If you're a high-end creator or videographer, you've probably got one question on your mind: Sony FX3 vs FX5, which do I get?

Chances are, you've probably already got a Sony FX3. Launched back in 2021, it's been an absolutely monster success story for Sony and has been the go-to camera for creators, videographers and even filmmakers for the past half-decade.

But it's definitely a camera with room for improvement, which is why Sony finally pulled back the curtain on the Sony FX5.

While it's keen to stress that this isn't a replacement for the FX3, and isn't just an FX3 II by a different name, the FX5 offers a clear upgrade path for existing users – and a compelling proposition for those using other brands how might be considering a Sony system.

So, stick with the familiar face or drop the not insignificant extra bucks on the new kid in town? Here's my Sony FX3 vs Sony FX5 at-a-glance comparison.

Sony FX3 vs Sony FX5: At a glance

Sony FX3 vs Sony FX5: What's the ACTUAL difference?

I'll try to make this as straightforward as possible.

The Sony FX3 is a 4K 120p camera that doesn't shoot internal RAW, but can take photos (12.1MP). It has dual base ISO (800 and 12,800), good for 15 stops of dynamic range. It has 5.5 stops of in-body image stabilization and a last-gen autofocus system with human-only subject detection (with birds in stills mode). It has a 3-inch, 1.44 million-dot rear screen and no native viewfinder options. It tops out at 24-bit audio and uses dual SD cards.

The Sony FX5 is (or rather, will be) a 5K 120p / 4K 60p open gate camera that doesn't take photos but shoots internal RAW, including X-OCN. It has three-base ISO (800, 4,000 and 12,800), good for 15 stops of dynamic range (before using Dual Gain Shooting). It has "equivalent" 8.5 stops of stabilization and an integrated AI processor with human, animal and bird algorithms. It has a 3.5-inch, 2.76 million-dot screen with optional Sony EVF. It 32-bit float (with the right accessories) and has dual hybrid SD / CFexpress A slots.

But of course, there's a bit more to it than that.

Sony FX3 vs Sony FX5: Buyer beware

Crucially, the FX3 includes the XLR handle – and does so for an all-in price tag of $4,298 / £3,579 / AU$5,999. The FX5 does not include the handle, despite its higher $4,898 / £4,700 / AU$7,849 asking price – you'll need to shell out considerably more for the $5,498 / £5,200 / AU$8,849 bundle.

Neither camera comes with an EVF. Third-party options are available for the FX3, though they use the HDMI feed. Sony offers a first-party option for the FX5, with 7.07 million-dot resolution and 90° tilting, which will cost you an extra $698 / £650 / AU$999.

Note that you will not natively be able to use the XLR handle and the EVF simultaneously on the FX5, due to a conflict of space and outputs on the top plate. The Sony has hinted that a third-party solution may soon be available for those who need it.

Perhaps most importantly, a number of headline features – namely full open gate and RAW recording functionality – are not available on the FX5 at launch. On day one the camera will only be capable of 5K 60p open gate and 4K 120p capture; the full 5K 120p / 4K 60p open gate and 4K 240p shooting will only be available with firmware v2, which won't come until 2027.

It should also be pointed out that Sony does not provide an official CIPA rating for the stabilization in the FX5 "because it's a Cine Line product", but explained that its performance is "equivalent" to the Sony A7R VI (rated 8.5 stops at the center and 7 stops at the periphery).

Sony also offers an irreversible service to disable the stabilization unit completely on the FX5, if your work requires hard mounting or drone use where IBIS is unhelpful or even problematic. The camera will be labelled as such on the bottom plate, to make it clear that the IBIS system has been deactivated to prevent confusion (particularly, I assume, on the resale market).

Sony FX3 vs Sony FX5: Verdict

Obviously this isn't a verdict on the performance of both cameras; I think it's pretty clear that the FX5 outperforms the FX3 in every category, unless you want to take a photograph.

Ultimately, if you're reading this, you want to know whether the FX5 is worth the considerable extra expenditure – and there are obviously a whole bunch of provisos and asterisks to consider, both for the camera itself along with your work and the way you shoot it.

If money is no object, of course – go straight for the FX5, there's nothing to discuss. Otherwise, you need to ask yourself if you really need what it offers that the FX3 doesn't.

Do you really need 5K open gate? Does the resolution you get at 16:9 shooting genuinely limit your work and the way you deliver content? How often do you truly need to use the same shots for vertical and horizontal output, and would an L-bracket and an extra take be better value? Do you even have the storage and processing power in your workflow to handle open gate files?

Do you really need three more stops of stabilization or AI-powered autofocus? Or do you use your camera on a gimbal, with a focus puller or even manual-focus lenses?

I think, if most creators and video shooters answer honestly, the answer is no to most of those questions. Or at least, no to the $1,200 difference between the like-for-like cameras. In truth, I think the biggest and most important considerations aren't the headline attractions at all.

Okay, I'll grant you that three-base ISO is important if you're not able to control the lighting where you shoot. There's a gaping chasm between ISO800 and ISO12800, so splitting the difference with an ISO4000 option can be a pretty big deal depending on your typical shooting conditions.

But far more important to me are things like 32-bit float, which is guaranteed to save your audio ass at least once in your career (and might single-handedly justify the purchase). The dramatically improved battery life is another big bonus, boosting continuous recording by around 35 minutes.

I'd also argue that switching to CFexpress cards is a pretty huge upside, as we all know how fragile the SD format can be. And obviously, internal RAW recording is an enormous plus if that's what your content requires.

In all, if you've been bumping into its limitations and the FX3 has been actively impeding your work, upgrading to the Sony FX5 is a sensible option for serious, high-end videographers. Remember, this is a hybrid product that boasts features and interfaces from the Venice and Burano lines. Are you really that caliber of shooter?

Otherwise, despite its age, the Sony FX3 still offers fantastic features and powerhouse performance – and at a much lower price point. And hey, if all you want is the option to use a nice EVF, you can buy the Sony FX2 for less than both of these cameras.

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

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

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

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

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

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

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

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

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

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

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

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Yesterday, a bombshell report from Diamond Online claimed that Sony had proposed an offer to acquire all the shares in Tamron. And today, Tamron issued an official statement to confirm that it has received a “non-binding proposal” from the consumer tech giant to make the optical manufacturer a “wholly-owned subsidiary of the Sony Group”.

Tamron says that it has put together a “special committee” to weigh up its options, but that currently public disclosure on any matter is not required.

Sony and Tamron’s long-standing relationship

While the news has certainly come out of the blue, it’s not exactly surprising that Sony would express interest in acquiring Tamron. The global consumer electronics conglomerate has been Tamron’s largest shareholder for years, with a percentage that rose to 15.35% in December of last year.

But a couple of weeks ago, Digital Camera Life reported that Sony was facing competition from the second-largest shareholder, Effissimo Capital Management, which increased its stake to 17.38% in April.

Having a business partner like Sony is something of a safety net for Tamron, so Effissimo’s aggressive play isn’t necessarily a welcome one. And given the timing, it’s certainly possible that losing its majority stake was the catalyst for Sony’s proposal.

What could Sony’s proposal mean?

Tamron hasn’t revealed any details beyond confirming Sony’s proposal. However, according to the Diamond Online report, this could mean a ¥200 billion offer, which equates to roughly $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion.

And there’s another angle to this. If Sony does indeed acquire Tamron, what happens to the various mounts for which the company makes optics – could we see a future where Tamron is exclusive to E-mount?

In my opinion, I don’t think Sony will scupper lens sales for Nikon Z, Canon RF and Fujifilm X by limiting mounts. After all, it wouldn’t be the largest global supplier of image sensors if it only supplied its own cameras.

Digital Camera World will be monitoring the Tamron and Sony situation carefully. The story continues…

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Sony has held a slice of shares in third-party lens maker Tamron for multiple years, but an investigation led by a Japanese business publication hints that the camera giant has explored acquiring all of the shares in Tamron.

According to interviews from the Japanese business publication Diamond, Sony has proposed an offer to acquire all of the shares in Tamron. The report suggests a 200 billion yen proposal, which would be about $1.2 billion / £916.4 million / AU$1.75 billion / CA$1.72 billion at current exchange rates.

Neither Sony nor Tamron has validated the investigative report, and the report only describes a proposal, not an accepted agreement. The Japanese report has sparked an onslaught of rumors and speculation about whether such an acquisition would happen and, if it did, what such a move would mean for Tamron's non-Sony lenses.

Sony already owns a significant portion of Tamron’s shares. But, last month, reports suggested that Singapore-based investment fund Effissimo had surpassed Sony in share percentage, moving from a 10.76 percent stake to 17.38 percent.

Tamron’s most recent official shareholder list was updated in December 2025 and shows Sony as the leading shareholder at 15.35 percent.

Digital Camera World has reached out to both Tamron and Sony for comment.

Historically, Sony’s partial share ownership has been a positive for Sony photographers. Tamron lenses tend to launch to E-Mount first, though the brand hinted earlier this year that more new lenses may take a multi-mount approach at launch, rather than delaying the launch for additional mounts.

The rumors, however, have sparked another key discussion: What would happen to Tamron’s other mount options if Sony owned Tamron? Tamron’s financial reports don’t break down how much of the business’s sales are to other brands, but the multi-mount approach feels key to Tamron’s identity as a third-party lens brand.

The E-Mount by far makes up a majority of Tamron’s lens options. Tamron’s website currently lists 23 E-Mount lenses, 13 Nikon Z lenses, four Canon RF lenses, and four Fujifilm X-Mount lenses.

According to Tamron’s 2025 investor report, Tamron aims to increase the number of lenses launched each year from six to ten.

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The Sony FX5 was only available for 24 hours before demand exceeded supply in Japan, as the "handheld Hollywood" cinema camera is already achieving blockbuster success.

Announced last week, the Sony FX5 is due to launch on August 21. Pre-orders opened yesterday in Japan, but such is the appetite for the camera that some deliveries will be delayed until at least September.

This delay could be further impacted by the suspension of sensor production at Sony's Kumamoto factory, though there has been no official communication to this effect.

"We began accepting orders for the professional camcorder 'FX5' on Tuesday, July 28, 2026, and have received significantly more orders than we anticipated," announced Sony.

"As a result, there may be a delay in delivery.

According to the listing on Japan's official Sony Store website, fulfilment of new orders is currently expected to take place in September.

"We are currently working diligently to meet our customers' requests as much as possible, so please bear with us for a little while longer."

While technically a new product, the FX5 is one of Sony's most eagerly anticipated cameras. Customers have been awaiting a replacement for the five-year-old FX3, with camera rumors whipping up excitement for the body ahead of its official reveal.

A 5K 120p open gate camera with modular expansion and features inherited from the Burano and Venice lines, the Sony FX5 is widely expected to be as dominant for the next five years as the FX3 was in the previous.

And, if this early supply shortage in Japan is anything to go by, that dominance has already begun!

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The largest image sensor plant from Sony – the world’s biggest manufacturer of image sensors – has halted production after an earthquake hit Japan’s Kumamoto Prefecture on July 28. As of July 31, production still has not resumed, Sony said during an earnings report.

The Kumamoto Technology Center of Sony Semiconductor Manufacturing Corporation in Kikuyo Town, Kumamoto Prefecture is Sony's biggest image sensor hub, and the manufacturing facilities are located near the epicenter of the July 28 earthquake.

During an earnings call on July 31, Sony said that production is still suspended. "Restoration efforts to resume production are currently underway," Sony told investors.

Earlier this week, Sony confirmed that the earthquake impacted sensor production. Fujifilm and Taiwan Semiconductor Manufacturing Inc facilities were also evacuated after the earthquake.

Sony said that all employees were safely evacuated, with "a few people who sustained minor injuries."

Sony is the world’s largest manufacturer of image sensors, and the halted plant has been known to produce as many as four million image sensors in a single day.

The company says that the damage to the building and manufacturing lines is still being assessed.

Manufacturing camera sensors is a highly precise process, and even if the building sustained minimal damage, the manufacturing lines will likely need to be assessed to see if recalibration is needed. Damage to the area's roads could also potentially delay shipping.

Sony hasn’t yet shared how the pause could affect product availability, but an earthquake in the same region in 2011 previously caused delays and limited availability in the months following the earthquake for several brands, including Sony, Canon, and Nikon.

As one of the largest sensor manufacturers, the pause could have an impact beyond Sony-branded cameras, as Sony sensors are often found in other cameras as well as smartphones and other smart devices.

Fujifilm and Taiwan Semiconductor Manufacturing Inc. also evacuated following the quakes.

Editor's note: This story was updated with the information on the latest status of the image sensor plant on July 31.

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At least three major manufacturing centers for camera sensors were evacuated on Tuesday, July 28, as a 7.1-magnitude earthquake hit Japan’s southern Kumamoto prefecture. Sony, Fujifilm, and Taiwan Semiconductor Manufacturing Co. – a major chipmaker for camera sensors – were evacuated in the region.

The earthquake, which hit around 4:27 PM local time on July 28, collapsed a shopping mall, leaving some trapped inside, and has also ruptured roads and left many homes without power.

Japan’s southern Kumamoto prefecture, located on Kyushu, Japan’s southernmost of its four main islands, is also home to several manufacturing plants for semiconductors and camera sensors.

According to the Japanese newspaper Nikkei, Sony and Fujifilm evacuated plants in Kikuyo, while Taiwan Semiconductor Manufacturing Co. – a major chipmaker that produces image sensors – also evacuated.

Neither camera brand has confirmed if the earthquake has caused damage to the manufacturing facilities. TSMC has so far not reported any significant damage.

Sony Semiconductor Manufacturing Corporation, located in Kumamoto Japan, is where Sony manufactures its image sensors – as many as four million sensors are built there a day, destined for a range of products from cameras to smartphones.

Fujifilm’s Kyushu location in Kumamoto, Japan manufactures color filter components used in Fujifilm’s X-Trans camera sensors, as well as films that are used in manufacturing LCD screens and slurries or polishing materials used for semiconductor manufacturing.

While it’s unclear at this time whether the sensor manufacturing plants sustained any damage, in the past, earthquakes have caused significant disruptions to some camera manufacturers' supply chains, including an earthquake in the same region a decade ago.

An earthquake in 2016 shut down Sony's image sensor plant in Kumamoto for several months, triggering supply chain delays.

An earthquake in 2011 in the Tōhoku region disrupted Nikon’s DSLR plant, Canon’s lens manufacturing, and four Sony plants, including one for Li-ion batteries and camera components. The earthquake also impacted Tamron and Sigma’s lens production facilities. The impact, along with the damage to roadways and transportation, caused global shortages and delays for impacted brands.

While the 2011 earthquake highlighted the danger of concentrating manufacturing in a specific region, there’s a reason that Kumamoto is home to several sensor manufacturing plants. The region is known for its ultra-clean water, an essential resource for manufacturing image sensors.

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The Sony FX5 has officially joined the company’s Cinema Line, and preorders are now open on both sides of the Atlantic. Positioned between the compact Sony FX3 and the more production-focused FX6, the new camera brings some seriously impressive filmmaking features into a comparatively portable body. The body-only model is priced at $4,899.99 in the US and £4,699 in the UK, with the first cameras expected to begin shipping during August 2026.

In the US, B&H Photo currently has the Sony FX5 body available to preorder for $4,898, making it marginally cheaper than Sony’s official list price. B&H lists an estimated shipping date of August 18 and also offers a separate version bundled with the new XLR-H2 handle unit for $5,498. The body-only package is the one to choose if you already have an external audio setup or simply want to keep your FX5 rig as compact as possible.

Where to buy the Sony FX5?

Adorama is matching B&H’s body-only price of $4,898 and is also accepting preorders. There is very little separating the two retailers on price, so your decision will probably come down to delivery estimates, reward points, financing, or whether you already have an account with one of them. Amazon is also taking preorders at $4,899.99, matching Sony’s official US retail price almost exactly.

UK filmmakers can preorder the Sony FX5 from Wex Photo Video for £4,699, with the retailer expecting its first stock in mid-August. Wex does not take payment until the camera is in stock and ready to be dispatched, which could be useful if you want to secure a place in the queue without paying the full price immediately. Its FX5 package with the XLR handle is also available for £5,199.

London Camera Exchange is also accepting preorders for the body-only FX5 at £4,699, while Sony UK is selling the camera directly for the same price. Sony currently states that direct orders will begin shipping from August 28, although delivery dates may change depending on initial demand. Buying directly from Sony also gives customers access to its current bundle offer, which provides £200 off selected G Master lenses when purchased with the FX5 before September 30, 2026.

Whichever retailer you choose, it is important to remember that these prices are for the camera body without a lens or XLR handle. The FX5 uses Sony’s E mount, so it is compatible with a huge selection of native Sony and third-party lenses, but anyone needing professional XLR audio will have to purchase the handle separately or choose one of the more expensive bundles. Sony has also introduced an optional OLED viewfinder, giving filmmakers more freedom to build the camera around their particular style of production.

At the heart of the Sony FX5 is a newly developed 16.6MP full-frame stacked Exmor RS sensor, designed specifically with high-end video production in mind. It supports 5K recording at up to 60p using the full sensor area, while Open Gate capture gives filmmakers much more freedom when reframing footage for traditional widescreen delivery, vertical social media content, or alternative aspect ratios. The stacked design should also help reduce rolling shutter, which is particularly important when filming fast movement, handheld sequences or rapid camera pans.

The FX5 can record 16-bit X-OCN RAW internally, bringing one of Sony’s more advanced cinema formats into a smaller and more accessible camera body. It also supports 4K recording at up to 120p for detailed slow-motion footage, while its three base ISO settings of 800, 4000 and 12800 should make it particularly adaptable when moving between controlled studio lighting, documentary work and demanding low-light environments. Sony has also confirmed that a future firmware update, currently planned for August 2027 or later, will add 5K recording at up to 120p and cropped 4K capture at up to 240p.

What makes the FX5 particularly interesting is how much of Sony’s higher-end Cinema Line technology it places into a body aimed at independent filmmakers, owner-operators and smaller production companies. It offers the flexibility of Sony’s E-mount lens system, professional recording formats and a modular design that can be adapted with an optional XLR handle, OLED viewfinder and external accessories.

At $4,898 in the US or £4,699 in the UK, it is certainly not an impulse purchase, but it could become one of the most appealing cinema cameras for filmmakers who want more than the FX3 offers without committing to the size, complexity or expense of Sony’s larger production cameras.

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The Sony A7 V hit several best-seller charts in the months after the full-frame camera’s initial release. Now, the mirrorless is back on top of Japan’s sales charts – but squabbling with the Sony A7R VI in second place. Japan’s most popular cameras for June were led by Sony’s two most recent Alpha-series mirrorless cameras, while the effervescent viral Fujifilm X100VI sat in the third-place spot.

The data comes from Japanese retailer Map Camera, which recently ranked the sales for new (and used) cameras in June 2026.

June wasn’t the first time that the Sony A7 V has sat at the top of sales charts – the 33MP 30fps mirrorless has been a regular among the top camera sales in Japan since it launched in late 2025. But the launch of the camera’s higher-resolution sibling, the Sony A7R VI had the A7 V see-sawing out of the top spot in some charts.

In the latest data, the lower-cost A7 V – which Map Camera says "redefines the standard" – is winning out in sales. But the 66.8MP A7R VI – which boasts the same 30 fps burst speed despite the higher resolution – sits in the second-place spot.

With both the Sony A7 V and A7R VI regularly topping sales charts, it will be interesting to see how the two models stand at the end of the year as to whether more photographers are swayed by the lower price of the A7 V, or the mix of high resolution and speed wins out for the A7R VI.

While Sony’s two newest full-frame Alpha series are fighting for the top spot, the Sony A7C II slides into the list in fourth place, illustrating that it’s not just Sony’s newest models that tend to top the charts, as the A7C II is a 2023 launch. The A7C II’s more compact design continues to make the camera a repeat attender for monthly sales charts.

The third-place spot speaks to the staying power of the compact camera trend, as the viral Fujifilm X100VI takes the honors. Now more than two years old, the X100VI continues the viral trend of its predecessor and, despite its age, remains difficult to find in stock due to the camera’s popularity.

Map Camera notes that the supply continues to remain unstable for the X100VI and that the retro compact camera tends to sell out immediately whenever stock becomes available.

Like the top three cameras, the full top ten at Map Camera contains several regulars, including Fujifilm’s X-M5 and X-E5, Sony’s smaller crop sensor A6700, and the popular Ricoh GR IV compact camera.

Surprisingly, there are no Canon mirrorless cameras on the list for June, but unsurprisingly, the popular PowerShot makes two appearances, with the Canon PowerShot SX740 HS sitting in sixth place. Canon’s well-loved but difficult to find in stock PowerShot G7 X Mark III is also on the list in eighth place.

According to Map Camera, these are the best-selling new cameras for June 2026:

1. Sony A7 V
2. Sony A7R VI
3. Fujifilm X100VI
4. Sony A7C II (tied)

4. Fujifilm X-M5 (tied)
5. Canon PowerShot SX740
6. Sony A6700
7. Canon PowerShot G7 X Mark III
8. Fujifilm X-E5
9. Ricoh GR IV

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According to the rumor mill, the newly-announced Sony FX5 was supposed to launch alongside a purported Sony 100-400mm f/5.6-8 FE, but that hasn’t exactly materialized. I know I’m operating with the benefit of hindsight, but I’m not at all surprised that the two products weren’t launched together. After all, they’re completely unrelated. The much-anticipated Sony FX5 would have completely stolen the Sony 100-400mm f/5.6-8 FE’s thunder. How could it not?

But on a personal level, I’m extremely excited for the proposed release of this lens. Sure, the supposed aperture range of f/5.6 to f/8 might seem slow as molasses, but for the reported asking price of €899 (approx $1,020 / 769) by way of Sony Alpha Rumors, it’s shaping up to be an accessible supertelephoto zoom in a class that’s fraught with expensive glass. My mind immediately goes to the Canon RF 100-400mm f/5.6-8 IS USM, which launched back in 2021 for an extremely good-value price of $649 / £699 and is a lens that’s frequently discounted.

This class of lens isn’t for everyone, but I like to think of it as an alternative option to a bridge camera. Take the recently released Sony RX10 V for example; you get an equivalent 24-600mm f/2.4-4 reach, but the compromise is that 1-inch-type sensor.

If the Sony 100-400mm f/5.6-8 FE launches, you’d have another Sony option. A slightly smaller zoom range and narrower aperture range, but the option to stick that lens on an APS-C or full-frame body that’ll deliver much better image quality. There isn’t a right or wrong answer, but it’s nice to have the choice.

A supertelephoto lens this slow would come with some concessions. Camera shake is the enemy of the supertelephoto lens, and with narrower apertures making it harder to accommodate fast shutter speeds, you would need to make sure you’re shooting in ample light to get the best out of this class of lens.

As such, you’ll want to be operating in bright, daytime conditions. This won't be a lens to accompany you in a dark forest. And while that does limit its uses, it would still be a great option for daytime nature reserve trips and safaris, as well as daytime sporting events. Motorsport is a great shout, given you work at slower shutter speeds when panning.

Another benefit from this class of lens is size. The Canon weighs just 635g, which in comparison to pro-grade 400mm optics is very light indeed. Could Sony beat it? Only time will tell. Other information is thin on the ground, although according to Digital Camera Info, which cited tipster how2fly, the lens could have “a focus limiter that doubles as an AF/MF switch”.

In all honesty, I don’t think Sony has to do very much at all to make this 100-400mm lens a winner. As long as the image quality is decent and the price is right, I can see wildlife and sports enthusiasts on a budget swiping these off online shelves left, right and center. If Sony does indeed announce this lens, Digital Camera World will be right here reporting on it.

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

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

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

The Sony A7 V + 24-70mm f/2.8 GM II is now £3,419.10 – save £1,278.81 off the original £4,698 price.

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

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

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

Deals

Promotions & Offers

• Voucher code: Get 10% off with voucher code SONY-10
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• Sony GM II lens offer: Save £200 on select Sony GM II lens when bought with this camera. Add both Camera & Lens to basket to view discount
• Free 2 year warranty: 1 year extended warranty + standard 12 months warranty when you register with Sony

Top choice: Sony A7 V

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

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

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

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

Browse the best lenses for the Sony A7 V

Sigma has released free firmware updates for 13 Sony E-mount lenses, bringing compatibility improvements for photographers using the new Sony A7 V.

The rollout covers a range of Contemporary and Art primes, including six of the company's premium I Series lenses.

While the firmware versions vary between Version 3 and Version 7 depending on the lens, they all deliver the same fix: resolving a rare issue that could cause the camera's monitor to black out and freeze during shooting when paired with the Sony A7 V.

Firmware

Updates: 17mm, 20mm and 24mm

1. Sigma 17mm F4 DG DN | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

2. Sigma 17mm F4 DG | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

3. Sigma 20mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

4. Sigma 20mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

5. Sigma 24mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

6. Sigma 24mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Updates: 35mm, 45mm, 65 and 90mm

7. Sigma 35mm F1.4 DG DN | Art Sony E-mount – Ver.05
Download link for Windows and Mac OS

8. Sigma 45mm F2.8 DG DN | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

9. Sigma 45mm F2.8 DG | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

10. Sigma 65mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

11. Sigma 65mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

12. Sigma 90mm F2.8 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

13. Sigma 90mm F2.8 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Sony has officially unveiled the FX5, the latest in its line of compact full-frame Cinema Line cameras. And while it may look a lot like an FX3, Sony is very keen that you do not call it an FX3 II, with the FX5 designed to sit between the FX3 (which is staying in the lineup) and the FX6.

The Sony FX5 is being aimed at a more professional crowd than the more creator-friendly FX3, with the company suggesting that it will suit anyone looking for a compact B or C camera that can run more comfortably alongside models such as the Burano or Venice 2.

At the center of the FX5 is a newly developed 16.6MP full-frame Exmor RS back-illuminated fully stacked CMOS sensor, paired with Sony’s latest Bionz XR2 processor with its integrated AI unit (which we’ve seen in recent Alpha cameras including the Sony A7 V and A7R VI).

With this sensor-processor combo, Sony claims up to 15 stops of latitude, faster sensor readout, improved low-light autofocus and more advanced subject recognition, with the FX5 supporting all subjects including humans, animals, birds and vehicles.

However, the big headline feature is 5K 60p open gate video using the full 3:2 sensor area, and up to 120p via a future firmware update. 120p frame rate is monstrous and eclipses what has been seen before on cameras in its class. The Canon EOS C50 maxes out at 30p in open gate (although it is 7.1K), while the more consumer-focused Lumix S1II manages 60p in 5.1K open gate.

Open gate is a feature that not everyone needs, but for those who do it is invaluable – particularly useful for anamorphic shooting, vertical crops and reframing footage while maintaining more of the image area. Sony’s 5K resolution should offer a good balance between cropping flexibility and file sizes – although maybe not at 120p!

For super slow-motion. It can also record 16:9 4K with no crop up to 120p, or FHD 16:9 with no crop up to 240p. And with a future update, the FX5 will be able to shoot cropped (76.9%) 16:9 4K up to a whopping 240p.

The FX5 can also record 16-bit X-OCN RAW internally, something previously only possible with larger and more expensive Sony cinema cameras.

Alongside X-OCN LT, Sony has created more compressed C1 and C2 options intended to make RAW recording less punishing on storage (much appreciated, amid the current memory crisis), claiming that this doesn’t compromise footage and enables full grading flexibility.

However, there is a very important asterisk attached to some of these most exciting specifications: at launch, the FX5 will only record 5K open gate in X-OCN (RAW) at up to 60p. The promised headline features of 5K 120p open gate and cropped 4K 240p modes are due to arrive later, through a version 2 firmware update scheduled for August 2027.

This will also unlock open gate recording in XAVC up to 60p, although from what I have seen, there appears to be no open gate XAVC 120p in Sony’s plans.

Sony is hardly alone in selling cameras partly on future firmware, but it is still worth knowing which features will actually be inside the box on day one – and what the future holds. As well as whether it is worth waiting up to a year for promised functions. We will see a lot of rivals release new models between now and then.

In other specs, the FX5 offers three-base ISO (which, it is keen to clarify, is distinct from triple-base ISO) settings of 800, 4000 and 12800, as well as a dual-gain mode designed to reduce noise in darker areas. That dual-gain mode comes with several restrictions, though, including limits on resolution and frame rate.

Physically, the camera remains close to the FX3, weighing around 750g and measuring approximately 132.3 x 79 x 86.95mm. However, existing FX3 cages will not fit because the mounting points have moved, which accessory makers will no doubt consider excellent news.

There is also a larger 3.5-inch, 16:9, 4-axis display, Sony’s CineAlta-style interface with its renowned "Big 6" menu, and built-in monitoring tools including false color, waveform, vectorscope, focus map, histogram, zebras and peaking.

Dual CFexpress Type A slots also support SD cards, while the new NP-SA100 battery is rated for around 170 minutes of continuous 5K recording.

Sony is also launching a trio of new accessories, although completing the FX5 setup will not be cheap. The new XLR handle adds 96kHz, 32-bit float audio recording and costs $798 / £780 / AU$1,099, while a removable, 90° tilting, 7.07-million-dot OLED viewfinder costs another $698 / £650 / AU$999.

Crucially, you will not be able to mount the XLR handle and viewfinder at the same time, due to their positioning on the top plate, although Sony suggests that a third-party solution might be coming at IBC.

There is also a $98 / £90 / €100 / AU$129 timecode cable for synchronizing the FX5 with other cameras on multicamera productions. Together they make the camera considerably more flexible, but anyone planning to buy the body, handle and EVF should prepare for the starting price to skyrocket remarkably quickly.

The Sony FX5 alone will cost $4,898 / £4,700 / AU$7,849 body-only, or $5,498 / £5,200 / AU$8,849 if bought with the new XLR handle. Preorders are open now, with in-store availability scheduled for August 2026.

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Take a look at the best open gate cameras, along with the best cinema cameras and the best cine lenses.

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

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

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

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

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

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

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

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

The Sony camera lineup will have a new member in just a matter of hours. Sony is launching its newest camera today, July 22, according to a teaser direct from the imaging giant.

Sony is preparing to announce a new camera at 7 AM PDT / 10 AM EST / 3 PM BST on July 22, according to a teaser shared via the brand’s email and social channels.

The teaser is fairly typical as teasers go, showing only the silhouette of the upcoming camera with few actual details. But there are a few key revelations in the teaser that reveal who the camera is for.

The teaser is clearly marked with “Cinema Line.” If that’s not enough of an indication, the vertical social teaser looks like a close-up of a camera, not a lens – though the horizontal YouTube teaser shows a view of that camera with a lens.

The silhouette clearly shows a top handle, a feature that also heavily hints towards the camera being built for video. That, with the hashtag #SonyCine, makes the teaser quite clear that what’s coming is part of Sony’s cinema series rather than the brand’s line of still cameras.

The teaser comes with the line “Lighting the way forward,” a line that could have many potential implications.

The silhouetted camera leaves much to the imagination. Along with the handle, the teaser does show red and green lights at the top of the camera. The back profile of the camera also appears to jut out a bit where the LCD screen would typically sit.

The comments on the newly posted teaser are already filling up with speculation over what’s next for the Sony Cinema series. Sony’s FX cinema series spans the more affordable Sony FX30 to the FX6, while the camera giant also has high-end options like the Sony Burano and Sony Venice 2 among its current cinema lineup.

A dedicated spot on YouTube invites camera fans to watch the announcement on July 22 at 7 AM PT / 10 AM EST / 15:00 BST.

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

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

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

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

Canon EOS R8

Budget-friendly option for Canon DSLR users and vloggers

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

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

Nikon Z6 II

Best for Nikon DSLR switchers and hybrid shooters

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

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

Sony A7 III

Ideal for system switchers and DSLR upgraders

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

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

Comparison

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

Its unmatched lens options and flexibility make it a standout choice, especially if you're open to switching systems entirely.

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

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

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

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

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

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

Why APS-C cameras dominate the rankings

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

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

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

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The long-awaited Sony RX10 V has finally arrived, bringing one of the most capable all-in-one camera ranges firmly into the modern era. Combining an enormous zoom range with Sony’s latest autofocus and processing technology, this premium bridge camera is designed for photographers who want to capture almost anything without carrying a bag filled with lenses.

For photographers in the United States wondering where to preorder the Sony RX10 V, there are currently two confirmed options: B&H Photo and Adorama. Both retailers have listed the camera for $2,298, giving buyers a choice between two of America’s best-known specialist photography stores.

Where to buy in the US?

The Sony RX10 V is available to preorder from B&H Photo for $2,298. B&H currently lists the camera as a new item that is coming soon, making it a straightforward option for photographers who want to secure their place in the queue before the first stock begins shipping.

B&H is likely to be the natural first choice for many photographers, particularly those who regularly purchase cameras, lenses, and accessories from the retailer. As an established specialist camera dealer, it also offers the reassurance of recognized customer service, clear returns information, financing options, and optional protection plans.

Adorama is also accepting preorders for the Sony RX10 V at the same $2,298 price. Like B&H, it is one of the largest specialist photography retailers in the United States and offers financing, additional protection plans, and potential reward points for customers enrolled in its loyalty program.

Choosing between B&H and Adorama will therefore largely come down to personal preference, previous experience with each retailer, available financing, and any rewards or account benefits. Both are established options for photographers looking to secure the Sony RX10 V ahead of its general release.

UK photographers also have several confirmed pre-order options. The Sony RX10 V can currently be ordered directly from Sony or through specialist retailers Park Cameras and Clifton Cameras, giving British buyers three established places to secure the new bridge camera.

Buying directly from Sony will appeal to photographers who prefer to order straight from the manufacturer. It also provides the reassurance of dealing directly with the company responsible for the camera, alongside access to Sony’s own customer service and financing options.

Park Cameras is another strong option for UK buyers. As one of the country’s best-known independent photography retailers, it offers specialist advice, finance and trade-in services, making it particularly attractive to photographers who may want to exchange existing equipment against the cost of the RX10 V.

Clifton Cameras is also accepting preorders and provides another trusted specialist option. The retailer is known for its personal customer service and photography expertise, which may appeal to buyers who would rather preorder through an independent camera store than a larger electronics retailer.

The RX10 V is the fifth generation of Sony’s celebrated all-in-one superzoom camera and retains the extraordinarily versatile 24-600mm-equivalent ZEISS Vario-Sonnar T* lens. Its 25x optical zoom covers everything from wide-angle landscapes and travel photographs to portraits, sports, birds, aircraft, and distant wildlife, all without requiring the photographer to stop and change lenses.

The lens offers a relatively bright f/2.4-4 maximum aperture and built-in Optical SteadyShot stabilization. This makes it particularly useful when shooting at longer focal lengths, where even small amounts of camera movement can affect image sharpness.

At the heart of the camera is a 20.1MP one-inch stacked Exmor RS CMOS sensor paired with Sony’s BIONZ XR processing engine and a dedicated AI processing unit. This combination enables blackout-free continuous shooting at up to 30fps, supported by as many as 60 autofocus and auto-exposure calculations every second.

Sony has also equipped the RX10 V with its Real-time Recognition autofocus system, which can identify humans, animals, birds, insects, cars, trains, and airplanes. An automatic subject mode can determine the appropriate target type, while human pose estimation helps the camera continue tracking a person even when their face is obscured or they turn away.

Video capabilities have received a substantial upgrade as well. The RX10 V can record uncropped 4K footage at up to 60p, alongside cropped 4K 120p recording for high-frame-rate and slow-motion sequences.

Support for 10-bit 4:2:2 recording, All-Intra compression, S-Cinetone, S-Log3, and custom LUTs makes the RX10 V a far more serious hybrid camera than its predecessor. It should therefore appeal not only to photographers, but also to filmmakers and content creators who want one camera capable of covering a huge range of situations.

The camera uses Sony’s high-capacity NP-FZ100 battery, with a claimed capacity of approximately 630 photographs per charge. Other useful additions include a 3.68-million-dot electronic viewfinder, a tilting touchscreen, USB-C connectivity, improved grip contours, and a single UHS-II-compatible SD card slot.

At $2,298 in the US, the Sony RX10 V is certainly not an inexpensive bridge camera. Its appeal, however, lies in its ability to replace an entire collection of interchangeable lenses with one fixed 24-600mm zoom.

For wildlife photographers, travelers, aviation enthusiasts, sports shooters, and anyone who values versatility over the ability to change lenses, it promises an unusually complete photographic package. The convenience of having such a wide focal range permanently attached could also make it particularly useful for photographers working in dusty, wet, or fast-moving environments where changing lenses is inconvenient.

US photographers can currently preorder the Sony RX10 V from either B&H Photo or Adorama. UK buyers, meanwhile, can secure the camera directly from Sony or through Park Cameras and Clifton Cameras.

With demand likely to be strong after such a long wait for a successor to the RX10 IV, placing an early preorder may be the safest way to secure Sony’s latest all-in-one powerhouse from the first available stock.

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Despite newer flagship releases from Canon, Sony, and Nikon, one full-frame camera launched in 2023 continues to outperform far newer models in Japan's sales charts. Part of Sony's compact full-frame line, which debuted with the "world's smallest and lightest 35mm full-frame mirrorless camera", the Sony A7C II brings that same philosophy and performance to a newer generation. With built-in electronic viewfinder, in-body image stabilization and 33MP sensor, it has become one of the industry's biggest long-term success stories.

Major Japanese camera retailer Kitamura has now published its June sales rankings, with the camera once again taking the No.1 spot.

Launched nearly three years ago, the Sony A7C II has earned a reputation as a full-frame "sweet spot" camera, striking an impressive balance between performance, portability and price. Available for $2,098 / £1,799, it continues to prove that photographers don't always need the latest release to get the camera they want.

Kitamura's 10 best-selling cameras, June 2026

1. Sony A7C II
2. Canon EOS R10 + RF S 18-150mm IS STM Lens Kit
3. Fujifilm X-M5 + XC15-45mm Lens Kit
4. Sony A6700 High-Magnification Zoom Lens Kit
5. Canon EOS R50 Double Zoom Kit
6. Sony A7 V
7. Sony A7 IV Zoom Lens Kit
8. Sony ZV-E10 II Power Zoom Lens Kit
9. OM SYSTEM OM-5 Mark II + 12-45mm f/4 PRO Lens Kit
10. Nikon Z30 Double Zoom Kit

Lightweight design marvel

The Sony A7C II features a 33MP full-frame Exmor R sensor, AI-powered subject-detection autofocus (AF), 7-stop in-body stabilization (IBIS), and 10-bit 4:2:2 4K 60p video recording, offering serious performance for both photographers and videographers.

Even with its compact form, the A7C II retains a built-in electronic viewfinder – known as a must-have feature for many photographers.

Weighing just 514 g (1 lb 2.2 oz), it delivers full-frame image quality in a remarkably compact body that's particularly well-suited to travel photographers and hybrid creators. Despite its small size (124 x 71.1 x 63.4 mm), Sony has retained a built-in electronic viewfinder – a feature that many photographers still consider essential.

While some compact and creator-focused mirrorless cameras now rely solely on the rear LCD, the A7C II offers an eye-level shooting experience without significantly increasing its size.

Nearly three years after its launch, the A7C II still delivers everything most photographers want or need.

While camera manufacturers release dozens of new models each year, sales data continues to show older, well-balanced cameras can outperform the latest tech when they strike the right mix of price, performance and usability.

The Sony RX10 V refreshes a nearly decade-old design with modern autofocus smarts, but the new super zoom also comes with another key change: it’s the priciest bridge camera that I’ve seen yet.

I tried the Sony RX10 V and loved the mix of wide-angle, telephoto and macro all in one camera instead of a bag full of gear. But considering the price change that comes with the new luxury super zoom, I had to ask: is there a mirrorless combination that has a similar reach for a lower price point?

Enter the Sony A6700 with an all-in-one superzoom, like the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD, which brings a 27-450mm equivalent focal length, or the Sigma 16-300mm f/3.5-6.7 DC OS | C with a 24-450mm equivalent range.

No, those all-in-one zooms don’t reach as far as the RX10 V’s 24-600mm equivalent lens, but the A6700’s larger sensor (APS-C versus 1-inch on the RX10 V) and higher resolution can help make up for that difference.

The Sony A6700 has a 23% boost in megapixels, 26MP versus 20.1MP. If you cropped in the A6700 by 23%, you’d end up with a view that looked more like 550mm – a much closer perspective to the RX10’s telephoto 600mm reach.

The Sigma 16-300mm f/3.5-6.7 DC OS | C still hits 24mm on the wide end and comes in at a similar weight of 615g / 1.4lb and price point to the Tamron.

The Sony RX10 V comes with a $2,299 / £2,200 / AU$3,499 price. That’s about $600 higher than the 2019 Sony RX10 IV in the US. While that seems steep, the number actually matches quite close to inflation.

According to inflation calculators, the $1,700 that the RX10 IV cost in 2019 would be about $2,160 today. (And in the US, the discontinued RX10 IV was going for even higher in mint condition.)

But while the price change isn’t too far removed from inflation, over the last several years there seems to be a growing trend for mirrorless optics that fall in the all-in-one / superzoom category.

The Tamron 18-300mm, introduced in 2021 for E-Mount, covers wide to telephoto and also shoots half macro, all without swapping lenses. Sigma's option is even newer, launched in 2025.

A superzoom won’t be smaller than the RX10 V, as the lens doesn’t collapse when powering the camera off, like with the bridge camera. But the two options do have a similar weight.

The RX10 comes in at 2.4 lbs / 1110g. Combining the weight of the A6700 (17.4 oz / 493.2 g) with the weight of the Tamron 18-300mm (21.86 oz / 620g) comes to 2.45 lbs / 1,113g. The sigma 16-300mm is about 5g less, putting it actually under the weight of the RX10 V with the A6700.

Of course, there are mirrorless lenses that can get that 600mm reach on the A6700 – like the Tamron 50-400mm f/4.5-6.3 Di III VC, which creates a 75-600mm 35mm equivalent on an APS-C body. But that lens doesn’t fall under the cost of the RX10 V unless paired with a more affordable body like the Sony A6400, which doesn’t have as robust an animal detection autofocus system.

The capabilities of the Sony A6700 aren’t a direct match with the RX10. On the one hand, the A6700 has the larger sensor and higher resolution, but the RX10 V wins in burst speed with 30fps over the mirrorless camera’s 11fps.

Am I glad that Sony revived its super zoom from the dead? Yes. Did I love shooting with the RX10 V? Also, yes. The RX10 V is a great camera for packing only one fixed lens camera and still hitting every genre from wide angle to telephoto to macro.

But, like with the compact camera trend, it’s worth pointing out that the RX10 V doesn’t necessarily save money over a mirrorless system.

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If you're searching for a lightweight, compact travel camera to capture every moment of your adventures, check out these four deals from Wex at Amazon – each features or comes bundled with a versatile lens and lets you save up to £285.

The Sony A6700 with 18-135mm lens is now just £1,599 at Wex – you save £200 from the original price of £1,799.

The Fujifilm X-S20 with 15-45mm lens is now just £1,249 at Jessops – you save £100 from the original price of £1,349.

The OM System Tough TG-7 in black is now just £356 at Amazon – you save £143.99 off its £499.99 RRP.

The Pentax WG-8 in black is now just £310 at Amazon – you save £69.99 from the original price of £479.99.

Sony A6700

Most versatile

The Sony A6700 compact mirrorless camera packs serious power. It features a 26.1MP APS-C sensor, fast 11fps burst shooting, in-body image stabilization, and 4K60p video.

Whether you're snapping cityscapes or wildlife on safari, it's ready to deliver stunning photos and smooth video.

Sony improved the autofocus and button layout, making it easier to use on the go – even if the body is still pretty compact. You can pair it with a huge range of Sony E-mount lenses – or third-party options – to suit whatever trip you're on.

Read more: Sony A6700 review.

Fujifilm X-S20

Best hybrid

The Fujfilm X-S20 is ideal if you are creating both photos and videos. It's a compact, lightweight hybrid shooter that packs a lot, using the tried-and-true X-Trans IV sensor.

Paired with Fujifilm's famous film simulations, you give your shots that ready-to-share look straight out of the camera. The new X-Processor 5 steps up autofocus with smart subject recognition and tracking.

It offers 6K video with full sensor use, plus advanced codecs and color grading options. The fully articulating screen is perfect if you're a vlogger.

Read more: Fujifilm X-S20 review.

OM System Tough TG-7

Best waterproof

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

Its 12MP sensor can actually capture more light where it's often dim. Plus, it shoots RAW and bursts up to 20fps – perfect for catching fast moments. The TG-7 has a 4x zoom (approx. 25-100mm in 35mm terms) with a standout macro mode that lets you snap amazing close-ups and 4K video.

It's simple, durable, and versatile – the perfect when you need a reliable camera that won't quit.

Read more: OM System Tough TG-7 review.

Pentax WG-8

Most budget-friendly

The Pentax WG-8 is built tough to survive water, dust, drops, freezing temps – you name it. It's perfect if you want a camera that's truly adventure-proof, without spending big.

With a 20MP sensor and 5x optical zoom (approx. 28-140mm in 35mm terms). It shoots decent photos and 4k video at 30fps.

It also shines in ultra-close-up shots, and it performs well underwater and in extreme conditions where other cameras might fail. It's a solid budget-friendly choice for anyone needing a tough, reliable camera for travel.

Read more: Pentax WG-8 review.

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

Technology tends to have a short lifespan, but the Canon EOS R6 series is so popular in Japan that both of the older models are in the top three for used camera sales.

The data comes from a popular Japanese camera buy-and-sell app, Minna Camera, which recently tallied the most popular cameras sold on the app for the month of June. The list is led by the Canon EOS R6 Mark II, followed by the Sony ZV-E10 and the original Canon EOS R6.

The Canon EOS R6 Mark II was replaced in November 2025 by the new R6 Mark III, a 32.5MP full-frame 7K open gate camera that has been listed among several new camera top ten lists since its launch. But the 24.1MP Mark II and original 20.1MP R6’s inclusion in Minna Camera’s list suggests solid used camera sales across the camera’s history.

However, the data also highlights how rapidly the used camera market can shift, with five of the cameras in the top ten list all cameras that hadn’t made the previous month’s list. The Ricoh GR IV, for example, was in 35th place the previous month but jumped up to 6th place – Ricoh’s announcement of a price increase coming in July – which has now also been implemented outside of Japan too – likely influenced the used sales for the relatively new compact camera.

Two of those five cameras that have popped into the top ten from the lower rankings are DSLRs, the Nikon D7500 and the D750, suggesting the larger interchangeable lens format remains well-traded among used camera marketplaces.

The top-traded cameras on Minna Camera for June include:

• Canon EOS R6 Mark II
• Sony ZV-E10
• Canon EOS R6
• Nikon D7500
• Nikon Z50 II
• Ricoh GR IV
• Canon EOS R10
• Nikon D750
• Sony A7C II
• Sony A7 IV

For lenses, shoppers seemed to have a healthy craving for telephoto glass. The workhorse Nikon 70-200mm f/2.8 VR S topped the June list. While Canon took two of the top three camera bodies, Z Mount glass is the most popular mount on the platform at 30 percent of sales. The Canon EF, Canon RF, and Sony E all trailed at 20 percent each – so combining Canon’s DSLR and mirrorless lenses would bring it to the top spot – with Fujifilm X capturing the other ten percent.

Zooms make up much of the top ten list, with just three prime lenses on the list, and many of those optics hit a focal length longer than 100mm.

The most popular lenses in June on Minna Camera were:

1. Nikon Z 70-200mm f/2.8 VR S
2. Canon RF 24-105mm f/4 L IS USM
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Canon EF 100mm Macro f/2.8 L IS USM
5. Nikon Z 24-120mm f/4 S
6. Fujifilm XF 35mm f/1.4 R
7. Nikon Z 180-600mm f/5.6-6.3 VR
8. Sony FE 24-105mm f/4 G OSS
9. Sony FE 200-600mm f/5.6-6.3 G OSS
10. Canon EF 50mm f/1.8 STM

Used trends don’t directly match the trendiest new cameras from Japan, and data from Japan doesn’t necessarily match other regions. But, with Japan the home to several major camera brands, the data offers an interesting look at what cameras are selling well in the home of major camera brands like Canon, Sony, Nikon, Fujifilm, Ricoh, and others.

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

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

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

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

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

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

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

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

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

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

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

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

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

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Sony shocked the videogame and consumer tech industries last week by announcing that physical disc production for new PlayStation games would end in January 2028. Cue an almighty furore from gamers and proponents of physical media alike – and an ominous note for camera users.

I joined the growing number of gamers cancelling their PS Plus Subscription in what I’m sure will amount to a vain attempt at telling the tech giant that a digital-only future isn’t appealing to everyone. And that train of thought brought me right back around to the camera industry.

Specifically, how the compact camera, which most manufacturers had all but abandoned, came back with a vengeance. Film, reduced to being the preserve of a few darkroom nerds, was thrust back into the fore. As well as instant cameras, camcorders and Y2K-style point-and-shoots, all brought back from the brink in surprising circumstances.

Don’t get me wrong, it’s important to remember that when we talk about these resurrections, they rarely compare with the popularity of the technology in question’s heyday.

I’m well aware that the way photography journos (like myself) bang on about film, if you lived under a rock, you’d be forgiven for assuming that every person and their dog was carrying around a film camera. Which just isn’t the case.

However, it is interesting to me that Sony is choosing to abandon discs at a time when physical media is enjoying something of a resurgence. For example, last year 4K Blu-Ray sales actually increased and vinyl sales exceeded $1 billion.

And we all know that the camera industry is seeing a similar appetite for aging tech, with retro-cool compacts regularly topping Japanese sales charts and the rise and rise of Fujifilm’s Instax, an instant camera brand.

Forging ahead and forgetting the past

As upset and angry as I am that the videogame industry may never be the same again, I’m well aware that however surprising the timing is, it’s not at all unlike Sony to commit to a big decision like this.

Sony isn’t what I’d call a retrospective company. It doesn’t tend to linger upon its past successes, choosing instead to forge ahead. Once again, its camera division is a great microcosm of that ethos.

Sony was the first camera manufacturer to release a full-frame compact camera in the Sony RX1. It was also the first to commit to full-frame mirrorless cameras, when it launched the Sony A7 and Sony A7R in 2013. It wasn’t until Canon and Nikon launched their respective full-frame offerings nearly five years later that the coveted Alpha series had any true competition.

The Sony A9 debuted the world’s first blackout-free shooting. The Sony A9 III was built around the world’s first full-frame consumer global shutter sensor. Sony also pioneered animal autofocus and of course, it’s a well-known fact that the tech giant manufactures the lion’s share of the world’s camera sensors.

And yet, it rarely looks back. You could argue that it doesn’t have the same imaging heritage to dip into as many of the other camera companies, but I still question whether it’d ever go the retro route anyway.

Historically, Sony hasn’t always got it right (remember Betamax or cameras that recorded onto floppy discs?) but it’s certainly not afraid to make big decisions. Even if this latest big decision involves axing a technology that it codeveloped. History suggests that Sony knows what it’s doing, but that doesn’t mean I have to like it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Tamron has released the latest firmware for its 35-150mm f/2-2.8 Di III VXD Sony E-mount lens, one month after the rollout was initially set to happen.

The company had originally promised firmware version 6 for Sony shooters by mid-June, but cited autofocus tracking and connectivity bugs on certain Sony camera bodies, such as the A9 III and A7 V, for the delays.

Firmware version 6 for the 35-150mm f/2-2.8 Di III VXD brings support for Tamron Lens Utility version 5.0 for both computer and smartphone devices.

Tamron Lens Utility is the accompanying app enabling you to control your lens settings and functionality from an external device. With the app, it's possible to program custom physical buttons on your lens, set A-B focus points, and adjust aperture using your smartphone or computer.

Released in February of this year, version 5.0 of the app enables you to do this wirelessly, as long as you have the Tamron Link Bluetooth adapter connected to the lens, while previous versions required a wired USB connection.

Tamron Firmware Version Download

Firmware updates for Tamron lenses are carried out through the Tamron Lens Utility app, which you can download here.

It’s a good idea to hold off downloading the latest firmware for a few weeks. This should give enough time for any new issues to arise in community chatter, and for Tamron to address them. Keep an eye on Digital Camera World, and we'll let you know about any problems.

Note: you cannot downgrade a Tamron lens to a previous firmware

Nikon shooters need not worry about this firmware update. The Z-mount version of the 35-150mm f/2-2.8 Di III VXD was already compatible with Tamron Lens Utility version 5.0, having gained support with firmware version 3 earlier this year.

That’s it for this Tamron firmware update. Although it brings just the one change for Sony users, it’s a seemingly impactful one, enabling easier control of your 35-150mm f/2-2.8 Di III VXD lens, especially for videographers.

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

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

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

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

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

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

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

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

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

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

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

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

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Sony’s RX lineup is all about packing serious imaging hardware into fixed-lens camera bodies. The RX1 line covers compact full-frame cameras, the RX100 series handles pocket-sized compacts, and the RX10 range has always been the all-purpose superzoom option. The Sony RX10 V continues that idea, arriving after a long wait from the RX10 IV, which launched back in 2017.

Sony’s tagline for this camera is “Reach Further, Carry Less,” and that sums up the RX10 V neatly. This is a camera for anyone who wants a huge zoom range without committing to an interchangeable-lens system. Wildlife, birding, travel, sports, train spotting, plane spotting, and general outdoor photography are all obvious targets. A 24-600mm equivalent f/2.4-4 lens in a single body is still the RX10’s main selling point, and there are very few cameras that can offer both that kind of reach with this level of speed, autofocus, and optical quality.

The RX10 V is not a complete ground-up rebuild. It keeps the same 20.1MP 1-inch Exmor RS sensor and the same Zeiss Vario 24-600mm lens as its predecessor. But Sony has updated the camera where it arguably matters most, with its BIONZ XR processor, a dedicated AI processing unit, improved subject recognition, a redesigned body, a better viewfinder, a higher-resolution screen, and a much more modern control layout.

For anyone browsing the best bridge cameras or best cameras for wildlife, the RX10 V immediately, on paper, looks like one of the most complete fixed-lens options around – but does it do enough to convince that one lens is all you need?

Specifications

Price

The Sony RX10 V will cost $ 2,299.99 at launch in the US, £2,200 in the UK, €2,500 in Europe, $2,899.99 in Canada and AU$3,499 in Australia, which is a fair old chunk of money more than the pre-discontinuation price of the RX10 IV, which cost just $1,699 / £1,500 / AU$1,699.

I'm sure the AI boom and various global conflicts affecting supply chains have had a hand in this increase, but considering the lens and sensor are the same as previously, a $600 premium for the processor and a facelift is quite a significant amount to pay. Although, admittedly, that processor unlocks a huge amount of new capability in terms of autofocus, speed, and video.

But to buy this, you really have to commit to the idea of a bridge camera. Personally, at this price, I couldn't just lock myself into one lens, and I think I would still rather go for an option like the APS-C Sony A6700 ($1,499 body only) with its full compatibility with all of Sony (and third-party) E-mount lenses. Paired with something like the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD ($599) or Tamron 50-400mm f/4.5-6.3 Di III VC VXD ($1,199) would give a kind of similar (with the 1.5x APS-C crop) focal range for around the same money, but would also allow me to grow and adapt my photography with more lenses if I chose.

While they are not in the same league in terms of quality and features, if you just want maximum reach, the Nikon Coolpix P1100 is currently under $1,150 and the Lumix FZ80D/FZ82D under $500.

Design & Handling

The RX10 V has been near totally redesigned, and I really like the new direction, even if I do think Sony has not gone quite far enough. There is a clear Alpha influence, particularly around the controls, but this still has the sloped top of a bridge camera alongside that girthy lens. It looks much more modern and appealing than the RX10 IV, but I think it still does not quite have the full cool appeal of Sony’s latest mirrorless bodies.

A 24-600mm f/2.4-4 zoom lens, a built-in EVF, a proper grip, a full control layout, and a larger battery are never going to disappear into something pocketable. This is still a bulky camera. But compared with many other bridge cameras, it looks a lot trendier, and the redesign is a substantial improvement over the previous generation.

The biggest practical improvement is the control layout. Sony has moved the mode dial to a more familiar position on the right of the viewfinder, alongside dual command wheels, which makes the RX10 V feel much closer to the company’s recent Alpha cameras. The trade-off is that the top information screen from the RX10 IV is gone. I know some people love them, but I do not really mind. I have never found top screens all that useful on cameras with a good tilting rear display when you can just use the main screen for a top-down settings view.

Photo, movie, and S&Q modes are now separated using the sub dial around the mode dial, just like on recent Alpha bodies. I like this approach, as it gives each shooting mode its own menu setup.

The rear layout is also much better. There is now a joystick for selecting the focus point, which is an extremely welcome addition on a camera that is likely to be used for pinpointing birds, wildlife, insects, and other small subjects. Sony has also added an AF-ON button, which will please anyone who uses back button focusing. Alongside that, you get the familiar control wheel and rear record button. The result is a camera that feels much more in line with Sony’s modern cameras and will feel at home to anyone used to Sony’s Alpha range.

The screen has also improved. It is now a 3-inch, 3:2, 1.62m-dot display, up from the older 4:3 layout. It is sharp and bright enough to see outdoors in harsh sunlight. Sony has kept the same basic screen mechanism as the previous model, so it flips up, but it does not flip out to the side like some of Sony’s more creator-focused Alpha bodies. I think that is fine for this camera. Sony might talk about the RX10 V as a hybrid camera, but I don't really see it as a serious creator camera.

The electronic viewfinder is another welcome upgrade. It is now a 0.5-type, 3.686m-dot EVF with 60fps or 120fps refresh options, and in use, it is bright with camera settings easy to read around the edges. The EVF does protrude from the rear of the body quite noticeably, to the point where I could hold the camera by it. It doesn't look bad, but it's just a minor design quirk I noticed here more than on Sony’s thicker Alpha bodies.

Elsewhere, the RX10 V is dust- and moisture-resistant, uses Sony’s Z battery, includes micro-HDMI and USB-C 3.2 Gen 2 10Gbps, and supports 4K30p live streaming.

There is no built-in flash, but external flashes can sync up to 1/2000 sec thanks to the leaf shutter. The SD card also sits in the battery compartment, which is not my favourite, but it's fine.

Because Sony has retained the same lens as the RX10 IV, the barrel’s length, diameter, and overall extension are effectively unchanged from the previous model. It is still a substantial piece of glass, and the camera takes up far more space in use than its body might suggest. That is the unavoidable trade-off for fitting a 24-600mm equivalent f/2.4-4 zoom into a single fixed-lens camera. At full zoom, the RX10 V looks and feels every bit as large as the bridge camera it is.

When off, the camera retracts the lens slightly to make the camera a little more travelable, and powering it up extends the lens a couple of centimeters to the 24mm starting position. The lens then extends a considerable distance from the body as you zoom toward 600mm, making the camera noticeably more front-heavy at the long end.

I found the zoom smooth and well controlled. You can control the zoom very precisely by turning the lens barrel, or there is a zoom rocker around the shutter button, which is a faster way to jump through the focal range. There is also a manual focus control on the lens barrel for precise focusing.

Performance

The RX10 V uses the same 20.1MP 1-inch stacked sensor as before, and the same Zeiss Vario 24-600mm f/2.4-4 lens. That might sound disappointing at first, especially after such a long gap between models, but I do not think either part desperately needed replacing. The sensor still performs well, and the lens engineering remains one of the main reasons this camera can exist.

Image quality is excellent. I was impressed by the amount of detail the RX10 V could pull out of close-ups, especially when photographing birds and insects. Fine feather detail was clearly visible, and in macro-style shots, I could see the tiny hairs on a bee. For 20MP and a 600mm equivalent zoom lens, it is a very strong performance.

Anyone worried about depth of field from a 1-inch sensor should not be too concerned either. At these kinds of focal lengths, compression does a lot. You can still get excellent subject isolation and pleasing background blur, particularly when shooting at the longer end of the zoom.

The lens isn't the longest superzoom out there (the Nikon Coolpix P1100 has a ridiculous 24-3000mm equivalent zoom range), but having 24-600mm in a single camera means you can move from wide travel scenes to tight compositions without ever changing lenses. Optical stabilization is built in, and for stills, it performed very well; at 600mm, my photos were sharp and shake-free.

If you need to go beyond the 600mm optical limit of the lens, Sony has a few solutions.

Sony’s Clear Image Zoom is surprisingly good. It extends reach to around 2x, and full-size images still look good. If you pixel peep, there is some loss of fine detail and clarity, and I would not want to crop those files much further, but the results are very usable.

Digital zoom extends to 4x, and while there is a clear loss of fine detail, I found it useful for getting the final framing right straight out of camera if you don’t need absolute image quality.

Finally, Zoom Assist lets you quickly zoom out to find a subject, then return to the zoomed-in range. Anyone who has tried to track a small bird or aircraft at 600mm will immediately understand why that might be useful. You can also change the zoom speed, which is helpful depending on whether you are shooting stills, video, or trying to follow a moving subject.

Close focusing is not always a strength of a superzoom lens, but not so here. The RX10 V can focus as close as 3cm at the wide end and 72cm at the telephoto end, with close to half-size macro magnification at the long end. You are not going to capture microscopic details, but it is particularly useful for insects. I could fill the frame more while still staying far enough away not to scare the subject off.

The biggest upgrade that comes from the new processor is autofocus. The BIONZ XR processor and AI processing unit bring the RX10 V more up to date with Sony’s current Alpha cameras. The RX10 V can shoot at up to 30fps blackout-free with AF/AE calculations 60 times per second, while the mechanical shutter tops out at 10fps. The camera also has Sony's continuous speed boost for jumping between faster and slower bursts only when needed.

Autofocus is excellent overall. Sony has increased the AF points from 315 to 575, with 70.6% frame coverage, and there are new focus spot sizes plus custom focus sizing. Combined with the new joystick and AF-ON button, the whole focusing experience is far better than before.

I do just love how good Sony's autofocus is. It is incredibly fast, and subject recognition can be outstanding. The camera now recognizes a broader range of subjects, and there is an Auto subject recognition mode.

However, in my experience, the Auto mode was not perfect. Auto failed to pick up more birds and insects than I consider ideal; however, when I manually selected the relevant subject type, the RX10 V did a much, much better job. If you know what subject you're hunting, I would just not leave it to AI guesswork.

People, faces, and eyes were handled almost flawlessly, but I don’t really see that as the main goal of this camera. The RX10 V is most interesting as a wildlife and birding camera, and I found the AF very good, but not infallible.

Video is stronger than I expected. The RX10 V can shoot 4K60p with no crop, 4K120p with a crop, and 4K is oversampled from 5.2K; there is also Full HD up to 240p. It also includes S-Log3, S-Cinetone, LUT support, in-camera time lapses, a tally lamp, and 4K30p live streaming.

For video, there is no IBIS, but Sony combines optical stabilization with its electronic SteadyShot, and I was genuinely surprised by how well it did. Even at 600mm, handheld footage of birds and insects was usable, with only some sway. Heavier movements are not handled as gracefully, and any major body movement introduced too much shake, but slow handheld pans came out okay.

I still do not think this is a true hybrid camera in the way Sony tends to describe most of its new cameras. The non-fully articulating screen, no IBIS, and the fixed superzoom lens make it feel more like a stills-first camera, but with the right expectations, it can capture excellent footage.

Video Review

Verdict

A fixed-lens bridge camera with a 1-inch sensor is not the trendiest concept in 2026, but if the bridge camera market is to be revived, then the Sony RX10 V is exactly the sort of camera to do that. With a 24-600mm f/2.4-4 lens with fast autofocus, strong stabilization, 30fps shooting, and improved 4K video, it remains a very compelling proposition.

Pricing though might well be the sticking point. This is an expensive camera to be locked into just using one lens. That lens is an incredibly good, and incredibly useful do-all superzoom, but if at any point you think you might just want to slap a f/1.8 fifty-fifty on the front, then this is not for you. I think I'd still rather go for the freedom of a mirrorless camera and superzoom lens, even if it was a bit bulkier or at the cost of worse handling. If focal range is your one priority, there are much, much cheaper bridge cameras that'll give you more of that.

However, there isn’t much else I can find to moan about. I would have loved something that looked more like an A7 V with a fixed superzoom attached, but still, Sony has produced the best-looking bridge camera yet. Auto mode autofocus is a little unreliable, but single subject recognition is outstanding. And while video is much better than expected, I also do not think the RX10 V is a serious hybrid creator camera. However, as a wildlife, travel, sports, aviation, and general outdoor camera, the RX10 V is the best bridge camera I have ever used.

Alternatives

With reports rife that the Sony FX5 will be launching later this month, boasting features like open gate video and triple-base ISO, you have to wonder: should Canon be worried?

After all, the biggest camera company in the world has just spent a fortune bringing three versions of its FX3 killer to market (the Canon EOS R6V, R6 Mark III and EOS C50). And no sooner have those cameras hit shelves than Sony looks like it has one-upped them – at least, if the latest camera rumors are accurate.

Sony Alpha Rumors, has "confirmed" that the Sony FX5 is will be announced on July 22 – and it's an upgrade on the FX3 (and perhaps Canon's latest bodies) in almost every way.

The headline features, and the ones that potential buyers will be most concerned with, are 5K open gate, triple-base ISO, false color and the same AI autofocus unit found in cameras like the Sony A7R VI.

In addition, the FX5 will boast "a body that is only barely bigger than the FX3" and will also be at least somewhat modular in nature, with an external removable electronic viewfinder unit.

Sony FX5 specifications (rumored)

• 16.6MP fully stacked sensor
• Bionz XR 2 with AI AF
• 5K open gate (3:2)
• Triple-base ISO
• False color
• Venice menu style
• Modular tilting EVF unit
• 3.5-inch articulating screen

Should Canon be concerned?

It took Canon (and Nikon, in fairness, with the Nikon ZR) years to provide an alternative to the monstrously successful Sony FX3. And it did so with the R6 V / R6 III / C50 trifecta that offers every possible kind of FX3 customer every possible kind of photo / video performance combination.

Launched in 2021, the FX3 lacked obvious features like false color and internal RAW – let alone more modern features like open gate video. So Canon loaded its trio of FX3 killers with monstrous specs like 7K open gate, algorithmic subject detection and a far more pixel-rich 32.5MP sensor.

If these leaks are true, however, the FX5 now returns fire with some even more impressive specs. Triple-base ISO was introduced by Canon a few years ago, in the high-end Canon EOS C400, but its latest bodies only feature dual-base ISO.

It now records RAW internally in X-OCN (extended tonal range Original Camera Negative), Sony's 16-bit linear encoding profile. And while its 16.6MP sensor has more modest resolution, its stacked design is much faster and its 5K capture might be preferable to many users simply in terms of storage and workflow.

And of course, while the C50 and R6 V famously eschewed any kind of electronic viewfinder, the FX5 is also promising a modular EVF option for those who need it.

The proof in the pudding is obviously in the eating. Sony Alpha Rumors' report notes that testers "say that while this camera is a bit… expensive, it is also a far superior cine camera compared to the FX3." So cost will be a crucial factor.

For now, however, it seems that Sony has played a very smart chess match with its FX3 successor. Let's see what happens on July 22.

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Check out our Canon EOS C50 vs Sony FX3 comparison to see how those bodies square up. And take a look at the best hybrid cameras along with the best cinema cameras to see what else is on the market.

The Sony A7 V has topped multiple sales charts across both the US and Japan since the mirrorless camera’s launch late in 2025 – but Sony may have just outdone themselves. Topping US photo retailer B&H’s trends chart for June 2026 is the A7 V’s newly announced big brother: The Sony A7R VI.

The 66.7MP full-frame mirrorless camera tops the overall sales charts for the retailer in June, followed by the $35 camera that just won’t quit: The Kodak Charmera. The longstanding Canon PowerShot G7 X Mark III and cheaper sibling PowerShot ELPH 360 HS A also make an appearance on the trends list, along with a new compact camera with zoom, the Panasonic Lumix L10, and a longtime zoom favorite, the Sony RX100 VII.

Looking exclusively at mirrorless cameras, another trend emerges as full-frame cameras that mix speed and resolution headline the list. Along with the A7R VI, the Canon R5 Mark II, Nikon Z6 III, and Canon EOS R6 Mark III also earn top-seller badges at the retailer.

The Sony A7R VI only began shipping at the beginning of June, so the trends list offers an early glimpse at how popular the new mirrorless is. Sony’s A7R series has traditionally offered more resolution than the A7 line, but the A7R VI brings a 67.8MP full-frame sensor with a 30 fps blackout-free burst speed – that’s three times the burst speed of the A7R V.

The upgrades on the A7R VI came with a price hike – but the camera’s appearance on the top sales charts suggests photographers are more impressed with the feature mix than discouraged by the price.

The Sony A7R VI appears to have pushed the A7 V farther down the trending list, but Sony’s December 2025 launch still makes an appearance. While the camera may not have the resolution of the R series, the A7 V borrows the autofocus tech of its pricier siblings, building a reputation for its hybrid performance.

Both Canon’s late 2025 launch of the 7K open gate EOS R6 Mark III and an older pro favorite, the 45MP 8K R5 Mark II, also sit toward the top half of the top-selling mirrorless list, while the new Canon EOS R6 V also made the list.

Nikon’s full-frame Z6 III has also risen unusually high for a 2024 release – but the 24.5MP mirrorless known for its low-light autofocus also dropped to its lowest-yet price in the US during June. (The Z6 III is still $500 off at B&H).

One of Sony’s more compact full-frame mirrorless also made the mirrorless list – potentially helped by June discounts – though it's the higher resolution Sony A7CR, not the more affordable A7C II, making the list.

B&H’s list of trending cameras for June 2026 isn’t exclusive to full-frame models. Sony’s compact but quick A6700 also makes the list. Fujifilm’s mirrorless bundle that shared the most features with the trendy X100VI, the X-E5 with a 23mm f/2.8 kit lens, also makes the list, along with Canon’s budget favorite EOS R100.

A medium format model even made the top trends list, the Hasselblad X2D II 100C, a pricey but luxury 100MP model.

The top trending cameras at B&H for June 2026 include:

• Sony A7R VI
• Kodak Charmera
• PowerShot G7X Mark III
• Panasonic Lumix L10
• Canon PowerShot ELPH 360 HS A
• Canon EOS R5 Mark II
• Canon PowerShot G7 X Mark III
• Nikon Z6 III
• Sony RX100 VII
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III

Broken down to include only mirrorless cameras, the top trending options for the month include:

• Sony A7 VI
• Canon EOS R5 Mark II
• Nikon Z6 III
• Hasselblad X2D II 100C
• Canon EOS R6 Mark III
• Sony A6700
• Sony A7 V
• Fujifilm X-E5 with XF 23mm f.2,8 lens
• Canon EOS R6 V
• Sony A7CR
• Canon EOS R100 with 18-45mm kit lens

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Trends may be good indicators, but these are the best mirrorless cameras based on expert testing.

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

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

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

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

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

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

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

Japan has long been one of the world's biggest camera markets and is used as an indicator of wider photography trends. Now new data from Minna Camera suggests a more complex picture than the familiar "mirrorless takeover" narrative.

Between November 2025 and June 2026, the most-traded camera on the platform was the Ricoh GR IV – a 228g compact camera and the lightest and only model of its kind in the Top 20. Despite its 2025 release, it sits at No.1 in the rankings, a position supported by strong demand and frequent stock shortages.

At the other end of the scale, heavier DSLR models continue to appear in the rankings. The Nikon D500 still appears in the Top 20 at 760g, making it the heaviest camera in the rankings, alongside long-standing models such as the D750 and D7500.

The Top 20

Top 20 most-traded cameras at Minna Cameras (Nov 6, 2025 - Jun 13, 2026)*

*Camera type, sensor size and release date added by Digital Camera World

Used-market insights

Compact vs. mirrorless vs. DSLRs

Mirrorless cameras account for 80% of the Top 20, dominating the rankings with models from Canon, Nikon, and Sony.

The Ricoh GR IV is the exception. At just 228g, it is the only compact camera in the rankings (5% of entries), yet it is also the most-traded model overall.

DSLRs make up the remaining 15% of the Top 20. Nikon is the only manufacturer represented in this category, with the D500 (11th), D750 (17th) and D7500 (19th) all appearing in the rankings.

Lighter vs. heavier gear

The mirrorless era, now almost two decades old, brought photographers smaller and lighter camera systems.

This shift is visible in the data, with 15 of the Top 20 cameras (75%) weighting 600g or less. The remaining five models (25%) all exceed 600g.

Yet the persistence of heavier DSLRs suggests that weight alone is not the defining factor for photographers buying on the used market.

For many, the used market represents one of the last opportunities to get discontinued DSLR models – or to find a high-demand compact camera that can be diffivult to purchase new.

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Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

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Summer is the time for sunglasses, which also happens to be the time of the year that I loathe viewfinder-free cameras even more than I normally do. That’s why a recent Sony rumor caught my attention. If the latest rumor circling the Sony community has any truth to it, then color me jealous.

According to reports from Sony Rumors, the hotly anticipated Sony FX5 mirrorless cinema camera will have an optional tilting electronic viewfinder, along with a new, larger LCD screen.

If the rumors are indeed true, a tilting EVF wouldn’t exactly be surprising, as Sony’s more entry-level FX series camera, the FX2, has a tilting viewfinder built in. But the rumors are calling for the FX5’s tilting viewfinder to be an optional add-on attached to the camera’s hot shoe.

Summer always reminds me of why I hate cameras that don’t have a viewfinder. Harsh glare from the sun renders the LCD screen hard to see. Add in sunglasses – a personal must if I want to avoid a squint-induced headache – and sometimes the LCD screen is almost completely useless.

There are plenty of mirrorless cameras that still have a viewfinder, the design of which shields the problematic sun glare. But a viewfinder that tilts is rare.

As much as I prefer the viewfinder, I’ll use a tilting LCD screen to get unusually low or high angles. A tilting viewfinder may not be quite as versatile – you can’t, for example, see it from a distance like an LCD screen or use it for selfies – but I would love a bit more flexibility to get low-angle shots without giving up my viewfinder.

Rumors also point to the cinema camera getting a larger 3.5-inch tilting LCD screen compared to earlier options, expanding on earlier reports of a 16MP full stacked sensor with Open Gate.

Sony has yet to release any sort of teaser or verify any of the speculation, leaving plenty of room for doubt over those speculated features.

As a photographer and not a videographer, I’d like to see a tilting EVF come to still cameras. Then again, such a design may increase the size of the camera in an era when the latest trends seem to suggest photographers want smaller, lighter gear – so a tilting viewfinder isn’t something I would expect to see anytime soon.

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Sony may not have confirmed any FX5 rumors, but the camera giant says that a new RX10 super zoom is coming! Or, take a look at the best Sony cameras.

If you're after a reliable, versatile, and sharp lens that covers all your shooting bases, this is the workhorse optic to consider.

The Sony FE 24-240mm f/3.5-6.3 OSS is now available for £679 at Wex– you save £40 off its original £719 price.

This wide-to-telephoto all-in-one zoom covers everything from landscapes to portraits, making it an easy single-lens solution for travel and everyday photography.

It's a popular lens that rarely sees significant price drops, and stock across the UK is tight – retailers like Clifton Cameras, Park Cameras and London Camera Exchange are currently out of stock or waiting for stock, while availability at Wex is limited.

Juggling multiple lenses for different styles is not great – and it can be pricey. Especially when you are just starting your full-frame journey or if you recently switched to a Sony camera setup.

So, you might consider a telephoto zoom – but many fall in the 70-300mm range, which means missing out on the wide-angle shots that make landscapes and street photography pop. Plus, quality full-frame telephotos can be expensive.

But the Sony FE 24-240mm f/3.5-6.5 OSS can do it all, on a budget – this superzoom covers everything from 24mm wide-angle to 240mm telephoto, it lets you shoot wide seascapes, candid street scenes, environmental portraits, classic portraits, weddings, events, wildlife, and even sports – and all with one lens for just over £800.

For photographers on a budget, this lens is a perfect tool. It's the kind of investment that pays off by replacing multiple lenses in your kit, freeing up your bag and your wallet.

I even consider getting this lens for my own photography, as I am currently limited to a 24-70mm focal length at the moment – way too little reach to capture distant subjects on my Sony A7 III.

Technically, this lens packs a punch. We actually rated this lens as the "best Sony lens for travel".

The Sony FE 24-240mm features Optical SteadyShot for stabilized shooting, though it does lean on in-body corrections for things like chromatic aberration – which is pretty common with many modern mirrorless lenses.

What sets it apart is its zoom range combined with consistently sharp image quality throughout. Unlike many superzoom lenses that compromise on sharpness, this Sony optic delivers crisp photos from 24mm all the way to 240mm.

Check out best Sony lenses and the best Sony telephoto lenses.

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

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

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

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

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

Why the PowerShot SX740 HS Lite is high in demand

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

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

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

Lite vs original

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

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

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

Panasonic's brief time at the top is over

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Check out our guide to the best bridge cameras currently available

The latest version of the Sony Creator’s App has been released, with the newest update bolstering the options for transferring motion photos from your camera to your smartphone.

The Sony Creators' App is the mobile companion application for Sony cameras, designed to connect your body to your smartphone, tablet and Sony's Creators' Cloud platform. It replaced the older Imaging Edge App for most models from 2023 onwards.

Creators’ App Version 4.3 has now been released and enables users to transfer three-second “Motion Photo” clips. These clips are taken from high-quality video files recorded on your camera and can be transferred to your smartphone or tablet.

Motion Photo has been available to Creator’s App users since 2023, when Sony released the feature in version 2.3. However, until now, you could only capture 15, 30 and 60-second segments. While the new 3-second addition is seemingly minor, it is well-suited to social media creators who post ultra-short-form clips.

There are two ways to create Motion Photos. The first is to mark the sections of footage that will comprise the shot while recording with your camera by pressing the Shot Mark Button. The segment will then be auto-transferred to the app. The other option is to select the segment after shooting directly in the app, by loading the footage and pressing the Create Motion Photo button.

The new Motion Photo update only applies to the Sony Creator’s App. Anyone using the older Imaging Edge App doesn’t need to update as this app does not support the feature. You can check which cameras support the imaging Edge App and Creator’s App here.

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Here’s our take of the best Sony cameras, all of which we’ve put through rigorous testing. And here’s our review of the Sony A7 III – the camera I currently use.

Until now, Sony had a solid track record of implementing artificial intelligence (AI) into its cameras. Starting with Real-Time Eye Autofocus (AF) in the Sony A7R II, it laid the groundwork for modern AI subject recognition in its latest cameras such as the A7R VI.

However, the latest AI photo assistant feature that has been rolled out in the new Sony Xperia 1 VIII camera phone feels like another spoonful of unnecessary AI cough medicine being force-fed to us, just like every other tech company on Earth seems to be doing since the AI gold rush began a few years ago.

Essentially, the new Xperia 1 VIII AI assistant suggests four different shooting settings at moment you capture the shot, each offering a distinct creative aesthetic based on the scene or subject.

According to Sony, the assistant helps you “discover new ways of shooting” all while “expanding the joy of creating”. Jesus, I’m cringing.

ABOVE: the new Sony Xperia 1 VIII and its AI assistant explained

As you can expect, this hasn’t resonated well with photographers, who've made it clear in forum chatter and publications that this AI assistant is nothing but a waste of battery life dressed up as a creative outlet.

And I couldn’t agree more. What a load of baloney about it helping you to “discover new ways of shooting”. The AI assistant essentially adds post-production edits only during production, which hardly broadens your compositional horizons.

Having the AI analyze the scene before you press the shutter and suggest compositional changes would be impressive. I'd prefer to come to the conclusion myself without the help of AI but, admittedly, a feature like this could help you explore new angles.

But the Xperia 1 VIII AI assistant is far from this and, at best, its achievement has been compressing production and post-production into a single click of the shutter.

Was this necessary? Perhaps, if you’re in the game of saving time when taking photos. But for anyone who actually enjoys the traditional photographic process, it brings nothing to the table.

I’d like to think that Sony’s new AI assistant could help photographers develop their editorial eye by explaining what edits it actually made when coming up with its suggestions. However, as it simply creates these at the click of a button, you don’t even get the educational benefit.

To me, it’s simply creative outsourcing to a machine and the complete opposite of “expanding your range of expression” (another quote that came directly from the mouth of Sony).

As a longtime Sony shooter, I’m disappointed by this new AI assistant and can feel my gag reflex kicking in as I regurgitate the thought of this unnecessary feature.

I’m really hoping Sony doesn’t have the bright idea of bringing it to Alpha cameras, as I’m currently looking to upgrade from the A7 III to a newer model – and I have a slight suspicion that a future firmware update could see my next camera infected by this trash.

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Unlike the Xperia 1 VIII smartphone, I am a big fan of the company's cameras – and we have an expertly-curated list of the best Sony cameras here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

There's a hot new acronym in the world of camera sensors: LOFIC. Standing for ‘Lateral Overflow Integration Capacitor’, the tech is said to increase dynamic range by enabling a sensor to store extra charge from intense highlight saturation when a scene is being exposed. This can then be rendered in the captured image, where otherwise the data would have been clipped, thereby over-exposing the corresponding areas in the image. The result is what's being called ‘ultra-high dynamic range’, achieved without traditional multi-exposure techniques, which have the potential to introduce artefacts when shooting moving subjects.

Until now LOFIC has only been connected to Samsung image sensors, specifically the ISOCELL HP6, which has previously been rumored to appear in the forthcoming Galaxy S27 Ultra. But while that's still just a rumor, Sony has now revealed a new LOFIC-enabled sensor of its own: LYTIA L910. This is a 50 megapixel 1/1.28 stacked CMOS chip capable of high-quality video recording at 4K 60 fps, even when shooting in HDR.

In addition to its LOFIC ability, the L910 also employs Triple Conversion Gain-HDR (TCG-HDR) technology, which is said to read out the charge obtained from a single exposure at three different conversion gains. This further reduces highlight over exposure in bright areas of a scene, along with noise in shadows and mid-tones. Furthermore, Sony's Ultra High Conversion Gain (UHCG) circuits technology is claimed to reduce random noise by approximately 30% compared to Sony's more conventional LYTIA 828 image sensor.

With all these technologies combined, Sony states that the LYTIA 910 can achieve 100 dB high dynamic range images with a single exposure - that equates to 16.6 stops - and with it the ability to easily preview images in HDR quality on a phone screen. Power consumption is also said to be reduced thanks to a reduction in the time required for analog-to-digital signal conversion, which should result in lower battery consumption for phones.

Sony says the LYTIA L910 will be available to camera phone manufacturers in summer 2026, which presumably means its arrival must be imminent. However, we’ll likely have to wait several more months before those first phones actually materialize.

A compact camera so trendy that it's still hard to find in stock more than two years after its launch has returned to the top of sales charts in Japan. The Fujifilm X100VI was the best-selling camera overall from one Japanese retailer last month, with the number one for the last several months, the Sony A7 V, dropping to second.

The Sony A7 V is the only non-Fujifilm camera in the top five in the latest sales data from Japanese photo retailer Map Camera, which recently shared the top ten cameras for May. While trends don’t always translate across geographic borders, with many major camera brands located in Japan, the region is one to watch.

1) Fujifilm X100VI

The Fujifilm X100VI has gone so viral that finding one in stock is often a challenge – but limited stock is likely affecting where the retro compact camera falls in the sales charts. In the latest numbers from the retailer, the Fujifilm X100VI has returned to take the number one spot.

Map Camera notes that the supply of the X100VI remains unstable, more than two years since the camera launched – and went viral on social media – in February 2024. But while the retailer says that stock is still unstable, the fact that there was enough stock for the camera to return to number one is interesting. I wonder if perhaps the popular camera may be finally catching up with demand.

The X100VI’s popularity stems in part from its compact, retro design along with a 40MP sensor and bright 23mm (full frame equivalent) f/2.0 lens.

2) Sony A7 V

The Sony A7 V comes in second place, the first time the newly launched mirrorless camera has fallen from first place in Map Camera's month-to-month numbers since launching late in 2025. The A7 V boasts 30fps burst speeds and smarter autofocus without moving to the price of Sony’s higher-end models.

Interestingly, Map Camera reports that most of the Sony A7 V sales are for the body only. That has the retailer hypothesizing that a lot of the sales are coming from existing Sony users who already own some E-Mount lenses.

The newly announced Sony A7R VI may threaten to outdo its lower resolution sibling, but with shipping beginning in June, it's not part of Map Camera's May numbers.

3) Fujifilm X-T30 III

The success of the X100 series seems to have bled over into Fujifilm’s mirrorless cameras, particularly those that sit at a lower price point than the X100VI. The Fujifilm X-T30 III is fairly compact for a mirrorless camera, yet still has a viewfinder.

The more budget-friendly X-T30 III, however, has Fujifilm’s previous-generation sensor, shooting 26.1MP photos.

4) Fujifilm X-E5

The mirrorless camera most similar to the popular X100VI is arguably the Fujifilm X-E5, which shares the same sensor and retro rangefinder-inspired design, but has interchangeable lenses (though there are a few other notable differences).

The X-E5 also pairs with a 23mm f/2.8 kit lens that keeps the camera feeling more like a compact camera than a mirrorless camera. The mirrorless’ success could potentially stem from the still-long wait list for the X100VI – or perhaps from the flexibility of swappable lenses.

5) Fujifilm X-M5

Fujifilm’s most affordable mirrorless camera has also seen limited stock availability since its launch, but the compact vlogging mirrorless camera is still proving to be popular. The Fujifilm X-M5 has the same resolution as the X-T30 III, but axes the viewfinder for an even more compact design.

6) Canon PowerShot G7 X Mark III

Launched in 2019 but revived through social media trends, the Canon PowerShot G7 X Mark III continues to sell well, despite limited availability. Map Camera says that the new special edition G7 X Mark III was included in these numbers, helping to push the one-inch sensor compact camera with a zoom lens higher up the list.

7) Panasonic Lumix ZS300 / TS300

Panasonic’s compact super zoom, which is called the Lumix TX3 in Japan but the Lumix ZS300 in the US and the Lumix TZ300 in the UK, only launched at the end of May but has already made the top ten. The camera’s 1-inch sensor with a 24-360mm equivalent zoom is already proving to be quite popular, as the camera was number one on Japanese retailer Yodobashi’s list for the second half of May 2026.

It will be interesting to see how the camera’s ranking changes next month, as Panasonic recently launched the Lumix L10, which begins shipping in June. Panasonic Japan has already said orders have exceeded expectations, so it will be interesting to see where the compact camera that mixes a shorter zoom lens with a larger Micro Four Thirds sensor fits into the trends.

8) Sony A7C II

The Sony A7C II is the more compact travel-ready mirrorless for Sony shooters, and the camera’s mix of size and price has it regularly appearing among top ten lists, despite being launched in 2023.

9) Sony A6700

The Sony A6700 is a compact mirrorless camera housing an APS-C sensor, offering more speed and performance over the more affordable A6400. Map Camera notes that the majority of sales for the A6700 are for the bundle with an 18-135mm kit lens, hinting that many buyers are first-time Sony users or photographers who want something small with a do-it-all lens.

10) Ricoh GR IV

The Ricoh GR IV is another compact camera that’s hard to find, so limited supply may be affecting numbers. Regardless, Map Camera still managed to get enough of the tiny camera for it to slide in at the bottom of the top ten.

The GR IV series is known for cramming an APS-C into a camera that’s still only around the size of a basic point-and-shoot.

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Trends could be a good indicator of the top cameras, but these are the best compact cameras and the best mirrorless cameras according to real photographers.

Some people might not be aware that Tamron's largest shareholder is Sony. Which, in a very roundabout way, kinda means that Sony makes lenses for rivals like Canon and Nikon. However, that could be about to change thanks to "a massive capital upheaval, perhaps the largest since the company's founding".

For years Sony has owned the biggest share in Tamron, enjoying a 15.35% slice of the company as of December. But according to a report by Digital Camera Life, the second-largest shareholder – activist hedge fund investor Effissimo Capital Management – could might have muscled its way to a majority interest.

As of December, Effissimo owned 10.76% of Tamron. However, as of April, the group has increased its ownership stake to 17.38%. So unless the electronics giant likewise bought a bigger stake in Tamron, Effissimo now owns 29,691,800 shares compared to Sony's 25,038,000.

Who is Effissimo Capital Management?

Effissimo is a Singapore-based hedge fund investment firm that has made a name for itself by strategically buying into Japanese manufacturers such as Nissan and Toshiba, the latter leading to a buyout that privatized the company.

Described by the Financial Times as "a secretive fund run by Japanese managers," Effissimo is "known for its high-profile campaigns against some of the biggest names in corporate Japan".

Often acting in the background, Star Magnolia Capital notes that "Effissimo quietly built large, economically decisive stakes in target companies and then pushed for change through behind-the-scenes engagement".

All of which suggests that its controlling interest in Tamron is not a benign investment but may signal an intention to modify the direction of the company.

What does Effissimo's move mean for Tamron (and Sony)?

So what does this all mean? Digital Camera Life has some interesting insights.

The outlet clarifies that Tamron may not necessarily welcome Effissimo's aggressive purchasing of shares, but may be using its presence "as a legitimate 'justification' for management reform" following the 2023 scandal that saw former president and CEO, Shiro Ajisaka, depart Tamron over misappropriation of company funds.

"Does Tamron want to be free from Sony? The answer is 'no.' Sony will continue to be Tamron's most important 'guardian angel' and 'biggest business partner.' There is virtually no reason for Tamron to want to separate from Sony.

Sony's firm hold of 15.35% of the shares acts as a safety valve (a white knight-like role) that prevents the company from being taken over by another company."

It posits that Tamron's recent announcement that it plans to launch more than 10 lenses per year "might be a positive response (or defense) to the pressure from these funds (demands to increase corporate value instead of letting cash sit idle)."

As such, it could actually be a positive move for all concerned – specifically in terms of accelerating the push into the Canon RF lens ecosystem.

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See how Tamron's glass ranks among the best Sony lenses, the best Canon RF lenses and the best Nikon Z lenses.

For five months, Sony's new full-frame mirrorless was the No.1 camera in Japan at retailer Map Camera. But now, a two-year-old compact camera has reclaimed the top spot, beating the Sony A7 V.

Map Camera's new No.1 best-selling camera is the Fujifilm X100VI – an APS-C compact that we rated as the best retro compact camera on the market to date.

That might not sound surprising for one of the world's most sought-after cameras, except for one thing: the X100VI launched more than two years ago but remains notoriously difficult to buy. Whenever stock becomes available, demand appears strong enough to send Fujifilm's retro compact back into the Top 10 – and even to No.1.

Map Camera's top 10 best-selling cameras May

1. Fujifilm X100VI
2. Sony A7 V
3. Fujifilm X-T30 III
4. Fujifilm X-E5
5. Fujifilm X-M5
6. Canon PowerShot G7 X Mark III
7. Panasonic Lumix TX3 / ZS300 / TZ300
8. Sony A7C II
9. Sony A6700
10. Ricoh GR IV

Japan's new No.1: Fujifilm X100VI

When stock is available, photographers get a mix of classic rangefinder styling and modern APS-C performance, paired with a fixed 35mm-equivalent lens and Fuji's signature dial-based controls.

That blend of style, simplicity and image quality has helped the X100VI remain one of the most sought-after cameras on the market more than two years after its launch.

Four compacts in the Top 10

Compact cameras are very popular right now, offering a ready-to-shoot package in a pocketable form. Unlike camera phones, they give photographers a dedicated shooting experience with tactile controls.

The latest Map Camera chart reflects that trend. Alongside the Fujifilm X100VI, the Canon PowerShot G7 X Mark III ranks sixth, while the Ricoh GR IV comes tenth.

Interestingly, the newly launched Panasonic Lumix TX3 (ZS300 in the US, TZ300 in the UK) takes seventh place. While that might not sound spectacular, the compact has already shot straight to No.1 at Japanese retailer Yodobashi.

Launched in May 2025, the TX3 combines a 20.1MP 1-inch BSI CMOS sensor with a Leica-certified 25-360mm equivalent 15x zoom lens, delivering a focal range that few genuinely pocketable cameras can match.

That flexibility helps set it apart from rivals such as Canon's PowerShot G7 X Mark III.

Given its strong start elsewhere, it wouldn't be surprising to see the Lumix TX3 climbing further up Map Camera's chart in the coming month.

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Take a look at the best mirrorless cameras and the best compact cameras from all the major manufacturers.

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

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

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

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

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

US Deal 🇺🇲

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

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

UK Deal 🇬🇧

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

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

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

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

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

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

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

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

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

Hasselblad vs. Sony

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

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

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

Fujifilm dominates Top 5

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

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

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

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