uses two sensors on the front grip, but places the second sensor at a different orientation than the first.

The goal of the patent seems to be to take earlier ideas on integrating fingerprint sensors into cameras but in a way that works with how photographers already shoot and grip the camera.

While the patent details a few different designs to integrate a fingerprint reader that doesn’t require moving the hand from the typical shooting position, the filing doesn’t detail what that fingerprint reader could be used for.

But, the new patent isn’t the first time that Canon has explored the idea of using biometric authentication on a camera – and earlier patents offer hints on what such a feature could be used for. Back in 2018, the imaging giant filed a patent for a fingerprint sensor on both the front of the camera and on the lens that could be used for security or, by touching different fingers to the pad, to access different shortcuts.

In 2020, Canon filed a patent in Japan for a screenless selfie camera that used fingerprints to save profiles and determine who to follow.

Fingerprint sensors are common in smartphones to protect data and discourage theft – though more modern devices have hidden under-display sensors or have moved from fingerprints to facial scans instead.

Building a fingerprint sensor into a camera grip could have similar security implications, preventing a camera in the wrong hands from shooting or altering network settings. Through a series of updates, Canon recently added firmware that requires users to set a PIN to unlock the camera. This option was added in order to comply with regulations in Europe requiring all internet-connected devices to have specific security features.

I could see the fingerprint sensor being a helpful alternative to setting a PIN – I find the delay in needing to type in a PIN annoying, so I’ve always turned this PIN feature off. I could see such a tool being used to require a fingerprint to alter the camera’s Wi-Fi and network settings, or perhaps to lock features like the image playback.

But another potential use of a fingerprint sensor is in scenarios where multiple people may be using the same camera, like on production teams. A fingerprint scanner could potentially be used to save a user profile and customize the settings based on who is holding the camera.

While Canon’s 2018 fingerprint scanner patent suggested that tapping different fingers could unlock a different shortcut, much like a custom function button, I don’t think that’s the purpose of the latest patent, as the new patent seems focused on positioning the sensor where the fingers already rest, not touching different fingers to the pad.

The question is whether or not enough people would use such a feature to warrant the cost of adding a fingerprint sensor – both the actual cost and the compromises in terms of adding weight or requiring additional weather seals.

Canon files thousands of patents every year – in 2025, the imaging giant filed 2,623 just in the US. That means that there are plenty of patents that Canon files that never actually wind up arriving inside of an actual product. But looking at published patents offers a rare look into what the camera maker is researching behind-the-scenes.

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The GoPro Mission 1 Pro ILS delivers an unusual mix between a one-inch sensor and a Micro Four Thirds mount without electronic contacts – but the action camera giant is now an official member of the Micro Four Thirds standards group.

OM System – one of the founding members of the MFT standard group alongside Panasonic – announced on September 17 that GoPro is now an official member of the group, thanks to the Mission 1 Pro ILS.

The Micro Four Thirds standard crosses several brands and includes a wide range of different cameras. But the Mission 1 Pro ILS is perhaps the most unusual. The only thing Micro Four Thirds on GoPro’s first mirrorless camera is the mount. The sensor isn’t MFT but rather a one-inch sensor built for shooting up to 8K video.

While the Micro Four Thirds system tends to be widely interchangeable, the Mission 1 Pro ILS has more limitations. The camera body doesn’t have any electronics in the mount. That means the ILS can’t usefocus-by-wire autofocus lenses, as these optics still need to communicate with the camera body to adjust the focus.

The ILS needs to be paired with a manual focus lens, which eliminates much of the optics from OM System and Panasonic from actually working with the new camera body. Still, OM System is welcoming GoPro into the official MFT family.

Along with camera makers like OM System and Panasonic, the Micro Four Thirds family includes several lens makers, including Laowa, Zeiss, Tokina, Cosina, TTArtisan, and SLR Magic.

GoPro’s acceptance into the Micro Four Thirds standard will likely raise another question: Will GoPro have additional MFT launches in the future? Will GoPro ever launch its own native lenses?

Joining the Micro Four Thirds standard doesn’t necessarily promise future products. Both Tamron and Sigma are still listed among the members. Tamron only launched one MFT lens, a 14-150mm released in 2014 and discontinued four years later. Sigma quietly stopped releasing MFT mount lenses, citing decreased demand in 2023.

But OM System says that GoPro’s entry into Micro Four Thirds mirrorless brings more options for videographers. “GoPro’s participation is expected to further expand the use of the Micro Four Thirds System in amateur filmmaking, professional video production, and at the highest levels of cinema,” the OM System press release reads. “The participation of a diverse range of companies in this open standard will continue to expand the product lineup and create new possibilities for visual expression and image capture.”

GoPro’s reputation is built on action cameras, but the company calls the Mission 1 Pro ILS not an action camera but a compact cinema camera. The Mission 1 Pro ILS began shipping in September, following the launch of the company’s fixed-lens versions earlier this year.

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GoPro has some fine print on what lenses are compatible – these are the best lenses for the Mission 1 Pro ILS. Or, read the Mission 1 Pro ILS review.

Canon's Dual Pixel 3D has formally been announced – and it's an amazing piece of software that enables you to take 3D photographs with a standard Canon camera. You don't need any of the VR fisheye lenses or anything else; the software uses the Dual Pixel photosites, built into standard EOS sensors, to spatially map a third dimension onto your two-dimensional photographs.

I first saw this technology back at CP+ 2025, where it was being demonstrated with an EOS R5 a slightly spooky doll against a white background. Then I saw it again this year at CP+ 2026, where it had been used to photograph dogs, cats, owls and hedgehogs using the R5 Mark II and R6 Mark II.

Now the tech has been revealed in its final form, with Canon using a selection of food and floral photography to showcase what it's capable of. This was perhaps always the best use for Dual Pixel 3D, as it feels tailor-made for things like ecommerce applications, but obviously we're at the ground floor of what can be done with it – and industrious photographers will no doubt put it to all sorts of unexpected use.

The full list of compatible cameras and lenses has also been unveiled, spanning everything from brand-new bodies like the Canon EOS R8 Mark II to older entry-level models like the EOS R10, and L-series glass like the RF 24-70mm f/2.8 L IS USM to the bargain RF 50mm f/1.8 STM.

So how exactly does the tech work? I asked a Canon engineer in while I was in Japan, who was showing me the tech on the OG R5. "This Canon camera has a Dual Pixel sensor. That means two photodiodes in one pixel.

"Currently, we are using that for the autofocus. However, we can use that pixel to [produce] 3D. So we can take a photo as RAW data – we call it DPRAW, the extension is .CR3 – and then we made special application software for 3D."

ABOVE: Canon's full suite of 3D tech, shown at CP+ earlier this year

The algorithm converts your two-dimensional photograph into OBJ or GLB formats, or even an MP4 video if you don't want to mess around with an interface (whether its 3D glasses or a simple mouse or touchpad) to turn and manipulate your image.

And it really does only need a camera! "Yes, you just need [the] application software. We also sell Dual Fisheye [lenses], but you have to pay more. But this is regular [camera and lens]. Many solutions, so you can try [the app] and then move to Fisheye [if you like the technology]."

There are some limitations to the tech, such as too much bokeh (background blur) and blind spots created by shooting too close. So Canon has a number of recommendations, such as shooting at f/5.6 or wider with at a distance of 5-10 times the focal length.

The Dual Pixel 3D software will be available from October 08 and is currently Windows-only, requiring Windows 11 64-bit 24H2 or later.

You can find out more at the official Canon USA page with more examples, instructions and settings at the Canon Japan page.

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Take a look at the best Canon cameras, along with the best Canon RF lenses – but if you want to use Dual Pixel 3D, make sure to double-check the compatibility table above!

Best-seller lists hint at what cameras are trending – but where those cameras are sold plays a crucial role in analyzing the top camera trends. In one such list from Japan, a three-year-old budget mirrorless steals the top spot – again – while just one full-frame contender makes the list.

According to BCN+R, the best-selling interchangeable lens camera in Japan for August 2026 is the Canon EOS R50. All top three spots are taken up by budget-friendly APS-C models, with the Sony ZV-E10 II taking second and the R50’s faster sibling, the R10, coming in third.

Larger sensors don’t make an appearance until the fourth-place spot, where the one-and-only full-frame model on the list, the Sony A7 V, sits. APS-C sensor cameras continue to dominate the remainder of the top ten, with the one exception being the Micro Four Thirds Olympus PEN E-P7 in eighth.

The Sony A7 V has been leading multiple best-seller lists in Japan since its launch – and another August bestseller list from Map Camera put the A7 V at number one. So why does the Sony A7 V sit outside the top three from BCN+R?

BCN+R is a major retail aggregator in Japan that analyzes sales data from multiple stores in the nation, including Amazon Japan. Map Camera, meanwhile, is a specialty retailer dealing specifically in camera gear.

That distinction is an important one – general retailers tend to sell more beginner cameras than specialist camera stores. Amazon’s best-selling cameras, for example, also tend to skew towards budget and beginner cameras compared to dedicated camera stores.

Cameras with more accessible price points always tend to outsell pro models – just look at the CIPA data where crop sensor continues to ship far more than full-frame. But this is particularly true when looking at well-known retailers that sell across multiple categories, like Amazon.

The tendency of such lists to skew towards budget models makes the Sony A7 V’s fourth-place spot all the more impressive – particularly considering that the fifth generation is the most expensive in the A7 series to date. The Sony A7 V hits a sort of sweet spot between image quality and speed by mixing a 33MP full-frame partially stacked sensor with 30 fps bursts and impressive subject recognition autofocus.

While the A7 V may have risen up the list, lower-priced cameras have a clear advantage on the latest rankings. The number one Canon EOS R50 is such a popular budget model that it also topped the best-seller list for the first half of 2026 as well. The R50 mixes a 24.2MP APS-C sensor with a simple, beginner-friendly design.

Three Canon are big sellers in Japan

The R50 isn’t Canon’s cheapest mirrorless camera – that honor goes to the R100. But the R50 keeps an accessible price point with features that feel less basic, including a smarter autofocus system with subject recognition and a 15fps electronic burst speed that’s more than double the speed of the R100.

Canon’s budget mirrorless cameras take up three spots in the top ten list. The R50’s more advanced sibling slides into the third-place spot – the Canon EOS R10. The R10 houses the same sensor as the R50, but offers faster burst speeds and more physical controls. The video-oriented version of the R50, the Canon EOS R50 V, also finds a home on the list in seventh place.

Sony's crop sensor, vlogger cams, and the A7 V all make the list

Sony has four cameras on the list, including the A7 V. The Sony ZV-E10 II, a mirrorless camera that’s geared more towards beginner vloggers, sits in second place, and the original ZV-E10 in sixth place. While built to work with both video and stills, the ZV-E10 series’ missing optical viewfinder also makes it one of the more compact beginner mirrorless cameras.

Two stills-focused Sony crop-sensor mirrorless cameras also make the list, with the more affordable A6400 in fifth place and the pricier but faster A6700 in ninth place.

Compact and retro designs remain popular

The only OM System (formerly Olympus) camera on the list is from the popular PEN series, the Olympus PEN E-P7, which sits in eighth place. The camera maker unveiled the new OM System PEN on September 09, which brings weather-sealing and stabilization to the popular series. With that new launch, it will be interesting to see how different the September trends lists look.

Fujifilm has just one model on the BCN+R August list, but in keeping with the same theme, it’s one of Fujifilm’s most affordable mirrorless cameras, the X-M5. Without a viewfinder, the X-M5 is also one of the brand's more compact choices.

BCN+R actually has two different August trending lists – in addition to the one that mixes all the different color and kit lens variations together, the aggregate also tracks best-sellers broken down by color and kit lens. On that list, it’s the Canon R10 with an 18-150 kit lens that takes the top spot, but the R50 appears on the list four different times for different colors and kit lens options, making it the top model when combining all variations.

BCN+R best-selling interchangeable lens cameras for August 2026

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony A7 V
5. Sony a6400
6. Sony ZV-E10
7. Canon EOS R50 V
8. Olympus PEN E-P7
9. Sony A6700
10. Fujifilm X-M5

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Canon has given the popular R8 a retro-inspired makeover – and fixed some of the complaints about the entry-level full-frame camera at the same time. The Canon EOS R8 Mark II brings the same well-loved sensor and processor as the original, but adds in-body stabilization and overhauls the ergonomics.

Inspired by the 1985 film SLR T80, the Canon EOS R8 Mark II takes on a design with sharper angles without sacrificing the actual feel of the camera, keeping a good-sized grip and even adding the must-requested joystick.

I shot some portraits and wildlife with the Canon EOS R8 Mark II to see if Canon has found the ideal balance between features, ergonomics, and price.

Canon EOS R8 Mark II: Key specs

Canon EOS R8 Mark II: Price

The Canon EOS R8 Mark II is expected to list for $1,899 body-only and $2099 with the 24-50mm f/4.5-6.3 IS STM lens in the US. In the UK, the body lists for £1,729 and the kit for £2,119.

That’s notably higher than the original R8’s list price, which started at $1,499 / £1,699. In the US, that price later rose to $1,649 after tariff increases.

Despite being higher than the earlier generation, the R8 Mark II is Canon’s most affordable full-frame mirrorless with IBIS, and among competitors, the price still fares fairly well. The Nikon Z5 II comes in at a similar price point at $1,846 / £1,599. While the Sony A7C II comes in at $2,498 / £1,999, Sony has kept older models around with IBIS, like the A7 III, which is $1,998 / £1,499 retail.

Another worthwhile note? Canon plans on keeping the original R8 around for a bit as a budget alternative.

Canon EOS R8 Mark II: Design

The Canon EOS R8 Mark II is Canon’s first retro-inspired mirrorless camera, but where most retro bodies find inspiration from 1970s-era cameras, Canon is taking a dramatically different approach. The R8 Mark II is inspired by the Canon T80, a film SLR that was introduced in 1985 and discontinued less than two years later.

Taking inspiration from the mid-1980s, the R8 Mark II doesn’t scream retro but rather has a more subtle nod to the old camera, with a more angular pentaprism and a more angular cut.

While I was surprised at Canon’s first choice of a retro camera, what I love about the R8 Mark II is that despite the slight retro nod, the body still does what Canon does best – and that’s to create a very comfortable grip.

Retro cameras tend to have small and, in some, even nonexistent grips, but the R8 Mark II still has a very healthy grip that still managed well even with a 100-400mm lens mounted on the front.

I’m a petite person, and my hands wrap nicely around the grip without my pinky falling off the bottom. The R8 Mark III will have an optional extension grip that will leave more room for larger hands.

But the Mark II also fixes one of the biggest ergonomic oversights of the original and adds a joystick. While it’s not uncommon for entry-level models to do without, once you’ve used an autofocus joystick, it’s hard to go back to the old, clunky method of adjusting with the menu arrow keys.

That joystick is joined by a handful of key shortcut buttons and a nice tilt-enabled touchscreen. The screen uses a hinge at the side, which allows the screen to fully face forward for vlogging and selfies, along with being angled for high and low-angle shots.

The electronic viewfinder also juts out a bit from the body, and I love that my nose didn’t feel squashed up against the screen.

At the top of the camera, the R8 Mark II has two control dials, one placed horizontally and paired with an on/off switch, and the other arranged vertically within easy reach of the index finger. The top is completed with a classic mode dial (sorry, no retro dials here), an Fn button, a dedicated record button, and, of course, the shutter release.

There’s just a single SD card slot on the R8 Mark II, which is on the grip side and separate from the battery compartment at the bottom. (That battery door, by the way, is far enough away not to be blocked by a tripod quick release plate.)

On the opposite side of the grip, the R8 Mark II has ports for mic, headphones, a cable release, micro HDMI out, and USB-C.

Despite all of these changes, the R8 Mark II remains relatively lightweight. The camera weighs 546g / 19.26 oz once fully loaded with a battery and memory card. That is a little bit more than the 461g / 16.26 of the first generation, but I think that added IBIS system is well worth the slight increase in weight.

The Mark II also carries dust and weather seals, with the same level of sealing as the original.

Overall, while I think some may be disappointed that the retro take is subtle, the Canon ergonomics that fans already know and love are still in play here – and it even gains the joystick over the predecessor.

Canon EOS R8 Mark II: Performance

The Canon EOS R8 Mark II carries the same 24.2MP full-frame sensor and Digic X processor as the original-generation camera. That leaves the second generation with similar image quality to the original, outside of enhancements like fewer blurry shots thanks to the new in-body stabilization.

The lack of a sensor upgrade may disappoint some, but the 24.2MP resolution on a full-frame camera remains very capable. The resolution is still similar to similarly priced competitors such as the Nikon Z5 II and Panasonic Lumix S5 II, though options like the Sony A7C II sit at 33MP. Detail may not be as impressive as Canon’s pricier bodies, but the R8 Mark II strikes an excellent balance between detail and noise for the price point.

Dynamic range also fit right in with what I expected. I was able to recover quite a bit of detail in the shadows on RAW files from backlit, underexposed shots of birds.

Like the sensor, the Dual Pixel II autofocus system matches much of the specs of the original, except the Mark II sees a low-light boost, rated down to -7.5 compared to the -6.5 from the original.

The autofocus overall locked on quickly and managed to keep up with moving subjects. The R8 Mark II managed to freeze birds in midflight, though it dropped some frames. What made the autofocus all the more impressive was the fact that I was using a more affordable telephoto – the 100-400mm f/5.6-8 IS USM.

Subject detection locked onto human eyes well. Animal detection did well on uncluttered backgrounds, but the animal eye AF sometimes struggled to find the eye of some birds and also struggled when shooting with a few stray branches in the way, locking on to tree branches instead of the bird more than I would have liked.

Like the original, the R8 Mark II can shoot at 40 fps with the electronic shutter (but just 6 fps with the mechanical shutter). Even more impressively, those high-speed bursts didn’t come with a long wait to process shots, and I was able to photograph birds without waiting for the camera to catch up. Canon says the buffer improved 30 percent for RAW files over the previous version and 58 percent in JPEG, and it’s a noticeable, welcome improvement.

While the sensor and autofocus may be a match with the original, the new in-body stabilization is impressive. Working with a telephoto that shoots at only f/8 at 400mm inside shadowy branches was a good test for the camera’s image stabilization. I shot this photo at just 1/60th of a second at 400mm:

While I don’t mind that Canon kept the same sensor – at least at this price point – one of the annoyances from the original R8 that isn’t fixed on the update is the battery life. The R8 Mark II carries the same 220-shot (370 in power-saving) rating for battery life while using the viewfinder. Those specs tend to be conservative estimates – I shot more than 350 shots and still have plenty of battery remaining. But for long shoots and travel, picking up a spare battery will be a must.

Canon EOS R8 Mark II: Image Samples

Early Verdict

The Canon EOS R8 Mark II keeps the solid image quality of the first generation – while fixing all but one of our complaints. The camera now has in-body stabilization, a key move to keep up with competing options. A joystick creates fantastic ergonomics, while the memory card door is no longer in an awkward spot blocked by tripod plates.

The only complaint from the original Canon didn’t fix? It has the same battery life – so many users are going to want to factor in the cost of a backup battery.

The Canon EOS R8 Mark II delivers an excellent balance between performance and price. The autofocus and burst speed are excellent – though the animal eye AF doesn’t do as well at picking up a bird in a mess of branches as I would have liked.

The Canon EOS R8 Mark II is an ergonomically lovely camera that packs in a lot of tech for the price point.

Alternatives

Canon’s first mirrorless to take on a retro-inspired design is here – but the new Canon EOS R8 Mark II goes beyond a subtle 1980s look. Announced late on September 15, Canon’s more budget-friendly full-frame body now crams in stabilization and an autofocus joystick.

The Canon EOS R8 Mark II continues much of what fans already loved about the first generation, including the same 24.2MP full-frame sensor and Digic X processor. But Canon is also bringing in-body stabilization to the entry-level full-frame series in the second generation, with stabilization rated to 7.5 stops at the center and 7 stops at the edges.

That makes the R8 Mark II Canon’s lightest full-frame body with IBIS, despite the addition pushing the weight up slightly over the predecessor, bringing the body to 546g / 19.26 oz with the battery and a memory card.

But the second generation also adds a joystick to the camera’s ergonomics. That, along with the stabilization and fixing the odd placement of the SD card slot, fixes some of the biggest asks from the first generation.

With the same sensor and processor, design is a key upgrade for the Mark II. Canon has long been rumored to be making a retro-inspired mirrorless camera. The R8 Mark II brings a more subtle take on the trendy retro design, taking the sharp angular top of the 1985 Canon T80 without straying too far from the look and feel of Canon’s modern mirrorless.

Taking inspiration from a clunky 1985 camera rather than a 1970s era camera, however, means the R8 Mark II doesn’t skimp on the camera grip like many retro remakes. The body still has plenty of grip to wrap my hands around, and the camera also launches with an extension grip built for larger hands.

Outside of adding two of the biggest asks from the original – IBIS and a joystick – the tweaks throughout the Mark II are as subtle as the retro nod. The Dual Pixel II autofocus system carries much of the same specs – including subject recognition – but comes with algorithm enhancements and an improved low-light rating at -7.5 EV over the original’s -6.5 EV. The camera also borrows the people priority registration from pricier models like the R3 and R6 Mark III.

Canon says a number of the photographers who picked up the original R8 are creators coming to an interchangeable lens system from a smartphone for the first time. The R8 Mark II caters to those creators using Creative Assist, with in-camera explanations and adjustments inside the auto mode.

Canon also added 16 new color filters for JPEGs, including two options inspired by film. These new color filters are separate from Picture Styles, have adjustable levels, and also work for video.

Video specs top out at an uncropped 4K resolution oversampled from 6K at up to 60p. Enhancements include a new cinema view, an autofocus mode built for close-up product demonstrations, enhanced image stabilization settings, and a new Auto White Balance response and lock to control white balance transitions. Video creators can also assign a button on the camera to defocus the shot at a preset speed.

Canon says the original R8 will remain available as a budget option to the second generation, as the Mark II does come in at a higher price point than the original.

The Canon EOS R8 Mark II is set to retail for $1,899 / £1,729 / AU$2,529 body-only and $2,099 / £2,119 / AU$2,859 with the 24-50mm f/4.5-6.3 IS STM kit lens. In comparison, the original Canon EOS R8 launched at $1,499 / £1,699 / AU$2,299, though tariffs in the US later pushed the list price to $1,649.

The optional extension grip for the camera retails for $99 / £89 / AU$169.

The camera is expected to begin shipping in late October.

More on the new Canon EOS R8 Mark II

Dive into Canon's latest launch with the Canon EOS R8 Mark II review, ore read about Canon's new Speedlight. Or, browse all the Canon favorites with the best Canon cameras.

We have just spotted the best-ever deal on the Nikon Z6 II - which is now just £921.97 from Amazon direct. Sure, the 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 almost twice as much).

The Nikon Z6 II is a fantastic full-frame mirrorless camera that delivers great performance at an unbeatable price (especially with this deal).

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 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 Z6 II is getting on for six years old - but its age now mean that this powerful mirrorless camera is now a great deal, thanks to this big price reduction.

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Fujifilm is without a doubt the hottest camera brand on social media right now, and with good reason. While Nikon, Canon and Sony have all been busy cramming the very latest specs into an array of boundary-busting modern marvels, Fujifilm has refused to compete. Instead, it’s doubled down on what it does best. Small, attractive retro-themed mirrorless and compact cameras.

No other camera has embodied the brand's cornering of the market quite like the Fujifilm X100VI. This little compact boasts oodles of character and a high-res 40.2-MP APS-C sensor. It’s a joy to use, small enough to carry around everywhere, and just about the most charming-looking device on the market. And it’s so popular that it’s famously difficult to get hold of even two years after its release.

Availability issues and a comparatively high RRP has meant that many photographers have turned to the back catalogue of Fujifilm X Series cameras available on the used market in order to experience that Fuji magic for themselves. Unsurprisingly, this has wildly inflated used prices; even Fujifilm cameras over a decade old have become sought after for their trendy aesthetic and ability to deliver the Fuji look.

What is the Fuji look?

Fujifilm fans will wax lyrical about the brand’s color science. And while I’ll stop short of calling it the best in the business, it’s definitely gorgeous and definitely stands out in comparison to other camera manufacturers.

What makes Fujifilm’s color science so unique is its series of X-Trans sensors. Or more specifically, the proprietary X-Trans color filter array that it uses instead of the more common Bayer filter that’s present on most other cameras.

But here’s the catch: not all Fujifilm X Series cameras have an X-Trans sensor. A good example is the Fujifilm FinePix X100. The first camera in the brand’s hugely successful X100 series of compact cameras, culminating at the aforementioned Fujifilm X100VI, was launched in 2010 with a Bayer filter array. It wouldn’t be until its successor, 2013’s Fujifilm X100S, that the series would get its first X-Trans sensor.

The FinePix X100 isn’t the only Fujifilm X Series camera to feature a Bayer filter. You can also add the entire Fujifilm X-A series, Fujifilm’s short-lived entry-level mirrorless series – this consisted of the Fujifilm X-T100 and Fujifilm X-T200 – the Fujifilm XF10 compact camera, and the Fujifilm X Half.

To confuse matters further, some Fujifilm X Series cameras feature EXR sensors, which differ slightly from standard CMOS sensors with Bayer filters and Fujifilm’s X-Trans sensors. These are the Fujifilm X10, Fujifilm XF1 and Fujifilm X-S1. Some may tell you that the Fujifilm FinePix X100 has an EXR sensor, but this is a confusion due to it having an EXR image processor.

To be clear, I’m not saying you have to avoid Fujifilm X Series cameras without X-Trans sensors. I’m simply making you aware that if you’re besotted by the Fuji look that’s all over Instagram and you want a faithful alternative on a budget, consider the sensor before you buy a Fujifilm X Series camera.

You’ll even find variations within the X-Trans sensor. For example, the 16-MP X-Trans I was only ever present in the Fujifilm X-E1, Fujifilm X-M1 and Fujifilm X-Pro1, but is considered by some Fuji fans to possess the best color science of any X-Trans sensor and a decidedly filmic look.

A word on Film Simulations

Another key ingredient for the Fuji look is Fujifilm’s much-celebrated Film Simulations. While these have become a Fujifilm X Series staple, they actually predate the series, having been introduced in 2003 on the Fujifilm FinePix F700.

However, if you’re in the market for an older Fujifilm X Series camera, make sure you check what Film Simulations it features before you buy, just in case you have a favorite. I say this because the number of Film Simulations tends to grow with each new generation of X Series camera.

For example, the aforementioned Fujifilm X-Pro1 might be revered for having gorgeous color science, but it features comparatively few Film Simulations to the latest crop of Fujifilm X Series cameras. The most egregious omissions arguably being Classic Chrome and Classic Negative.

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For the latest and greatest from the X Series and more, check out the best Fujifilm cameras. If you're sold on the aesthetic but want to know what else is about, here are the best retro cameras. And here's why the Fujifilm X-M5 finally delivers on the compact promise of the mirrorless camera.

If you're looking to upgrade to a camera that is a video monster, but at a flick of a switch turns into a stunning stills camera, then the Canon EOS R5 C is the perfect choice - and it's now cut in price yet again!

Now at its LOWEST-EVER UK price of just £2,399 at Wex Photo Video, following another price drop for Canon Store Week, you can get your hands on this amazing camera to shoot an astonishing 8K video internally, while also being able to take stills at a razor-sharp 45-megapixels.

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

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

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

What's more fun than visiting a cool city you've never been to before? Visiting a cool city you've never been to before with a brand new camera you've never seen before.

I was lucky enough to attend the launch event for the new OM System PEN in Germany. I booked a seat with extra legroom on the plane, so I could stretch out and rest my limbs before pounding the pavement on Berlin's streets, and loaded my hand luggage with a few lenses I thought would suit the assignment.

I didn't know at the time that the PEN would launch alongside the new OM System M.Zuiko 14-42mm f/3.5-5.6 III – a compact, weather-sealed 28-84mm equivalent – so I packed a versatile walkabout lens: the M.Zuiko 12-40mm f/2.8 Pro, giving me an effective 24-80mm zoom.

That would cover close range, but I needed a pocketable telephoto – so I paired it with the M.Zuiko 40-150mm f/4.0-5.6 R, an 80-300mm equivalent that's smaller and slimmer than a soda can. And, because it's literally the size of a cookie, I also popped the 9mm f/8 Fisheye Body Cap, just because.

It turns out I barely needed the Pro lens, aside from a couple of times indoors where I needed that extra 4mm on the wide end or the additional stop of light to shoot in the dark. I didn't use the tele that much, either, though it was definitely useful for magnifying a couple of scenes and isolating subjects at distance.

Having used OM (and, before it, Olympus) kit for well over a decade, I was immediately at home with the new PEN despite having never seen it.

It looks and feels, unsurprisingly, like a cross between the Olympus PEN-F (a "holy grail" camera that has become a cult classic) and the Olympus PEN E-P7 (my daily driver, which is smaller but lacks a slew of features).

And it performs a whole lot like the OM System OM-5 Mark II – again unsurprising, given that the PEN shares many of the same specs and tech.

While it is, on paper, an entry-level camera – evidenced, if nothing else, by its $999 / £849 / AU$1,499 price tag – it boasts an impressive arsenal of flagship firepower inherited from the OM-1 and OM-3. And, indeed, it packs some computational photography tools that aren't found even in the most expensive cameras from other manufacturers.

This includes functions like High Res Shot, which uses the 5-axis in-body image stabilization (IBIS) system to power a pixel shift multi-shot mode that enables the 20.4MP sensor to produce 50MP or 80MP images – albeit only on static subjects, as movement invariably creates unpleasant artefacts.

However, the computational feature I used the most – handily accessed, along with the entire suite, via the CP (computational photography) button – was LiveND.

This brilliant bit of innovation gives you a "live" simulation of the blurred motion that you'd normally need a neutral density filter to achieve. However, by turning on this tool (offering up to a virtual four-stop filter), you can achieve creative slow shutter speed effects without needing a physical ND on your lens.

It embodies what the OM System PEN is all about: empowering you to create, and capture those unexpected everyday moments, even when you go out without your full kit. No ND filters? Turn on LiveND. No tripod? Rely on the 5.5-stop in-body stabilization. No medium format camera? Get a 50MP or 80MP image with High Res Shot.

Here's what people don't understand about the PEN: it's not supposed to be the best at shooting everything, but it enables you to shoot anything – even when you didn't anticipate it.

A few days of street shooting proved that perfectly. For candid portraiture, the human subject detection algorithm made sure that faces were in focus – along with the backs of heads and bodies, if they were facing the other way.

For shooting in poor light, even with a tiny-irised f/8 lens, the IBIS made it possible to shoot handheld at slow shutter speeds. For getting crunchy, black-and-white, Leica-like street photos, or color-popping graffiti images, or faded filmic 35mm-style shots, I could dive into the color and mono profiles along with selection of Art Filters.

It's those intangibles that are more important than having the most megapixels, the largest sensor or the latest tech. Because they enable you to create, on the spot, in the moment, without missing a beat – and then beam the shots straight to your phone to share on social or WhatsApp.

You make the magic in-camera – there's no need for post-production if you don't want to. And after a thousand shots in Berlin – and a few thousand more in less exotic locales – I sure do love making magic with this thing.

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See how the PEN compares to the best Olympus and OM System cameras, and see which are the best Olympus and OM System lenses with which to pair it.

The world has waited five years for this retro camera to make a comeback, but customers in Japan will have to wait a little longer – the brand new OM System PEN has received so many orders that it is currently facing delays in Japan.

Parent company OM Digital Solutions has just announced that, due to overwhelming demand for the aggressively priced and excitingly specced camera, some pre-orders "may be delayed until November or later" in the region.

While orders are currently unaffected in other territories, the new PEN has been so well received that it wouldn't surprise me to see similar demand across the globe.

This Micro Four Thirds camera is not only one of the most stunning-looking bodies on the market, it's also comparable in size to the ever-popular (and ever out of stock) Fujifilm X100VI – making this a great option for anyone seeking a compact, capable camera.

Moreover, the PEN represents unbelievable value for money; for just $999 / $849 / AU$1,499 it offers weather sealing, in-body image stabilization and an electronic viewfinder, a combination virtually unheard of at that price.

It also possesses a suite of impressive features. While its native resolution is 20.4MP, it can shoot 50MP and 80MP high-resolution stills, boasts advanced features like 30fps pre-capture (aka Pro Capture), as well as computational photography tools such as software-driven neutral density filters to achieve slow shutter speed effects without the need for a physical ND filter.

I'm a big fan of the camera, calling it "the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists" in my OM System PEN review.

It's available for preorder now, shipping in late September across Europe and late October in the US – and judging by demand in Japan, you should probably get in early if you want one at launch!

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Take a look at the best OM System & Olympus cameras, along with the best OM System & Olympus lenses to go with them.

The BCN Awards, sourced using data from major Japanese electronic retailers, has published its 2026 results and Nikon features in three categories: Mirrorless, DSLR, and binoculars, coming third, second and third in each category, respectively.

Nikon Rumors has posted BCN’s findings along with a short analysis of the brand’s fortunes. The rumor outlet praised Nikon’s presence within a very competitive market, while stating: “to climb higher, focusing on entry-level mirrorless or hybrid video capabilities could help.”

I couldn’t agree more! I’ve been saying for years that Nikon’s decision to focus on enthusiast and pro gear will hurt its imaging business in the long term, because brand loyalty is such a huge deal in photography.

The profit margin on an entry-level camera might not be as good as premium offerings, but it captures consumers at the very beginning of the funnel. Once you’ve bought into a system and got used to it, you’re likely to stick with that system when you eventually upgrade.

If Nikon isn’t fostering beginner photographers, it’s missing a crucial moment in which to build that connection. And I believe it’s even more important for Nikon to catch consumers early than some other camera manufacturers, because it’s competing directly with Canon and Sony. Let me explain…

Direct competition

Nikon, Canon and Sony are all going after the same corner of the market. They all build full-frame mirrorless cameras, boast huge collections of mirrorless glass, are jostling for the next big innovation in camera technology and are focusing increasingly more of their resources towards video cameras.

As such, they’re the go-to choice for professional landscape, portrait, wildlife and sports photographers, as well as run-and-gun video creators. The problem is that their customer bases are extremely loyal – fanatical, if you will.

Of course there are always exceptions to the rule, but most people who want to buy a serious mirrorless camera will choose one of the above manufacturers, not two, not three, just one. After all, they all pretty much do the same thing.

If you have a Nikon Z8 and buy a Nikon Z 24-70mm f/2.8 S II for $2,797 / £2,599 / AU$4,599, what’s the point of also investing in a Canon EOS R5 Mark II and then having to buy a Canon RF 24-70mm f/2.8L IS USM?

But other manufacturers such as Fujifilm, Leica and OM System don’t have to play by the same rules. You could very much own a Z8 and fancy picking up a Fujifilm X100VI, a Leica D-Lux 8 or the just-announced OM System PEN as an everyday carry.

Maybe the Nikon Zf and Nikon Zfc fill the role of something slightly different, but the majority of Nikon’s catalog is standard enthusiast- to pro-grade fare.

Entry-level gold

As a huge Nikon fan, every single Black Friday it pains me to see the utterly fantastic Canon EOS R100 become even more ridiculously good value, only to wonder why Nikon doesn’t have a camera like that. And while the Nikon Z30 and Zfc get close, they’re not truly affordable beginner cameras in the same vein as the EOS R100 or Nikon D3500.

Extenuating circumstances such as component shortages, the memory crisis, Trump tariffs and general economic instability mean it’s a difficult market out there for every camera manufacturer. And while Nikon isn’t in trouble, its financial results haven’t been where they ought to be of late.

Don’t get me wrong, Nikon is a huge company and its imaging division isn’t the only area it’s focused on. But to ensure a steady stream of Nikon photographers from now until well into the future, please, Nikon, don’t neglect entry-level photographers any longer.

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OM System has officially brought one of photography’s most recognizable camera names back into the spotlight, and the new OM System PEN is now available to pre-order.

In the US, the camera body is currently listed for $999.99 at both B&H Photo and Adorama, while photographers in the UK can pre-order it for £849 from Wex Photo Video, Park Cameras and London Camera Exchange.

It marks the first camera to be launched under the PEN name since OM System took over the Olympus imaging business – and on paper at least, this looks like far more than simply another retro-inspired mirrorless camera.

The PEN name has always been closely linked with small, beautifully designed cameras, and OM System is clearly keeping that philosophy alive. The new model uses a 20.4MP Micro Four Thirds Live MOS sensor paired with the TruePic IX processor, all packed into a body weighing just 393g with the battery and memory card installed.

There is also a built-in 2.36-million-dot OLED electronic viewfinder, something that immediately makes this new PEN feel like a more complete photographic tool rather than simply a compact interchangeable-lens camera designed around its rear screen. Better still, the body is IPX1 weather-resistant when used with an appropriate weather-sealed lens, bringing another genuinely useful feature to a camera designed to be carried everywhere.

Autofocus also represents a serious step forward. The new PEN features a 121-point all-cross-type phase-detection autofocus system, alongside AI-powered subject detection capable of recognizing people as well as cats and dogs. OM System has even included Starry Sky AF, while continuous shooting can reach an impressive 30fps at full resolution.

Combine that with 5-axis in-body image stabilization, which offers up to 5.5 stops of compensation at the center of the frame, and this suddenly becomes a small camera with specifications that should make it capable of considerably more than casual holiday snapshots. Street photography, travel, family photography and even fast-moving subjects are all firmly within its remit.

What interests me most, however, is how heavily OM System has leaned into getting photographers away from the computer. The camera features dedicated Color and Monochrome Profile Controls that let you adjust the look of your images in-camera, with a front-mounted Profile Control switch providing quick access.

Color profiles allow individual adjustment of 12 colors across 11 levels, while the monochrome controls enable photographers to play with filters, grain, tone, highlights, shadows and vignetting. It feels like OM System understands exactly why cameras with distinctive JPEG looks have become so appealing, particularly among street and everyday photographers who want to create a recognizable look without spending hours processing RAW files afterwards.

There is plenty of OM System’s computational photography technology packed inside as well. The PEN includes Handheld High Res Shot for producing 50MP images, alongside Tripod High Res Shot for 80MP shots, Live ND from ND2 through to ND16, Focus Stacking, HDR and Multiple Exposure modes.

Those features can be accessed using the dedicated Computational Photography button, making techniques that would traditionally require filters, a tripod, or considerable post-production work available directly inside the camera. For a body this compact, that is an impressive creative toolkit – and one that gives the PEN considerably more depth than its simple rangefinder-inspired exterior might initially suggest.

OM System has not forgotten video, either. The PEN can record DCI 4K at 24p and UHD 4K at up to 30p, along with Full HD at up to 60p and Slow & Quick-motion options. There is a 3.5mm microphone input, vertical video support and a recording tally light, while face and eye detection can help keep subjects in focus. But I suspect photography will remain the biggest attraction here.

At $999.99 in the US and £849 in the UK, the new OM System PEN lands in a fiercely competitive part of the camera market, but its combination of compact dimensions, interchangeable Micro Four Thirds lenses, an electronic viewfinder, weather resistance, powerful stabilization and extensive in-camera creative tools gives it plenty of personality. The PEN has always been about making serious photography easier to carry – and this new generation appears determined to keep that idea very much alive.

The popular retro Olympus PEN series is entering its OM System era. The OM System PEN is a compact mirrorless camera mixing the PEN legacy with simple controls and a design that’s small enough – and durable enough – to want to carry every day.

The OM System PEN, announced on September 09, carries the same unstacked 20.4MP Micro Four Thirds sensor and TruPic IX image processor as cameras like the OM-5 Mark II, but revives the longtime favorite PEN series with its retro, rangefinder-inspired design and yet sits on the more affordable end of OM System’s lineup.

Take a look at a guided tour of the camera:

The PEN has an unusual mix of stabilization and weather-sealing for the price

Price-wise, the PEN slots in between the Olympus OM-D E-M10 Mark IV and the OM System OM-5 Mark II, making the new camera one of the brand’s most affordable options, second only to the last remaining camera to carry the Olympus name.

Priced at $999 / £849 / AU$1,499, the OM System PEN brings two features that are difficult to find in this price bracket of mirrorless category: weather-sealing and in-body image stabilization.

The OM System PEN isn’t just weather-sealed but rated as IPX1 splashproof. That rating isn’t as robust as the IP53 rating for most of OM System’s higher-priced cameras, but weather-sealing is rare among budget-priced cameras and rarer still to come with an official IP rating. The IPX1 rating means the camera is rated to withstand rain (but not water spraying from every direction), while the X means that the camera wasn’t tested for dust resistance.

The OM System PEN also houses a stabilization system rated for 5.5 stops.

Weather-sealing and stabilization are arguably the two biggest features that OM System is known for, as the camera brand has positioned itself as an outdoor camera brand in the wake of the split from Olympus. With the launch of the PEN, even the cheapest mirrorless camera that carries the OM System name has those two features.

Finding both stabilization and weather-sealing in a mirrorless camera under $1,000 is hard to do without picking up an older or used model – though not impossible. The similarly priced Nikon Z50 II is weather-sealed but doesn’t have IBIS. Canon’s cheapest mirrorless with both weather-sealing and IBIS is the EOS R7 ($1,499 / £1,349 / AU$1,799); Sony’s is the A6600 ($1,399 / £1,450 / discontinued in AU), and Fujifilm doesn’t get to both features until the X-T5 ($1,699 / £1,399 / AU$2,699).

The biggest competition to the PEN for bringing both stabilization and weather-sealing is fellow Micro Four Thirds camera maker Panasonic, which offers five-axis sensor-shift stabilization with splash and dust seals on the Lumix G97 at about $850 / £899 / AU$1,499 with a lens.

The OM System PEN is the first in the PEN series to include weather-sealing, a move that makes a lot of sense for what the camera is meant for. OM System is targeting this camera both towards beginners and photographers looking for an everyday carry camera – and it’s hard to carry a camera every day if that camera can’t withstand a little rain.

The OM System PEN still maintains a gap between the brand’s next camera up in the lineup – the OM-5 Mark II – however. The OM-5 Mark II has better IP53 weather-sealing and up to 7.5 stops of stabilization, but also faster performance at 10 fps with a mechanical shutter to the PEN’s 6 fps. The PEN’s electronic shutter can also reach 30fps, but focus is fixed on the first frame.

Both the PEN and OM-5 Mark II share a 121-point autofocus system, though the PEN also has pet and human eye subject detection (albeit in stills only).

The OM System PEN keeps a retro but easy-to-use design

Like earlier PEN cameras, the newest addition to the series uses a viewfinder that’s placed off in the corner, rangefinder-style rather than the SLR-style centered placement. While the camera favors a retro design, the dials and controls are geared more towards simplicity and usability, featuring a more traditional mode dial. OM System describes it as “a timeless design for the joy of photography.”

But, like earlier digital PEN cameras, the 2026 PEN still has a dedicated control dial for creative control to easily switch between different color or monochrome looks. The PEN has the same color profiles as the OM-3, including the ability to customize different looks, but OM System is also launching an update to the OI.Share app that allows tweaking color recipes in the app and uploading to the camera – including creating new recipes based on an inspiration photo.

The PEN’s touchscreen is tilt-capable and includes a selfie mode that triggers shots with the touchscreen when flipped forward.

Alongside weather-sealing and stabilization, computational photography remains a big push for OM System, and the PEN features a dial just for those modes as well, including high-res mode, live NDs, and focus stacking. Additional modes, such as multiple exposures, are available inside the camera’s menu.

The OM System PEN is more geared towards stills, but the camera does offer 4K shooting, both vertical and horizontal videos, and the wider dynamic range modes OM-Cinema1 and OM-Cinema2, along with supporting the same creative controls for stills for shooting video.

The Olympus PEN series has long been a favorite among retro camera fans, spanning both the original film camera in 1959 to modern digital options like the 2016 Olympus PEN-F. The OM System PEN aims to pay homage to that inspiration as a camera that’s beginner-friendly, but that more serious photographers may want to reach for as a compact, everyday carry camera – and the weather-sealing and stabilization mixed with the retro design will go a long way towards those goals.

The weather-sealing makes the new OM System PEN slightly thicker than the PEN F, but the mirrorless still comes in at a compact 43.4mm depth and a lightweight 393g – including a new battery that’s rated to 410 shots.

The OM System PEN is expected to begin shipping in late October in the US, or late September / early October in Europe, along with the newly announced kit lens, the M.Zuiko Digital 14-42mm f/3.5-5.6 III.

Pre-orders have already opened at several retailers. The camera, available in black or silver, retails for $999 / £850 / AU$1,499.99 / CA$1,399 body only, or $1,099 / £999 / AU$1,799.99 / CA$1,549 with the kit lens. In North America, the camera will also be offered in a two-lens kit for $1,299 / CA$1,799 with 14-42mm and 40-150mm lenses.

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In my heart of hearts, I knew that the OM System PEN wasn't going to be a named successor to the Olympus PEN-F. But while it doesn't carry the "F", this new PEN is absolutely a spiritual successor to the PEN-F. And in every way possible – perhaps including its looks – it's a better camera.

I know that OM System can be a tough sell for some people, so let's quickly take an objective look at what the OM System PEN offers for the price.

For just $999 / £849 you get a camera that's weather-sealed, has in-body image stabilization (IBIS) and an electronic viewfinder (EVF), is loaded with pro features like 30fps Pro Capture, has computational photography tools like simulated ND filters (Live ND) and 80MP High Res Shot, has algorithmic autofocus (including astrophotography) and packs a stack of film-inspired picture profiles.

On top of all that, the OM System PEN is one of the best-looking retro cameras on the market. Seriously, aside from a sensor size prejudice, what's not to like about it?

Okay, there are a couple of things – like the 8-bit video, though honestly this is a stills-first camera to its core – but overall this is a frankly obscene amount of firepower in a camera that's sublimely small and effortlessly cool.

Take a look at my quick guided tour of the camera:

OM System PEN: Specifications

OM System PEN: Price & availability

The OM System PEN will be available in both silver and black in late September / early October with a price tag of $999 / £849 / AU$1,499 body only.

It will also be available in a bundle with the new, weather-sealed OM System M.Zuiko 14-42mm f/3.5-5.6 III kit lens (a 28-84mm equivalent) for $1,099 / £949 / AU$1,799.

In the US and Australia, a double-lens kit that adds the M.Zuiko 40-150mm f/4.0-5.6 R lens (80-300mm equivalent) will also be available for $1,299 / AU$2,099.

For reference, Fujifilm's cheapest body with weather sealing, IBIS and an EVF is the Fujifilm X-T5 at $1,999 / £1,699, while Canon's cheapest is the Canon EOS R7 at $1,649 / £1,449. (Call me churlish, but I'm discounting the Panasonic Lumix G97 due to its primitive contrast-based AF system.)

OM System PEN: Build & handling

The OM System PEN is almost identical in size to the PEN-F, with handling that's very familiar all-round – from the rangefinder-like positioning of the EVF on the left shoulder to the presence of the Profile Control switch on the front.

While it doesn't boast the same premium heft and construction as the PEN-F (as in, don't expect a single block of milled aluminum), in the hand it drives much as the F did – only this time you have the benefit of IPX1-certified weather sealing and operation in environments from 32°F / 0° to 104°F / 40°C.

Another big upgrade from the PEN-F is the presence of a dedicated memory card door on the side of the body – rather than stowing the card in the battery compartment, which these days is a mark of entry-level cameras.

Another upgrade for many, and something that has been adopted from the Olympus PEN E-P7 (a brilliant 2021 camera that was only released in Europe), is the repositioning of the power switch to the right-hand side of the top plate.

This makes it possible to turn on and operate the camera one-handed, for quickfire street shooting – or, as my friend Emily from Micro Four Nerds calls it – "Festival Mode". I personally never use a camera this way, but I know how important it is for a lot of photographers.

Also making its way across from the E-P7 is the aforementioned Profile Control switch, rather than the full Creative Dial from the PEN-F.

This is a simple flip switch that enables you to access the picture profiles menu while shooting, giving you access to the Color and Mono profiles, along with Color Profile Control and general recipe settings. (The Creative Dial offered dedicated positions for Color, Mono, Art (Filters) and CRT – the Color Creator / Profile menu.)

The battery compartment at the bottom contains a brand new battery design for OM, the squat (almost square) BLS-7. CIPA rates the battery as good for 410 shots (or 80-130 minutes of video), but I've got well over 600 shots out of a battery before recharging.

OM System PEN: Performance

The OM System PEN embodies everything that I've always loved about the PEN family, dating all the way back to the original E-P1 in 2009 (which was Olympus' first ever mirrorless camera).

It's a quick, nimble camera with agile autofocus that enables you to react instantly to the world around you. Paired with the compact new M.Zuiko 14-42mm f/3.5-5.6 III kit lens, it's a weather-sealed and near-pocketable marvel – making this a truly take-anywhere, shoot anything, whatever the weather setup.

True to the PEN ethos, "as simple as pen and paper", this camera can be used as a straight-up point-and-shoot; stick it in auto or semi-auto and it's a fire-and-forget snapper that gives you great results. But the more you investigate the many magic tricks up its sleeves, the more you realize what a creative powerhouse this thing really is.

Like Fujifilm cameras, the OM System PEN is loaded with film-inspired picture profiles and a slew of Art Filters. So, if you want to level up your images, you can enable a profile or filter and effectively "pre-produce" your image – giving you gorgeous JPEGs, straight out of camera, with no need to tinker in post production.

Want to jazz things up even more? You can fine-tune these profiles or dive into the Color Creator to customize the presets or make your own photo recipes.

You can even upload and share these using the OI.Share app (which, for my money, is the best companion camera app on the market if for no other reason that it actually works – and is brilliant for transferring files and remote shooting).

Want to get even more creative? Use the CP button to unlock a suite of computational photography features, including Live ND – a software-powered set of neutral density filters, enabling you to shoot long-exposure movement shots without the need for physical lens filters.

Or how about High Res Shot mode, which enables you to capture 80MP RAW images for those moments when you want hyper texture and detail – but without being bogged down by the everyday bulk of a medium format camera.

Experiment with in-camera focus stacking, shoot a spot of astrophotography with Starry Sky Autofocus, try light painting with Live Composite, shoot fast action like a professional with 30fps Pro Capture (which records the 12 frames before you fully press the shutter, so you never miss the magic moment)…

There is so much creative potential packed into the OM System PEN that you will become a more versatile and more adventurous photographer almost by osmosis.

But there are, of course, some limitations. The biggest one, as is ever the case with OM System and Olympus cameras, is the resolution; while Panasonic has graduated to 25MP sensors, OM is still using trusty 20MP affairs (for reference, this is the same one found in the OM-5 Mark II).

Personally, this makes no odds to me. As I've said before, ad nauseum, this is more than enough resolution for anything shy of larger physical prints; I have magazine covers and double-page spreads shot on 20MP and even 16MP OM / Olympus sensors. And if you do need the extra pixels for printing, High Res Shot gives you 80 million of them.

Really, though, the biggest limitation comes in terms of video; given that this camera uses the OM-5 Mark II sensor, you can only shoot 8-bit video. And while the OM System PEN adds the subject detection AF (for humans and animals) that was sorely missing from the OM-5, it only works for stills – not video.

In short, this isn't a vlogging camera; it's a pretty pure photography camera. If you want to shoot a bit of video for social media, or you need to snag a bit of B-roll, it's ideal – but moving pictures are absolutely secondary to still images. But make no mistake, those still images are stunning.

OM System PEN: Sample images

OM System PEN: Lab tests

To judge how the OM System PEN performs in our lab tests, we've compared it to thee rival cameras that each cost around the same price, while also having a similarly compact form factor. The Nikon Z fc has a similar retro aesthetic to the PEN, as does the Fujifilm X-T30 III. The Sony A6400 may be a very old design now, but it's still in Sony's current mirrorless lineup and its body-only priced is in line with the PEN.

Resolution (line widths/picture height):

The PEN and the Nikon Zfc have pretty much the same megapixel count, and though the OM System camera has a smaller sensor than the Nikon it actually generates slightly sharper images at higher ISOs. It's surprising how close the PEN comes to matching the 24MP and 26MP cameras from Sony and Fujifilm when it comes to resolving fine detail.

Dynamic range (EV):

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

At low ISOs the PEN leads the pack for dynamic range, though it can't quite match the Nikon and Fujifilm cameras when you push past ISO800.

Signal to noise ratio (decibels):

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

The PEN ties with the Sony A6400 for noise levels at low ISOs, but demonstrates superior noise control at high sensitivities. But the X-T30 III's X-Trans 4 sensor is in a class of its own when it comes to low noise levels.

OM System PEN: Verdict

I've been waiting half a decade for this camera; it's the first new member of the PEN family since the E-P7 launched way back in 2021 (which, incidentally, was also the first camera released after OM System splintered off from Olympus).

Some will opine that the OM System PEN isn't a PEN-F II. And I hear that, because few people wanted a PEN-F II more than me. But I'll be absolutely honest – this camera pretty much is a PEN-F II in everything but name.

The image quality is better. The stabilization is better. The autofocus is leagues better. The video, while limited, is also way better. It's IPX1 weather-sealed. And it's stuffed to the gills with clever computational features.

Heck, it's arguably better looking, too – though I'm sure plenty of people will pick a fight with me over that one.

Truthfully? There is now precisely zero reason for me to pick up my PEN-F. This new PEN does everything the F could, just bigger, better, more.

In terms of function, this camera feels a lot like the OM-5 Mark II – though I'd argue that the PEN is actually better thanks to the addition of the Profile Control switch and especially subject detection autofocus (which was the only real weakness of the OM-5, though it does boasts slightly better sealing).

However, as much as I'm inclined to compare it to other OM offerings, my biggest takeaway is actually how the OM System PEN compares to the Panasonic Lumix L10. And I should preface this by saying that I love shooting with the L10.

But the PEN is smaller and lighter. It's weather-sealed. It has IBIS. It's got dual exposure dials. In other words, it ticks all the boxes that the L10 missed – and of course, you can also change the lenses. Sure, the L10 absolutely annihilates it for video, but let's be real – nobody is buying the Lumix primarily for video, and the same is true of the PEN.

I would argue that anyone considering the L10 would be better off (quite literally, where cash is concerned) opting for the PEN. Not only does it offer acres more creative capacity, you'll also struggle to outgrow it – unlike the Lumix, which will leave you wanting the moment you fancy trying macro or telephoto photography.

The OM System PEN is the best bang-for-buck body on the market (not to mention one of, if not the, best-looking) and without a doubt the best everyday carry camera available for photography purists.

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.

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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

APS-C vs full-frame is a tale as old as time, and as a photography journalist, I’m definitely guilty of stoking the flames. But recently, I watched a YouTube video from a fantastic creator called Cam Mackey, and he simplified the whole debate into two words that have stuck in my mind ever since: “different looks”.

On a shoot where he was comparing the Leica M11 and Fujifilm X100VI, he talked about the different formats. Granted, he did acknowledge that there’s a big difference between the two, stating: “people out there that say: “Oh, full-frame vs crop sensor, it doesn’t matter,”” agreeing that in some cases it doesn’t, before continuing, “But those same people will also say: “Oh, medium format’s superior to full-frame””.

And as a predominantly full-frame photographer, I’ve definitely heard that argument time and again. But here’s the real thing I took away from the video: “So, you definitely get different looks, and you get different image quality, and you get a whole different feel from each sensor size.”

I absolutely love this sentiment. It’s such a simple way to think about sensor size, but creatively, it’s a healthier way than simply dismissing one or the other as better or worse. After all, they do supply you with different looks and different advantages. That’s why different sensor sizes exist – variety is the spice of life!

APS-C vs full-frame

The biggest difference between an APS-C image and a full-frame image is the crop factor. If both images are shot with the same lens, in the same position, with the same exposure settings, the APS-C image will appear zoomed in. If you cropped the full-frame image down to the exact composition of the APS-C image, it will look identical.

A big difference you usually hear people talk about is that full-frame cameras will give you a shallower depth of field and APS-C cameras will compress the image. But technically, an APS-C camera doesn’t produce a larger depth of field, nor does it produce more compression. The perceived difference is simply due to the crop factor.

Use the same lens on both bodies, and you’ll have to get closer to the subject with the full-frame camera, producing a shallower depth of field. And due to the cropped field of view on the APS-C camera, the image might look more compressed at a glance, but if you cropped a full-frame version of that image to the size of the APS-C image, the compression would look identical.

Another point that I often think about is that a lot of full-frame photographers heavily crop their images. But if you know a photographer uses a full-frame camera, you never question it. Ultimately, there’s no doubting that there’s a different quality to a medium format image, a full-frame image, and a crop-sensor image, but at the end of the day, there are way too many variables to simply crown one better than the other. It’s kind of like ranking the greatest bands of all time: everyone has a different taste in music, even if it's definitely Queen. I digress...

Different cameras for different purposes

There’s a reason why so many photographers end up having multiple cameras with multiple sensor sizes, and that’s because they’re different tools that excel at different applications. A lot of street photographers favor crop-sensor cameras, and a lot of professional portrait photographers favor medium format or full-frame cameras.

In recent years, APS-C has become more and more popular. A lot of this is down to Fujifilm’s excellent selection of X-series cameras. APS-C is also the choice of format for a lot of very popular Instagram photographers, especially those who capture street or travel photography.

So, if you’re choosing between an APS-C and full-frame camera or feel you need to ‘upgrade’ to a full-frame camera, think to yourself: you can still capture incredible imagery on both. At the end of the day, you’re getting “different looks”.

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Nikon silly season is beginning to heat up. As we head into the final third of 2026, the ‘Big N’ has only released two lenses, plus a development announcement for the Nikon Z 120-300mm f/2.8 TC VR S. And with a history of releases in September, October and November, the anticipation is high. So, when Nikon Rumors posts about an “exclusive product presentation” from Nikon UK on September 25 at Grays of Westminster, it’s hard not to get a little bit excited about potential camera rumors.

The event, hosted by Nikon and RED creative, Bruno Murari, is even more curious given that no products are mentioned in the event schedule. What will be on show is simply referred to as “product highlights” or “the products,” which Nikon Rumors has described as "a bit strange" and "cryptic," and I have to agree; it does sound a little coy.

A string of rumors

All of this comes off the back of another Nikon Rumors post that I reported on last week. An Internet sleuth noticed gaps in the schedules of various Nikon Ambassadors, with a series of Nikon events to follow later in September, and theorized that this could point towards a possible product release. Complete conjecture, of course. It wasn’t all that long ago that Nikon Rumors reported on “almost everything” being supposedly delayed until next year, so at this point it’s anyone’s guess.

A release could happen, but it’s far from certain

I keep coming back to the same conclusion: it’s certainly the time of year for a big release, so nothing is beyond the pale. But if the rest of the year is anything to go by, not to mention some less-than-stellar financial results and ongoing market turmoil due to various factors, including Trump tariffs and component shortages. Suffice to say, I’m cautiously optimistic about a major Nikon release this year but heavily tempering my expectations.

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The big three camera market leaders are Canon, Nikon, and Sony. Now, fresh sales numbers from major Japanese retailer Kitamura are in, and one global player accounts for 50% of the Top 10 best-selling cameras in August 2026, while one brand is nowhere to be found.

According to Kitamura, Sony takes 5 out of the Top 10 spots. Nikon didn't make the ranking with a single camera.

At No.1 sits the Sony A7C II, "recommended for users who want to carry a full-frame camera with them at all times and don't want to compromise on performance," as Kitamura explains. Right behind is Sony's A6700 in No.2, followed by the A7 IV. Sony's latest full-frame release, the A7 V, takes No.6 and the ZV-E10 II comes ninth.

Canon has two models: the Canon EOS R6 Mark II and Canon EOS R6 Mark III, placed fourth and tenth.

OM System and Fujifilm fill the remaining three spots in the sales ranking. The OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit comes fifth; the OM System OM-1 Mark II is seventh, and the Fujifilm X-M5 XC15-45mm Lens Kit is eighth.

Kitamura's 10 best-selling cameras, August 2026

1. Sony A7C II
2. Sony A6700 High-Magnification Zoom Lens Kit
3. Sony A7 IV Zoom Lens Kit
4. Canon EOS R6 Mark II
5. OM System OM-5 Mark II 12-45mm f/4 Pro Lens Kit
6. Sony A7 V
7. OM System OM-1 Mark II
8. Fujifilm X-M5 XC15-45mm Lens Kit
9. Sony ZV-E10 II Power Zoom Lens Kit
10. Canon EOS R6 Mark III

Sony's chart-topping cameras

No.1 Sony A7C II
Kitamura says, "The successor to the A7C, which debuted as the world's smallest and lightest full-frame mirrorless camera. Packed with the latest features into a compact body, it delivers performance that exceeds its appearance."

No.2 Sony A6700
"This kit includes the A6700 camera and the high-magnification zoom lens "E 18-135mm F3.5-5.6 OSS".

"Despite its compact size, this lens can zoom up to the equivalent of 202.5mm, allowing you to shoot a wide range of subjects, including landscapes, snapshots, flowers, animals, and sports, all with just this one lens," explains Kitamura.

No. 3 Sony A7 IV
Kitamura says, "This camera is Sony's most standard full-frame mirrorless camera. With high-precision real-time tracking, it keeps track of your subject, ensuring you never miss a moment for both still images and videos."

No.6 Sony A7 V
"The A7 series has finally reached its 5th generation.

"By adopting a newly integrated partial-stacked sensor and the next-generation image processing engine "BIONZ XR2," it achieves highly accurate AI subject recognition and blackout-free continuous shooting at up to approximately 30 frames per second.

"It is a high-performance camera that is hard to believe is a basic model," explains Kitamura"

No.9 Sony ZV-E10 II
Kitamura says, "This is the successor to the ZV-E10, which has gained popularity as a video camera for shooting vlogs and YouTube videos.

"It features the same BIONZ XR image processing engine as higher-end models, resulting in improved video capabilities and autofocus performance. It's a recommended camera for anyone who wants to shoot cinematic videos."

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It’s been a little will they won’t they when it comes to Nikon lately. Just last week I wrote about a rumor claiming big delays across the board, and now Nikon Rumors is back with a more positive tale from the grapevine, surmising some kind of Nikon release in September.

Apparently, a reader has looked into the schedules of various Nikon Ambassadors and found that many of them are free during the week of September 12, but scheduled for Nikon events on September 26. This has resulted in the theory that Nikon could be launching something in mid-September and showing it off later in the month.

The argument is supposedly bolstered by Nikon ambassador Kristi Odom, whose schedule is apparently free in both instances. Kristi is an award-winning wildlife photographer, which has caused the same camera sleuth to surmise that she’d be the perfect pro to test a rumored flagship APS-C camera (Nikon Z70) and the Nikon Z 120-300mm f/2.8 TC VR S (which has already had a development announcement).

While something could indeed be released in September, I’ve been burned by the rumor mill so many times lately, I’m not sure picking apart evidence like the imaging equivalent of Hercule Poirot is particularly helpful. After all, only a couple of weeks ago, everything was supposedly delayed…

And yet, if Nikon is intent on releasing something this year, we are definitely heading into the period where that could happen. You don’t have to be Jessica Fletcher to work out that Nikon has a habit of announcing cameras at this time of year. The Nikon Z6 II, Nikon Z7 II, Nikon Z9, Nikon Zf, Nikon Z50 II, and Nikon Zf Silver were all announced in September, October, or November. Anything later is a bit too close to Christmas, and then that’s the year over with.

As to what Nikon could announce, that’s beyond me. Lately we’ve had rumors regarding a Nikon Z70, fixed-lens full-frame Nikon, and of course, a Nikon Z9 II. I, for one, am still keeping my fingers (and toes) crossed for a Nikon Zfc II. So, take your pick. I’ll keep my ear and magnifying glass to the ground and let you know if more Nikon camera rumors surface.

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One of the key pieces to Sony’s mirrorless success is the speed made possible by the world’s largest sensor manufacturer’s stacked designs. But while Sony makes stacked sensors for full-frame mirrorless and stacked one-inch sensors in cameras like the RX10 V and RX100 VII, Sony’s APS-C mirrorless lineup skips the layered sensor built for speed.

Fresh reports are circulating that Sony’s sensor division is working on a 26MP APS-C stacked sensor. While Sony has yet to confirm the existence of such technology, the report is fanning the flames of rumors for potential new cameras such the Sony A6900 or a cinema-grade APS-C camera like the Sony FX30 II.

Sony’s stacked shutter design is the reason why cameras like the new Sony A7R VI can shoot at 30fps and 67MP when high-resolution cameras have traditionally been far slower than lower-resolution models.

The stacked design isn’t relegated only to Sony’s high-end mirrorless cameras either, with the layered sensor design also popping up in cameras like the RX10 V bridge camera and the RX100 VII compact camera – not to mention the stacked sensors inside some Sony smartphones. In fact, Sony first brought a stacked one-inch sensor to compact cameras in 2015.

Ten years after bringing the stacked design to compact cameras, I think it’s a fair question to ask when Sony could fill the gap between compact and full frame with an APS-C sensor.

Stacked sensors give the imaging chip dedicated layers for memory in order to speed up processing times. The result is faster burst speeds for stills and faster video frame rates.

Such an upgrade would make sense for the theoretical update to the A6700, as Sony’s more advanced stills-focused APS-C model is a good budget option for genres like sports and wildlife. But the rumors are calling for Sony’s upcoming sensor to be 26MP, which wouldn’t offer a resolution boost over the current model.

Without confirmation from Sony, it’s unclear if the brand’s next mirrorless camera could feature a stacked sensor design. Sony is the world’s largest sensor manufacturer, and even if the rumored sensor exists, there’s still a good chance that it isn’t destined for one of Sony’s mirrorless cameras.

But, having used the Sony a6400 as a budget birding camera and having also shot with the A7 V and A7R VI, I would love to see Sony’s stacked sensors come to the A6000 series.

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The secret is out: in an abnormally revealing teaser, OM System has revealed that a new compact, retro mirrorless camera is coming on September 09. But while the teaser has longtime fans hoping for a revival of the beloved PEN F series, the upcoming launch comes at a time when reports suggest the company’s mirrorless sales have dropped.

In a teaser revealed earlier this week, OM System shared a glimpse of the back and top sections of what looks like a retro, compact mirrorless camera. The first teaser revealed far more than most, without using the usual tactic to cast the camera in shadow. The rangefinder-style viewfinder had many fans hoping the camera is a refresh of the long-requested PEN series.

Then, a second teaser seemed to hint at a PEN legacy even more, displaying the 1959 Olympus PEN and the 2009 PEN E-P1 (the brand’s first digital mirrorless).

The teased camera will be the brand’s first major camera launch of 2026, as the company hasn’t launched a new model outside of the specialized OM-3 Astro and OM-1 Mark II Infrared. While it’s not unusual for OM System to launch only one camera a year, the teaser comes as the company is facing a sales slump.

OM System isn’t a publicly traded company, so unlike Canon, Nikon, Sony and Fujifilm, there’s no publicly available insight on the company’s sales and profits. But a recent report in Japan suggests that the company’s camera sales have dipped by 10,000 compared to last year, with an operating profit in the red to the tune of -¥1.6 billion – about -$9.9 million / -£7.4 million / -AU$13.9 million.

That echoes an earlier industry report ranking Japan’s top camera brands by the number of cameras shipped, which also said that OM System shipped 150,000 cameras, a drop of about 10,000 compared to the year before. That list showed Ricoh overtaking OM System, but more due to Ricoh’s sales numbers tripling, likely due to the popularity of the Ricoh GR IV series.

OM System has used a 20MP sensor on its Micro Four Thirds line since 2016, moving through two sensor variants with the same resolution in the past decade. While OM System says sensor development is ongoing, the company has focused on building rugged, outdoor cameras taking advantage of the Micro Four Thirds' more compact designs, well-loved stabilization system, and the brand’s computational photography prowess.

If the teased camera is in fact a refresh of the PEN line, I can see such a camera boosting the brand’s camera sales, regardless of whether or not the upcoming launch still uses a 20MP sensor. The PEN series is well loved, yet the last time the company launched a PEN with worldwide availability was still in the company’s Olympus days, back in 2020. (The Olympus PEN E-P7 launched in 2021, but was limited to Asia and Europe.)

Regardless, I think OM System fans are eagerly awaiting whatever’s next on September 09.

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Fujifilm has built a reputation for retro-styled yet compact designs – and the brand's efforts have not gone unnoticed. The compact Fujifilm X-E5 mirrorless camera has just won the top APS-C Camera award from the Expert Imaging and Sound Association (EISA) awards, with Fujifilm’s budget-friendly X-T30 III taking home a value-based award.

The EISA awards are an annual call-out to the biggest new cameras, lenses, and sound tech of the year. The 2026-27 awards are headlined by several highly popular models, including the Sony A7 V as the Camera of the Year, its big sibling the A7R VI as Professional Camera, Nikon’s first cinema mirrorless the ZR topping the photo-video category, and the sold-out Panasonic Lumix L10 taking top compact camera honors.

But Fujifilm has taken home honors for both the best APS-C camera with the X-E5 and the “Best Buy Camera,” a category meant to highlight a more affordable shooter, with the X-T30 III.

The X-E5 and X-T30 III sit at opposite ends of the price range for Fujifilm’s APS-C range, but the two mirrorless cameras have a few things in common – a compact, retro-inspired design.

The Fujifilm X-E5 is regularly heralded as the mirrorless twin to the viral X100VI compact camera when paired with its compact pancake kit lens. The X-E5 uses a rangefinder-inspired design that places the electronic viewfinder off in the corner, rather than in the center like an SLR. Like the X100VI, the X-E5 boasts plenty of retro dials.

But the X-E5 also gives a dedicated spot for one of Fujifilm’s most famous features: a dial just to swap film simulations. That gives photographers quick access to switch in-camera color profiles.

Inside, the X-E5 packs in the tech that sits inside Fujifilm’s top X-series models: a 40.2MP APS-C X-Trans sensor with the X-Processor 5 and, unlike the X-E4, image stabilization and subject-detection autofocus.

The EISA Awards called the X-E5 “a photographer’s delight for street, travel and everyday shooting.” As someone who has actually traveled with the X-T5, I would have to agree. Working with the mirrorless and the 23mm pancake lens, I could almost forget that I wasn’t shooting with a compact camera.

The Fujifilm X-T30 III, on the other hand, is still retro and rather compact for a mirrorless, but sits as one of Fujifilm’s more affordable choices. The X-T30 III takes on the look of a vintage SLR rather than a rangefinder, but unlike Fujifilm’s cheapest mirrorless camera, the X-M5, the X-T30 III still has a viewfinder.

The budget price shows a little in the specs, with a 26.1MP resolution X-Trans CMOS 4 sensor rather than the fifth-generation 40.2MP option. Still, that sensor’s no slouch – in fact it’s the same one inside my X-T4 that I still use as a pro photographer.

While the X-E5 was a major upgrade from the older X-E4, the X-T30 III feels like a more incremental update. Still, DCW gave the X-T30 III a Recommended badge, as the refreshed budget camera updates the autofocus but not the price point.

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GoPro’s first mirrorless camera is so small that the Mission 1 Pro ILS looks closer to an action camera than a mirrorless camera. The GoPro Mission 1 Pro ILS’s size creates wider flexibility in getting shots in tight perspectives and creating small mounted rigs. But the small design isn’t without its downsides: GoPro recommends using an added support for Micro Four Thirds lenses that weigh more than 250g.

The GoPro Mission 1 Pro ILS uses a Micro Four Thirds mount, which opens the action camera giant’s first mirrorless to hundreds of different lenses. However, the camera body doesn’t have any electronic form of communication with the lens, which means electronically driven “focus by wire” lenses aren’t supported.

In focus-by-wire optics, the focus isn’t physically adjusted from the turn of the focus ring but is instead adjusted electronically. This electronic design requires communicating with the camera body, and the Mission 1 Pro ILS doesn’t have any electronic contacts to communicate with the lens.

That takes MFT lenses like those from OM System and Panasonic off the table, as these lenses require communication with the camera to work. Besides disappointing creators who already own a stash of lenses from those brands, the incompatibility with OM System takes a number of weather-sealed lenses off the table.

While I was disappointed that I couldn’t mount my OM System 150-600mm lens on the Mission 1 Pro ILS – because how cool would a 1,800mm equivalent be! – the ILS will also need help supporting heavier lenses.

When I started testing the ILS, GoPro recommended that I use a lens support system for any optics over 250g, though the company noted that lenses with a built-in tripod collar could be supported by using the collar on a tripod.

Using a lens support system is going to increase both the size of the camera and the cost. SmallRig makes a universal lens support that sells for about $22, for example, but it requires rods and a baseplate. Adding the SmallRig 15mm baseplate and rods would be around $125 (about £91 / AU$175 / CA$173) worth of accessories to help support larger lenses.

Lenses 250g and under don’t need any additional support – and there are quite a few lenses that GoPro recommends from the Laowa 7.5mm f/2.0 Dreamer that I used with the new ILS to optics from TTArtisan, Rokinon, Meike, Viltrox and several others that fit both the mechanical focus and weight requirements.

One more thing to note? When swapping lenses, you have to go into the camera menu and select the correct lens, or HyperSmooth won’t work properly.

There are compromises that had to be made in order to create a mirrorless that small, and potential GoPro mirrorless buyers need to be aware of them before committing to the tiny 8K camera from the well-known action camera brand.

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I feel as if I’ve just shaken hands with Sasquatch. A mirrorless GoPro has been rumored so long it feels like a mythical creature – but now I’ve held the mirrorless GoPro Mission 1 Pro ILS in my hands.

I’m a professional photographer and camera reviewer, but the GoPro Mission 1 Pro ILS is unlike any other camera that I’ve used before – and that’s both good and bad.

While the ILS was initially revealed at the Mission 1 series launch, back in April, pre-orders for GoPro's first mirrorless camera opened today, August 26, with shipping and retail availability beginning on September 02.

The GoPro Mission 1 Pro ILS shares much of the same specs as the fixed-lens Mission 1 Pro, looking very much like the Mission 1 Pro had its fixed lens surgically replaced with a Micro Four Thirds lens mount. Besides the identical 8K60 sensor and GP3 processor, the ILS also looks and operates like a GoPro.

Holding the Mission 1 Pro ILS in my hands still felt very much like shooting with a GoPro – which is great news for GoPro fans. But the Mission 1 Pro ILS is a camera of compromises in order to pack swappable lenses into a camera that’s just 197g.

The Mission 1 Pro ILS packs high-end features into an affordable – and tiny – body

The legendary GoPro features that have migrated into mirrorless are headlined by HyperSmooth. I hate hauling around tripods, and I spent much of my time with the ILS capturing handheld video. Handheld shots are impressively steady, with just enough movement to have that POV-feel without being jittery or distracting.

The stabilization impressively even helped when getting in close to the subject. Using stabilization on different lenses is more challenge, however, and I did spot on occasional wobble – and HyperSmooth is definitely not smooth enough to actually run with the camera.

While that stabilization is possible with the fixed lens Mission cameras, the ILS mixes that with a handful of things that aren’t typically found on a GoPro, like longer focal lengths and yes, even bokeh and lens flare.

The other unusual feature of the ILS is how small it is – which is perfect for getting unusual angles. I even tucked the GoPro mirrorless inside a large jar. The body of the ILS is essentially the same as the Mission 1 Pro, but the mirrorless mount does jut out farther and taller from the body.

GoPros have long been the filmmakers' tool for shooting spots that a typical camera won’t fit – the ILS still offers that compact size, though naturally that will also depend on what lens is mounted to the front.

The ILS also has an impressive list of specifications for the $699 / £599 / AU$1099 / CA$949 price point. While there are a handful of mirrorless cameras that can be picked up at that price point, none of them are 8K-capable cameras. Yet, on the GoPro ILS, resolution reaches up to 8K60, with open gate available up to 8K30 and slow motion up to 1080p at 960fps (in 10 second bursts).

But, the GoPro Mission 1 Pro ILS has some significant compromises

The Mission 1 Pro ILS’s lens mount, however, doesn’t have any electronic communication between the lens and the camera. That means that the ILS is a manual-focus-only camera.

But, many Micro Four Thirds lenses are what’s called focus-by-wire, which means that the lens needs the electronics inside the camera in order to physically move the glass pieces to adjust focus. Without any electronic contacts, the GoPro ILS isn’t compatible with these lenses at all, even in manual focus mode, which eliminates a number of fantastic lenses from OM System and Panasonic.

One of the reasons the lack of support for lenses from brands like OM System is so disappointing is that the ILS body is splash-resistant when paired with a weather-sealed lens. The manual focus lenses that the ILS is compatible with are rarely weather-sealed.

Without any communication with the lens, users also need to go into the camera’s menu each time a lens is swapped and choose the right lens profile – forget this step and HyperSmooth will look terrible, as the camera needs that data for the stabilization algorithms to work properly.

The ILS’ small design also comes with a compromise – GoPro says that lenses that weigh more than 250g should be paired with an external lens support. Pairing the ILS with a heavier lens will require an additional investment in a base plate, lens support, and rod – accessories that add on to the cost, no to mention negating the small size.

GoPro users should also be very careful with mounted setups. GoPro doesn’t list a maximum recommended weight for their existing accessories – after all, all GoPros were small before the ILS, so a maximum weight wasn’t really needed. GoPro doesn't list a specific weight lens-ILS combo that should be avoided for traditional GoPro mounting accessories.

But, a GoPro representative told me, “If you plan to subject the camera to higher shock and vibe levels, then we recommend using heavier-duty third-party solutions and the 1/-4-20 threaded insert to mount the camera.”

The combination of a one-inch sensor with a Micro Four Thirds mount also creates a 3x crop factor. This can be great if you want to get in close for telephoto or macro, but less so if you need an ultra-wide view. The widest lens on GoPro’s list of supported lenses is the Laowa 4mm f/2.8 Fisheye, which will act like a 12mm wide-angle lens.

While many of the GoPro mirrorless compromises are related to the lens, the ILS is also geared towards cinema, not stills. Still shots have a built-in delay, and processing leaves the camera temporarily unable to shoot a second shot. GoPro’s mirrorless camera can take stills, but it’s secondary to video.

The non-electronic lens mount and the camera’s small size introduce several compromises. But the Mission 1 Pro ILS is built for filmmakers who likely already use manual focus or follow focus accessories.

Ahead of the GoPro mirrorless launch, a GoPro executive told me that the ILS isn’t going up against the likes of Canon, Sony and Nikon – GoPro sees the ILS as more of a tool in a multi-camera kit where the ILS isn’t the main camera.

The GoPro Mission 1 Pro ILS is meant for mounting scenarios with more flexibility – and bokeh – than a classic GoPro, as well as for run-and-gun filmmakers who need something small and affordable. And for that, I’m glad the GoPro mirrorless is no longer the stuff of myths.

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